W. Burger [Théophile Thoré]. Trésors d'art exposés à Manchester en 1857. Paris, 1857, p. 74 [reprinted as "Trésors d'art en Angleterre," Brussels, 1860, with same pagination], questions the attribution to Bellini.
George Scharf. Sketchbook. 55, , p. 146 [National Portrait Gallery, London; see letter of January 29, 2002 in archive file], under a sketch of another version of this composition that he saw in the Baring collection in 1859, compares that picture to no. 595 of the Rogers sale of 1856 (the MMA work).
J[oseph]. A[rcher]. Crowe and G[iovanni]. B[attista]. Cavalcaselle. A History of Painting in North Italy: Venice, Padua, Vicenza, Verona, Ferrara, Milan, Friuli, Brescia, from the Fourteenth to the Sixteenth Century. London, 1871, vol. 1, p. 246, attribute it to Cima; as in the Anderdon collection.
Ulrich Thieme in Die Sammlung Oscar Hainauer. Berlin, 1897, p. 70, no. 61, as "Madonna mit dem Kinde und den Heiligen Franciscus und Katharina," by Cima.
J[oseph]. A[rcher]. Crowe and G[iovanni]. B[attista]. Cavalcaselle. A History of Painting in North Italy: Venice, Padua, Vicenza, Verona, Ferrara, Milan, Friuli, Brescia, from the Fourteenth to the Sixteenth Century. 2nd ed. [1st ed. 1871]. London, 1912, vol. 1, p. 251.
Bernard Berenson. Venetian Painting in America: The Fifteenth Century. New York, 1916, pp. 204, 209, attributes it to Cima and dates it after 1510; implies that the inscription is no longer visible [see Notes]; identifies the female saint as Clare; relates it to similar compositions now in the Art Institute of Chicago and the Fogg Art Museum, Cambridge, Massachusetts.
Stella Rubinstein-Bloch. "Paintings—Early Schools." Catalogue of the Collection of George and Florence Blumenthal. 1, Paris, 1926, unpaginated, pl. XLI.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 147, lists it as a late work.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 127.
Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, p. 66, erroneously describes it as signed.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 53, 333, 389, 397, 608.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 20–21, pl. 19, date it about 1510; note that this format was first used in Venice by Giovanni Bellini, and that Cima repeated this group with some variations in a number of works, including examples in the Morgan Library, New York, and the Accademia, Venice.
Jill Dunkerton. "Cima: With Special Reference to His Technique." Master's thesis, Courtauld Institute of Art, University of London, 1976, n. 85 [see Ref. Humfrey 1983].
Peter Humfrey. Cima da Conegliano. Cambridge, 1983, pp. 51, 93, 132, 183, no. 105, pl. 183, dates it about 1513–17; provides early provenance information.
Elizabeth A. Pergam. "From Manchester to Manhattan: The Transatlantic Art Trade After 1857." Bulletin of the John Rylands Library 87, no. 2 (2005), pp. 85, 89.