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Other attributions are more complicated. La Scapigliata appears to be attributed by most scholars, but some prominent specialists are silent on the issue. Salvator Mundi 's attribution remains extremely controversial, though it can be attributed somewhat securely in part to Leonardo, as the dispute primarily centers around whether Leonardo created the majority of the work, or merely assisted a member of his studio. The small number of surviving paintings is due in part to Leonardo's frequently disastrous experimentation with new techniques and his chronic procrastination, resulting in many incomplete works. Additionally, it is thought that Leonardo created many more works that are now lost, though records and copies have survived for some. Full, and somewhat different, translation under the heading Drafts of Letters to Lodovico il Moro (1340-1345). 1340. in The Notebooks of Leonardo Da Vinci, volume 2, translated by Jean Paul Richter, 1888, https://archive.org/stream/thenotebooksofle04999gut/8ldv210.txt Disputed Generally considered to be a workshop copy of a drawing. [2] According to Kemp, it may have been begun by Leonardo as a figure of John the Baptist. [102]

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Messer Lunardo Vinci [ sic] ... an old graybeard of more than 70 years ... showed His Excellency three pictures ... fand a drawingand, one could not expect any more good work." [36]But even before he tells me, I know why Syson was so excited about Salvator Mundi: because its intense stark image of Christ fitted the almost mystical Leonardo his exhibition set out to show. Syson wanted to focus on his religious paintings rather than his materialist notebooks, to “rescue him from pure science”. For Leonardo is not only the most celebrated artist of all time, he was also one of the first scientists to dissect bodies to learn anatomy, studied bird flight to imitate it with his own flying machine and even collected and correctly understood fossils. Some find his scientific notes even more exciting than his art. So you can see why Salvator Mundi seemed like a gift from heaven for Syson: proof he believed, after all. “What is he saying here?” wonders Syson. “That I can see the face of Christ – and I can make it present. His Christ has that sort of otherworldly, extraworldly presence.” Abbott, Elizabeth (2001). History of Celibacy. James Clark & Co. p.341. ISBN 0-7188-3006-7. To minimize or deny his homosexual orientation, he probably opted for the safety device of chastity

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Widely accepted Martin Kemp claims that the National Gallery, London, exhibited the Madonna Litta on loan from the Hermitage as an autograph work, even though the gallery's own curators believed it to be by a pupil, Giovanni Antonio Boltraffio. [8] Pedretti, Carlo (1987). Leonardo Da Vinci: Drawings of Horses and Other Animals from the Royal Library at Windsor Castle. New York, New York: Johnson Reprint Corp. ISBN 978-0384452824. What the Louvre's scientific examinations of the Salvator Mundi really revealed—according to the museum's own book". www.theartnewspaper.com. 13 April 2021 . Retrieved 2021-04-13. It really is a tragedy’ … restorer Dianne Modestini in a scene from The Lost Leonardo. Photograph: Adam Jandrup/AP Paris Manuscript G". Universal Leonardo. University of the Arts, London . Retrieved 3 November 2012.Ottino della Chiesa, Angela (1967). The Complete Paintings of Leonardo da Vinci. Translated by Jay, Madeline. New York: Harry N. Abrams. p.83. Who Really Painted 'Salvator Mundi'? An Oxford Art Historian Says It Was Leonardo's Assistant | artnet News". artnet News. 2018-08-07 . Retrieved 2018-08-13. Descriptions and portraits of Leonardo combine to create an image of a man who was tall for his time and place, athletic and extremely handsome. He was 5ft 8 inches/1.73 metres, based on the length of his purported skeleton. [59] However, the remains, which were attributed to Leonardo due to the unusually large skull and accompanying stone fragments inscribed "EO [...] DUS VINC", have not yet been positively identified. [60] Portraits indicate that as an older man, he wore his hair long, at a time when most men wore it cropped short, or reaching to the shoulders. While most men were shaven or wore close-cropped beards, Leonardo's beard flowed over his chest.