[Gustav Friedrich] Waagen. Treasures of Art in Great Britain. London, 1854, vol. 3, p. 158, as in the collection of the Marquess of Lansdowne, at Bowood.
"Royal Academy.—Winter Exhibition. (Third Notice.)." Athenæum no. 2936 (February 2, 1884), p. 157.
George E. Ambrose. Catalogue of the Collection of Pictures Belonging to the Marquess of Lansdowne, K.G., at Lansdowne House, London, and Bowood, Wilts. [London], 1897, p. 63, no. 141, as "The Holy Family"; erroneously as on panel.
Stella Rudolph. "Contributo per Pier Francesco Mola." Arte illustrata 2 (March–April 1969), p. 17, fig. 1, as at Bowood; calls it "Sacra Famiglia" in the text and "Il riposo" in the caption.
Richard Cocke. Pier Francesco Mola. Oxford, 1972, pp. 17, 44, 67, 71, no. 3, pl. 25, erroneously as on panel; calls it perhaps the earliest of three versions of the subject, all of which he dates to Mola's early period (the other two are in the National Gallery, London, and a private collection, Milan); notes the influence of Albani in the figures; thinks it was probably painted in Bologna, and then possibly taken by Mola to Rome, since it influenced his pupil Bancuore's "Vision of the Magdalen" (Pallavicini collection, Rome).
Clovis Whitfield. England and the Seicento. Exh. cat., Thomas Agnew & Sons, Ltd. London, 1973, unpaginated, no. 39, ill., notes Cocke's [see Ref. 1972] dating of the picture to Mola's time in Bologna (i.e., 1645–47), when he was influenced by Albani, but believes that the picture also derives from the Roman work of Badalocchio and Domenichino.
D. Stephen Pepper. "England and the Seicento, Bolognese Paintings from British Collections at Agnew's." Burlington Magazine 115 (December 1973), p. 827, calls Albani and Schedoni the predominating influences on the picture.
Ann Sutherland Harris. "Review of Cocke 1972." Art Bulletin 56 (June 1974), pp. 289–90, includes it with a group of paintings that fits a contemporary description of Mola's early style, before his return to Rome in 1647.
Agnew's 175th Anniversary. Exh. cat., Thomas Agnew & Sons, Ltd. London, 1992, unpaginated, no. 7, ill. (color), dates it to the second half of the 1640s.
Ann Sutherland Harris in The Dictionary of Art. Ed. Jane Turner. Vol. 21, New York, 1996, p. 806, includes it with a group of works she believes probably dates from before 1647, and which shows the influence of Venetian painting in the landscapes and of Albani in the idyllic mood.
Everett Fahy in The Wrightsman Pictures. Ed. Everett Fahy. New York, 2005, pp. 50–52, no. 13, ill. (color), relates it to a landscape sketch (British Museum, London; 1898.1216.1) for a fresco of 1641–42 in the church of the Madonna del Carmelo, Coldrerio.
Keith Christiansen. "Going for Baroque: Bringing 17th-Century Masters to the Met." Metropolitan Museum of Art Bulletin 62 (Winter 2005), p. 14, fig. 8 (color).