Bernard Berenson. Letter to Harry B. Wehle. May 21, 1935, writes that it "well may be Paduan, but scarcely Guariento".
Richard Offner. Lecture. March 1935, attributes it to Guariento.
Evelyn Sandberg Vavalà. "An Attribution to Guariento." Art in America 25 (January 1937), pp. 24, 29, fig. 3, attributes it to Guariento, discussing it in the context of the iconographical formula of the Madonna with the swaddled Child, which exists in two examples in Padua: Giusto de' Menabuoi's painting in the Biblioteca Capitolana (now Museo Diocesano), and what she calls a later copy after a lost Byzantine original in the Padua cathedral; believes that although Guariento's painting appears further from the prototype it probably dates from before Giusto's work.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 123, ill., attributes it to an unknown Paduan painter and dates it to the mid-fourteenth century; notes a resemblance to the work of Guariento but believes that it lacks his characteristic "verve and sharp color".
Roberto Longhi. Viatico per cinque secoli di pittura veneziana. Florence, 1946, pp. 46–47, pl. 10, calls it a late work by Guariento.
Rodolfo Pallucchini. La pittura veneziana del trecento. Venice, 1964, p. 109, fig. 326, suggests that the composition derives from an earlier work.
Francesca Flores d'Arcais. Guariento. Venice, 1965, pp. 36, 60, fig. 128, accepts Longhi's [see Ref. 1946] late dating.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 203, lists it as by Guariento.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 98, 312, 605.
Francesca Flores d'Arcais. Guariento: tutta la pittura. Venice, [1974?], p. 63, fig. 118.
Roberto Longhi. "Ricerche sulla pittura veneta: 1946–1969." Opere complete di Roberto Longhi. 10, Florence, 1978, p. 42, pl. 8b, reprints text of Ref. 1946.
Mojmír Frinta. Letter to Keith Christiansen. October 8, 1983, from a photograph, dates the punchwork about 1400.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, North Italian School. New York, 1986, pp. 29–30, pl. 3, attribute it to Guariento and call it a late work; note that Giusto's painting was said in the fifteenth century to be a copy after an icon in the church of Santa Giustina, Padua, but that that work is in too ruinous a state to confirm the connection; agree that both Giusto's and Guariento's paintings are probably based on a Byzantine prototype.
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, p. 225, lists it as "Guariento?" and classifies a punch mark appearing in this painting.
Victor M. Schmidt. Painted Piety: Panel Paintings for Personal Devotion in Tuscany, 1250–1400. Florence, 2005, pp. 147, 159 n. 17, calls it a copy after the painting in the Padua cathedral, which in turn he calls a seventeenth-century copy after a thirteenth-century original; finds it remarkable that Guariento replaced the architectural setting of the original with a ledge and inscription.
Andrea Nante. "La Madonna di Giusto de' Menabuoi per la cattedrale di Padova." Arte lombarda, n.s., 2 (2008), pp. 37–38, dates it before Giusto de' Menabuoi's painting, and believes that it may be based on the same prototype after which Giusto's work is copied.
Ada Labriola in "Italian Paintings from the 13th to 15th Century." The Alana Collection. 1, Florence, 2009, p. 122.
Francesca Flores d'Arcais in Guariento. Exh. cat., Palazzo del Monte di Pietà, Padua. Venice, 2011, pp. 31, 33, 189–90, no. 32, ill. (color, overall and detail).
Davide Banzato in Guariento. Exh. cat., Palazzo del Monte di Pietà, Padua. Venice, 2011, p. 185.