قائمة أعمال ليوناردو دا ڤنشي

The Last Supper is Leonardo da Vinci's most famous work of religious art.

Leonardo da Vinci (baptised Leonardo di ser Piero da Vinci pronunciation ; April 15, 1452 – May 2, 1519) was one of the leading artists of the High Renaissance. Fifteen artworks are generally attributed either in whole or in large part to him. Most are paintings on panel, with the remainder being a mural, a large drawing on paper, and two works in the early stages of preparation. The authorship of several paintings traditionally attributed to Leonardo is disputed. Two major works are known only as copies. Works are regularly attributed to Leonardo with varying degrees of credibility. None of Leonardo's paintings are signed. The attributions here draw on the opinions of various scholars.

The small number of surviving paintings is due in part to Leonardo's frequently disastrous experimentation with new techniques and his chronic procrastination. Nevertheless, these few works together with his notebooks, which contain drawings, scientific diagrams, and his thoughts on the nature of painting, comprise a contribution to later generations of artists rivalled only by that of his contemporary, Michelangelo.

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 الأعمال الكبرى المتواجدة

Image (sort by size of the original)	Details (sort by title)	Attribution status and notes	Dating (sort by earliest)
&0000000000021266000000	Annunciation The Annunciation Oil and tempera on poplar panel 98 × 217 cm Florence, Uffizi	&0000000000000002000000 Generally accepted Generally thought to be the earliest extant work by Leonardo. The work was traditionally attributed to Verrocchio until 1869. It is now almost universally attributed to Leonardo. Attribution proposed by Liphart, accepted by Bode, Lubke, Muller-Walde, Berenson, Clark, Goldscheider and others.	&0000000000000001000000 1473–4ح. 1473–4 (Kemp 2011) 1472–6ح. 1472–6 (Syson 2011) 1473–5ح. 1473–5 (Zöllner 2011) 1472–5ح. 1472–5, probably 1473–4 (Marani 2000)
&0000000000026727000000	Baptism of Christ The Baptism of Christ Oil and tempera on poplar panel 177 × 151 cm Florence, Uffizi	&0000000000000004000000 Verrocchio and Leonardo Painted by Andrea del Verrocchio, with the angel on the left-hand side by Leonardo. It is generally considered that Leonardo also painted much of the background landscape and the torso of Christ. One of Leonardo's earliest extant works. Vasari's statement that the angel on the left is by Leonardo is confirmed by studies by Bode, Seidlitz and Guthman, and accepted by McCurdy, Wasserman and others.	&0000000000000004000000 1476ح. 1476 (Kemp 2011) 1470–2ح. 1470–2 and 1475ح. 1475 (Zöllner 2011) 1469–72ح. 1469–72 by Verrocchio, then resumed by Leonardo perhaps mid-1470s (Covi 2005, p. 186) probably 1475–8 (Marani 2000)
&0000000000002945000000	Madonna of the Carnation Madonna of the Carnation Tempera (?) and oil on poplar panel 62 × 47.5 cm Munich, Alte Pinakothek	&0000000000000004000000 Generally accepted It is generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist.	&0000000000000003000000 1475–6ح. 1475–6 (Kemp 2011) 1477–8ح. 1477–8 (Syson 2011) 1472–8 (?)ح. 1472–8 (?) (Zöllner 2011) between 1473 and 1478 (Marani 2000)
&0000000000001424000000	Ginevra de' Benci Ginevra de' Benci Oil and tempera on poplar panel 38.8 × 36.7 cm, 15.3 × 14.4 in Washington, D.C., National Gallery of Art	&0000000000000003000000 Generally accepted The work was proposed as a Leonardo by Waagen in 1866, and supported by Bode. Early 20th-century scholars were vociferous in their disagreement, but most current critics accept both the authorship and the identity of the sitter.	&0000000000000002000000 1476–8ح. 1476–8 (Kemp 2011) 1474 / 1478ح. 1474 / 1478 (Syson 2011) 1478–80ح. 1478–80 (Zöllner 2011) 1474ح. 1474 / 1475–6 (Marani 2000)
&0000000000001634000000	Benois Madonna Benois Madonna Oil on wood panel, transferred to canvas 49.5 × 33 cm St Petersburg, Hermitage	&0000000000000004000000 Generally accepted Most critics believe that it coincides with a Madonna mentioned by Leonardo in 1478.	&0000000000000005000000 1479–80ح. 1479–80 (Kemp 2011) 1481 onwardsح. 1481 onwards (Syson 2011) 1478–80ح. 1478–80 (Zöllner 2011) probably after March 1481 (Marani 2000)
