This majestic painting—intended as a window onto heaven—was painted for Cardinal Pietro Aldobrandini just after the artist’s arrival in Rome in 1595. Annibale brought together two currents of Italian painting: a north Italian sensitivity to the effects of natural light and color, and the spatial organization and idealized figures associated with Raphael. The figure of God the Father is based on an ancient Roman sculpture of Jupiter. Together with Caravaggio, Annibale was the most influential painter of the seventeenth century and pivotal for reviving classical forms.
Credit Line:Purchase, Bequest of Miss Adelaide Milton de Groot (1876-1967), by exchange, and Dr. and Mrs. Manuel Porter and sons Gift, in honor of Mrs. Sarah Porter, 1971
Accession Number:1971.155
The Artist: For a biography of Annibale Carracci, see the Catalogue Entry for Two Children Teasing a Cat (1994.142)
The Picture: Around 1595 the Bolognese painter Annibale Carracci moved to Rome, where he started to work for Cardinal Odoardo Farnese. The Coronation of the Virgin dates from Carracci’s first years in Rome, from the time when the artist was frescoing the Camerino of the Farnese Palace for Cardinal Odoardo. The painting is first documented in the inventory of 1603 of the possessions of Cardinal Pietro Aldobrandini, Pope Clement VIII’s nephew. It is unclear if the Coronation of the Virgin was originally painted for Aldobrandini; he owned several works by the artist, including the Domine Quo Vadis? in the National Gallery, London. It has been suggested (Loisel Legrand 1999) that the painting was a diplomatic gift to Aldobrandini—possibly from Odoardo Farnese. The original purpose of the canvas is also not known. It is likely to have been a devotional image for the cardinal, and may have been used as an altarpiece in his private chapel.
By the mid-seventeenth century, the Coronation of the Virgin was recorded in the Aldobrandini Villa at Monte Magnanapoli on the Quirinal in Rome (Bellori 1664 and 1672, Malvasia 1678). It remained in the Aldobrandini family and then passed through the hereditary line to the Pamphilj and Borghese families. The dealer Alexander Day bought the painting in Rome, before 1803, from Prince Borghese and brought it to England. It subsequently belonged to the poet Samuel Rogers (1833–55), the Dukes of Newcastle (1856–1937) and the art historian Sir Denis Mahon (1939–71).
Anna Jameson (1844) described the picture as "not only a perfect example of all the best qualities of Annibale, but it illustrates a particular era in his career as an artist". The Virgin appears at the center of the painting crowned by the Trinity: God the Father to the right, Christ to the left, and the dove of the Holy Ghost above. A glory of angels playing musical instruments and singing surrounds the central group. Carracci combined different styles and models which he had studied in Northern Italy first and then in Rome. The Venetian color of Titian, Tintoretto, and Veronese is combined with the sweetness and delicacy of Correggio’s compositions from Parma. The general scheme of the painting is indebted to Raphael’s fresco of the Disputa in the Stanza della Segnatura in the Vatican, and the figure of God the Father is based on sculpture from classical antiquity.
A drawing by Carracci related to this painting survives in the Musée des Beaux-Arts, Dijon. The composition was engraved in 1741 by Johann Jakob Frey (see The Met, 1979.524).
