W. Burger [Théophile Thoré]. Trésors d'art exposés à Manchester en 1857. Paris, 1857, pp. 34–35 [reprinted as "Trésors d'art en Angleterre," Brussels, 1860, with same pagination], attributes it to Perugino and notes its similarity to the altarpiece in the Pinacoteca Vaticana.
J[oseph]. A[rcher]. Crowe and G[iovanni]. B[attista]. Cavalcaselle. A History of Painting in Italy from the Second to the Fourteenth Century. 3, London, 1866, pp. 250–51, as in the collection of Alexander Barker, London; lists it with the four scenes now in the Art Institute of Chicago as a predella by Perugino; relates the MMA work to the predella panels of the same subject in the Musée des Beaux-Art, Rouen, and the Alte Pinakothek, Munich, and to the altarpiece in the Vatican.
George C. Williamson. Pietro Vannucci, called Perugino. London, 1900, pp. 125–26, as in the collection of F. A. White; attributes it to Perugino.
Bernhard Berenson. The Central Italian Painters of the Renaissance. 2nd ed., rev. and enl. New York, 1909, p. 220, as in the collection of F. A. White; attributes it to Perugino.
Umberto Gnoli. "La pittura umbra alla mostra del Burlington Club." Rassegna d'arte umbra 1 (May 15, 1910), pp. 50–51, attributes it to Perugino's workshop.
B[ryson]. B[urroughs]. "A Painting by Perugino." Metropolitan Museum of Art Bulletin 6 (June 1911), pp. 130–31, ill., attributes it to Perugino and calls it part of a predella together with the four Chicago scenes.
A[dolfo]. Venturi. "La pittura del quattrocento." Storia dell'arte italiana. 7, part 2, Milan, 1913, p. 566 n. 1, attributes it to Andrea d'Assisi.
Walter Bombe. Perugino, des Meisters Gemälde. Stuttgart, 1914, p. 256, ill. p. 231, includes it among "doubtful and wrongly attributed pictures".
J[oseph]. A[rcher]. Crowe and G[iovanni]. B[attista]. Cavalcaselle. "Umbrian and Sienese Masters of the Fifteenth Century." A History of Painting in Italy: Umbria, Florence and Siena from the Second to the Sixteenth Century. 5, London, 1914, p. 365, Borenius erroneously lists all five predella scenes as at the Metropolitan Museum.
Umberto Gnoli. Pietro Perugino. Spoleto, , p. 56, pl. XLVIII, dates it about 1515; in addition to the related pictures in Munich, Rouen, and the Vatican, erroneously mentions a fourth in the Galleria Nazionale dell'Umbria, Perugia.
Umberto Gnoli. Pittori e miniatori nell'Umbria. Spoleto, 1923, p. 274, lists it as by Perugino; erroneously as still in the collection of F. A. White.
Arthur McComb. "Francesco Ubertini (Bacchiacca)." Art Bulletin 8 (March 1926), pp. 150, 153, fig. 3, attributes it to Perugino; notes that Bacchiacca borrowed the composition for his Resurrection of about 1521 in the Musée des Beaux-Arts, Dijon; believes that the New York, Dijon, Rouen, and Munich pictures all derive from a common source.
Fiorenzo Canuti. Il Perugino. Siena, 1931, vol. 2, p. 363, lists it among paintings of Perugino's school and works doubtfully attributed to him; erroneously locates this picture still in the White collection and the other four scenes of the predella in the Metropolitan Museum.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 438.
Raimond van Marle. The Development of the Italian Schools of Painting. 14, The Hague, 1933, p. 406, attributes it to Perugino's workshop; states that it belongs to the same series as the four Chicago scenes.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 376.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 115–16, ill.
Edoardo Arslan. Letter. April 21, 1952, attributes it to Perugino and calls it close in style and date to the Senigallia altarpiece.
K. T. Parker. "Italian Schools." Catalogue of the Collection of Drawings in the Ashmolean Museum. 2, Oxford, 1956, p. 21, under no. 31, relates a drawing of Christ and the Woman of Samaria to the painting of the same subject in Chicago, and attributes the four Chicago scenes and the MMA panel to Perugino, dating them to his last period.
Luisa Marcucci. "Contributo al Bachiacca [sic]." Bollettino d'arte 43 (January–March 1958), p. 32, calls it an early work by Perugino.
Ettore Camesasca. Tutta la pittura del Perugino. Milan, 1959, pp. 102, 112–13, pl. 171, attributes it to Perugino and dates it between 1500 and 1505; rejects the connection with the four Chicago scenes, which he considers parts of another predella from later in the artist's career.
Federico Zeri. "Appunti sul Lindenau-Museum di Altenburg." Bollettino d'arte 49 (January–March 1964), p. 52, tentatively suggests that the five scenes divided between the MMA and Chicago may have formed the predella of the main altarpiece of the church of Santissima Annunziata, Florence.
Michel Laclotte in Le XVIe siècle européen: peintures et dessins dans les collections publiques françaises. Exh. cat., Petit Palais. Paris, 1965, p. 14, under no. 18, remarks that the five scenes must have formed the predella of a major Florentine altarpiece, perhaps that in Santissima Annunziata [see Ref. Zeri 1964], since Bacchiacca must have seen the MMA work in Florence in order to borrow the composition for his own Resurrection (Musée des Beaux-Arts, Dijon) [see Ref. McComb 1926].
Lada Nikolenko. Francesco Ubertini called "Il Bacchiacca". Locust Valley, N.Y., 1966, p. 35.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 329, calls it a late work by Perugino.
