Johan Christian Dahl. Diary entry. November 8, 1820 [Universitetsbiblioteket, Oslo, Ms. 1001, 8°; excerpt published in English transl. in Ref. Bang 1987, vol. 2, p. 106 under no. 241], the artist wrote "I have been with [Franz Ludwig] Catel at Potsolo and painted a mausoleum which is now inhabited by some poor people," a reference to this work and/or another version of the same subject (private collection, Oslo; Bang 1987, no. 241).
Andreas Aubert. Maleren Johan Christian Dahl; et stykke av forrige aarhundredes kunst- og kulturhistorie. Kristiania, 1920, p. 453, as "Italiensk tempel" [possibly this work].
Marie Lødrup Bang. Johan Christian Dahl, 1788-1857: Life and Works. Oslo, 1987, vol. 2, p. 106 under no. 241, p. 107, no. 242 ; vol. 3, pl. 103, calls it "Mausoleo di San Vito near Pozzuoli" and dates it 1820, citing the artist's diary entry; discusses it in connection with a related work (private collection, Oslo; Ref. Bang 1987, no. 241); suggests that it may have been in the artist's 1859 or 1860 sales [however, a label on the verso indicates that this sketch remained in the artist's family until at least 1907].
Kathleen Stuart in The Thaw Collection: Master Drawings and Oil Sketches, Acquisitions Since 1994. Exh. cat., Pierpont Morgan Library. New York, 2002, pp. 182–83, no. 83, ill. (color), calls the related sketch (Ref. Bang 1987, no. 241) more finished than the present work.
Charlotte Gere in Plein-Air Painting in Europe, 1780–1850. Exh. cat., Shizuoka Prefectural Museum of Art. Shizuoka, 2004, pp. 118–19, no. 59, ill. (color).
Esther Bell. "Catalogue Raisonné of the Thaw Collection." Studying Nature: Oil Sketches from the Thaw Collection. New York, 2011, p. 113, no. 34, ill. (color), calls it "Mausoleum of San Vito near Pozzuoli" and dates it 1820.
John House. "Impressionism and the Open-Air Oil Sketch." Studying Nature: Oil Sketches from the Thaw Collection. New York, 2011, p. 87, fig. 68 (color), cites it as a "striking example" of a mode of vision found in sketches characterized by an absence of the "central, priveleged, and well-defined position" of the viewer of typical Neoclassical landscape compositions.