Taking into account that this book was Originally published in 1975, it is a thorough investigation of the Mona Lisa. A reader would only require a few additional articles to be up-to-date on the scholarship.It makes a strong argument that this is not a portrait denouncing the main contenders due to lack of personalizing details in hair, jewelry and accessories. Ties into artist shift in the early 16th century from craftsman to genius not merely completeling works to patron specifications. Plus Leonardo never delivered it; it remained in his collections and went to his lover Salia along with other works after his death.The claim of Mona Lisa as a finzione and essentially a siren of the ages as she and Leonardo become mythologized is the thesis, but her inspiration of other artists and the public through the ages is intriguing and detailed.I highly recommend for those interested that they avail themselves of Jack M. Greenstein, “Leonardo, Mona Lisa, and Giaconda. Reviewing the Evidence”,Artibus et Historiae, Vol. 25, No. 50 (2004), pp. 17-38In particular for the discussion on the provenance records via financial documents: estate record, debt collection appraisal, and sale records, especially the compelling argument by Carlo Pedrettis (1976) that the name attribution was due to linguistic errors from Florentine Italian to Milanese Italian to French and then back again to Italian.