&0000000000060000000000	Adoration of the Magi The Adoration of the Magi (unfinished) Oil (underpainting) on wood panel 240 × 250 cm, 96 × 97 in Florence, Uffizi	&0000000000000001000000 Universally accepted Forensic and scientific analysis by M. Seracini now proves that the paint was not applied by da Vinci, but considerably later, so that only the sketch can be "universally accepted" (see M. Henneberger https://www.nytimes.com/2002/04/21/magazine/the-leonardo-cover-up.html. Archives | 2002, The New York Times Magazine, 21 April 2002, "The Leonardo Cover-Up"). Carlo Pedretti, the greatest da Vinci scholar states that the results are unambiguous: "From what he showed me ... it's clear that Leonardo's original sketch was gone over by an anonymous painter." Pedretti adds that he was surprised, though not disappointed, that the news was finally getting out - "it's extremely important and should be said because it has to be clarified."	&0000000000000006000000 1479–81ح. 1479–81 (Kemp 2011) 1480–2ح. 1480–2 (Syson 2011) 1481/2 (Zöllner 2011) 1481 (Marani 2000)
&0000000000007725000000	S. Jerome in the Wilderness Saint Jerome in the Wilderness (unfinished) Tempera and oil on walnut panel 103 × 75 cm, 41 × 30 in Vatican Museums	&0000000000000001000000 Universally accepted	&0000000000000007000000 1480–2ح. 1480–2 (Kemp 2011) 1488–90ح. 1488–90 (Syson 2011) 1480–2ح. 1480–2 (Zöllner 2011) probably 1480ح. 1480 (Marani 2000)
&0000000000001386000000	Madonna Litta Madonna Litta Tempera (and oil?) on poplar panel 42 × 33 cm St Petersburg, Hermitage	&0000000000000007000000 Generally accepted Martin Kemp claims that the Gallery exhibited the Madonna Litta, on loan from the State Hermitage Museum in St. Petersburg, as an autograph work, even though the National Gallery’s own curators believed it to be by a pupil, Boltraffio.	&0000000000000008000000 1481–97ح. 1481–97 (Kemp 2011) 1491–5ح. 1491–5 (Syson 2011) 1490ح. 1490 (Zöllner 2011) not in checklist of Marani 2000
&0000000000024278000000	Virgin of the Rocks Virgin of the Rocks (Louvre version) Oil on wood panel, transferred to canvas 199 × 122 cm, 78.3 × 48.0 in Paris, Louvre	&0000000000000001000000 Universally accepted Considered by most historians to be the earlier of the two versions.	&0000000000000009000000 1483–1490ح. 1490 (Kemp 2011) 1483–1485ح. 1485 (Syson 2011) 1483–1484/5 (Zöllner 2011) between 1483 and 1486 (Marani 2000)
&0000000000001440000000	Portrait of a Musician Portrait of a Musician (unfinished) Tempera and oil on walnut (?) panel 45 × 32 cm Milan, Pinacoteca Ambrosiana	&0000000000000006000000 Generally accepted	&0000000000000010000000 1485ح. 1485 (Kemp 2011) 1486–7ح. 1486–7 (Syson 2011) 1485ح. 1485 (Zöllner 2011) probably 1485ح. 1485 (Marani 2000)
&0000000000002106000000	Lady with an Ermine Lady with an Ermine Oil on walnut panel 54 × 39 cm Kraków, National Museum	&0000000000000003000000 Generally accepted First published as a Leonardo in 1889 and subject to wide disagreement, but now generally accepted. The attribution of the Ginevra de' Benci has supported the attribution of this painting. The subject has been identified as Cecilia Gallerani.	&0000000000000011000000 1490ح. 1490 (Kemp 2011) 1489–90ح. 1489–90 (Syson 2011) 1489/1490 (Zöllner 2011) 1489–90 (Marani 2000)
&0000000000022740000000	Virgin of the Rocks Virgin of the Rocks (London version) Oil on parqueted poplar panel 189.5 × 120 cm, 74.6 × 47.25 in London, National Gallery	&0000000000000004000000 Generally accepted Generally accepted as postdating the version in the Louvre, with collaboration of Ambrogio de Predis' and perhaps others. Some consider the work of Leonardo's workshop under his direction. The date is not universally agreed.	&0000000000000012000000 1495–1508ح. 1495–1508 (Kemp 2011) 1491/2–9 and 1506–8ح. 1491/2–9 and 1506–8 (Syson 2011) 1495–9 and 1506–8ح. 1495–9 and 1506–8 (Zöllner 2011) 1491 / 1494, finished by 1508 (Marani 2000)
&0000000000404800000000	Last Supper The Last Supper Tempera on gesso, pitch and mastic 460 × 880 cm, 181 × 346 in Milan, Convent of Santa Maria delle Grazie	&0000000000000001000000 Universally accepted On 9 February 1498 Luca Pacioli described the mural as being complete.	&0000000000000013000000 1495–8ح. 1495–8 (Kemp 2011) 1492–7/8 (Syson 2011) 1495–8ح. 1495–8 (Zöllner 2011) between 1494 and 1498 (Marani 2000)
&0000000000002728000000	Belle ferronnière La belle ferronnière Oil on walnut panel 62 × 44 cm Paris, Louvre	&0000000000000006000000 Generally accepted	&0000000000000014000000 1496–7ح. 1496–7 (Kemp 2011) 1493–4ح. 1493–4 (Syson 2011) 1496–7ح. 1496–7 (Zöllner 2011) 1490–5ح. 1490–5 or 1495–6 (Marani 2000)
&0000000000500000000000	Sala delle Asse Sala delle Asse Tempera on plaster Milan, Castello Sforzesco	&0000000000000001000000 Universally accepted Two fragments of Leonardo’s decorative scheme for this room were rediscovered in the late 19th century; they were covered over as they were thought not to be by his hand and were rediscovered again in 1954.	&0000000000000015000000 1498–9ح. 1498–9 (Kemp 2011) 1498ح. 1498 (Syson 2011) 1498–9ح. 1498–9 (Zöllner 2011) 1497–8ح. 1497–8 (Marani 2000)
