Benedict Nicolson. "The Art of Carlo Saraceni." Burlington Magazine 112 (May 1970), p. 312, fig. 53 (color), attributes it to Saraceni and calls it "Community of the Blessed adoring the Trinity"; dates it to the beginning of the seventeenth century, although finding that the artist's mature style is already visible in some of the female figures; relates the color and iconography to Titian, especially his "La Gloria" (Museo del Prado, Madrid); notes that Saraceni reused the reclining figure at the lower right for his "Saint Roch" (Museo di Capodimonte, Naples).
Winston Alt. Manuscript. 1971, pp. 1–5, notes that it "was produced as an object for quiet contemplation"; identifies the figure in the lower right foreground as Saint Roch; states that the middle and upper portions of the picture are based on Francesco Bassano's "Adoration of the Trinity" in Il Gesù, Rome, and that the lower portion and general spatial configuration are based on Niccolò Circignani's "Pentecost," also in Il Gesù; states that it was probably painted soon after Saraceni's arrival in Rome (1598).
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School. New York, 1973, pp. 49–50, pl. 55, date it soon after Saraceni's arrival in Rome in 1598; identify the figure at lower right as Saint Christopher.
Anna Ottani Cavina. "Il tema sacro nel Caravaggio e nella cerchia caravaggesca: indicazioni per il Bassetti." Paragone 25 (July 1974), pp. 41–42, pl. 35, compares it with a painting of the same subject by Marcantonio Bassetti (Museo di Capodimonte, Naples).
Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 90, ill., sees the influence of Gentileschi in the figure of Saint Christopher at lower right.
Anna Ottani Cavina. "On the Theme of Landscape—I: Additions to Saraceni." Burlington Magazine 118 (February 1976), p. 84 n. 9, dates it to the first decade of the seventeenth century.
Benedict Nicolson. The International Caravaggesque Movement. Oxford, 1979, p. 87 [2nd ed., rev. and enl. by Luisa Vertova, "Caravaggism in Europe," Turin, 1989, vol. 1, p. 171; vol. 2, pl. 166].
Anna Ottani Cavina in The Age of Caravaggio. Exh. cat., The Metropolitan Museum of Art. New York, 1985, pp. 190–91, no. 57, ill. [Italian ed., "Caravaggio e il suo tempo," Naples, 1985], discusses Saraceni's conception of the theme in relation to its treatment by other artists; notes that the colors recall northern painting.
Wolfgang Prohaska in Opus Sacrum. Exh. cat., Royal Castle, Warsaw. Vienna, 1990, p. 204.
John J. Chvostal in The Dictionary of Art. 27, New York, 1996, p. 815, dates it slightly after Saraceni's earliest surviving work, "Perseus and Andromeda" (Musée des Beaux-Arts, Dijon; ca. 1598–1600); notes the influence of Adam Elsheimer.
Ugo Ruggeri in The Dictionary of Art. 3, New York, 1996, p. 353, notes that Bassetti's painting of the same subject (Museo di Capodimonte, Naples) is derived from this work.
Maurizio Marini. "L''Incoronazione di Maria' di Carlo Saraceni: un contributo e alcune questioni filologiche." Arte Documento 13 (1999), pp. 220–21 n. 21, relates it to Titian, Tintoretto, Veronese, Bassano, and also to the decoration of the inside of the facade of the church of the abbey of Farfa, to Elsheimer's "Glorification of the Cross" (Städelsches Kunstinstitut, Frankfurt), and to Saraceni's own "Coronation of the Virgin" (private collection, London).
Marco Gallo in Giovanni Lanfranco: un pittore barocco tra Parma, Roma e Napoli. Exh. cat., Reggia di Colorno, Parma. Milan, 2001, p. 340, under no. C8, mentions it in connection with the artist's "Saint Roch Cured by the Angel" (Galleria Doria Pamphilj, Rome).
Laura Testa. "Carlo Saraceni: nuovi documenti per una rilettura della biografia del Baglione." Giovanni Baglione (1566–1644): pittore e biografo di artisti. Rome, 2002, p. 171.
Xavier F. Salomon in Carlo Saraceni, 1579–1620: un Veneziano tra Roma e l'Europa. Exh. cat., Palazzo di Venezia. Rome, 2013, pp. 170–71, no. 1, ill. (color), dates it between about 1598 and the first years of the seventeenth century.
Michel Hochmann and Chiara Marin in Carlo Saraceni, 1579–1620: un Veneziano tra Roma e l'Europa. Exh. cat., Palazzo di Venezia. Rome, 2013, pp. 36, 43 n. 53, date it about 1602–4.