[Bryson Burroughs] in Loan Exhibition of the Arts of the Italian Renaissance. Exh. cat., The Metropolitan Museum of Art. New York, 1923, pp. 8–9, no. 25, states that the attribution to Saturnino Gatti comes from Berenson.
Dudley Poore. "Italian Renaissance Exhibition." Arts 3 (June 1923), p. 410, accepts the attribution to Gatti.
B[ryson]. B[urroughs]. "Landscape in Italy in the Fifteenth Century." Metropolitan Museum of Art Bulletin 18 (August 1923), p. 198, notes that the landscape is vaguely reminiscent of Piero della Francesca.
Bernhard Berenson. Italian Pictures of the Renaissance. Oxford, 1932, p. 27, lists it as in the Morgan Library and tentatively attributes it to Antoniazzo Romano.
Lionello Venturi. Italian Paintings in America. Vol. 2, Fifteenth Century Renaissance. New York, 1933, unpaginated, pl. 326, attributes it to Gatti; compares it with Gatti's frescoes at San Panfilo, Tornimparte.
Bernhard Berenson. Pitture italiane del rinascimento. Milan, 1936, p. 23, lists it under Antoniazzo Romano but also tentatively suggests an alternative attribution to Saturnino Gatti.
Ferdinando Bologna. "Saturnino Gatti: Un'opera." Paragone 1 (May 1950), p. 63, attributes it to Gatti.
Roberto Longhi. "La mostra di Arezzo." Paragone 2 (March 1951), p. 60, suggests a connection with the work of Bartolomeo della Gatta.
Federico Zeri. "Il Maestro della Annunciazione Gardner." Bollettino d'arte 38 (July–September 1953), p. 249, calls it an early work by Gatti; states that it was formerly in the Ricci collection, Rieti.
Luisa Mortari. Opere d'arte in Sabina dall'XI al XVII secolo. Exh. cat., location unknown. Rome, , p. 44, under no. 29, as by Gatti.
Federico Zeri with the assistance of Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art, Sienese and Central Italian Schools. New York, 1980, p. 87, pl. 84, relate it stylistically to Gatti's "Madonna of the Rosary" (Museo nazionale, Aquila), begun in 1509; mention a similar composition in a panel dated 1524 which they attribute to Francesco da Montereale (formerly Campana collection; cat., 1864, no. 232).
Roberto Cannatà. "L'esordio giovanile in Sabina di Cola dell'Amatrice." Aspetti dell'arte del '400 a Rieti. Ed. Alba Costamagna and Luisa Scalabroni. Exh. cat., Palazzo Vescovile, Rieti. Rome, 1981, p. 70, fig. 57, attributes it to Paolo Aquilano, whom he identifies as Paolo di Jacopo da Montereale, and dates it to the end of the 1400s or the beginning of the 1500s.
Rossana Torlontano in La pittura in Italia: il Quattrocento. revised and expanded ed. [Milan], 1987, vol. 2, p. 633, attributes it to Gatti, mistakenly stating that it was first ascribed to him by Bologna; erroneously cites it as still in the Morgan Library.
Alessandro Angelini. "Saturnino Gatti e la congiuntura verrocchiesca a L'Aquila." I da Varano e le arti. Ed. Andrea De Marchi and Pier Luigi Falaschi. Camerino, 2003, p. 850 n. 31, attributes it to Saturnino Gatti’s sometime associate, Giovanni Antonio Percossa, noting its affinities to the youthful work of Perugino and suggesting that it cannot date much after 1473, when Perugino painted some of the scenes of the Stories of Saint Bernardino in the Pinacoteca Nazionale dell’Umbria in Perugia.
Jennifer Tonkovich. "Discovering the Renaissance: Pierpont Morgan's Shift to Collecting Italian Old Masters." A Market for Merchant Princes: Collecting Italian Renaissance Paintings in America. Ed. Inge Reist. University Park, Pa., 2015, p. 45.