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The study revolves around Pietro Novelli, the leading figurative artist of the 1600s in Sicily, who stood out amongst his peers and experienced growing fame in the centuries to follow. These observations, supported by analytical tests and art-historical evaluations, constitute an essential phase of the interdisciplinary research aimed at determining the attribution of a work of art. The present work underlines the importance of an objective evaluation in the study of constituent materials and execution techniques, as well as an examination of the state of conservation of some paintings, performed during the corresponding restoration procedures. The three interlinking rings in the center of the cloverleaves in the Louvre Mona Lisa(Lorusso &Natali 2015) arealso significant because they probably allude to the Borromeo rings that interconnected the Visconti/Sforza/Borromeo families together into a powerful family triad that are depicted also in an illumination of Isabella Aragon Sforza'sBook of Hours in the Poland National Library, Warsaw (Glori 2015, Wozniak 2014. Lorusso & Natali (2015), in their detailed comparison of various versions of the Mona Lisa portraits, missed this very important symbolic connection of the heraldic embroidery pointing to Mona Lisa's royal status by simply dismissing these golden patterns as ‗gala (trimming)' and interwoven ‗cloverleaf'. Bernardino Luini adopted the distinctive facial features sharedbetween Isabella Aragon Sforza and the Mona Lisa as his iconic symbol of female spiritual and physical beauty and he never wavered from the cause of telling her story and that of Gian Galeazzo Sforza and Leonardo da Vinci over and over again in many of his allegorical and pictorial tales. In this paper, I reflect on Robert Payne’s findings and arguments and compare the style, look and chronology of many Renaissance versions of Mona Lisa with the facial characteristics of the Isabella Aragon Sforza’s idealized portraits to support and further develop the Payne rationale that Leonardo da Vinci’s Mona Lisa is a tribute toĪnd an idealized representation of the widow Isabella of Aragon and not Lisa Gherardini del Giocondo. He realised that Isabella of Aragon was the Mona Lisa when he saw a drawing of her in Milan in her early twenties that currently is held in the Hyde Collection at Glen Falls in New York. Robert Payne, who wrote a biography on Leonardo da Vinci in 1978, probably provided the first serious suggestion that Isabella of Aragon, the Duchess Consort of Milan, was the However, this opinion is based on incorrect interpretations of limited historical information and contradictions rather than on any concrete evidence.

The modern consensus clings to the traditional belief that Leonardo da Vinci’s Mona Lisa in the Louvre Museum is Lisa Gherardini, the wife of the wealthy Florentine merchant, Francesco del Giocondo. The three interlinking rings in the center of the clover leaves in the Louvre Mona Lisa (Lorusso & Natali 2015) are also significant because they probably allude to the Borromeo rings that interconnected the Visconti/Sforza/Borromeo families together into a powerful family triad that are depicted also in an illumination of Isabella Aragon Sforza's Book of Hours in the Poland National Library, Warsaw (Glori 2015, Wozniak 2014.

Lorusso & Natali (2015), in their detailed comparison of various versions of the Mona Lisa portraits, missed this very important symbolic connection of the heraldic embroidery pointing to Mona Lisa's royal status by simply dismissing these golden patterns as 'gala (trimming)' and interwoven 'cloverleaf'. Bernardino Luini adopted the distinctive facial features shared between Isabella Aragon Sforza and the Mona Lisa as his iconic symbol of female spiritual and physical beauty and he never wavered from the cause of telling her story and that of Gian Galeazzo Sforza and Leonardo da Vinci over and over again in many of his allegorical and pictorial tales.