Xavier F. Salomon 2011
Cardinal Pietro Aldobrandini, Rome (by 1603–d. 1621; inv., 1603, no. 244); his nephew, Cardinal Ippolito Aldobrandini, Rome (1621–d. 1638; inv., 1626, no. 244); his niece, Olimpia Aldobrandini Borghese Pamphili, Villa Aldobrandini, Monte Magnanapoli (later Villa Pamphili) (1638–d. 1681; inv., n.d. [before 1665], no. 244; inv., 1682, no. 361); the Pamphili Aldobrandini family, Palazzo Doria Pamphili, Rome (1682–1767); Paolo Borghese Aldobrandini, Palazzo Borghese, Rome (1767–d. 1792); his nephew, Giovanni Battista Borghese Aldobrandini, Palazzo Borghese (1792–at least 1794); [Alexander Day, Rome and London, by 1803–33; his sale, Christie's, London, June 21, 1833, no. 37, for £367.10 to Yates]; [Yates, London, 1833]; Samuel Rogers, London (1833–d. 1855; his estate sale, Christie's, London, May 3, 1856, no. 730, for £420 to Farrer); [Farrer, London, 1856]; Henry Pelham Pelham-Clinton, 5th Duke of Newcastle, Clumber, Worksop, Notts. (1856–d. 1864); Henry Pelham Alexander Pelham-Clinton, 6th Duke of Newcastle, Clumber (1864–d. 1879); Henry Pelham Archibald Douglas Pelham-Clinton, 7th Duke of Newcastle, Clumber (1879–d. 1928; cat., 1914); Henry Edward Hugh Pelham-Clinton-Hope, Earl of Lincoln, Clumber (1928–37; his sale, Christie's, London, June 4, 1937, no. 18, for £50.8 to Bloch); [Bloch, London, from 1937]; Denis Mahon, London (1939–71); [Agnew, London, 1971; sold to The Met]
London. Gallery of the Fine Arts, at the Egyptian Hall. "Painting and Sculpture," n.d., no. 3 (as "The Coronation of the Virgin," by Annibal Caraccii, from the Aldobrandini Cabinet, at Rome).
London. British Institution. 1819, no. 46 (lent by Alex. Day).
London. British Institution. May 1835, no. 52 (lent by Samuel Rogers).
Manchester. Art Treasures Palace. "Art Treasures of the United Kingdom," May 5–October 17, 1857, no. 335 (lent by the Duke of Newcastle).
London. Wildenstein. "Artists in 17th Century Rome," June 1–July 16, 1955, no. 20 (lent by Denis Mahon).
Birmingham Museum and Art Gallery. "Italian Art from the 13th Century to the 17th Century," August 18–October 2, 1955, no. 30 (lent by Denis Mahon).
Bologna. Palazzo dell'Archiginnasio. "Mostra dei Carracci," September 1–October 31, 1956, no. 92 (lent by Denis Mahon, London).
City of Manchester Art Gallery. "European Old Masters," October 30–December 31, 1957, no. 128 (lent by Denis Mahon).
London. Royal Academy of Arts. "Italian Art and Britain," Winter 1960, no. 400 (lent by Denis Mahon).
Newcastle upon Tyne. Hatton Gallery. "The Carracci: Drawings and Paintings," November–December 1961, no. 203 (lent by Denis Mahon).
Detroit Institute of Arts. "Art in Italy, 1600–1700," April 6–May 9, 1965, no. 72 (lent by Denis Mahon, London).
London. Christie's. "Christie's Bi-Centenary Exhibition," January 3–21, 1967, no. 3 (lent by Denis Mahon).
Leningrad [St. Petersburg]. State Hermitage Museum. "100 Paintings from the Metropolitan Museum," May 22–July 27, 1975, no. 9.
Moscow. State Pushkin Museum. "100 Paintings from the Metropolitan Museum," August 28–November 2, 1975, no. 9.
New York. The Metropolitan Museum of Art. "The Age of Caravaggio," February 5–April 14, 1985, no. 26.
Naples. Museo Nazionale di Capodimonte. "Caravaggio e il suo tempo," May 14–June 30, 1985, no. 26.
Pinacoteca Nazionale di Bologna. "Nell'età di Correggio e dei Carracci: pittura in Emilia dei secoli XVI e XVII," September 10–November 10, 1986, no. 95.
Washington. National Gallery of Art. "The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries," December 19, 1986–February 16, 1987, no. 95.
New York. The Metropolitan Museum of Art. "The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries," March 26–May 24, 1987, no. 95.
London. National Gallery. "Discovering the Italian Baroque: The Denis Mahon Collection," February 26–May 18, 1997, no. 8.
Parma. Reggia di Colorno. "Giovanni Lanfranco: Un pittore barocco tra Parma, Roma e Napoli," September 8–December 2, 2001, no. C5.
Naples. Castel Sant'Elmo. "Giovanni Lanfranco: Un pittore barocco tra Parma, Roma e Napoli," December 21, 2001–February 24, 2002, no. C5.
