<P> Leonardo da Vinci (baptised Leonardo di ser Piero da Vinci) (pronunciation (help info)), (April 15, 1452--May 2, 1519) was one of the leading artists of the High Renaissance . Fifteen works 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 . </P> <P> The small number of surviving paintings is due in part to da Vinci'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 . </P> <Table> <Tr> <Th> Image (sort by size of the original) </Th> <Th> Details (sort by title) </Th> <Th> Attribution status and notes </Th> <Th> Dating (sort by earliest) </Th> </Tr> <Tr> <Td> 7004212660000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Annunciation <Dl> <Dd> The Annunciation </Dd> <Dd> Oil and tempera on poplar panel </Dd> <Dd> 98 × 217 cm </Dd> </Dl> <Dl> <Dd> Florence, Uffizi </Dd> </Dl> </Td> <Td> 7000200000000000000 ♠ <Dl> <Dd> Generally accepted </Dd> <Dd> 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 . </Dd> </Dl> </Td> <Td> 7000100000000000000 ♠ <Dl> <Dd> c. 1473--4 (Kemp 2011) </Dd> <Dd> c. 1472--6 (Syson 2011) </Dd> <Dd> c. 1473--5 (Zöllner 2011) </Dd> <Dd> c. 1472--5, probably 1473--4 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7004267270000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Baptism of Christ <Dl> <Dd> The Baptism of Christ </Dd> <Dd> Oil and tempera on poplar panel </Dd> <Dd> 177 × 151 cm </Dd> <Dd> Florence, Uffizi </Dd> </Dl> </Td> <Td> 7000400000000000000 ♠ <Dl> <Dd> Verrocchio and Leonardo </Dd> <Dd> 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 . </Dd> </Dl> </Td> <Td> 7000400000000000000 ♠ <Dl> <Dd> c. 1476 (Kemp 2011) </Dd> <Dd> c. 1470--2 and c. 1475 (Zöllner 2011) </Dd> <Dd> c. 1469--72 by Verrocchio, then resumed by Leonardo perhaps mid-1470s (Covi 2005, p. 186) </Dd> <Dd> probably 1475--8 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7003294500000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Madonna of the Carnation <Dl> <Dd> Madonna of the Carnation </Dd> <Dd> Tempera (?) and oil on poplar panel </Dd> <Dd> 62 × 47.5 cm </Dd> <Dd> Munich, Alte Pinakothek </Dd> </Dl> </Td> <Td> 7000400000000000000 ♠ <Dl> <Dd> Generally accepted </Dd> <Dd> It is generally accepted as a Leonardo, but has some overpainting possibly by a Flemish artist . </Dd> </Dl> </Td> <Td> 7000300000000000000 ♠ <Dl> <Dd> c. 1475--6 (Kemp 2011) </Dd> <Dd> c. 1477--8 (Syson 2011) </Dd> <Dd> c. 1472--8 (?) (Zöllner 2011) </Dd> <Dd> between 1473 and 1478 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7003142400000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Ginevra de' Benci <Dl> <Dd> Ginevra de' Benci </Dd> <Dd> Oil and tempera on poplar panel </Dd> <Dd> 38.8 × 36.7 cm, 15.3 × 14.4 in </Dd> <Dd> Washington, D.C., National Gallery of Art </Dd> </Dl> </Td> <Td> 7000300000000000000 ♠ <Dl> <Dd> Generally accepted </Dd> <Dd> 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 . </Dd> </Dl> </Td> <Td> 7000200000000000000 ♠ <Dl> <Dd> c. 1476--8 (Kemp 2011) </Dd> <Dd> c. 1474 / 1478 (Syson 2011) </Dd> <Dd> c. 1478--80 (Zöllner 2011) </Dd> <Dd> c. 1474 / 