&0000000000014910000000	Virgin and Child with St Anne and St John the Baptist The Virgin and Child with St Anne and St John the Baptist Charcoal, black and white chalk on tinted paper, mounted on canvas 142 × 105 cm, 55.7 × 41.2 in London, National Gallery	&0000000000000001000000 Universally accepted	&0000000000000016000000 1499–1500ح. 1499–1500 (Syson 2011) 1499–1500 or 1508 (?)ح. 1508 (?) (Zöllner 2011) 1506–8ح. 1506–8 (Chapman & Faietti 2010) 1508ح. 1508 (Kemp 2006) Italian scholars: 1501–5ح. 1501–5; Pedretti and Anglo-Saxon scholars: 1506–8, but Wassermann: 1499 (Marani 2000)
&0000000000002898000000	Portrait of Isabella d'Este Portrait of Isabella d'Este Black and red chalk, yellow pastel chalk on paper 61 × 46.5 cm Paris, Louvre	&0000000000000001000000 Universally accepted	&0000000000000017000000 1499–1500ح. 1499–1500 (Syson 2011) December 1499 – March 1500 (?) (Zöllner 2011) end of 1499 / early 1500 (Marani 2000)
&0000000000001799519999	Madonna of the Yarnwinder The Madonna of the Yarnwinder (The Buccleuch Madonna) Oil on walnut panel 48.9 × 36.8 cm Edinburgh, Scottish National Gallery (on long-term loan from the Buccleuch collection)	Leonardo and another artist? Leonardo was documented as working on a painting of this subject in Florence in 1501; it appears to have been delivered to its patron in 1507. This and the Lansdowne Madonna are the most likely candidates for being that work, but neither is considered to be wholly autograph. Scientific examination has revealed "strikingly complex and similar" underdrawings in both versions, suggesting that Leonardo was involved in the making of both. The use of walnut wood suggests the earlier terminus post quem of 1499, as Leonardo's Milanese paintings are on this support.	&0000000000000018000000 1501–7ح. 1501–7 (Kemp 2011) 1499 onwardsح. 1499 onwards (Syson 2011) 1501–7 (Zöllner 2011) no date in Marani 2000
&0000000000001827279999	Madonna of the Yarnwinder The Madonna of the Yarnwinder (The Lansdowne Madonna) Oil on wood panel (transferred to canvas and later re-laid on panel) 50.2 × 36.4 cm United States, private collection	Underdrawing by Leonardo?	&0000000000000018000000 1501–7ح. 1501–7 (Kemp 2011) 1501–7 (?)ح. 1501–7 (?) (Zöllner 2011) no date in Marani 2000
&0000000000018816000000	Virgin and Child with St. Anne The Virgin and Child with St. Anne Oil on wood panel 168 × 112 cm, 66.1 × 44.1 in Paris, Louvre	&0000000000000001000000 Universally accepted	&0000000000000019000000 1508–17ح. 1508–17 (Kemp 2011) 1501 onwardsح. 1501 onwards (Syson 2011) 1510–3ح. 1510–3 (Marani 2000)
&0000000000004070000000	Mona Lisa Mona Lisa Oil on cottonwood (poplar) panel 76.8 × 53.0 cm, 30.2 × 20.9 in Paris, Louvre	&0000000000000001000000 Universally accepted	&0000000000000020000000 1503–16ح. 1503–16 (Kemp 2011) 1502 onwardsح. 1502 onwards (Syson 2011) 1503–6 and later (1510?) (Zöllner 2011) probably begun 1503–4ح. 1503–4, finished by 1513–4 (Marani 2000)
&0000000000002978239999	Salvator Mundi Salvator Mundi Oil on wood panel 65.6 x 45.4 cm (25.8 × 17.9 in)	&0000000000000004000000 Generally accepted, but disputed by several specialists Previously presumed to be a later copy of the lost original painting. Purchased in 2005 and restored, it has gained acceptance as Leonardo's original. Pentimenti (changes to the composition) were found in the thumb of Christ's right hand and elsewhere which are indicators of the painting's status as an "original". The painting set a new record for sale price (US$450 million) when auctioned by Christie's in 2017. Matthew Landrus thinks the record-breaking work was painted primarily by Leonardo’s assistant, Bernardino Luini.	&0000000000000018000000 1504–7ح. 1504–7 (Kemp 2011) 1499 onwardsح. 1499 onwards (Syson 2011) 1495–7ح. 1495–7? (Marani 2000, when thought lost
&0000000000000518000000	Head of a Woman Head of a Woman (La Scapigliata) Earth, amber and white lead on wood panel 24.7 × 21 cm Parma, Galleria Nazionale	&0000000000000001000000 Generally accepted	&0000000000000020000000 1508ح. 1508 (Marani 2000) not in checklist of Kemp 2011 or Zöllner 2011
&0000000000003933000000	St. John the Baptist St. John the Baptist Oil on walnut panel 69 × 57 cm, 27.2 × 22.4 in Paris, Louvre	&0000000000000004000000 Generally accepted The "Anonimo Gaddiano" wrote that Leonardo painted a St. John. This is generally considered Leonardo's last masterpiece.	&0000000000000021000000 1508–16ح. 1508–16 (Kemp 2011) 1508–16ح. 1508–16 (Zöllner 2011) 1508ح. 1508 (Marani 2000)

