Luitpold Dussler. Sebastiano del Piombo. Basel, 1942, p. 143, no. 59, as "Bildnis eines Mönches" by Sebastiano del Piombo, in the collection of Dr. Aldo Briganti, Rome; as formerly in a private collection, England; dates it about 1515.
Rodolfo Pallucchini. Sebastian Viniziano (Fra Sebastiano del Piombo). [Milan], 1944, pp. 40, 160, pl. 32, attributes it to Sebastiano and tentatively identifies the sitter as the Carmelite Battista Mantovano; dates it about 1515; notes the influence of Raphael's portrait of Inghirami (Palazzo Pitti, Florence; about 1514).
Roberto Longhi. Viatico per cinque secoli di pittura veneziana. Florence, 1946, pp. 65–66, under no. 120, attributes it to an artist from the Venetian mainland who also painted two portraits of prelates formerly in the Harding collection, New York [see Lionello Venturi, "Italian Paintings in America," 1933, vol. 3, pls. 500–501].
J[ohannes]. Wilde. "Review of Pallucchini 1944." Burlington Magazine 88 (October 1946), p. 259, accepts Pallucchini's attribution to Sebastiano.
S[ydney]. J. Freedberg. Painting of the High Renaissance in Rome and Florence. Cambridge, Mass., 1961, vol. 1, p. 408; vol. 2, pl. 493 [rev. ed., New York, 1985, vol. 1, p. 408; vol. 2, pl. 493], erroneously states that it is still on the art market in Rome; notes that Pouncey has correctly attributed the picture to Peruzzi; dates it about 1514–15; identifies the sitter as a Carmelite, and calls the work Peruzzi's only known oil portrait.
Philip Pouncey and J. A. Gere. "Raphael and His Circle." Italian Drawings in the Department of Prints and Drawings in the British Museum. London, 1962, text vol., p. 135, attribute it to Peruzzi.
Christoph Luitpold Frommel. Baldassare Peruzzi als Maler und Zeichner. Vienna, , pp. 80–81, no. 41, pl. XXX, attributes it to Peruzzi and tentatively identifies the sitter as the Olivetan monk Barnaba Cevennini; states that it was probably painted either in about 1513/14 at Monte Oliveto Maggiore or in 1515 in Bologna.
Mauro Lucco in L'opera completa di Sebastiano del Piombo. Milan, 1980, p. 139, no. 222, ill., lists it under "Altre opere ascritte a Sebastiano del Piombo"; summarizes the earlier bibliography.
Keith Christiansen in Recent Acquisitions: A Selection, 1986–1987. New York, 1987, pp. 34–35, ill., attributes it to Peruzzi; accepts Frommel's [see Ref. 1968] dating of the picture, and his tentative identification of the sitter.
Luciano Bellosi. "Per Battista Franco." Prospettiva nos. 106–7 (April–July 2002), pp. 178–79, 182 n. 30, fig. 5, attributes it to Battista Franco; does not believe the sitter is Cevennini, and suggests Antonio Bentivoglio (d. 1567) instead.
Anne Varick Lauder. "Battista Franco (c. 1510–1561): His Life and Work with Catalogue Raisonné." PhD diss., University of Cambridge, 2004, vol. 3, p. 907, no. 5PR, fig. 1125, includes it among "Doubtfully Attributed or Rejected Paintings," finding the style closer to Sebastiano del Piombo; mentions a personal communication of 2004 from Paul Joannides in which he expresses the same opinion.
Everett Fahy in The Wrightsman Pictures. New York, 2005, pp. 14–16, no. 4, ill. (color), attributes it to Battista Franco.
Anne Varick Lauder. Letter to Gretchen Wold. January 26, 2006, rejects the attribution to Battista Franco, finding the traditional attribution to Peruzzi more likely.
Fabrizio Biferali and Massimo Firpo. Battista Franco "pittore viniziano". Pisa, 2007, p. 60 n. 174, reject Bellosi's (2002) attribution to Battista Franco, calling it a work of the Lombard school from the beginning of the sixteenth century.