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Leonardo 500

This volume represents an important tool for getting to know every aspect of Leonardo’s work; his pictorical tecnique, his scientific and technological investigation, his study on anatomy, his Codices, and every suggestion produced by his genius.
All works and paintings are accompanied by descriptive and technical sheets. Besides, ample space has been given to images and details, to the updated report on his most controversial works, to those of recent critical acceptance, and to the masterpieces that have animated the
international debate as The Encarnate Angel, the Salvator Mundi, and La Bella Principessa (Portrait of Bianca Sforza).
The narrative captions reveal the most curious aspects of the history of each painting. Thanks to the direct contribution of collectors and museums the photographic reproductions of paintings and works reflect the last restorations.


  • Editor’s Note
  • Introduction
  • The Dreyfus Madonna (1469-72)
  • Profile of a Warrior in Helmet (ca. 1472)
  • Madonna of the Carnation or Madonna with Vase (1472-78)
  • The Arno Valley Landscape (1473)
  • Baptism of Christ (1473-78)
  • The Annunciation – Uffizi (1473-78)
  • Study of hands (ca. 1475)
  • Portrait of Ginevra de’ Benci (ca. 1475)
  • Study for the Head of Madonna (1475-80)
  • The Annunciation – Louvre (1478?)
  • Benois Madonna or Madonna and Child with Flowers (1478-80)
  • Study of the Madonna and Child with a Cat (1478-81)
  • Blown up winch, hydraulic and submarine ingenuities, Archimedes screw (1478-87)
  • St. Jerome in the Wilderness (1480-82)
  • Adoration of the Magi (1481-82)
  • Apocryphal letter of self-expression to Ludovico il Moro (1482)
  • Studies for defensive tools and firearms (ca. 1482)
  • The Virgin of the Rocks – Paris and London (1483-86; 1495-1508)
  • Portrait of a Musician (1485-90)
  • Repertory of Weaponry (ca. 1487)
  • Architectural and urban designs for the ideal city (ca. 1487)
  • Lady with an Ermine (or Portrait of Cecilia Gallerani) (1487-90)
  • La Belle Ferronnière (Lucrezia Crivelli?) (1490-95)
  • Madonna Litta (or Madonna nursing her Child) (ca. 1490)
  • Vitruvian Man (or Study of the proportions of the human figure) (ca. 1490)
  • Anatomical studies (ca.1490 -1510)
  • Studies for perpetual motion (ca.1493)
  • Study for the merger of the Sforza monument (ca. 1493)
  • The Christ Child (ca. 1495)
  • Circular winch (ca. 1495)
  • The Portrait of Bianca Sforza: The Beautiful Princess (1496)
  • The Last Supper (1495-98)
  • Sala delle Asse (ca. 1498)
  • Duodecedron abscisus elevatus solidus (ca. 1498)
  • Salvator Mundi (1498-1507)
  • Memorandum Ligny (ca. 1500)
  • Portrait of Isabella d’Este – Louvre (1499-1500)
  • Portrait of Isabella d’Este (1500?)
  • Madonna of the Yarnwinder (or Madonna of the Spindles) (ca. 1501)
  • Map of Tuscany (1502-03)
  • Study of Screaming Heads for The Battle of Anghiari (1503-05)
  • La Gioconda (or Portrait of Mona Lisa) (1503-1515)
  • Study for Leda and the Swan (ca. 1505)
  • Head of a Woman (1505-1508)
  • The Virgin and Child with St Anne and St John the Baptist (1505-1508?)
  • The Virgin and Child with Saint Anne (ca. 1510-13)
  • Saint John the Baptist (with apocryphal attributes of Bacchus) (1510-18)
  • Saint John the Baptist (1513-17)
  • Angel Incarnate (ca. 1514-16)
  • Lost works
  • The Codices: where they are
  • His life in brief
  • Bibliography

Technical Features

  • Size cm 24 x 32,2
  • Pages 304
  • Images 160 (for the most part full-page and double-page)
  • Language English/French
  • Hardcover with dustjacket printed in four-colors process on 170 gr/mq
    matt coated paper
  • Endpapers not printed on Fedrigoni Aquerello Avorio 160 gr/mq


Fabio Scaletti
A writer, a scholar of Renaissance art, and an expert on the attributional themes, he is the author of several publications in magazines and volumes. A Caravaggio specialist, he later extended his research to the great masters of the Italian Renaissance, with particular attention to the news of the debate among critics, experts and researchers on the most celebrated works of art history and on the new investigations and discoveries.

With an Essay by

Martin Kemp
Emeritus Professor of History of Art at the Oxford University and Member of the British Academy. He has curated several exhibitions dedicated to the work of Leonardo of whom he is one of the greatest international scholar. He has published several books and essays translated all over the world, and he has carried out the most extensive research on the painting called by himself “La Bella Principessa” byLeonardo.


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