Rome. Palazzo Venezia. "Giovanni Lanfranco: Un pittore barocco tra Parma, Roma e Napoli," March 16–June 16, 2002, no. C5.
Bologna. Museo Civico Archeologico. "Annibale Carracci," September 22, 2006–January 7, 2007, no. VI.3.
Rome. Chiostro del Bramante. "Annibale Carracci," January 25–May 6, 2007, no. VI.3.
Aldobrandini inventory. 1603, no. 244 [Archivio di Casa Aldobrandini, Frascati; published in Cesare d'Onofrio, "Inventario dei dipinti del cardinal Pietro Aldobrandini compilato da G. B. Agucchi nel 1603," Palatino 8 (September–December 1964), p. 207; Getty no. I-268], as "La coronazione della Madonna, di mano del 'Caraccio'".
Aldobrandini inventory. 1626, no. 119 [Archivio Segreto Vaticano, Fondo Borghese, vol. 6219; published in Della Pergola 1960; Getty no. I-334], as "Un quadro con la Coronatione della Mad.a di mano dell''Carraccioli' del n. 244".
[Giovanni Pietro Bellori]. Nota delli musei, librerie, gallerie et ornamenti di statue e pitture ne' palazzi, nelle case, e ne' giardini di Roma. Rome, 1664, p. 7 [reprinted in Ref. Zocca 1976], as in the "Giardino Aldobrandino a Monte Magnanapoli".
Inventario dei quadri di Olimpia Aldobrandini-Pamphili. n.d. [before 1665], no. 244 [Archivio di Casa Aldobrandini, Frascati; published in Cesare d'Onofrio, "Inventario dei dipinti del cardinal Pietro Aldobrandini compilato da G. B. Agucchi nel 1603," Palatino 8 (September–December 1964), p. 207; Getty no. I-296], as "Un quadro d'una Coronatione della Madonna, in tela d'imperatore, mano del Caraccioli, alto p. quattro e tre quarti, largo sei incirca, con sua cornice dorata".
Gio[vanni]. Pietro Bellori. Le vite de' pittori, scultori e architetti moderni. Rome, 1672, p. 84, lists it in the Villa Aldobrandini.
Carlo Cesare Malvasia. Felsina pittrice: vite de' pittori bolognesi. Bologna, 1678, vol. 1, p. 501 [1841 ed., Bologna, ed. Giampietro Zanotti, vol. 1, p. 358], lists it in the Villa Aldobrandini.
Aldobrandini inventory. July 20, 1682, no. 361 [Archivio Segreto Vaticano, Vatican City, Fondo Borghese, vol. 34; published in Ref. Della Pergola 1963; Getty no. I-4450].
[André] Félibien. Entretiens sur les vies et sur les ouvrages des plus excellens peintres anciens et modernes. 2nd ed. Paris, 1696, vol. 2, p. 80 [1705 ed., vol. 3, p. 213; 1725 ed., vol. 3, p. 273].
Pietro Rossini. Il Mercurio errante. 7th ed. Rome, 1750, vol. 2, p. 29, as in the Villa Aldobrandini.
Ridolfino Venuti. Accurata, e succinta descrizione topografica e istorica di Roma moderna. Rome, 1767, vol. 1, p. 138, as in the Villa Pamphili.
[Joseph Jerome Le Francis de Lalande]. Voyage d'un françois en Italie, fait dans les années 1765 & 1766. Venice, 1769, vol. 3, p. 447, as in the Villa Pamphili in 1765–66.
Catalogue raisonné des différens objets de curiosités dans les sciences et arts, qui composoient le cabinet de feu Mr Mariette . . . . Basan, Paris. 1775, p. 49, under no. 303, under the entry for the drawing now in Dijon, mentions that the related painting is in Rome.
Friedrich Wilhelm Basilius von Ramdohr. Ueber Mahlerei und Bildhauerarbeit in Rom fuer Liebhaber des Schoenen in der Kunst. Leipzig, 1787, vol. 1, p. 308, lists it in the apartments of Prince Aldobrandini in the Palazzo Borghese.
