Florence: An international team of scientists has potentially uncovered traces of DNA linked to Leonardo da Vinci from a Renaissance-era drawing and historical family documents, which could revolutionize art authentication processes.

According to Anadolu Agency - English, the findings, published as a preprint on bioRxiv and highlighted by Science Magazine, are part of the Leonardo da Vinci DNA Project (LDVP), a global research effort initiated in 2014. Researchers employed noninvasive swabbing techniques to collect biological material from a disputed red chalk drawing known as Holy Child and letters from the 15th century written by a male relative of Leonardo's family.

The genetic analysis concentrated on the Y chromosome, passed down through the paternal line. The scientists discovered that the DNA retrieved from both the drawing and the letters belonged to the E1b1b haplogroup, commonly linked with Tuscany, where Leonardo was born in 1452. However, researchers emphasized that these findings do not conclusively prove the DNA belonged to Leonardo himself.

David Caramelli, an anthropologist and ancient DNA specialist at the University of Florence and a project member, noted the complexity of establishing unequivocal identity. As quoted by Science Magazine, Caramelli explained that the artwork might have been handled by numerous individuals over the past 500 years, some of whom could share the same genetic lineage.

Due to the absence of direct descendants and disturbances to Leonardo's burial site in Amboise, France, during the early 19th century, there are no confirmed remains for direct genetic comparison. To address this, scientists are sequencing DNA from living male descendants of Leonardo's father and analyzing bones from family vaults in Tuscany, as reported by the magazine.

The study underscores the emerging field of 'arteomics,' which utilizes biological traces such as DNA and microbial signatures to complement traditional art analysis based on style, materials, and technique. Jesse Ausubel, an environmental scientist at Rockefeller University, emphasized that while connoisseurship remains vital, biological data could eventually enhance expert judgment.

Ausubel remarked on the possibility of finding epidermal cells mixed with colors, given Leonardo's known practice of using his fingers along with brushes while painting. The project signifies a broader shift in heritage science, as biological traces, once deemed contaminants, may now serve as crucial evidence. This suggests a new dimension to attribution research and potentially offers a glimpse into the living imprint of Leonardo himself.