1475--6 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7003163400000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Benois Madonna <Dl> <Dd> Benois Madonna </Dd> <Dd> Oil on wood panel, transferred to canvas </Dd> <Dd> 49.5 × 33 cm </Dd> <Dd> St Petersburg, Hermitage </Dd> </Dl> </Td> <Td> 7000400000000000000 ♠ <Dl> <Dd> Generally accepted </Dd> <Dd> Most critics believe that it coincides with a Madonna mentioned by Leonardo in 1478 . </Dd> </Dl> </Td> <Td> 7000500000000000000 ♠ <Dl> <Dd> c. 1479--80 (Kemp 2011) </Dd> <Dd> c. 1481 onwards (Syson 2011) </Dd> <Dd> c. 1478--80 (Zöllner 2011) </Dd> <Dd> probably after March 1481 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7004600000000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Adoration of the Magi <Dl> <Dd> The Adoration of the Magi (unfinished) </Dd> <Dd> Oil (underpainting) on wood panel </Dd> <Dd> 240 × 250 cm, 96 × 97 in </Dd> <Dd> Florence, Uffizi </Dd> </Dl> </Td> <Td> 7000100000000000000 ♠ <Dl> <Dd> Universally accepted </Dd> </Dl> </Td> <Td> 7000600000000000000 ♠ <Dl> <Dd> c. 1479--81 (Kemp 2011) </Dd> <Dd> c. 1480--2 (Syson 2011) </Dd> <Dd> 1481 / 2 (Zöllner 2011) </Dd> <Dd> 1481 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7003772500000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> S. Jerome in the Wilderness <Dl> <Dd> St. Jerome in the Wilderness (unfinished) </Dd> <Dd> Tempera and oil on walnut panel </Dd> <Dd> 103 × 75 cm, 41 × 30 in </Dd> <Dd> Vatican Museums </Dd> </Dl> </Td> <Td> 7000100000000000000 ♠ <Dl> <Dd> Universally accepted </Dd> </Dl> </Td> <Td> 7000700000000000000 ♠ <Dl> <Dd> c. 1480--2 (Kemp 2011) </Dd> <Dd> c. 1488--90 (Syson 2011) </Dd> <Dd> c. 1480--2 (Zöllner 2011) </Dd> <Dd> probably c. 1480 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7003138600000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Madonna Litta <Dl> <Dd> Madonna Litta </Dd> <Dd> Tempera (and oil?) on poplar panel </Dd> <Dd> 42 × 33 cm </Dd> <Dd> St Petersburg, Hermitage </Dd> </Dl> </Td> <Td> 7000700000000000000 ♠ <Dl> <Dd> Leonardo and another artist? </Dd> </Dl> </Td> <Td> 7000800000000000000 ♠ <Dl> <Dd> c. 1481--97 (Kemp 2011) </Dd> <Dd> c. 1491--5 (Syson 2011) </Dd> <Dd> c. 1490 (Zöllner 2011) </Dd> <Dd> not in checklist of Marani 2000 </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7004242780000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Virgin of the Rocks <Dl> <Dd> Virgin of the Rocks </Dd> <Dd> (Louvre version) </Dd> <Dd> Oil on wood panel, transferred to canvas </Dd> <Dd> 199 × 122 cm, 78.3 × 48.0 in </Dd> <Dd> Paris, Louvre </Dd> </Dl> </Td> <Td> 7000100000000000000 ♠ <Dl> <Dd> Universally accepted </Dd> <Dd> Considered by most historians to be the earlier of the two versions . </Dd> </Dl> </Td> <Td> 7000900000000000000 ♠ <Dl> <Dd> 1483--c. 1490 (Kemp 2011) </Dd> <Dd> 1483--c. 1485 (Syson 2011) </Dd> <Dd> 1483--1484 / 5 (Zöllner 2011) </Dd> <Dd> between 1483 and 1486 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7003144000000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Portrait