Mariano Vasi. Itinerario istruttivo di Roma. Rome, 1794, vol. 1, p. 397, as in the apartments of Prince Aldobrandini in the Palazzo Borghese.
James Irvine. Letter to William Buchanan. May 16, 1803 [published in Ref. Buchanan 1824], writes that it is in the collection of Alexander Day in Rome, that Day acquired it from the Aldobrandini villa, and that he plans to sell it.
W[illiam]. Buchanan. Memoirs of Painting, with a Chronological History of the Importation of Pictures by the Great Masters into England since the French Revolution. London, 1824, vol. 2, p. 7, no. 27, pp. 9–10, 135–36, as "The Holy Family," in the collection of Alexander Day, from the Aldobrandini villa.
William Buchanan. Letter to Johann Georg von Dillis [agent for Ludwig I, King of Bavaria]. July 9, 1827, writes that it is for sale for 1,500 guineas.
William Buchanan. Letter to Johann Georg von Dillis. August 30, 1827, mentions that it has been engraved by Freji [Frey] in 1741 [see Notes].
Mrs. Jameson. Companion to the Most Celebrated Private Galleries of Art in London. London, 1844, pp. 389, 392–93, no. 7, lists it in the collection of Samuel Rogers and notes the influence of Correggio.
"Rogers's Treasures." Athenæum no. 1470 (December 29, 1855), p. 1533, mentions it hanging in the drawing room of Samuel Rogers's house.
W. Burger [Théophile Thoré]. Trésors d'art exposés à Manchester en 1857. Paris, 1857, p. 101 [reprinted as "Trésors d'art en Angleterre," Brussels, 1860, with same pagination], as in the collection of the Duke of Newcastle.
[Émile Gleize]. Catalogue historique et descriptif du Musée de Dijon. Dijon, 1883, p. 230, under no. 785, catalogues a Carracci drawing of the Coronation of the Virgin in Dijon, referring to the MMA picture as a similar painting formerly in the collection of Prince Pamphili, Rome.
George Redford. Art Sales. London, 1888, vol. 1, p. 152, reprints Ref. Athenæum 1855.
W. J. Hipkin. Descriptive Catalogue of the Pictures . . . belonging to . . . the Duke of Newcastle at Clumber House. 1914, p. 7 [see Ref. Mahon and Sutton 1955], with wrong title and erroneous provenance.
Denis Mahon. Studies in Seicento Art and Theory. London, 1947, pp. 40–42, 96 n. 155, fig. 11, notes that he acquired it in 1939; assigns it to Annibale's Roman period, and mentions it as representative of the classic tendency in Roman painting at the end of the sixteenth century.
Antonio Boschetto. "Per la conoscenza di Francesco Albani, pittore (1578–1660)." Proporzioni 2 (1948), pp. 111–12, 140 n. 19, fig. 126, locates it incorrectly in the collection of the Duke of Devonshire; assigns it to Annibale's last months in Bologna.
R[udolph]. Wittkower. The Drawings of the Carracci in the Collection of Her Majesty the Queen at Windsor Castle. London, 1952, p. 171, under no. 372a, dates it to the beginning of Annibale's Roman period.
Giuliano Briganti. "A Notable Private Collection—VIII: The Mahon Collection of Seicento Paintings." Connoisseur 132 (September 1953), pp. 5, 16, no. 4, fig. III, dates it probably 1596–97; states that it may have been commissioned by Pope Clement VIII Aldobrandini or a member of his family.
Denis Mahon and Denys Sutton. Artists in 17th Century Rome. Exh. cat., Wildenstein. London, 1955, pp. 26–28, no. 20.
Terence Mullaly. "Artists in XVIIth-century Rome." Apollo 62 (July 1955), p. 9, ill., dates it to the last years of the sixteenth century, soon after Annibale moved to Rome.
Denis Mahon. "Afterthoughts on the Carracci Exhibition (II)." Gazette des beaux-arts, 6th ser., 49 (May–June 1957), p. 284, dates it about 1596.