Ettore Camesasca in L'opera completa del Perugino. Milan, 1969, p. 106, no. 85, ill., repeats his opinions from Ref. 1959.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 161, 298, 606.
Denys Sutton. "Robert Langton Douglas, Part II, XIII: A Lawyer from Philadelphia." Apollo 109 (May 1979), p. 390, fig. 8, notes that Douglas offered it to John G. Johnson of Philadelphia before selling it to the MMA.
Marguerite Guillaume. Catalogue raisonné du Musée des Beaux-Arts de Dijon: Peintures italiennes. Dijon, 1980, p. 5, under no. 8.
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. 59–61, pl. 68, date the five scenes about 1503–5 and state that they probably composed the predella of an altarpiece in a Florentine church, possibly Santissima Annunziata [see Refs. Zeri 1964 and Laclotte 1965].
Keith Christiansen. "Early Renaissance Narrative Painting in Italy." Metropolitan Museum of Art Bulletin 41 (Fall 1983), pp. 31–32, fig. 24 (color), suggests that it may have formed part of the predella of Perugino's altarpiece for the church of Sant'Agostino, Siena, commissioned in 1502.
Pietro Scarpellini. Perugino. Milan, 1984, pp. 52, 113–14, 127, no. 143, fig. 238.
Sylvia Ferino Pagden in Die Kirchen von Siena. Part 1, 1, Munich, 1985, p. 66, rejects the association of the five scenes with the Chigi altar in the church of Sant'Agostino, stating that it would be unlikely for the predella of that altarpiece to include the Resurrection, which was already depicted in terracotta as part of the framework of the altarpiece.
Filippo Todini. La pittura umbra dal Duecento al primo Cinquecento. Milan, 1989, vol. 1, pp. 264, 268; vol. 2, pl. 1171, connects it with the four predella scenes in Chicago.
Christopher Lloyd. Italian Paintings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection. Chicago, 1993, pp. 191, 194–96, fig. 1, expresses reservations in identifying the five predella scenes with the altarpiece for either Santissima Annunziata in Florence or Sant'Agostino in Siena; accepts a date of shortly after 1500 for the series.
Joseph Antenucci Becherer. Pietro Perugino: Master of the Italian Renaissance. Exh. cat., Grand Rapids Art Museum, Grand Rapids, Mich. New York, 1997, pp. 114, 123 n. 34, pp. 128–29, 133–37, 178, no. 1d, ill. (color), dates the five scenes 1500–1505; notes that they have been linked to both the Santissima Annunziata altarpiece and the Sant'Agostino altarpiece.
Marilyn Bradshaw in Joseph Antenucci Becherer. Pietro Perugino: Master of the Italian Renaissance. Exh. cat., Grand Rapids Art Museum, Grand Rapids, Mich. New York, 1997, pp. 284–85, 291, notes that the five predella scenes have been linked with both the Santissima Annunziata altarpiece and the Sant'Agostino altarpiece.
Vittoria Garibaldi in Joseph Antenucci Becherer. Pietro Perugino: Master of the Italian Renaissance. Exh. cat., Grand Rapids Art Museum, Grand Rapids, Mich. New York, 1997, pp. 13–14, states that the five scenes formed the predella of the Santissima Annunziata altarpiece.
Vittoria Garibaldi. Perugino. Florence, 1997, fig. 84 (color), in the text, states that the four Chicago scenes may possibly come from the Santissima Annunziata altarpiece, without specifically mentioning the MMA panel; in the captions for the illustrations of all five works, definitely identifies them as parts of the predella of that altarpiece.
Vittoria Garibaldi. Perugino, catalogo completo. Florence, 1999, pp. 139–40, no. 73, ill., dates the five scenes 1506–7 and states that they are thought to come from either the Sant'Agostino altarpiece or the Santissima Annunziata altarpiece.
Christa Gardner von Teuffel. "La pala d'altare maggiore di Perugino per San Pietro a Perugia: struttura, collocazione e programma." Pietro Vannucci, il Perugino. Perugia, 2004, p. 355, fig. 26 (color).
Francesco Federico Mancini in Perugino: il divin pittore. Exh. cat., Galleria Nazionale dell'Umbria, Perugia. Cinisello Balsamo (Milan), 2004, p. 274, no. I.48d, ill. p. 277 (color).
Elizabeth A. Pergam. "From Manchester to Manhattan: The Transatlantic Art Trade After 1857." Bulletin of the John Rylands Library 87, no. 2 (2005), pp. 74, 85, 89.
Linda Wolk-Simon. "Raphael at the Metropolitan: The Colonna Altarpiece." Metropolitan Museum of Art Bulletin 63 (Spring 2006), pp. 70–71, no. 23, ill. (color), relates the figure of Christ to drawings of the same subject by Raphael of about 1501–2 (Biblioteca Oliveriana, Pesaro).
Robert G. La France. Bachiacca: Artist of the Medici Court. Florence, 2008, p. 134, mentions it in connection with Bacchiacca's copy in Dijon, which he dates between 1510 and 1515 while Bacchiacca was an apprentice in Perugino's workshop.
Andreas Schumacher in Perugino: Raffaels Meister. Exh. cat., Alte Pinakothek. Munich, 2011, p. 270, notes that the underdrawing of a panel in the Alte Pinakothek demonstrates that the model was the Resurrection in the MMA, which belonged to the predella of the SS. Annunziata altarpiece.