Only in recent years has the work been attributed to Francesco Galli, known as Neapolitan, one of the lesser known personalities among painters who assimilated Leonardo da Vinci's innovative poetics thanks to his frequentation of the Milanese construction sites promoted by Ludovico il Moro. The suggestion that Vinci was the author of the painting dates back to at least the mid-eighteenth century, when the restorer Robert Picault wrote the artist's name on the back of the work. In the picture of the Pinacoteca, there are many themes that refer to iconographic and stylistic solutions painted or drawn by Leonardo. Among these, Neapolitan's interpretation of the female face emerges which seems to overlap the second version of the Virgin of the Rocks (London, National Gallery). The title that identifies the painting is a tribute to the figure of Amedeo Lia who wanted to sell one of his most cherished assets to the city of Milan in 2007. An intrinsic value links the painting to the Sforza residence: behind the religious scene the facade of the fortress it is represented in its structure rich in descriptive details, providing an irreplaceable iconographic memory of the Milanese monument at the end of the fifteenth century.