Peter Galassi. Corot in Italy: Open-Air Painting and the Classical-Landscape Tradition. New Haven, 1991, pp. 109, 113, colorpl. 134, dates it 1821–25; states that Rémond "rejected the panoramic scope of topographical reportage" by including only one of the three vaults of the Basilica of Constantine.
Jeremy Strick in In the Light of Italy: Corot and Early Open-air Painting. Exh. cat., National Gallery of Art. Washington, 1996, p. 205, no. 76, ill. (color), dates it 1821–25; mentions that the Palatine Hill was the site of the earliest Roman settlements and the location of ancient Rome's most important monuments, thus a great place from which landscape artists could sketch; remarks that this view looks northeast from the vault of the Basilica of Constantine, to the church of Santa Maria Maggiore, and beyond to the Sabine hills; notes that a second version of the composition is in a private collection in France.
Vincent Pomarède in La donation Jacques Petithory au musée Bonnat, Bayonne: Objets d'art, sculptures, peintures, dessins. Exh. cat.Paris, 1997, p. 130, (as "Vue depuis le Palatin"; locates it in a private collection; probably this work).
Yukitaka Kohari in Plein-Air Painting in Europe, 1780–1850. Exh. cat., Shizuoka Prefectural Museum of Art. Shizuoka, 2004, pp. 72–73, no. 27, ill. (color), dates it 1821/26.
Henk van Os. Dreaming of Italy. Exh. cat., Royal Picture Gallery Mauritshuis, The Hague. Zwolle, The Netherlands, 2006, pp. 84, 126, no. 34, fig. 27 (color), dates it 1821–25; cites it as an example of the informal oil sketches produced by Rémond in Rome, in contrast to the formulaic studio landscapes he painted in Paris.
Asher Ethan Miller in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 7, 296, no. 5, ill. (color and black and white), dates it 1821–25.
John House. "Impressionism and the Open-Air Oil Sketch." Studying Nature: Oil Sketches from the Thaw Collection. New York, 2011, p. 98 n. 3.
Asher Ethan Miller. "The Path of Nature: French Paintings from the Wheelock Whitney Collection, 1785–1850." Metropolitan Museum of Art Bulletin 70 (Winter 2013), pp. 37–38, 47, fig. 44 (color).