• These autonomous and meaningful configurations were usually introduced by the best artists, and as will be shown later in this study, there are other elements that corroborate the attribution of the drawing to Leonardo. • The Mona Lisa in the Louvre and the drawing in Turin are indeed related, but they function as deliberate contrasting images. Example of a similar concept
The new/beautiful
Caravaggio Narcisus
The old/ugly
• In the drawing in Turin, the absence of the moustache may indicate a symbolic integration of Pope Julius II “il Terrible” (d.1513), reinforcing the negative meaning of the drawn picture. Symbolic portrait of Leonardo, and realistic portrait of Julius II, both by Raphael.
4/24