Italian Art and united Europe: the case of Monna Lisa

"Ridateci la Gioconda, sott. L'arte italiana e l'Europa unita " (Give us back the Mona Lisa, under Italian art and united Europe)" is the title of one of my books published in 2014 by the publisher Pagine of Rome  for the series ?I libri del Borghese'. I collected in that book a series of articles ordered in the sense and in the chronology as chapters of a text that touches the thorny restitution of art works to their countries of origin. But the problem is treated in a different way than it usually does. I don't dwell on the vicissitudes that an art work from its birth has undergone, but on the 'sense' that a masterpiece takes in the place where it is currently located, as the problem of the environment and cultural heritage -so as it is treated by the laws current - it also extends to smaller works, such as monuments, paintings and sculptures, not limited to the landscape or the urban texture. So if it is reasonable to think that a work is bound to its building and its city in continuity with its aesthetic characteristics, it would be reasonable to think that a work like the Mona Lisa that is florentine, should stay in Florence. That's all! A statement so trivial does not seem to have legal implications even if ...  it happened that the Gioconda transited in Italy I think that any magistrate would  keep it on Italian soil.. This is why France does not lend the painting to Italy. Yet when I make this statement in public, many people refuse to think that the problem is so simple! If you also think that Italy is also Europe - a union of states that surrender sovereignty to a central organism - there would be little wonder if European justice would solve such a problem