Leonardo's main artistic undertakings in Milan were a project for a huge equestrian statue to Ludovico Sforza's father, and the wall-painting of the Last Supper in the refectory of Santa Maria delle Grazie. The fresco method of mural painting was not flexible or subtle enough for the slow-working Leonardo, so he adopted an experimental technique that quickly caused the picture to deteriorate disastrously. It has been many times restored, but although it is only a shadow of Leonardo's original creation it still retains some of the immense authority that has made it the most revered painting in the world.

Preview	Picture Data	Info
	Portrait of a Musician 1490 Oil on panel, 43 x 31 cm Pinacoteca Ambrosiana, Milan
	La belle Ferronière c. 1490 Oil on panel, 63 x 45 cm Musée du Louvre, Paris
	Madonna Litta c. 1490-91 Tempera on canvas, transferred from panel, 42 x 33 cm The Hermitage, St. Petersburg
	Madonna Litta (detail) c. 1490-91 Tempera on canvas, transferred from panel The Hermitage, St. Petersburg
	The Refectory with the Last Supper after restoration 1498 Photo Convent of Santa Maria delle Grazie, Milan
	The Last Supper 1498 Mixed technique, 460 x 880 cm Convent of Santa Maria delle Grazie, Milan
	The Last Supper 1498 Mixed technique, 460 x 880 cm Convent of Santa Maria delle Grazie, Milan
	The Last Supper 1498 Mixed technique, 460 x 880 cm Convent of Santa Maria delle Grazie, Milan
	The Last Supper (detail) 1498 Mixed technique Convent of Santa Maria delle Grazie, Milan
	Ceiling decoration 1496-98 Fresco and tempera Sala delle Asse, Castello Sforzesco, Milan
	Ceiling decoration 1496-98 Fresco and tempera Sala delle Asse, Castello Sforzesco, Milan