This work of art has been recently ascribed to Raffaellino del Colle. The picture was likely within the painter’s studio at his death in 1520, which was adjusted and sold by his assistant Giulio Romano. In the 16th century, the picture was within the house of the Countess of Santafiora, a Roman noblewoman, and in this way got to be the property of Duke Boncompagni and then of the Galleria Nazionale, which still has it." This second copy is almost the same as the original painting in the Galleria Barberini except that there is no ring on her left, fourth finger. Identity of the figure Belle donne theme Joanna Woods-Marsden has chosen to view the painting through the belle donne theme, describing it as a representation of idealistic beauty. With this interpretation, it is more likely that a viewer could assume that this is not Raphael’s lover, but instead a prostitute or simply his personal representation of beauty. With this chosen theme, the figure should be described simply as a nude woman (prostitute) or a "half Venus, nude". Both descriptions imply a sense of beauty; if she were an unknown nude prostitute, she was beautiful enough to catch Raphael's eye and inspire him to create an entire portrait of her. If she is a “half Venus, nude,” she is a representation of the most beautiful goddess to ever exist; she is the embodiment of love, beauty, desire and ultimately, sex. During the Renaissance, beauty was equated to nakedness and the nude, for if a woman was naked she was captivating and sexually exciting to the artist and ultimately, the viewer. She is posed in a way that is reminiscent of the Venus pudica pose, enticing the viewer to look upon her naked body and imagine what she is hiding behind her thin drape. The Venus pudica pose is inspired by ancient sculptures of Venus in which the goddess is nude, but keeps her breasts and genitalia covered with either a hand or thin drape. Raphael makes the woman more risqué by enlarging her breasts, hardening her nipples, and giving her a possible flirty yet shy glance towards the viewer. Raphael's lover Another interpretation of the woman's identity assumes her to be Raphael's lover named Margherita; the figure's father was a baker and thus earned her the nickname of La Fornarina. According to Giorgio Vasari. Margherita supposedly refused to marry Raphael