 نسب متنازَع عليه

الصورة	التفاصيل	ملاحظات	تأريخ
	Tobias and the Angel Egg tempera on poplar 83.6 × 66 cm London, National Gallery	A painting by Verrocchio while Leonardo was in his workshop. Martin Kemp suggests that Leonardo may have painted some part of this work, most likely the fish. David Alan Brown, of the National Gallery in Washington, attributes the painting of the dog to him as well.	1473ح. 1473 (Kemp 2011) no date in Marani 2000, but accepted by him
&0000000000000201000000	&0000000000000003000000 The Dreyfus Madonna Oil on panel 15.7 × 12.8 cm, 6.13 × 5 in Washington, D.C., National Gallery of Art	&0000000000000007000000 Previously attributed to Verrocchio or Lorenzo di Credi. The anatomy of the Christ Child is so poor as to discourage firm attribution by most critics while some believe that it is a work of Leonardo's youth. This attribution was made by Suida in 1929. Other art historians such as Shearman and Morelli attribute the work to Verrocchio. Daniel Arasse discusses this painting as a youthful work in Leonardo da Vinci, (1997).	probably 1469ح. 1469 (Marani 2000)
&0000000000020355000000	&0000000000000022000000 Bacchus Oil on walnut panel transferred to canvas 177 × 115 cm Paris, Louvre	&0000000000000007000000 Disputed Generally considered to be a workshop copy of a drawing.	1513–16ح. 1513–16 (Kemp 2011) 1510–5ح. 1510–5, later repainted and altered (Marani 2000)
	The Holy Infants Embracing	Several versions in private collections.	1486–1490ح. 1486–1490
	Portrait of a Lady in Profile Milan, Pinacoteca Ambrosiana	Generally attributed to Ambrogio de Predis. The face is thought to show the hand of Leonardo.	1493–5ح. 1493–5
	Portrait of a Young Fiancée (La Bella Principessa) Bodycolour (pastel) on vellum 33 × 22 cm Switzerland, Private collection	Identified as a Leonardo by Martin Kemp on stylistic grounds, and confirmed using the evidence of a fingerprint. Other experts have not agreed with this attribution. As of 2010 the methods used to analyse the fingerprint have come into question. The presence of holes in the page shows it was once part of the Sforziade a manuscript kept in Warsaw, this fact points to its originality. Shaun Greenalgh claims he faked the “masterpiece” La Bella Principessa, basing it on a woman called Sally on the tills at the Co-op in Bolton.
	Portrait of a man in red chalk Red chalk on Paper 33.3 cm × 21.6 cm (13.1 in × 8.5 in) Biblioteca Reale, Turin	Accepted by some scholars, but not universally accepted.
	Lucan Portrait of Leonardo da Vinci tempera grassa on poplar 40 cm × 60 cm Museo delle Antiche Genti di Lucania, Vaglio Basilicata	A painting discovered in 2008 near Naples, that closely resembles the Uffizi 17th century copy of the "Self portrait of Leonardo da Vinci", is currently undergoing restoration and investigation. Generally rejected as a Leonardo original, but it has been validated by scholars like Peter Hohenstatt (University of Parma), Alessandro Tomei (University of Chieti-Pescara), Jan Royt (University of Prague), David Bershad (University of Calgary) and Orest Kormashov (University of Tallinn).[بحاجة لمصدر]	1505-1510ح. 1505-1510