of a Musician <Dl> <Dd> Portrait of a Musician (unfinished) </Dd> <Dd> Tempera and oil on walnut (?) panel </Dd> <Dd> 45 × 32 cm </Dd> <Dd> Milan, Pinacoteca Ambrosiana </Dd> </Dl> </Td> <Td> 7000600000000000000 ♠ <Dl> <Dd> Generally accepted </Dd> </Dl> </Td> <Td> 7001100000000000000 ♠ <Dl> <Dd> c. 1485 (Kemp 2011) </Dd> <Dd> c. 1486--7 (Syson 2011) </Dd> <Dd> c. 1485 (Zöllner 2011) </Dd> <Dd> probably c. 1485 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7003210600000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Lady with an Ermine <Dl> <Dd> Lady with an Ermine </Dd> <Dd> Oil on walnut panel </Dd> <Dd> 54 × 39 cm </Dd> <Dd> Kraków, National Museum </Dd> </Dl> </Td> <Td> 7000300000000000000 ♠ <Dl> <Dd> Generally accepted </Dd> <Dd> 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 . </Dd> </Dl> </Td> <Td> 7001110000000000000 ♠ <Dl> <Dd> c. 1490 (Kemp 2011) </Dd> <Dd> c. 1489--90 (Syson 2011) </Dd> <Dd> 1489 / 1490 (Zöllner 2011) </Dd> <Dd> 1489--90 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7004227400000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Virgin of the Rocks <Dl> <Dd> Virgin of the Rocks </Dd> <Dd> (London version) </Dd> <Dd> Oil on parqueted poplar panel </Dd> <Dd> 189.5 × 120 cm, 74.6 × 47.25 in </Dd> <Dd> London, National Gallery </Dd> </Dl> </Td> <Td> 7000400000000000000 ♠ <Dl> <Dd> Generally accepted </Dd> <Dd> 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 . </Dd> </Dl> </Td> <Td> 7001120000000000000 ♠ <Dl> <Dd> c. 1495--1508 (Kemp 2011) </Dd> <Dd> c. 1491 / 2--9 and 1506--8 (Syson 2011) </Dd> <Dd> c. 1495--9 and 1506--8 (Zöllner 2011) </Dd> <Dd> 1491 / 1494, finished by 1508 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7005404800000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Last Supper <Dl> <Dd> The Last Supper </Dd> <Dd> Tempera on gesso, pitch and mastic </Dd> <Dd> 460 × 880 cm, 181 × 346 in </Dd> <Dd> Milan, Convent of Santa Maria delle Grazie </Dd> </Dl> </Td> <Td> 7000100000000000000 ♠ <Dl> <Dd> Universally accepted </Dd> <Dd> On 9 February 1498 Luca Pacioli described the mural as being complete . </Dd> </Dl> </Td> <Td> 7001130000000000000 ♠ <Dl> <Dd> c. 1495--8 (Kemp 2011) </Dd> <Dd> 1492--7 / 8 (Syson 2011) </Dd> <Dd> c. 1495--8 (Zöllner 2011) </Dd> <Dd> between 1494 and 1498 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7003272800000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Belle ferronnière <Dl> <Dd> La belle ferronnière </Dd> <Dd> Oil on walnut panel </Dd> <Dd> 62 × 44 cm </Dd> <Dd> Paris, Louvre </Dd> </Dl> </Td> <Td> 7000600000000000000 ♠ <Dl> <Dd> Generally accepted </Dd> </Dl> </Td> <Td> 7001140000000000000 ♠ <Dl> <Dd> c. 1496--7 (Kemp 2011) </Dd> <Dd> c. 1493--4 (Syson 2011) </Dd> <Dd> c. 1496--7 (Zöllner 2011) </Dd> <Dd> c. 1490--5 or 1495--6 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7005500000000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Sala delle Asse <Dl> <Dd> Sala delle Asse </Dd> <Dd> Tempera on plaster </Dd> <Dd> Milan, Castello Sforzesco </Dd> </Dl> </Td> <Td> 