Roger E. Fry. Letter to Bryson Burroughs. December 14, 1908, calls it North Italian and dates it to the early fifteenth century; states that he bought it from G. [sic] Ciccolini in Rome.
Roger Fry. Letter to Bryson Burroughs. December 1, 1908 [published in Ref. Sutton 1972, letter no. 248, pp. 305–6], calls it Lombard, near Besozzo da Milano, and dates it about 1420; adds that he is having the frame touched up.
Roger E. Fry. Letter to Bryson Burroughs. December 12, 1908 [published in Ref. Sutton 1972, letter no. 249, p. 307].
Roger E. Fry. Letter to Bryson Burroughs. February 16, 1909 [published in Ref. Sutton 1972, letter no. 258, p. 313].
Roger E. Fry. Letter to Bryson Burroughs. March 16, 1909, dates it about 1450; writes that the frame was damaged and has been "done up in Florence" and that he has "cleaned and lacquered the triptych which is in marvellous condition".
R[oger]. E. F[ry]. "An Italian Triptych of the Fifteenth Century." Metropolitan Museum of Art Bulletin 4 (May 1909), p. 88, dates it about 1450 and calls it northern Italian, probably Lombard or Piedmontese; notes that it was used as a reliquary; mentions the unusual depiction of the Trinity.
Raimond van Marle. The Development of the Italian Schools of Painting. Vol. 9, Late Gothic Painting in Tuscany. The Hague, 1927, pp. 367, 369, fig. 232, calls it School of Sassetta.
John Pope-Hennessy. Letter to Mrs. Patterson. March 25, 1937, rejects the attribution to the school of Sassetta [see Ref. Marle 1927], calling it Veronese; sees a similarity to "the so-called Badile Aquila polyptych at Verona" (no. 373), but finds the work even closer to a Madonna, also in the Museo Civico, Verona (no. 2068), by a pupil of Stefano da Verona.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, p. 124, ill. (detail), attributes it to a Veronese painter and dates it to the first quarter of the fifteenth century; notes the influence of French and German works of the school of the middle Rhine.
r[oberto]. l[onghi]. "Sul catalogo della mostra di Verona." Paragone 9 (November 1958), p. 75, notes its closeness in style to the Fracanzani Altarpiece in the Museo di Castelvecchio, Verona.
Lionello Puppi. "Il Maestro dell'ancona Fracanzani e una tavoletta del Correr." Bollettino dei Musei Civici Veneziani no. 1 (1960), pp. 3–4, 8 n. 13, figs. 2, 4 (overall and detail), attributes it to the Master of the Fracanzani Altarpiece, noting the influence of Michelino da Besozzo.
Carl Huter. Letter to Elizabeth Gardner. November 4, 1964, believes Veronese is possibly too narrow an area of attribution and suggests that "the eastern Veneto (Padua, Treviso, Venice) should be considered"; dates it not later than the first quarter of the fifteenth century.
Carl Huter. Letter to Elizabeth Gardner. May 14, 1965, thinks it was painted in Venice or its immediate vicinity in the last decade of the fourteenth century.
Denys Sutton, ed. Letters of Roger Fry. New York, 1972, vol. 1, p. 305 n. 1 to letter no. 247 (November 18, 1908), confuses it with another painting then on the market which was not acquired by the Museum.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 248–49, 268, 272, 274–76, 281–82, 285, 290, 296, 302, 358, 360, 411, 433, 606, as by an unknown Veronese painter of the fourteenth century.
Miklós Boskovits. Letter to Keith Christiansen. January 21, 1984, attributes it to Cristoforo Moretti (Milanese, active 1450–75).
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. 79–80, pl. 9, attribute it to a Veronese painter and date it to the first half of the fifteenth century; note the influence of contemporary Lombard art, which is often seen in Veronese pictures of that time; add that "there is no evidence to suggest that the wings have been reversed".
Miklós Boskovits in Arte in Lombardia tra Gotico e Rinascimento. Exh. cat., Palazzo Reale. Milan, 1988, p. 164, relates it to a Crucifixion in the Národni Galerie, Prague (inv. 011951), which he assigns to an unknown Lombard painter in the mid-1400s.
Catherine Puglisi and William Barcham in Passion in Venice, Crivelli to Tintoretto and Veronese: The Man of Sorrows in Venetian Art. Ed. Catherine Puglisi and William Barcham. Exh. cat., Museum of Biblical Art. New York, 2011, pp. 52–53, 90 n. 1, no. 10, ill. (color).
Andrea De Marchi. Michelino da Besozzo, gli inizi di Franceschino Zavattari fra Milano e Monza e un dittico molto insolito. Turin, 2012, pp. 9–10, 13 n. 14, pp. 20, 24 n. 14, pls. XII–IV (overall and details), ascribes it to Zavattari and workshop.