 أعمال مفقودة

التفاصيل	ملاحظات	الصورة
Dragon shield	A juvenile work described by Giorgio Vasari, who said it was sold by Ser Piero da Vinci to merchants, who then sold it on to the Duke of Milan.
Adam and Eve Watercolour cartoon for a tapestry	Described in great detail by Vasari and the "Anonimo Gaddiano". Painted for the King of Portugal, it was in the collection of Ottaviano de' Medici in Vasari's lifetime. The composition might have inspired a drawing by Francesco di Giorgio Martini in the Christ Church Picture Gallery, Oxford.
Medusa Oil on panel	A juvenile work described by Vasari.
San Bernardo Altarpiece Oil on panel	A commission for the chapel in Palazzo della Signoria, Florence, allocated to Leonardo on 10 January 1478 but never completed. The commission had originally been given to Piero del Pollaiolo on 24 December 1477; its reallocation might have been arranged by Leonardo's father, who was a notary to the Signoria. After Leonardo's failure to fulfill the commission it was given to Domenico Ghirlandaio on 20 May 1483, but he did not complete the work either. It is sometimes mistakenly said that a Virgin and Child with Saints in the Uffizi by Filippino Lippi was the work finally delivered to the chapel, but this was painted for the Sala dei Dugento (council hall) of the palace.
The Battle of Anghiari Commissioned 4 May 1504	Peter Paul Rubens, copy of Leonardo's The Battle of Anghiari (pictured). Black chalk, pen and ink heightened with lead white, over-painted with watercolour, 54.2 x 63.7 cm. Musée du Louvre. The remains of Leonardo's fresco may have been discovered in the Hall of the Five Hundred (Salone dei Cinquecento) in the Palazzo Vecchio, Florence.
Leda and the Swan 1504–8ح. 1504–8	Recorded by Cassiano dal Pozzo as being at Château de Fontainebleau in 1625. There are nine known copies of the painting, including: Cesare da Sesto, Leda and the Swan (pictured). Oil on wood, 69.5 x 73.7 cm. Wilton House, Wiltshire, United Kingdom. Anonymous, possibly Il Sodoma, Leda and the Swan. Tempera on wood, 115 x 86 cm. Galleria Borghese, Rome, Italy. Francesco Melzi, Leda and the Swan. Uffizi, Florence, Italy. Anonymous, possibly Fernando Yáñez de la Almedina, Leda and the Swan. Oil on panel, 51 5/8 x 30 inches (131.1 x 76.2 cm). Philadelphia Museum of Art, USA (previously at John G. Johnson Collection, 1917). Giampietrino, Leda and the Swan, from the collection of the Marquis of Hastings. Giampietrino, Venus and Cupid, private collection, Milan. Venus and Cupid, 16th century, Oil on panel, New Orleans Museum of Art, USA.
Angel of the Annunciation 1510–3ح. 1510–3	The painting is described by Vasari. A drawing survives among studies for the Battle of Anghiari (see below). The drawing at right, known as The Incarnate Angel is a satirical copy, perhaps by Salaì, in the Kunstmuseum Basel. There are some extant copies of the subject by Leonardeschi, including: Workshop of Leonardo da Vinci? Angel of the Annunciation, c. 1505–13? Oil on canvas (transferred from panel), 66 × 47.3 cm, Hermitage, St. Petersburg. Workshop of Leonardo da Vinci? St John the Baptist, c. 1508–13? Panel, 71 × 52 cm, Kunstmuseum Basel. Workshop of Leonardo da Vinci? St John the Baptist, c. 1508–13? Oil on panel, 75 × 53.4 cm, Ashmolean Museum, Oxford. Baccio Bandinelli. Annunciate Angel. Sketch after Leonardo da Vinci.

