Arduino Colasanti and Tiberio Gerevich. "I quadri italiani nelle collezioni del conte Pálffy in Ungheria." Rassegna d'arte 12 (November 1912), pp. 166–67, as at Bajmócz (Bojnice); note that it is attributed to Andrea Orcagna, but themselves ascribe it to Bergognone; describe it as in a modern frame within which the twelve apostles are set; place it close to the Assumption of 1522 made for the church of Santa Maria dell'Incoronata, Nerviano (now Pinacoteca di Brera, Milan).
Theodor v. Frimmel. "Buchstabe A bis F." Lexikon der Wiener Gemäldesammlungen. 1, Munich, 1913, p. 377, no. 109, records Pálffy as the buyer at the Festetits sale in 1859.
G[abriel]. de T[érey]. Letter to Robert de Forest. September 20, 1926, attributes it to Bergognone; includes a diagram showing how the panels of the apostles are framed in vertical rows of six each on either side of the Assumption; states that the altarpiece probably comes from the church of Cremina in Valsassina, northern Italy.
Bryson Burroughs. "The Assumption of the Virgin by Borgognone." Metropolitan Museum of Art Bulletin 22 (May 1927), pp. 144–46, ill., assigns it to Bergognone's later period and believes that the apostles are probably earlier and that they originally formed the predella of another work; notes the influence of Leonardo's facial types.
Lionello Venturi. Pitture italiane in America. Milan, 1931, unpaginated, pl. CCCXXVIII, relates the style to that of Bergognone's work for the Certosa of Pavia, about 1514.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 99, lists it as by Bergognone.
Lionello Venturi. "Fifteenth Century Renaissance." Italian Paintings in America. 2, New York, 1933, unpaginated, pl. 440.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 85.
Harry B. Wehle. The Metropolitan Museum of Art: A Catalogue of Italian, Spanish, and Byzantine Paintings. New York, 1940, pp. 138–39, ill., dates it to the same period as the Brera Assumption of 1522; calls the metal stars on the Virgin's mantle a crude later addition.
Nietta Aprà. Ambrogio da Fossano detto il Bergognone. Milan, 1945, p. 11, fig. 82.
Fernanda Wittgens in "L'età sforzesca dal 1450 al 1500." Storia di Milano. 7, [Milan], 1956, p. 801, considers it Bergognone's first treatment of this subject.
A[ngela]. Ottino Della Chiesa in Dizionario biografico degli italiani. 2, Rome, 1960, p. 717.
Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. London, 1968, vol. 1, p. 45.
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 26, 308, 607.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, North Italian School. New York, 1986, p. 3, pl. 33, tentatively date it about 1500–1510, and suggest that it was the center of a polyptych with two rows of lateral panels.
Janice Shell in Pinacoteca di Brera: Scuole lombarda e piemontese 1300–1535. Milan, 1988, p. 109, dates it about 1500–1505, and calls the Brera Assumption a tired and mechanical later version.
Pietro C. Marani in Ambrogio Bergognone: acquisizioni, scoperte e restauri. Exh. cat., Pinacoteca di Brera, Milan. Florence, 1989, p. 92, fig. 69, suggests that it may be even earlier than 1500–1505, and that it may be from Pavia.
Janice Shell in Ambrogio da Fossano detto il Bergognone: un pittore per la Certosa. Exh. cat., Castello Visconteo, Pavia. Milan, 1998, p. 376, fig. 3.
Andrea Bayer. "North of the Apennines: Sixteenth-Century Italian Painting in Lombardy and Emilia-Romagna." Metropolitan Museum of Art Bulletin 60 (Spring 2003), pp. 21–23, fig. 16 (color).