Rudolf Wittkower. Art and Architecture in Italy, 1600 to 1750. Baltimore, 1958, p. 337 n. 18.
Michael Jaffé. "Annibale and Ludovico Carracci: Notes on Drawings." Burlington Magazine 102 (January 1960), pp. 27–28, fig. 37, discusses it in relation to the drawing (Musée des Beaux-Arts, Dijon), dating the drawing to Carracci's Bolognese period, in the mid-1590s, and the painting soon after the artist's arrival in Rome.
Paola Della Pergola. "Gli inventari Aldobrandini." Arte antica e moderna no. 12 (October/December 1960), pp. 426–27, 432, 442, identifies it erroneously as no. 14 in the Aldobrandini inventory of 1611, and as no. 244 (119) in the Aldobrandini inventory of 1626.
Gerald Reitlinger. The Economics of Taste. Vol. [1], The Rise and Fall of Picture Prices, 1760–1960. London, 1961, p. 269, records prices fetched at sales of 1833, 1856, and 1937, erroneously listing seller in 1833 as Nieuwenhuys.
Keith Andrews. "An Early Guido Reni Drawing." Burlington Magazine 103 (November 1961), p. 462.
Paola Della Pergola. "Gli inventari Aldobrandini: L'inventario del 1682 (II)." Arte antica e moderna no. 21 (January/March 1963), pp. 77, 86, no. 361, lists it as no. 361 in the Aldobrandini inventory of 1682.
Benedict Nicolson inGreat Private Collections. Ed. Douglas Cooper. New York, 1963, p. 120, ill. p. 121, dates it about 1596.
Francis H. Dowley. "'Art in Italy, 1600–1700' at the Detroit Institute of Arts." Art Quarterly 27, no. 4 (1964), pp. 520–21, fig. 1, suggests that the composition was inspired by Raphael's "Disputa" (Stanza della Segnatura, Vatican City).
Roseline Bacou inLe Cabinet d'un grand amateur: P.-J. Mariette, 1694–1774. Exh. cat., Musée du Louvre. Paris, 1967, p. 55, under no. 30, dates it about 1596.
Luciano Bellosi inArte in Valdichiana dal XIII al XVIII secolo. Exh. cat., Fortezza del Girifalco. Cortona, 1970, p. 58, under no. 86, dates it between 1595 and 1600.
Donald Posner. Annibale Carracci: A Study in the Reform of Italian Painting around 1590. New York, 1971, vol. 1, pp. 83–84, 166 n. 45; vol. 2, p. 41, no. 94, pl. 94a, dates it about 1596–97.
Catherine Johnston. Il seicento e il settecento a Bologna. Milan, 1971, p. 82, under pl. XI.
Frank Herrmann. The English as Collectors: A Documentary Chrestomathy. New York, 1972, pp. 254, 257, 259, fig. 67, reprints excerpts from Refs. Jameson 1844 and Athenæum 1855.
[John Pope-Hennessy]. "Rehabilitating an Eclectic." Times Literary Supplement (September 22, 1972), pp. 1103–4, states that it "seems to have been painted in Rome in 1595"; notes Posner's [see Ref. 1971] emphasis on the influence of Raphael, but finds that Correggio's dome painting in San Giovanni Evangelista, Parma, was a more fundamental source for the composition.
A. W. A. Boschloo. "Annibale Carracci—A Study in the Reform of Italian Painting around 1590, by D. Posner." Paragone 23 (July 1972), pp. 72, 76.
Everett Fahy in "Outstanding Recent Accessions." Metropolitan Museum of Art Bulletin 30 (February/March 1972), p. 208, ill. p. 208 and detail inside back cover, dates it probably 1596–97 and states that it was probably made for Pope Clement VIII.
A. W. A. Boschloo. Annibale Carracci in Bologna: Visible Reality in Art After the Council of Trent. The Hague, 1974, vol. 2, p. 209 n. 25, fig. 148, notes that it is the painting that first shows the close tie between Annibale and Agostino, rather than the drawing.
R. Ward Bissell. "Donald Posner, 'Annibale Carracci: A Study of the Reform of Italian Painting Around 1590'." Art Bulletin 56 (March 1974), p. 132.
