References Carlo Ridolfi. Vita di Giacopo Robusti detto il Tintoretto . Venice, 1642, p. 72, mentions a picture of this subject by Tintoretto in the collection of Senators Carlo and Domenico Ruzini, Venice, possibly this work.Inventory of Giovanni Antonio Ruzini's Palazzo Sant'Apollinare . 1787 [Archivio di Stato, Venice, Giudici di petizion, B. 482/147/No. 17; see Ref. McTavish 1981], lists a large painting of this subject, with no artist given, possibly this work.Metropolitan Museum of Art Bulletin 8 (May 1913), pp. 100–101, ill. opp. p. 100, calls it a late work; notes Tintoretto's painting of the same subject in the Scuola di San Rocco, Venice, but finds the MMA picture to be more similar to his "Gathering of Manna" in San Giorgio Maggiore, Venice.Letter to Edward Robinson . February 24, 1913, states that it dates from Tintoretto's last period, and is in a perfect state of preservation.Art in America 2 (August 1914), pp. 342, 345–46, 349, fig. 1, dates it "not later than 1560, and very probably some years earlier"; considers it a pendant to a lost painting of Moses Striking the Rock, known through a sketch in the Städelsches Kunstinstitut, Frankfurt.Letter to Bryson Burroughs . November 28, 1914, dates it before 1550.The Art and Genius of Tintoret . London, 1915, vol. 2, p. 177.Burlington Magazine 41 (December 1922), p. 288 n. 8, calls it "scarcely earlier" than the end of the 1560s and states incorrectly that it was formerly in the collection of John Ruskin.Jacopo Tintoretto . Munich, 1923, vol. 1, pp. 54, 178, 199–200; vol. 2, pl. 14, date it 1544–47; assume that it was commissioned for an unknown brotherhood.Il Tintoretto . Bologna, 1925, p. 281, dates it before 1548 and repeats the erroneous Ruskin provenance [see Ref. Hadeln 1922].Tintoret . Paris, 1929, p. 144.Storia dell'arte italiana . part 4, 9, Milan, 1929, p. 616 n. 1.Italian Pictures of the Renaissance . Oxford, 1932, p. 562, lists it as an early work by Tintoretto.Pitture italiane del rinascimento . Milan, 1936, p. 483.Critica d'arte 2 (August 1937), p. XXX.in Allgemeines Lexikon der bildenden Künstler . 33, Leipzig, 1939, pp. 190, 194.Metropolitan Museum of Art Bulletin 34 (December 1939), p. 276, calls it an early work.The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings . New York, 1940, pp. 199–200, ill., suggests that it might be the work mentioned by Ridolfi [see Ref. Ridolfi 1642]; notes a replica formerly in the Palazzo Giovanelli, Venice.Die Gemälde des Jacopo Tintoretto . Munich, 1942, pp. 64, 98 n. 25, p. 118, no. 250, pl. 124, dates it about 1566–72; repeats the erroneous Ruskin provenance.Il Tintoretto . 2nd ed. Bergamo, 1944, p. 22, compares it with the version in the Contini Bonacossi collection, Florence (formerly Palazzo Giovanelli, Venice; later Stanley Moss, New York).Tintoretto . London, 1948, pp. 36, 356, fig. 9, dates it 1544–47.Arte veneta 5 (1951), p. 60, calls it an early work.Italian Pictures of the Renaissance: Venetian School . London, 1957, vol. 1, p. 176.Paintings from Irish Collections . Exh. cat., Municipal Gallery of Modern Art. Dublin, 1957, p. 11, under no. 27, calls it a pendant to "Christ Washing the Feet of His Disciples," also from the Farnham collection (now Art Gallery of Ontario, Toronto); mentions a catalogue of the Farnham collection of 1843.in Enciclopedia universale dell'arte . 13, Venice, 1965, col. 944, calls it a replica with many variations of the Contini Bonacossi painting.in L'opera completa del Tintoretto . Milan, 1970, p. 101, no. 140, ill., dates it about 1560.Tintoretto . English ed. [1st ed., 1969]. London, 1971, p. 14, implies a date in the mid-1550s.Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections . Cambridge, Mass., 1972, pp. 200, 279, 606.Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Venetian School . New York, 1973, pp. 71–72, pl. 86, tentatively date it to the late 1540s; call it probably a companion to the Toronto picture of Christ washing the disciples' feet, adding that "the subject matter and the large size of the two pictures seem to indicate that they were intended to decorate a hall or refectory in a confraternity or convent".European and American Paintings in the Isabella Stewart Gardner Museum . Boston, 1974, p. 253.Draft of Ref. Broun 1987 . 1977, states that "a connection cannot be positively established" between this work and the painting of this subject by Tintoretto included in the two auctions of Joshua Reynolds's collection; gives details of the Reynolds sales.Apollo 109 (June 1979), p. 423, fig. 27.in The Arts of Italy in Toronto Collections, 1300–1800 . Exh. cat., Art Gallery of Ontario. Toronto, 1981, p. 43, under no. 31, discusses the New York and Toronto paintings as companion pieces and calls them relatively early works; tentatively identifies them with two works listed in a 1787 inventory of Giovanni Antonio Ruzini's palazzo in Venice [see Ref. Ruzini 1787].Tintoretto . 1–2 [2], Venice, 1982, vol. 1, pp. 170–71, no. 179; vol. 2, figs. 238–39 (overall and detail), date it about 1555.Renaissance Venice and the North: Crosscurrents in the Time of Bellini, Dürer and Titian . Exh. cat., Palazzo Grassi, Venice. Milan, 1999, p. 143, includes it among paintings by Tintoretto with landscapes executed by northern painters working in Tintoretto's shop.Metropolitan Museum of Art Bulletin 63 (Summer 2005), pp. 28–30, fig. 23 (color), suggests that the exaggerated poses of the figures may derive from the artist's study of Michelangelo.
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