The legal afterlife is a short Italian sentence and tighter Louvre staffing. The cultural afterlife is the most famous face in Western art.
That imbalance is why culturalReach sits near the top of this atlas and legalImpact does not.
Law & institutions
- Florence conviction — The binding legal result is Peruggia's judgment and short term, not a new French code named for the picture.
- Louvre staff rules — The museum reviewed who could be alone with works and how hangings were watched. Institutional practice, not a celebrity statute.
- Title unchanged — Italian display in 1913–14 did not transfer ownership. The panel remained French national property.
- Modern museum security culture — Later bulletproof glass and crowd control are descendants of fame as much as of 1911. They are practice, not the 1914 judgment.
Culture
- The wanted-poster face — Two years of newspaper reproductions taught the world the smile before most readers had been to Paris.
- 1914 pilgrimage — Return crowds invented the modern queue. Later tourism still sells that 1914 event.
- Duchamp to advertising — L.H.O.O.Q. and a century of ads assume universal recognition — the theft's longest cultural yield.
- Patriot-thief folklore — English and Italian retellings sometimes recast Peruggia as a folk hero. The court record is smaller.
Money & scale
- Unsaleable on an open market — A world-famous Louvre Leonardo could not be sold at Christie's in 1911. The 'value' of the theft was not a cash-out.
- Postcard and press economy — Reproductions and later ticketed viewing created a fame market that dwarfs Peruggia's short sentence.
- No Gardner-style reward hangover — Because the object returned, there is no standing eight-figure information offer. The file is financially closed.
Impact is a global icon and a short conviction — a recovered theft that taught the twentieth century a face.
Public-record encyclopedia. Not legal advice. Not a how-to. Graphic detail is withheld. Wars belong in a separate atlas.