Frank Davis. "Talking about Sale-Rooms: Handsome Pistol, Haunting Crucifix." Country Life 137 (April 15, 1965), p. 872, fig. 4.
"Works of Art in Passage: A Commentary and Review." Connoisseur Year Book (1966), p. 4, fig. 3.
Dieter Koepplin, and Tilman Falk. Lukas Cranach: Gemälde, Zeichnungen, Druckgraphik. Exh. cat., Kunstmuseum Basel. 1, Basel, 1974, pp. 278, 280, 297, fig. 148, Koepplin illustrates this panel with five other subject roundels as by Lucas Cranach the Elder, but observes in the text that their authenticity has yet to be examined; dates them between 1525 and 1527 and comments on their generally modest quality; believes that Cranach made a great many works of this type and that they were quickly produced, probably serving as gifts.
Dieter Koepplin, and Tilman Falk. Lukas Cranach: Gemälde, Zeichnungen, Druckgraphik. Exh. cat., Kunstmuseum Basel. 2, Basel, 1976, p. 642, under no. 554, p. 654, under no. 566, p. 776 n. 78, Koepplin mentions it under the catalogue entry for a round bronze plaquette (Historisches Museum, Basel; 1905.5162) of Venus and Cupid ascribed to Moderno, active in Northern Italy about 1500, suggesting that Italian bronze plaquettes may have provided the stimulus for the MMA picture.
Max J. Friedländer, and Jakob Rosenberg. The Paintings of Lucas Cranach. rev. ed. Ithaca, N.Y., 1978, p. 119, no. 249, ill., attribute it to Lucas Cranach the Elder and date it about 1530.
Mary Sprinson de Jesús in "The Jack and Belle Linsky Collection in The Metropolitan Museum of Art: Addenda to the Catalogue." Metropolitan Museum Journal 21 (1986), pp. 159–61, no. A.2, ill., observes that both the conception and technique argue in favor of an attribution to Cranach the Elder.
Élie Faure et al. Lukas Cranach: "le corps divinisé," le début du maniérisme, 1472–1553. Paris, 1993, p. 95, ill. p. 85, dates it about 1525, along with the other five subject roundels illustrated in Ref. Koepplin and Falk 1974.
Charles Talbot in "Fifteenth- to Eighteenth-Century European Paintings." The Robert Lehman Collection. 2, New York, 1998, p. 52, attributes it to Lucas Cranach the Elder.