Anthony M. Clark inThe Metropolitan Museum of Art: Notable Acquisitions, 1965–1975. New York, 1975, p. 91, ill., dates it about 1596 and states that it was made for Cardinal Aldobrandini.
Gianfranco Malafarina inL'opera completa di Annibale Carracci. Milan, 1976, p. 109, no. 88, ill. p. 108, dates it about 1596–97.
Cecil Gould. The Paintings of Correggio. London, 1976, p. 150, states that "Annibale copied Correggio's 'Coronation of the Virgin' in the S. Giovanni apse and was visibly affected by it when painting his own version of the subject," referring to this picture.
Marguerite Guillaume inDessins du Musée des Beaux-Arts de Dijon. Exh. cat., Musée du Louvre. Paris, 1976, p. 40, under no. 72.
Emma Zocca, ed. Nota delli musei, librerie, gallerie & ornamenti di statue, e pitture, né palazzi, nelle case, e né giardini di Roma.. By [Giovanni Pietro Bellori]. Rome, 1976, p. 11.
John Pope-Hennessy. "Correggio Revalued." Apollo 106 (August 1977), p. 157.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, p. 294, fig. 530 (color).
A Dealer's Record: Agnew's, 1967–81. London, 1981, ill. p. 41.
Michael Jaffé. "'The Penitent Magdalene in a Landscape' by Annibale Carracci." Burlington Magazine 123 (February 1981), p. 91.
Charles Dempsey inThe Age of Caravaggio. Exh. cat., The Metropolitan Museum of Art. New York, 1985, p. 116, no. 26, ill. p. 117 [Italian ed., "Caravaggio e il suo tempo," Naples], contrasts Carracci's approach to that of Caravaggio; notes the influence of Raphael's work in the Stanze and of Correggio's painting in the dome of the cathedral in Parma.
Anna Ottani Cavina inThe Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries. Exh. cat., National Gallery of Art. Washington, 1986, p. 287, no. 95, ill. p. 286 (color) [Italian ed., "Nell'età di Correggio e dei Carracci: Pittura in Emilia dei secoli XVI e XVII," Bologna].
Erich Schleier inLa pittura in Italia: il Seicento. Ed. Mina Gregori and Erich Schleier. revised and expanded ed. Milan, 1989, vol. 1, p. 435, suggests that it was the first painting to form a part of the Aldobrandini collection; comments that its style embodies Roman "disegno" rather than Venetian "colore".
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 116, ill.
C[arel]. van Tuyll van Serooskerken inThe Dictionary of Art. Ed. Jane Turner. Vol. 5, New York, 1996, p. 862, mentions it as an example of the revival of the influence of Correggio in Carracci's early Roman works, "though now seen through a Raphaelesque prism".
Gabriele Finaldi inDiscovering the Italian Baroque: The Denis Mahon Collection. Exh. cat., National Gallery. London, 1997, pp. 38–39, no. 8, ill. (color).
Catherine Loisel Legrand inThe Drawings of Annibale Carracci. Exh. cat., National Gallery of Art. Washington, 1999, p. 209, fig. 1, dates it about 1597–98, calling it probably contemporary with Carracci's first work in the Farnese Gallery; suggests that the picture may have been intended as a diplomatic gift.
Silvia Ginzburg Carignani. Annibale Carracci a Roma: gli affreschi di Palazzo Farnese. Rome, 2000, pp. 86, 90–91, fig. 45.
Erich Schleier, ed. Giovanni Lanfranco: Un pittore barocco tra Parma, Roma e Napoli. Exh. cat., Reggia di Colorno, Parma. Milan, 2001, pp. 152, 334, no. C5, ill. pp. 152 and 335 (color).
Elizabeth A. Pergam. ""Waking the Soul": The Manchester Art Treasures Exhibition of 1857 and the State of Arts in Mid-Victorian Britain." PhD diss., Institute of Fine Arts, New York University, 2001, vol. 1, p. 122 n. 148.
