Based on this provenance, it is identified as "that portrait of that woman in the blue dress" in a letter from Francesco Maria I della Rovere to his agent in Venice dated 2 May 1536.

By Moritz Thausing, La Bella was interpreted as a portrait of della Rovere's wife Eleonora Gonzaga, despite her youthful age.

[7] By Leandro Ozzola, La Bella was published as Isabella d'Este, who is the mother of della Rovere's wife Eleonora (or his mother-in-law).

[8] Exactly matching in time, her commission to Titian for a rejuvenating ideal portrait after an older model by Francesco Francia (1511) is documented by Isabella d'Este.

", since naming the Viennese painting would neither conform to the ideal of beauty nor retain person characteristics (see other portraits of Isabella d'Este in the same museum).