Minutes of meeting of the deputies of the church of the Madonna dei Miracoli, Corbetta. November 3, 1612 [Archivio della Chiesa della Madonna dei Miracoli, Memorie storiche, Cartella I, Fascicolo I, Primo Libro delle Ordinazioni: 1572–1689, f. 14], assign the chapel dedicated to Saint Francis to the brothers Gaspare and Filippo Spanzotta with the condition that they provide an altarpiece by a reputable master within a year.
Inventory of the church of the Madonna dei Miracoli, Corbetta. 1642 [Archivio della Chiesa della Madonna dei Miracoli, Proprieta del Santuario, Cartella VI, Fascicolo 2], lists it in the chapel of Saints Francis and Dominic.
Marco Bona Castellotti. "Aggiunta al catalogo di Melchiorre Gherardini." Paragone 29 (November 1978), pp. 89–90, 93 n. 17, incorrectly publishes the copy (pl. 70) of the painting in the church of the Madonna dei Miracoli, Corbetta, as the original by Procaccini, noting that Mina Gregori has suggested that the frame around the picture might have been executed after Procaccini's design; mentions a drawing attributed to Giuseppe Vermiglio in the Pinacoteca Ambrosiana, Milan, made after the painting.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 293, 295, fig. 529 (color).
Federico Zeri with the assistance of Elizabeth E. Gardner. Unpublished manuscript for catalogue of North Italian paintings in The Metropolitan Museum of Art. n.d. [ca. 1980].
Keith Christiansen in The Metropolitan Museum of Art: Notable Acquisitions, 1979–1980. New York, 1980, p. 40, ill. (color).
Keith Christiansen. "An Altarpiece by Giulio Cesare Procaccini." Metropolitan Museum Journal 14 (1980), pp. 159–66, figs. 1 (overall), 4–6 (details), and detail on front dust jacket, identifies it as the painting made for the church of the Madonna dei Miracoli, Corbetta, publishing the document of 1612 and the inventory of 1642 [see Refs.]; notes that the style of the painting is consistent with the implied date of 1612–13, and places it chronologically between the scenes of the life of the Virgin in San Antonio Abate, Milan, of 1612, and the altarpiece in the Santuario dei Miracoli, Saronno; emphasizes the influence of Parmigianino; discusses the iconography; notes that the copy is still in the original frame designed by Procaccini and was moved from the church to an adjacent building after the Second World War.
Hugh Brigstocke. "G. C. Procaccini et D. Crespi: nouvelles découvertes." Revue de l'art no. 48 (1980), pp. 36, 39 n. 34, fig. 15, dates the picture 1612–15 on the basis of style; in a footnote, states that he has just been made aware of Christiansen's [see Ref. 1979] research, and accepts his identification and dating.
Hugh Brigstocke. "A Procaccini 'Holy Family' for Kansas City." Nelson Gallery and Atkins Museum Bulletin 5 (January 1981), pp. 4, 6, 15 n. 2, fig. 3.
Marco Bona Castellotti. La pittura lombarda del '600. Milan, 1985, fig. 485, dates it 1612–13.
Nancy Ward Neilson in La pittura in Italia: il Seicento. revised and expanded ed. Milan, 1989, vol. 2, p. 853.
Simonetta Coppa in Pinacoteca di Brera: scuole lombarda, ligure e piemontese 1535–1796. Milan, 1989, pp. 378–79, 381, 384, mentions it in connection with four paintings by Procaccini in the Brera.
Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York. New York, 1992, p. 131, lists it among paintings sold by Colnaghi.
Marco Rosci. Giulio Cesare Procaccini. Soncino, 1993, pp. 18, 31, 84, colorpl. 13.
Eliot W. Rowlands. The Collections of the Nelson-Atkins Museum of Art: Italian Paintings, 1300–1800. Kansas City, Mo., 1996, p. 237.
Hugh Brigstocke. Procaccini in America. Exh. cat., Hall & Knight. New York, 2002, pp. 32, 84, 123, no. 5, pl. 59, ill. pp. 85 (color) and 180.
Michael Kimmelman. "An Unfamiliar Italian Master in an Unlikely New York Setting." New York Times (October 25, 2002), p. E36.
Keith Christiansen. "Going for Baroque: Bringing 17th-Century Masters to the Met." Metropolitan Museum of Art Bulletin 62 (Winter 2005), p. 14, fig. 10 (color).