Marguerite Guillaume. Catalogue des dessins italiens: collections du Musée des Beaux-Arts de Dijon. Dijon, [2004], p. 65, under no. 92.
Catherine Loisel. "Ludovico, Agostino, Annibale Carracci." Inventaire général des dessins italiens. Vol. 7, Paris, 2004, pp. 59–60.
Keith Christiansen. "Going for Baroque: Bringing 17th-Century Masters to the Met." Metropolitan Museum of Art Bulletin 62 (Winter 2005), pp. 27–28, fig. 24 (color), ill. inside front cover (color detail).
Elizabeth A. Pergam. "From Manchester to Manhattan: The Transatlantic Art Trade After 1857." Bulletin of the John Rylands Library 87, no. 2 (2005), pp. 82, 86, 91.
Daniele Benati inAnnibale Carracci. Ed. Daniele Benati and Eugenio Riccòmini. Exh. cat., Museo Civico Archeologico, Bologna. Milan, 2006, pp. 277–78, 282, no. VI.3, ill. pp. 274–75, 283 (color, overall and detail).
Alessandro Brogi inAnnibale Carracci. Ed. Daniele Benati and Eugenio Riccòmini. Exh. cat., Museo Civico Archeologico, Bologna. Milan, 2006, p. 280, under no. VI.2.
Silvia Ginzburg inAnnibale Carracci. Ed. Daniele Benati and Eugenio Riccòmini. Exh. cat., Museo Civico Archeologico, Bologna. Milan, 2006, p. 340, under no. VII.21.
Natasja Peeters et al. inRubens: A Genius at Work. Exh. cat., Royal Museums of Fine Arts of Belgium, Brussels. Tielt, Belgium, 2007, p. 169, fig. 2 (color).
Clare Robertson. The Invention of Annibale Carracci. Cinisello Balsamo, Milan, 2008, pp. 100–103, colorpl. 83b.
Roberto Zapperi. "Annibale Carracci e Odoardo Farnese." Bollettino d'arte 95 (October–December 2010), pp. 79, 97 n. 23.
Xavier F. Salomon. "Annibale Carracci e il cardinal Pietro Aldobrandini: considerazioni sulla collezione, la cappella e le lunette Aldobrandini." Nuova luce su Annibale Carracci. Ed. Sybille Ebert-Schifferer and Silvia Ginzburg. Rome, 2011, p. 191, fig. 4.
Keith Christiansen. "La création tardive d'une collection de peintures baroques au Metropolitan Museum of Art / Creating a Baroque Collection at the Metropolitan Late in the Game." Aux origines d'un goût: la peinture baroque aux États-Unis / Creating the Taste for Baroque Painting in America. Paris, 2015, pp. 65, 67, 71–72, fig. 3 (color, gallery installation).
Clare Robertson. Rome 1600: The City and the Visual Arts under Clement VIII. New Haven, 2015, p. 100, fig. 87 (color).
Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, pp. 279–80, no. 198, ill. pp. 198, 279 (color).
Andrea Bayer. "Better Late than Never: Collecting Baroque Painting at The Metropolitan Museum of Art." Buying Baroque: Italian Seventeenth-Century Paintings Come to America. Ed. Edgar Peters Bowron. University Park, Pa., 2017, pp. 137, 153 n. 35, fig. 55 (color).
Andria Derstine. "The Detroit Institute of Arts and Italian Baroque Painting." Buying Baroque: Italian Seventeenth-Century Paintings Come to America. Ed. Edgar Peters Bowron. University Park, Pa., 2017, p. 99.
Keith Christiansen. "Obituaries: Everett Fahy (1941–2018)." Burlington Magazine 160 (July 2018), p. 617.
Bastian Eclercy inGuido Reni: The Divine. Ed. Bastian Eclercy. Exh. cat., Städel Museum, Frankfurt. Berlin, 2022, pp. 23, 38 n. 67, fig. 11 (color), compares it to Guido Reni's "Assumption of the Virgin" (Städel Museum, Frankfurt) in the "sense of calm [they introduce] to their multifigural compositions by means of a symmetrical structure . . . as well as an emphasis on the main figures in terms of scale".
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