Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 44, lists it as a fragment by Giovanni Baronzio.
Mario Salmi. Letter to Mrs. W. Murray Crane. November 21, 1932, calls it a beautiful work of the Riminese school, possibly superior to the work of Baronzio.
Antonio Corbara. Letter to Mrs. W. Murray Crane. December 16, 1934, relates it to a crucifix in the church of Sant'Agostino, Rimini, noting the influence of Pietro Lorenzetti.
Mario Salmi. "La scuola di Rimini, III." Rivista del R. Istituto d'Archeologia e Storia dell'Arte 5, nos. 1–2 (1935), pp. 104, 124 n. 6, fig. 10, considers it similar to works by followers of Pietro da Rimini, rejecting the attribution to Baronzio.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 37.
Harry B. Wehle. "A Riminese Crucifix." Metropolitan Museum of Art Bulletin 34 (June 1939), pp. 140–41, ill., attributes it to Baronzio's workshop; discusses the influence of Giotto's crucifix in the Arena Chapel, Padua.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 83–84, ill., as Workshop of Baronzio.
Edoardo Arslan. Letter. April 21, 1952, calls it possibly Riminese, but not from Baronzio's school.
Carlo Volpe. La pittura riminese del Trecento. Milan, 1965, pp. 54, 80, no. 62, fig. 180, attributes it to an anonymous painter of the Riminese school and dates it 1330–40.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 357, lists it among anonymous Riminese Trecento paintings.
Antonio Corbara. Letter to Olga Raggio. January 28, 1969, attributes it to Pietro da Rimini or to his circle.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 166, 287, 607.
Federico Zeri. Italian Paintings in the Walters Art Gallery. Baltimore, 1976, vol. 1, pp. 60–61, states that it is uncertain whether this fragment is part of the same painting as three terminals from a crucifix in the Walters Art Gallery, Baltimore; tentatively dates the Baltimore fragments to Pietro's later period, possibly to the early 1340s.
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. 53–54, pl. 1.
Miklòs Boskovits. "Per la storia della pittura tra la Romagna e le Marche ai primi del '300 – II." Arte Cristiana 81 (May–June 1993), p. 176 n. 47, attributes it to Pietro.
Massimo Medica in Il Trecento riminese: maestri e botteghe tra Romagna e Marche. Exh. cat., Museo della Città, Rimini. Milan, 1995, pp. 107–8, compares the figure of Christ with a fresco formerly in Santa Maria in Porto Fuori, Ravenna, and believes the Baltimore fragments to have formed its terminals.
Andrea De Marchi in Fonds d'or et fonds peints italiens (1300–1560). Exh. cat., G. Sarti. Paris, 2002, p. 26 n. 1, attributes it to Pietro's workshop, listing it among other Riminese crucifixes with raised haloes.