A Catalogue of the Pictures, Works of Art, &c. at Northwick Park. n.p., 1864, p. 12, no. 90, as by Giotto.
Arundel Club. Publications 10 (1913), unpaginated, no. 1, ill., as "The Dedication in the Temple," by Lorenzo Monaco, in the collection of E. G. Spencer-Churchill.
Tancred Borenius. Catalogue of the Collection of Pictures at Northwick Park. London, 1921, p. 25, no. 48, as by Lorenzo Monaco.
Roberto Longhi. "Uno sguardo alle fotografie della Mostra 'Italian Art and Britain'." Paragone 11 (May 1960), p. 60, pl. 42, rejects the attribution to Lorenzo Monaco, calling it an early work by Paolo Schiavo.
Patrick Lindsay in Great Private Collections. New York, 1963, pp. 42, 44, 49, ill. (color), accepts the attribution to Lorenzo Monaco; states that many people believe it to be the most outstanding work in the Spencer-Churchill collection.
Federico Zeri. "Qualche appunto su Alvaro Pirez." Mitteilungen des Kunsthistorischen Institutes in Florenz 17, no. 2–3 (1973), pp. 364, 366–70, figs. 6, 9 (overall and detail), calls it a predella panel from an altarpiece of which he identifies five additional parts: two pinnacles depicting the Annunciation (Gemäldegalerie, Berlin) and three panels from the pilasters depicting Saint Jerome (Musée du Louvre, Paris), Saint Ranieri (formerly Gentner collection, Florence), and a figure he tentatively identifies as the Blessed Lucchese (Museo Nazionale, Pisa); notes that the presence of Saint Ranieri, patron saint of Pisa, indicates that the altarpiece was probably made for that city; attributes this work to an unknown artist, near, but superior to, Alvaro Pirez, influenced by Lorenzo Monaco and Paolo Schiavo, and very similar to the Master of the Bambino Vispo.
Arnauld Brejon de Lavergnée and Dominique Thiébaut. "Italie, Espagne, Allemagne, Grande-Bretagne et divers." Catalogue sommaire illustré des peintures du musée du Louvre. 2, Paris, 1981, p. 255, tentatively include this panel and the Berlin Annunciation in the reconstruction proposed by Zeri [see Ref. 1973], attributing the Louvre Saint Jerome to a Tuscan painter possibly close to Alvaro Pirez and dating it to the first quarter of the fifteenth century.
Miklós Boskovits. Letter to Keith Christiansen. March 19, 1983, attributes it to Pirez, along with the Berlin Annunciation and the other panels from the same altarpiece.
Keith Christiansen in The Metropolitan Museum of Art: Notable Acquisitions, 1983–1984. New York, 1984, p. 45, ill. (color), attributes it to the Master of the Linsky Presentation in the Temple and dates it about 1430; states that the artist could be Alvaro Pirez, but that the painting "shows a greater attention to descriptive detail and volume than normally encountered in his pictures"; accepts Zeri's reconstruction.
Keith Christiansen in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 24–26, no. 3, ill., as by the Master of the Linsky Presentation in the Temple, noting that an attribution to Pirez cannot be excluded.
Miklós Boskovits. Gemäldegalerie Berlin, Katalog der Gemälde: frühe italienische Malerei. Berlin, 1987, pp. 4–5, under no. 2, fig. 5 (reconstruction), accepts Zeri's reconstruction and states that the altarpiece is very probably by Pirez; calls it an early work, dating it about 1405–15.
Pier Paolo Donati. "Il Maestro di Bibbiena: tra Lorenzo Monaco e Alvaro Pirez." Paragone 42 (November 1991), p. 61, states that Luciano Bellosi connects Zeri's group of pictures with the Master of Bibbiena.
Michael Kimmelman. "At the Met with Roy Lichtenstein: Disciple of Color and Line, Master of Irony." New York Times (March 31, 1995), p. C27, notes that "Mr. Lichtenstein loves it bright colors and, despite the ham-handed use of perspective, seems to like its arrangement of figures bunched together in shallow space".
Andrea De Marchi in Sumptuosa tabula picta: Pittori a Lucca tra gotico e rinascimento. Exh. cat., Museo Nazionale di Villa Guinigi, Lucca. Livorno, 1998, pp. 282, 285 n. 39, finds the altarpiece reconstructed by Zeri superior to the work of Pirez and calls it the debut of an unidentified student; identifies the panel in Pisa as Beato Gherardo da Villamagna, noting that this suggests a Franciscan origin for the altarpiece, but that the presence of Saint Ranieri discourages such a conclusion.