 منسوبات مؤخراً

الصورة	التفاصيل	وضع النسب
	Virgin of the Rocks Cheramy Virgin of the Rocks Cheramy Oil on wood panel, transferred to canvas. 154,5 × 122 cm; Switzerland, Private Collection, formerly Paris, Chéramy Collection	Recently the subject of a new book (2017) and attributed to Leonardo and workshop by Professor Carlo Pedretti. Previously incorrectly attributed only to his student Giampetrino. Mentioned by Jean-Auguste-Dominique Ingres in 1845 and by Pierre Puvis de Chavannes, who were both convinced that it was a Leonardo original. According to the world's top Leonardo expert Carlo Pedretti, the so-called Cheramy Madonna "is wholly similar to the one in the Louvre" (see http://www.italymagazine.com/italy/marche/virgin-rocks-smash-hit, Italy Magazine, "Virgin of the rocks a smash hit," 9 November, 2005). Pedretti says the work - only recently recovered from another private collection - shows "clear signs" of the master's hand at work just four years before his death. Following detailed restoration of the work, Pedretti is convinced that it is an original Leonardo (Leonardo da Vinci : the "Virgin of the rocks" in the Cheramy version : its history & critical fortune, by Carlo Pedretti and Sara Taglialagamba, 2017). 1495–7ح. 1495–7 (PEDRETTI) 1495–7ح. 1495–7 (MARANI 1991)
	Madonna and Child with St Joseph or Adoration of the Christ Child Tempera on panel Diameter 87 cm Rome, Galleria Borghese	Previously attributed to Fra Bartolomeo. After recent cleaning, the Borghese Gallery sought attribution as a work of Leonardo's youth, based on the presence of a fingerprint similar to one that appears in The Lady with an Ermine. Result of investigation not available.
	Mary Magdalene Switzerland, private collection	Described as a potential Leonardo by Carlo Pedretti. Previously regarded as the work of Giampietrino who painted a number of similar Magdalenes. Carlo Pedretti's attribution of this painting is not accepted by other scholars, e.g. Carlo Bertelli, (former director of the Brera Art Gallery in Milan), who said this painting is not by Leonardo and that the subject could be a Lucretia with the knife removed.
	Christ Carrying the Cross c. 1500 Oil on poplar San Francisco, private collection	Previously attributed by Sotheby's to Gian Francesco Maineri. Attributed to Leonardo by its former owner. Attribution based on the similarity of the tormentors of Christ to drawings made by Rubens of the Battle of Anghiari. According to Forbes Magazine, Leonardo expert Carlo Pedretti said that he knew of three similar paintings and that "All four paintings, he believed, were likely the work of Leonardo's studio assistants and perhaps even the master himself."
	Lucan Portrait of Leonardo Vaglio Basilicata, Museo delle Antiche Genti di Lucania	Discovered in 2008 in a private collection and identified as a self-portrait by Peter Hohenstatt and others. A date in the late 15th or 16th century has been confirmed by scientific testing. Fingerprints match those found on the Lady with an Ermine. Alternately attributed to Cristofano dell'Altissimo.
	Isleworth Mona Lisa Switzerland, private collection	Its proponents claim that this is the earlier of two versions of the Mona Lisa, painted for Francesco del Giocondo (husband of Lisa) in 1503, and that the Louvre version was painted for Giuliano de' Medici in 1517.
	Horse and Rider c. 1508 Private collection, London	Fragmentary wax statuette in a private collection in London, formerly in the Sangiorgi Collection in Rome, said to have come from the Melzi estate at Vaprio d’Adda. Described as “by Leonardo himself” by Professor Carlo Pedretti, in 1985. The attribution of the sculpture to da Vinci has been criticized by various art historians and publications, citing a lack of hard evidence, a signature, or documentation. 1506–8ح. 1506–8 (PEDRETTI 1985) 1506–8ح. 1506–8 (MOFFATT 2005) 1508–11ح. 1508–11 (SOLARI 2016)

