EACH PORTRAIT IDENTIFIES WITH THE BACKGROUND LANDSCAPE
From the research on the backgrounds painted by Piero Della Francesca and other artists, a general rule seems to emerge on the landscapes behind Renaissance portraits.
Each background has a specific connection with the portrayed person.
In the Diptych of the Duke and Duchess of Urbino, for example, the celebration of power and of the good governance by Montefeltro Duke is conveyed to posterity through the assembly of three separate backgrounds, which once united represent the whole territory of the Duchy.
In the case of Gioconda, a hypothetical Mona Lisa from Tuscany was supposed to have a Florentine landscape behind her back. The studies by Professor Zapperi, confirming the hypothesis by Professor Pedretti and ancient hypothesis indicated in 1954 documented studies on Leonardo, identify the Gioconda with Pacifica Brandani, therefore reiterating the accuracy and correctness of Borchia & Nesci theory (2012) on the connection between Landscape and Portrait.
In the light of their discovery, behind Pacifica there is a bird view of the Montefeltro territory, where the young dame Pacifica and her son Hippolytus came from.
There is more to it. Toward the extreme northern border of the Duchy, there was an island or Tuscan enclave which, from a geo-political point of view, was somehow part of Montefeltro territory.
Well, Leonardo also introduced in the painted background this Tuscan strip, land of Giuliano de Medici. Borchia & Nesci theory is, once again, confirmed, because it identifies the background with the portrayed dame, at the same time connecting it to the other two protagonists of this unique story.