George Dunlop Leslie. Diary entry. May 1859 [see Exh. New York 1939], gives provenance information.
J. B. Stoughton Holborn. Jacopo Robusti called Tintoretto. London, 1903, p. 103.
F. P. B. Osmaston. The Art and Genius of Tintoret. London, 1915, vol. 1, p. 48 n. 2; vol. 2, pp. 15, 188–89, describes it as unfinished, painted in tempera, possibly with some oil glazes.
J. B. S[toughton]. H[olbourn]. in Bryan's Dictionary of Painters and Engravers. Ed. George C. Williamson. Vol. 4, new ed., rev. and enl. London, 1926, p. 261.
Art News 27 (April 27, 1929), no page no., ill., Durlacher illustrates it in an advertisement, as recently sold to a private collector.
Bernard Berenson. Letter to Durlacher. June 18, 1930.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. CCCCVIII.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 559.
Lionello Venturi. Italian Paintings in America. Vol. 3, Sixteenth to Eighteenth Century. New York, 1933, unpaginated, pl. 549, considers it finished; dates it about 1570.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 480.
[Erich von der] Bercken in Allgemeines Lexikon der bildenden Künstler. Ed. Hans Vollmer. Vol. 33, Leipzig, 1939, p. 194.
Harry B. Wehle. "Tintoretto's Finding of Moses." Metropolitan Museum of Art Bulletin 34 (December 1939), pp. 274–77, ill. (overall, and detail on cover), tentatively dates it 1550–55.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 198–99, ill., calls it unfinished.
August L. Mayer. Letter to Harry B. Wehle. January 15, 1940, agrees with Wehle's dating of the picture [see Refs. 1939 and 1940].
Erich von der Bercken. Die Gemälde des Jacopo Tintoretto. Munich, 1942, p. 99 n. 28, p. 118, no. 252, pl. 54, rejects Coletti's [see Ref. 1944] attribution to Schiavone; accepts a date of about 1550–55 or possibly later.
Luigi Coletti. Il Tintoretto. 2nd ed. Bergamo, 1944, pp. 21–22, rejects the attribution to Tintoretto, ascribing it to Schiavone imitating Tintoretto's style.
Hans Tietze. Tintoretto. London, 1948, p. 357, fig. 287, calls it unfinished; tentatively accepts a date in the 1550s.
Rodolfo Pallucchini. La giovinezza del Tintoretto. Milan, 1950, p. 152, accepts Venturi's [see Ref. 1933] dating of about 1570.
Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 228, no. 110, colorpl. 110, as an early work.
Bernard Berenson. Italian Pictures of the Renaissance: Venetian School. London, 1957, vol. 1, p. 176; vol. 2, pl. 1282.
Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, p. 224 [rev., enl. ed., 1989].
Pierluigi De Vecchi in L'opera completa del Tintoretto. Milan, 1970, pp. 112–13, no. 188, ill., dates it about 1570.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 200, 258, 607.
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, p. 72, pl. 87, tentatively date it about 1570, while noting that the color could imply an earlier date; call it one of the few paintings that seem to be entirely by Tintoretto himself.
Rodolfo Pallucchini and Paola Rossi. Tintoretto. Vol. 2, 2 vols., Le opere sacre e profane. Venice, 1982, vol. 1, pp. 241, 249, 251–52, no. A74; vol. 2, fig. 698, attribute it to Domenico Tintoretto and date it between the second half of the 1580s and the early 1590s.
Deborah Krohn et al. in From El Greco to Cézanne: Masterpieces of European Painting from the National Gallery of Art, Washington, and The Metropolitan Museum of Art, New York. Exh. cat., National Gallery Alexandros Soutzos Museum. Athens, 1992, p. 305, no. 1, ill. (color, overall and detail) [catalogue section unpaginated].
Stefania Mason in Renaissance Venice and the North: Crosscurrents in the Time of Bellini, Dürer and Titian. Exh. cat., Palazzo Grassi, Venice. Milan, 1999, pp. 592–93, no. 181, ill. (color), accepts the attribution to Domenico Tintoretto [see Ref. Pallucchini and Rossi 1982], calling it "probably his, done with the assistance of his father [Jacopo]"; dates it about 1590; relates the landscape to those of Paolo Fiammingo, a Flemish artist working in Venice who had been active in Tintoretto's workshop in the 1570s.
Andrea Bayer. "North of the Apennines: Sixteenth-Century Italian Painting in Venice and the Veneto." Metropolitan Museum of Art Bulletin 63 (Summer 2005), pp. 30–32, 34, fig. 27 (color), dates it possibly about 1570.
Peter Barnet and Wendy A. Stein in Earth, Sea, and Sky: Nature in Western Art; Masterpieces from The Metropolitan Museum of Art. Exh. cat., Tokyo Metropolitan Art Museum. [Tokyo], 2012, ill. pp. 37, 69 (color).
Andrea Bayer in Earth, Sea, and Sky: Nature in Western Art; Masterpieces from The Metropolitan Museum of Art. Exh. cat., Tokyo Metropolitan Art Museum. [Tokyo], 2012, pp. 214–15, no. 19, ill. [Chinese ed., Hefei Shi, 2013, pp. 46–47, no. 19, ill. (color)].