7000100000000000000 ♠ <Dl> <Dd> Universally accepted </Dd> <Dd> 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 . </Dd> </Dl> </Td> <Td> 7001150000000000000 ♠ <Dl> <Dd> c. 1498--9 (Kemp 2011) </Dd> <Dd> c. 1498 (Syson 2011) </Dd> <Dd> c. 1498--9 (Zöllner 2011) </Dd> <Dd> c. 1497--8 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7004149100000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Virgin and Child with St Anne and St John the Baptist <Dl> <Dd> The Virgin and Child with St Anne and St John the Baptist </Dd> <Dd> Charcoal, black and white chalk on tinted paper, mounted on canvas </Dd> <Dd> 142 × 105 cm, 55.7 × 41.2 in </Dd> <Dd> London, National Gallery </Dd> </Dl> </Td> <Td> 7000100000000000000 ♠ <Dl> <Dd> Universally accepted </Dd> </Dl> </Td> <Td> 7001160000000000000 ♠ <Dl> <Dd> c. 1499--1500 (Syson 2011) </Dd> <Dd> 1499--1500 or c. 1508 (?) (Zöllner 2011) </Dd> <Dd> c. 1506--8 (Chapman & Faietti 2010) </Dd> <Dd> c. 1508 (Kemp 2006) </Dd> <Dd> Italian scholars: c. 1501--5; Pedretti and Anglo - Saxon scholars: 1506--8, but Wassermann: 1499 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7003289800000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Portrait of Isabella d'Este <Dl> <Dd> Portrait of Isabella d'Este </Dd> <Dd> Black and red chalk, yellow pastel chalk on paper </Dd> <Dd> 61 × 46.5 cm </Dd> <Dd> Paris, Louvre </Dd> </Dl> </Td> <Td> 7000100000000000000 ♠ <Dl> <Dd> Universally accepted </Dd> </Dl> </Td> <Td> 7001170000000000000 ♠ <Dl> <Dd> c. 1499--1500 (Syson 2011) </Dd> <Dd> December 1499--March 1500 (?) (Zöllner 2011) </Dd> <Dd> end of 1499 / early 1500 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7003179952000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Madonna of the Yarnwinder <Dl> <Dd> The Madonna of the Yarnwinder </Dd> <Dd> (The Buccleuch Madonna) </Dd> <Dd> Oil on walnut panel </Dd> <Dd> 48.9 × 36.8 cm </Dd> <Dd> Edinburgh, Scottish National Gallery (on long - term loan from the Buccleuch collection) </Dd> </Dl> </Td> <Td> <Dl> <Dd> Leonardo and another artist? </Dd> <Dd> 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 . </Dd> </Dl> <Dl> <Dd> The use of walnut wood suggests the earlier terminus post quem of 1499, as Leonardo's Milanese paintings are on this support . </Dd> </Dl> </Td> <Td> 7001180000000000000 ♠ <Dl> <Dd> c. 1501--7 (Kemp 2011) </Dd> <Dd> c. 1499 onwards (Syson 2011) </Dd> <Dd> 1501--7 (Zöllner 2011) </Dd> <Dd> no date in Marani 2000 </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7003182728000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Madonna of the Yarnwinder <Dl> <Dd> The Madonna of the Yarnwinder (The Lansdowne Madonna) </Dd> <Dd> Oil on wood panel (transferred to canvas and later re-laid on panel) </Dd> <Dd> 50.2 × 36.4 cm </Dd> <Dd> United States, private collection </Dd> </Dl> </Td> <Td> <Dl> <Dd> Underdrawing by Leonardo? </Dd> </Dl> </Td> <Td> 7001180000000000000 ♠ <Dl> <Dd> c. 1501--7 (Kemp 2011) </Dd> <Dd> c. 1501--7 (?) (Zöllner 2011) </Dd> <Dd> no date in Marani 2000 </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7004188160000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Virgin and Child with St. Anne <Dl> <Dd> The Virgin and Child with St. Anne </Dd> <Dd> Oil on wood panel </Dd> <Dd> 168 × 112 cm, 66.1 × 44.1 in </Dd> <Dd> Paris, Louvre </Dd> </Dl> </Td> <Td> 7000100000000000000 ♠ <Dl> <Dd> Universally accepted </Dd> </Dl> </Td> <Td> 7001190000000000000 ♠ <Dl> <Dd> c. 1508--17 (Kemp 2011) </Dd> <Dd> c. 1501 onwards (Syson 2011) </Dd> <Dd> c. 1510--3 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7003407000000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Mona Lisa <Dl> <Dd> Mona Lisa </Dd> <Dd> Oil on cottonwood (poplar) panel </Dd> <Dd> 76.8 × 53.0 cm, 30.2 × 20.9 in </Dd> <Dd> Paris, Louvre </Dd> </Dl> </Td> <Td> 7000100000000000000 ♠ <Dl> <Dd> Universally accepted </Dd> </Dl> </Td> <Td> 7001200000000000000 ♠ <Dl> <Dd> c. 1503--16 (Kemp 2011) </Dd> <Dd> c. 1502 onwards (Syson 2011) </Dd> <Dd> 1503--6 and later (1510?) (Zöllner 2011) </Dd> <Dd> probably begun c. 1503--4, finished by 1513--4 (Marani 2000) </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7003297824000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Salvator Mundi <Dl> <Dd> Salvator Mundi </Dd> <Dd> Oil on wood panel </Dd> <Dd> 65.6 x 45.4 cm (25.8 × 17.9 in) </Dd> </Dl> </Td> <Td> 7000400000000000000 ♠ <Dl> <Dd> Generally Accepted, but disputed by several specialists </Dd> <Dd> 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 . </Dd> </Dl> </Td> <Td> 7001180000000000000 ♠ <Dl> <Dd> c. 1504--7 (Kemp 2011) </Dd> <Dd> c. 1499 onwards (Syson 2011) </Dd> <Dd> c. 1495--7? (Marani 2000, when thought lost </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7002518000000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> Head of a Woman <Dl> <Dd> Head of a Woman </Dd> <Dd> (La Scapigliata) </Dd> <Dd> Earth, amber and white lead on wood panel </Dd> <Dd> 24.7 × 21 cm </Dd> <Dd> Parma, Galleria Nazionale </Dd> </Dl> </Td> <Td> 7000100000000000000 ♠ <Dl> <Dd> Generally accepted </Dd> </Dl> </Td> <Td> 7001200000000000000 ♠ <Dl> <Dd> c. 1508 (Marani 2000) </Dd> <Dd> not in checklist of Kemp 2011 or Zöllner 2011 </Dd> </Dl> </Td> </Tr> <Tr> <Td> 7003393300000000000 ♠ <Ul> <Li> </Li> </Ul> </Td> <Td> St. John the Baptist <Dl> <Dd> St. John the Baptist </Dd> <Dd> Oil on walnut panel </Dd> <Dd> 69 × 57 cm, 27.2 × 22.4 in </Dd> <Dd> Paris, Louvre </Dd> </Dl> </Td> <Td> 7000400000000000000 ♠ <Dl> <Dd> Generally accepted </Dd> <Dd> The "Anonimo Gaddiano" wrote that Leonardo painted a St. John . This is generally considered Leonardo's last masterpiece . </Dd> </Dl> </Td> <Td> 7001210000000000000 ♠ <Dl> <Dd> c. 1508--16 (Kemp 2011) </Dd> <Dd> c. 1508--16 (Zöllner 2011) </Dd> <Dd> c. 1508 (Marani 2000) </Dd> </Dl> </Td> </Tr> </Table> <Tr> <Th> Image (sort by size of the original) </Th> <Th> Details (sort by title) </Th> <Th> Attribution status and notes </Th> <Th> Dating (sort by earliest) </Th> </Tr>

The most famous paintings of leonardo da vinci
find me the text answering this question