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 المخطوطات

الصورة	العنوان	التواريخ	الصفحات	ملاحظات	الموقع
	Codex Atlanticus	1478–1519	1,119	12 volumes, collated by the sculptor Pompeo Leoni.	Milan, Pinacoteca Ambrosiana
	Codex Windsor	1478–1518	153		Windsor, Royal Collection
	Codex Arundel	1480–1518	283		London, British Library
	Codex Trivulzianus	c. 1487–90	55 (originally 62)		Milan, Biblioteca Trivulziana, Castello Sforzesco
	Codex Forster	1487–1505	354	Five pocket notebooks bound into three volumes, here listed in chronological order. I.2 (Milan, 1487–90ح. 1487–90): Discusses hydraulic engineering, the moving and raising of water and perpetual motion. III (Milan, 1490–3ح. 1490–3: Notes on geometry, weights and hydraulics interspersed with sketches of horses’ legs, what might be designs for ball costumes and a description of the anatomy of the human head. II.1 (Milan, 1495ح. 1495): Notes on the theory of proportions and other miscellaneous material. II.2 (Milan, 1495–7): Notes on the theory of weights, traction, stresses and balances. I.1 (Florence, 1505): Notes on the measurement of solid bodies and on topology.	London, Victoria and Albert Museum
Paris Manuscript B Folio 80r. A flying machine.	Paris Manuscripts	1488–1505	more than 2500	12 volumes labeled from "A" to "M", here listed in chronological order. B (1488–90; 84 folios): Notebook including designs for flying machines (including the “helicopter”), a submarine, centrally-planned churches and war machines. C (1490−1; 28 folios. One section missing.) Treatise on light and shade; also discusses flow of water and percussion. A (1492ح. 1492): Fragment of a larger MS which included the Codex Ashburnham II. Subjects covered include painting, perspective, water and mechanics. H (1493–4; 142 folios): Three pocket notebooks bound together. Discusses Euclidean geometry and the design of drawing materials. M (late 1490s–1500; 48 folios): A pocket notebook on geometry, ballistics and botany. L (1497–1502; 94 folios): A notebook on military engineering, used by Leonardo when he was in the employ of Cesare Borgia. K (1503–8; 128 folios): Three pocket notebooks, mainly on geometry. I (1497–1505; 139 folios): Two pocket notebooks with notes on geometry, architecture, Latin, perspective and proportions for painters. D (1508–9; 10 folios with 20 drawings): Discusses theories of vision. F (1508–13; 96 folios): Discusses water, optics, geology and astronomy. E (1513–4; originally 96 folios): Discusses weights and the effects of gravity, an invention for draining the Pontine Marshes, geometry, painting and the flight of birds. G (1510–5; 93 folios): Primarily discusses botany.	Paris, Bibliothèque de l’Institut de France
	Codex Madrid	1490s–1504		Two volumes, rediscovered in 1966. I (1490s): Mainly concerned with the science of mechanisms. II (1503–4): Miscellaneous drawings, including maps of the Arno relating to the project to divert its course and notes and drawings relating to the casting of the Sforza monument.	Madrid, Biblioteca Nacional de España
Folio 93v. Designs for a centrally planned church	Codex Ashburnham	1492ح. 1492		Two volumes, taken out of Paris Manuscripts A and B and sold to the Earl of Ashburnham, who returned them to Paris in 1890.	Paris, Bibliothèque de l’Institut de France
	Codex on the Flight of Birds	dated 1505	18	Originally part of Paris Manuscript B; probably stolen by Count Guglielmo Libri in around 1840–7.	Turin, Biblioteca Reale
	Codex Leicester	1506–1510	72		United States, private collection
	Codex Urbinas	c. 1530		An anthology of writings by Leonardo compiled after his death by his pupil Francesco Melzi. An abridged version was published in 1651 as a treatise on painting (Trattato della Pittura).	Vatican City, Biblioteca Apostolica Vaticana

