Richard Offner. "A Remarkable Exhibition of Italian Paintings." Arts 5 (May 1924), p. 245, ill. p. 246, attributes it to Lippo Memmi and dates it about 1340 based on its similarity to the artist's Crucifixion in the Vatican and his Nursing Madonna in Berlin.
Raimond van Marle. Letter. February 1, 1926 [see Ref. Zeri and Gardner 1980], rejects the attribution to Memmi, tentatively suggesting that the picture is by Barna da Siena.
W. R. Valentiner. A Catalogue of Early Italian Paintings Exhibited at the Duveen Galleries New York: April to May, 1924. New York, 1926, unpaginated, no. 27, ill., attributes it to Memmi.
"Panel by Lippo Memmi." Bulletin of the Associates in Fine Arts at Yale University 1 (December 1926), p. 45, ill., mentions that it was exhibited at Yale for several months in the spring of 1926.
Raimond van Marle. "Due tavole di Barna da Siena." Balzana, n.s., 1 (November–December, 1927), p. 243, figs. 1, 2, 4 (overall and details), calls it an early work by Barna da Siena.
[Curt H.] Weigelt in Allgemeines Lexikon der bildenden Künstler. 23, Leipzig, 1929, p. 276, lists it, and the Munich Assumption with which he compares it, among doubtful attributions to Memmi; finds Van Marle's [see Ref. 1927] attribution to Barna untenable.
Curt H. Weigelt. Sienese Painting of the Trecento. Florence, 1930, p. 83 n. 63, calls it very close to Memmi.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. LVIII, attributes it to Memmi.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 360, lists it as by Memmi.
Lionello Venturi. "Romanesque and Gothic." Italian Paintings in America. 1, New York, 1933, unpaginated, pl. 73.
Raimond van Marle. "La scuola senese del XIV secolo." Le scuole della pittura italiana. 2, The Hague, 1934, pp. 322–23, lists it among works attributed to Barna.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 309.
Anna Maria Gabbrielli. "Ancora del Barna pittore delle storie del nuovo testamento nella Collegiata di S. Gimignano." Bullettino senese, n.s., 7 (1936), pp. 127–28 n. 4, rejects the attribution to Barna and calls it close to Memmi.
Alfred M. Frankfurter. "The Maitland F. Griggs Collection." Art News 35 (May 1, 1937), p. 155, ill. pp. 40 (detail), 41, attributes it to Barna.
Margaretta Salinger. "An Early Sienese Panel in the Griggs Collection." Metropolitan Museum of Art Bulletin 11 (February 1944), pp. 181–83, ill., attributes it to Barna.
Dorothy C. Shorr. The Christ Child in Devotional Images in Italy During the XIV Century. New York, 1954, pp. 116, 122, ill. p. 127 (detail), based on information provided by Offner, attributes it to Barna.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 269, lists it as by Memmi.
Sebastiana Delogu Ventroni. Barna da Siena. Pisa, 1972, p. 64, no. 25, erroneously as in the Maitland Griggs Museum, New York; rejects the attribution to Barna, ascribing it instead to the circle of Simone Martini, possibly Lippo Memmi.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 15, 141, 313, 381, 388, 395, 412, 422–23, 440, 459, 462, 608, as by Barna or Memmi.
Arno Preiser Julius-Maximilians-Universität, Würzburg. Das Entstehen und die Entwicklung der Predella in der italienischen Malerei. Hildesheim, 1973, pp. 118–20, pl. 94, accepts the attribution to Memmi, but rejects a late dating; discusses the painted predella with arches and half-length saints.
Cristina De Benedictis. La pittura senese, 1330–1370. Florence, 1979, p. 79, fig. 43, attributes it to Barna da Siena, whom she tentatively identifies as Federico Memmi, with Lippo Memmi.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Sienese and Central Italian Schools. New York, 1980, pp. 52–53, pl. 13, call it "a typical late work by Memmi, datable about 1340"; state that it originally formed part of a diptych, the other half of which was probably a Crucifixion formerly in the Kaufmann collection, Berlin, and later in the Henkell collection, Wiesbaden (now Musée du Louvre, Paris).
Joseph Polzer. "The 'Master of the Rebel Angels' Reconsidered." Art Bulletin 63 (December 1981), pp. 578–81, fig. 32, calls it a late work by Memmi.
Keith Christiansen. "Fourteenth-Century Italian Altarpieces." Metropolitan Museum of Art Bulletin 40 (Summer 1982), pp. 10–11, fig. 11, accepts the identification of the Louvre Crucifixion as the other half of the diptych [see Ref. Zeri and Gardner 1980]; calls the diptych a late work by Memmi, dating it perhaps about 1350.
Henk W. Van Os in L'art gothique siennois: enluminure, peinture, orfèvrerie, sculpture. Exh. cat., Musée du Petit Palais, Avignon. Florence, 1983, p. 140, under no. 42, states that a new examination of the Louvre Crucifixion (then in a private collection, The Hague) might establish whether it formed the other half of the diptych with the MMA work; attributes the Crucifixion to Barna, who is tentatively identified as Federico Memmi.
Dominique Thiébaut in Musée du Louvre: Nouvelles acquisitions du Département des Peintures (1983–1986). Paris, 1987, p. 180, ill., lists the Louvre Crucifixion as attributed to Lippo Memmi and dates it about 1340; accepts the identification of the Louvre and MMA panels as wings of the same diptych; discusses the authorship of the panels.
Joseph Polzer. "'Symon Martini et Lippus Memmi me pinxerunt'." Simone Martini: atti del convegno. Florence, 1988, pp. 170, 172, fig. 5 (detail), attributes it to Memmi and dates it to the 1330s.
Giovanni Previtali. "Introduzione ai problemi della bottega di Simone Martini." Simone Martini: atti del convegno. Florence, 1988, pp. 162, 166 n. 35, figs. 38, 41 (detail).
Pierluigi Leone de Castris. Simone Martini: Catalogo completo dei dipinti. Florence, 1989, p. 145, in connection with a Madonna and Child in the Isabella Stewart Gardner Museum, Boston, mentions it as possibly by Memmi's brother and collaborator "Tederico".
Eliot W. Rowlands. The Collections of the Nelson-Atkins Museum of Art: Italian Paintings, 1300–1800. Kansas City, Mo., 1996, p. 38, calls it a late work by Memmi, from around 1340; accepts the identification of the Louvre Crucifixion as the other half of the diptych.
Mojmír S. Frinta. "Part I: Catalogue Raisonné of All Punch Shapes." Punched Decoration on Late Medieval Panel and Miniature Painting. Prague, 1998, pp. 118, 247, 262, 311, 400, 413, 444, 446, 488, classifies the punch marks appearing in this painting.
La collezione Salini: Dipinti, sculture e oreficerie dei secoli XII, XIII, XIV e XV. Florence, 2009, vol. 1, p. 143.