Editing Vitruvian Man (section)

===Provenance===
After Leonardo's death, the drawing most likely passed to his student [[Francesco Melzi]] (1491–1570),{{sfn|Bambach|2019a|p=224}} who was [[Bequest |bequeathed]] most of Leonardo's possessions.{{sfn|Kemp|2003|loc=§1 "Life and works"}} From then on, the drawing's provenance history is almost certain: it found its way to [[Cesare Monti]] (1594–1650), was passed to his heir Anna Luisa Monti, then to the De Page family, first {{ill|Venanzio de Pagave|qid=Q47015938}} (in 1777) and then his son Gaudenzio de Page.{{sfn|Bambach|2019a|p=224}}{{sfn|Perissa Torrini|2009|p=17}} While owned by the elder De Page, he convinced the engraver Carlo Giuseppe Gerli to publish a book of Leonardo's drawings, which would be the first widespread dissemination of the ''Vitruvian Man'' and many other Leonardo drawings.{{sfn|Turner|1993|pp=84–85}} The younger de Page sold the drawing to [[Giuseppe Bossi]], who described, discussed, and illustrated it in the fourth chapter of his 1810 monograph on Leonardo's ''[[The Last Supper (Leonardo)|The Last Supper]]'', {{lang|it|Del Cenacolo di Leonardo da Vinci}} (''On The Last Supper of Leonardo da Vinci'').{{sfn|Mara|2019|p=280}} This chapter was published as a stand-alone study the next year {{lang|it|Delle opinion di Leonardo da Vinci intorno alla simmetria de' corpi umani}} (''On the opinions of Leonardo da Vinci regarding the symmetry of human bodies'').{{sfn|Mara|2019|p=280}} After Bossi's death in 1815, the drawing was sold to the abbot Luigi Celotti in 1818, and entered into the Venetian [[Gallerie dell'Accademia]]'s collection in 1822, where it has since remained.{{sfn|Bambach|2019a|p=224}} Because of its high artistic quality and its well-recorded history of provenance, Leonardo's authorship of the ''Vitruvian Man'' has never been doubted.{{sfn|Bambach|2019a|p=224}}

The ''Vitruvian Man'' is rarely displayed as extended exposure to light would cause fading; it is kept on the fourth floor of the Gallerie dell'Accademia, in a locked room.{{sfn|Isaacson|2017|p=153}} In 2019, the [[Louvre]] requested to borrow the drawing for their monumental ''Léonard de Vinci'' exhibition, which celebrated the 500th anniversary of the artist's death.{{sfn|Giuffrida|2019|loc=§ paras. 1–3}} They faced substantial resistance from the heritage group [[Italia Nostra]], who contended that the drawing was too fragile to be transported, and filed a lawsuit.{{sfn|Giuffrida|2019|loc=§ para. 2}} At a hearing on 16 October 2019, a judge ruled that the group had not proven their claim, but set a maximum amount of light for the drawing to be exposed to as well as a subsequent rest period to offset its overall exposure to light.{{sfn|Prisco|2019|loc=§ paras. 5–6}} The Louvre promised to lend paintings by [[Raphael]] to Italy for his own 500th death anniversary; Italy's Minister for Cultural Affairs [[Dario Franceschini]] stated that "Now a great cultural operation can start between Italy and France on the two exhibitions about Leonardo in France and Raphael in Rome."{{sfn|Prisco|2019|loc=§ para. 7}}