 المراجع

مصادر لوضع النسب

الذِكر

ببليوگرافيا

• Bambach, Carmen C., ed (2003). Leonardo da Vinci: Master Draftsman. New Haven and London: Yale University Press. 
• Chapman, Hugo; Faietti, Marzia (2010). Fra Angelico to Leonardo: Italian Renaissance Drawings. London: British Museum Press. ISBN 978-0-7141-2667-8. 
• Covi, Dario A. (2005). Andrea del Verrocchio: Life and Work. Arte e archeologia: Studi e documenti. Florence: Leo S. Olschki Editore. 
• Delieuvin, Vincent, ed. (2012). Saint Anne: Leonardo da Vinci’s Ultimate Masterpiece. Milan: Officina Libraria. {{cite book}}: Invalid |ref=harv (help)
• Kemp, Martin (2006). Leonardo da Vinci: The Marvellous Works of Nature and Man. Oxford: Oxford University Press. ISBN 978-0-1992-0778-7. 
• Kemp, Martin (2011). Leonardo: Revised edition. Oxford: Oxford University Press. 
• Marani, Pietro C. (2000). Leonardo da Vinci: The Complete Paintings. New York: Harry N. Abrams, Inc.. 
• Rubin, Patricia Lee; Wright, Alison (1999). Renaissance Florence: The Art of the 1470s. London: National Gallery Publications. 
• Syson, Luke; Larry Keith; Arturo Galansino; Antoni Mazzotta; Scott Nethersole; Per Rumberg (2011). Leonardo da Vinci: Painter at the Court of Milan. London: National Gallery. 
• Zöllner, Frank (2011). Leonardo da Vinci: The Complete Paintings and Drawings. 1. Cologne: Taschen. 

Leonardo da Vinci : the "Virgin of the rocks" in the Cheramy version : its history & critical fortune, by Carlo Pedretti and Sara Taglialagamba, 2017.

 وصلات خارجية

• Leonardo da Vinci and the Virgin of the Rocks, A different point of view
• Web Gallery of Leonardo Paintings
• Drawings of Leonardo da Vinci
• Leda and the Swan copies by Leonardaschi
• Leonardo da Vinci, Master Draftsman, exhibition catalog fully online as PDF from The Metropolitan Museum of Art
• Leonardo da Vinci: anatomical drawings from the Royal Library, Windsor Castle, exhibition catalog fully online as PDF from The Metropolitan Museum of Art
• The Codex Arundel on the British Library's Digitised Manuscripts Website