The evaluation of uncertain faces of paintings has always been one of the most complex chores engaged in Art criticism, because a prerequisite is a profound knowledge not only of the pictorial style of the Artist but also the cultural and historical context, the works of his disciples and painters similar to the Artist himself.
This hermeneutics reaches the most difficult degree of difficulty with regards to Leonardo's works because of the comlexity, and because of the large number of emulative paintings. The criteria indicated in the festa2face offer, at present day, a complete and effective method for analysis and comparison of uncertain faces in the history of Art introducing a new contribution to the literary debates concerning attributions.
The introduction of new scientific criteria combined with Literary-Artistic reasonings in which the festa2face is a concrete reality, allows to reconstruct in the most complete manner, the personality of the Author, to understand the technique, and to definately reach his “Artistic Will”, this being essential for the comprehension of his works.
In short its apparent, that the interpreter must adopt a complex interdisciplinary methodological approach, definately fully “cultural”, and it's for this reason, that an Artist's work, and in particular that of Leonardo's, constitutes the highest and most complex expression of human culture. The technique that has been developed for the attribution of uncertain Faces in the History of Art makes use of the analysis of the drawing technique, whether it be sculptural or pictorial in the “construction” of the Art Work.
This Analysis encompasses the study of the materials, which were used to create the Art Work, and the instruments used to “progressively carry out” step by step, not only in the comparison with other faces made by the same Author, but faces made by other Authors analysed by means of software techniques for the analysis of soft and hard tissues of the face used in Othodontics, Orthognatic surgery, Plastic surgery, implemented and modified in order to study the “morphometric” variablilities of the cranium and soft tissues and also to analyse the variablilities linked to the use of colors and whatever other specific material for the production of the work, whether sculptural or pictorial.
This technique has been adopted for the attribution of the “Lucanian Portrait” recently brought back in Lucania and presumably attributed to Leonardo.
The system of attribution of this “Selfportrait” can represent a “model” for the attribution of other  possible Uncertain Faces in the History of Art, since its known that Leonardo, profound scholar of the anatomy of the face, drew faces keeping in mind anatomical parameters of great precision and repeatability,that only with contemporary computerized techniques it has been possible to begin to decipher, at least in