Alessandro Nova. Letter to Keith Christiansen. July 21, 1989, bases the date of 1540 on the work's similarity to Romanino's organ shutters in San Giorgio in Braida, Verona, of that date; after having seen the work, believes that an assistant may have collaborated with Romanino on the reverse of the picture; mentions documents indicating that Alessandro Romanino collaborated with his cousin Girolamo on a processional banner made for the confraternity of Santa Maria delle Grazie e di San Girolamo, Brescia, in 1537, and others recording the existence of a Franciscan confraternity in Brescia.
Keith Christiansen in "Recent Acquisitions, A Selection: 1989–1990." Metropolitan Museum of Art Bulletin 48 (Fall 1990), pp. 36–37, ill. in color (obverse) and black and white (reverse) [repr. in "Master Paintings," exh. cat., Algranti, London, 1994, unpaginated, unnumbered, ill. (color, obverse)], dates it about 1540, "shortly after his fresco cycle in the village of Pisogne"; calls it a processional standard made for a Franciscan lay confraternity and "probably removed from its original location . . . following the Napoleonic suppression of religious orders in Italy"; states that the obverse was painted entirely by Romanino but that the reverse reveals workshop participation; suggests that the figures of the torturers may be influenced by Dürer's prints and that the figure of Christ may be inspired by Hans Baldung Grien's woodcut of Christ at the column; notes that Caravaggio later made reference to the figure of Christ in his painting of the same subject of 1607 (Museo di Capodimonte, Naples), and that Caravaggio's familiarity with the work supports the hypothesis that it was made for a major Brescian church such as San Francesco.
Alessandro Ballarin in Le siècle de Titien: L'âge d'or de la peinture à Venise. Exh. cat., Grand Palais. Paris, 1993, p. 449 [reprinted in Ballarin 2006, vol. 1, p. 275], attributes it to Romanino, mentioning it among works dating between 1540 and 1543.
Alessandro Nova. Girolamo Romanino. Turin, 1994, pp. 57, 308–9, no. 79, ill. front cover of dust jacket (color, obverse), colorpl. X (obverse), figs. 202 (detail, obverse), 203 (reverse), states that the composition of the Flagellation influenced Moretto's late "Christ at the Column" (Museo di Capodimonte, Naples).
Andrea Bayer. "North of the Apennines: Sixteenth-Century Italian Painting in Lombardy and Emilia-Romagna." Metropolitan Museum of Art Bulletin 60 (Spring 2003), pp. 23–26, fig. 17 (color, obverse and reverse).
Andrea Bayer in Painters of Reality: The Legacy of Leonardo and Caravaggio in Lombardy. Exh. cat., The Metropolitan Museum of Art. New York, 2004, p. 110, fig. 53 (obverse) [Italian ed., "Pittori della realtà: le ragioni di una rivoluzione da Foppa e Leonardo a Caravaggio e Ceruti," (Milan), 2004, p. 127].
Nicholas Penny. "Paintings from Bergamo, Brescia and Cremona." The Sixteenth Century Italian Paintings. 1, London, 2004, p. 318.
Andreas Dehmer Universität Regensburg. Italienische Bruderschaftsbanner des Mittelalters und der Renaissance. Munich, 2004, pp. 144–45, 180, 325, no. 63, ill. (obverse and reverse).
Francesco Frangi in Romanino: un pittore in rivolta nel Rinascimento italiano. Exh. cat., Castello del Buonconsiglio, Trent. Cinisello Balsamo, Milan, 2006, pp. 40, 47 n. 99.
Fabrizio Pietropoli in Romanino: un pittore in rivolta nel Rinascimento italiano. Exh. cat., Castello del Buonconsiglio, Trent. Cinisello Balsamo, Milan, 2006, p. 180.
Alessandro Ballarin. La "Salomè" del Romanino ed altri studî sulla pittura bresciana del Cinquecento. Cittadella, 2006, vol. 1, p. 275; vol. 2, fig. 255.
Andrea Bayer. "Collecting North Italian Paintings at The Metropolitan Museum of Art." A Market for Merchant Princes: Collecting Italian Renaissance Paintings in America. University Park, Pa., 2015, p. 89.