Question: How many tests were used to verify de Vinci's work "Lady with an Ermine"?
About the article "Lady with an Ermine", section "Conservation".

Candidate passages:
White ferrets were favored in the Middle Ages for the ease in seeing them in thick undergrowth.
Leonardo da Vinci's painting "Lady with an Ermine" is likely mislabelled; the animal is probably a ferret, not a stoat, (for which "ermine" is an alternative name for the animal in its white winter coat).
Similarly, the Ermine portrait of Queen Elizabeth the First shows her with her pet ferret, which has been decorated with painted-on heraldic ermine spots.
"The Ferreter's Tapestry" is a 15th-century tapestry from Burgundy, France, now part of the Burrell Collection housed in the Glasgow Museum and Art Galleries.
It shows a group of peasants hunting rabbits with nets and white ferrets.
This image was reproduced in "Renaissance Dress In Italy 1400–1500", by Jacqueline Herald, Bell & HymanISBN 0-391-02362-4.
"Gaston Phoebus' Book Of The Hunt" was written in approximately 1389 to explain how to hunt different kinds of animals, including how to use ferrets to hunt rabbits.
Illustrations show how multicolored ferrets that were fitted with muzzles were used to chase rabbits out of their warrens and into waiting nets. 
The small portrait generally called "The Lady with the Ermine" was painted in oils on wooden panel.
At the time of its painting, the medium of oil paint was relatively new to Italy, having been introduced in the 1470s.
The subject has been identified with reasonable certainty as Cecilia Gallerani, who was the mistress of Leonardo's employer, Ludovico Sforza.
Cecilia Gallerani was a member of a large family that was neither wealthy nor noble.
Her father served for a time at the Duke's court.
At the time her portrait was painted, she was about 16 years old and was renowned for her beauty, her scholarship, and her poetry.
She was betrothed at the approximate age of 10 years to a young nobleman of the house of Visconti, but the marriage was called off.
Cecilia became the mistress of the Duke and bore him a son, but he chose to marry a woman from a nobler family, Beatrice d'Este.
The painting shows a half-length figure, the body of the young woman turned at a three-quarter angle toward her right, but her face turned toward her left.
Her gaze is directed neither straight ahead, nor toward the viewer, but toward a "third party" beyond the picture's frame.
In her arms, Gallerani holds a small white-coated stoat, known as an ermine.
Gallerani's dress is comparatively simple, revealing that she is not a noblewoman.
Her coiffure, known as a "coazone", confines her hair smoothly to her head with two bands of hair bound on either side of her face and a long plait at the back.
Her hair is held in place by a fine gauze veil with a woven border of gold-wound threads, a black band, and a sheath over the plait.
There are several interpretations of the significance of the ermine in her portrait.
The ermine, a stoat in its winter coat, was a traditional symbol of purity because it was believed an ermine would face death rather than soil its white coat: In his old age, Leonardo compiled a bestiary in which he recorded:MODERATION The ermine out of moderation never eats but once a day, and it would rather let itself be captured by hunters than take refuge in a dirty lair, in order not to stain its purity.
He repeats this idea in another note, "Moderation curbs all the vices.
The ermine prefers to die rather than soil itself.
"Ermines were kept as pets by the aristocracy and their white pelts were used to line or trim aristocratic garments.
For Ludovico il Moro, the ermine had a further personal significance in that he had been in the Order of the Ermine in 1488 and used it as a personal emblem.
The association of the ermine with Cecilia Gallerani could have been intended to refer both to her purity and to make an association with her lover.
Alternatively, the ermine could be a pun on her name because the Ancient Greek term for ermine, or other weasel-like species of animals, is "galê" (γαλῆ) or "galeê" (γαλέη).
This would be in keeping with Leonardo's placement of a juniper bush behind the figure in his portrait of Ginevra de Benci in reference to her name.
Given that Gallerani gave birth to a son acknowledged by Lodovico in May 1491, and the association of weasels and pregnancy in Italian Renaissance culture, it also is possible the animal was a symbol of Cecilia's pregnancy.
In addition, it has been speculated that the animal in the painting appears not to be an ermine, but a white ferret, a colour favoured in the Middle Ages because of the ease of seeing the white animal in thick undergrowth.
As in many of Leonardo's paintings, the composition comprises a pyramidic spiral and the sitter is caught in the motion of turning to her left, reflecting Leonardo's lifelong preoccupation with the dynamics of movement.
The three-quarter profile portrait was one of his many innovations.
Il Moro's court poet, Bernardo Bellincioni, was the first to propose that Cecilia is poised as if listening to an unseen speaker.
