Inventario antico della Nobil. Casa Stiozzi Ridolfi. n.d., no. 129, as "un quadro in tavola, diviso in terzo largo Braccia una, alto cinque sesti esprimente un Crocifisso ed altri Santi della Scuola del Perugino".
Inventario di una Raccolta di Quadri esistenti in Casa Strozzi [sic] Ridolfi. n.d. [mid-nineteenth century], no. 9 [Soprintendenza alle Gallerie, Florence, Ms. Inv. Nr. 68/221, fascicolo 12; see Holst 1974; Getty no. I-472], as "Un Crocifisso con vari Santi. Del Granacci," possibly this picture.
Christian von Holst. Francesco Granacci. Munich, 1974, p. 160, under no. 55, p. 175, no. 97, records among lost works by Granacci a Crucifixion included as no. 9 in a mid-nineteenth-century unpublished inventory of the Palazzo Strozzi [sic] Ridolfi, Florence, tentatively identifying it with a work in the Hessisches Landesmuseum, Darmstadt (inv. no. Gk 93), but possibly this picture.
Piero Corsini. Italian Old Master Paintings: Fourteenth to Eighteenth Century. Exh. cat., Piero Corsini, Inc. New York, 1984, pp. 22–23, no. 9, ill. (color), attributes it to Francesco Granacci and dates it soon after the artist's return to Florence from Rome in 1508; relates it to Granacci's "Birth of Saint John the Baptist" (MMA and Cleveland Museum of Art), "probably painted shortly before 1510"; mentions that the figures are reminiscent of Michelangelo's youthful style and that the trees and lighting are influenced by late Quattrocento Florentine painting.
Barbara Wollesen-Wisch. Italian Renaissance Art: Selections from the Piero Corsini Gallery. Exh. cat., Museum of Art, The Pennsylvania State University. [University Park, Pa.], 1986, pp. 4, 24–25, no. 6, ill. (color), dates it shortly before 1510; states that the provenance is unknown; sees the influence of Perugino in the composition, figure types, and color.
Important Old Master Paintings. Christie's, New York. January 29, 1998, pp. 140–41, no. 103, ill. (color), dates it shortly after 1501 based on style and notes that it must have been commissioned for private devotion; suggests that the detail of "St. Michael the Archangel stand[ing] between a kneeling Cardinal, presented by an angel, and a naked soul, coveted by Satan," seen in the middle ground of the right wing, may provide a clue to the identity of the person who commissioned the work, and that the inscription on the cross indicates "a wealthy and learned individual"; discusses the influence of Perugino and Fra Bartolomeo; identifies the Stiozzi-Ridolfi inventory recorded on a label on the back of the painting with the one noted by Holst (1974).
Everett Fahy in "Recent Acquisitions, A Selection: 2006–2007." Metropolitan Museum of Art Bulletin 65 (Fall 2007), p. 19, ill. (color).
Charlotte Hale, Julie Arslanoglu, and Silvia A. Centeno. "Granacci in The Metropolitan Museum of Art: Aspects of Evolving Workshop Practice." Studying Old Master Paintings: Technology and Practice. London, 2011, pp. 62, 64 n. 7, fig. 6 (color), date it 1500–1510.