Bertina Suida Manning. Unpublished manuscript. 1971, attributes it to Bartolomeo Guidobono, noting that Robert Manning was the first to assign it to this artist; calls it a mature work of the Genoese period; discusses the subject, suggesting that it may be the Triumph of Art, with the central figure representing the personification of Art and the child symbolizing the human soul; identifies the animal in the center background as a chimera or griffon and the one in the left foreground as a coati.
Ann Percy. Letter to Elizabeth E. Gardner. February 28, 1973, suggests that "the main figure, the skull, the dog and the cat could have come from Castiglione's etchings (Circe, Diogenes, Melancholia)".
Charles Dempsey. Letter to Elizabeth E. Gardner. June 12, 1973, tentatively identifies the central figure as Ariosto's good witch, Melissa, although adding that the picture does not seem to illustrate a particular episode from Ariosto's work; believes that the child is a portrait; identifies the animal in the center background as a hippogryph and the one in the left foreground as an opossum.
Mary Newcome Schleier. "Notes on Guidobono." Antichità viva 20, no. 6 (1981), pp. 32, 36 n. 72, fig. 20, attributes it to Domenico Guidobono, comparing the figures with those in the artist's "Glorification of Giovanna Battista di Savoia Nemours" (Palazzo Madama, Turin) of 1721; suggests that it may be a Vanitas, with the child representing life/day pointing to death/night on the right.
Bertina Suida Manning. "The Transformation of Circe: The Significance of the Sorceress as Subject in 17th Century Genoese Painting." Scritti di storia dell'arte in onore di Federico Zeri. Milan, 1984, pp. 701–2, 706, 708 n. 35, figs. 699–704 (overall and details).
Alberto Cottino and Andreina Griseri in La natura morta in Italia. Ed. Francesco Porzio. Vol. 1, Milan, 1989, p. 112, fig. 103, as by Bartolomeo Guidobono; call it an allegory of the triumph of the arts.
Mary Newcome Schleier in Kunst in der Republik Genua, 1528–1815. Exh. cat., Schirn Kunsthalle Frankfurt. Frankfurt, 1992, p. 219, no. 121, colorpl. 120, dates it about 1720 and concurs with Suida Manning [see Refs. 1971 and 1984] that it is an allegory of the triumph of the arts, with the child possibly representing the personification of the human soul.
Keith Christiansen. "Going for Baroque: Bringing 17th-Century Masters to the Met." Metropolitan Museum of Art Bulletin 62 (Winter 2005), p. 14, fig. 11 (color).
Old Masters & 19th Century Art. Christie's, London. July 7, 2009, p. 62, under no. 25, refers to it as "attributed to Domenico and depicting an enigmatic interior with a 'Sorceress and her daughter'".