This work in particular shows Leonardo's expertise in painting the human form.
The outstretched hand of Cecilia was painted with great detail.
Leonardo paints every contour of each fingernail, each wrinkle around her knuckles, and even the flexing of the tendon in her bent finger. 
Cecilia Gallerani (1473–1536), born in Siena, Italy, was the favourite and most celebrated of the many mistresses of Ludovico Sforza, known as Lodovico il Moro, Duke of Milan.
She is best known as the subject of Leonardo da Vinci's painting "The Lady with an Ermine" ("circa" 1489).
While posing for the painting, she invited Leonardo, who at the time was working as court artist for Sforza, to meetings at which Milanese intellectuals discussed philosophy and other subjects.
Cecilia herself presided over these discussions. 
Sun's Java Device Test Suite (JDTS) is the "de facto" industry-standard tool for assessing the quality of Java Platform, Micro Edition (Java ME platform) implementations.
This tool performs quality testing for devices using the Java ME platform.
A feature that distinguishes the Java Device Test Suite from Technology Compatibility Kit (TCKs) is its focus on an implementation's quality instead of an implementation's specification compliance.
The Java Device Test Suite is an extensible set of test packs, a shared management facility, and a distributed test execution harness that can be used to assess the quality of any device that implements a compatible combination of the Java ME technologies, including the following:The Java Device Test Suite's tests can be divided into three main categories:  Benchmark tests compare the performance of a device with a reference standard.
Readiness tests assess a device's ability to run tests and discover the application programming interfaces (APIs) that a device supports.
General tests (divided by test packs) Tests in test packs can be divided in several group by tested subsystems:  Over-the-air (OTA) tests verify that a device can implement application life cycle operations and can communicate with a provisioning server.
Security tests verify the correct implementation model of certificates, permissions, and policies.
Network tests verify implementation of different protocols: HTTP, HTTPS, Socket, UDP, SMS, Bluetooth and so on.
Several test sets verify channel between two implementations (tests with partner).
GUI tests verify implementation graphical system for different objects  Virtual machine tests (includes JASM tests) verify implementation of the VM core.
The Java Device Test Suite has approximately 11,000 tests that can be extended with new tests written by Sun engineers or by others, including users of the test suite.
Users can choose to run any combination of tests, according to the features supported by a device and available resources, and make use of framework features:  Local application servers.
Testers can install dedicated local application servers (relays) on the computers that host their harnesses.
This configuration can be used to test devices that connect to the Relay host by a serial cable (local link).
A tester can switch a harness between a local relay and the standard shared relay.
Feature-based test selection and reporting – Tests are alternatively grouped by their correspondence to important device features, such as multimedia MP3 playback, for example.
A user can easily select all tests that exercise this feature, and, after a test run, a user can easily see how many tests related to MP3 playback failed.
Relevance (configuration based) filtering.
Tests that are not applicable for execution according to current device configuration (device template)are automatically filtered out of the test run.
Test selection and reporting by failure severity.
When testing time is limited, subsets of tests can be selected based on their importance.
Test failures can be similarly analyzed by test importance.
Multiple configurable emulators.
Users can add device emulators and switch them between normal and debug modes.
Results Database Services – Storage for test results with history data, and web-based UI for querying and reporting results  Device-specific Template Generation.
Readiness tests automatically discover device capabilities and user can generate configuration templates based on readiness results  Bluetooth Data Transfer Channel.
Device can send test logs and results by Bluetooth  Test Run Automator – A test automation tool to allow for running interactive tests without user intervention, a stand alone tool stores user actions and device responses, then repeats them automatically and compares results.
Custom Test Libraries – Allows developers to inject a private Java library into the test bundle.
Template Manager – A tool that helps to organize templates in hierarchies and perform synchronization of updated values from parent to children.
Portable Templates can be easily exchanged between different JDTS systems.  
While unproven, Crivelli has long been presumed to be the subject of Leonardo da Vinci's painting "La belle ferronnière", which is displayed in the Louvre.
The rationale for the Crivelli identification has been primarily based on da Vinci's earlier depiction of Cecilia Gallerani, in his painting, "Lady with an Ermine".
Gallerani had been an earlier mistress of Sforza.
In a 2011 exhibition at the National Gallery, London entitled, "Leonardo Da Vinci: Painter at the Court of Milan" (9 November 2011 – 5 February 2012), the gallery listed the painting as a possible portrait of Beatrice d'Este, wife of Ludovico Sforza, rather than his mistress, Crivelli.