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Some argued that Lisa del Giocondo was the subject of a different portrait, identifying at least four other paintings as the Mona Lisa referred to by Vasari.
are of the opinion that the painting is characteristic of Leonardo’s style in the final years of his life, post-1513.
The first would have been commissioned by Francesco del Giocondo circa 1503, had flanking columns, have been left unfinished and have been in Salai’s possession in 1525.
The second, commissioned by Giuliano de Medici circa 1513, without the flanking columns, would have been sold by Salai to Francis I in 1518 and be the one in the Louvre today.
Other academics argue that, given the historical documentation, Leonardo would have painted the work from 1513.
Circa 1504, Raphael executed a pen and ink sketch, today in the Louvre museum, in which the subject is flanked by large columns,.
Experts universally agree it is based on Leonardo’s portrait of Mona Lisa.
Other later copies of the Mona Lisa, such as that in the National Museum of Art, Architecture and Design in Oslo, and The Walters Art Museum in Baltimore also display large flanking columns.
Moreover, Cotte admits that his reconstitution had been carried out only in support of his hypotheses and should not be considered a real painting; he stresses that the images never existed.Dated October 1503, the note was written by Leonardo's contemporary Agostino Vespucci.This note likens Leonardo to renowned Greek painter Apelles, who is mentioned in the text, and states that Leonardo was at that time working on a painting of Lisa del Giocondo.In response to the announcement of the discovery of this document, Vincent Delieuvin, the Louvre representative, stated "Leonardo da Vinci was painting, in 1503, the portrait of a Florentine lady by the name of Lisa del Giocondo. Unfortunately, we cannot be absolutely certain that this portrait of Lisa del Giocondo is the painting of the Louvre." In French, the title La Joconde has the same meaning.Before that discovery, scholars had developed several alternative views as to the subject of the painting.