• The man
• The artist
• The restorer

Leonetto Tintori's first significant assignment was dated 1933 as a day-labourer boy at Prato's Dome during restoration works of Filippo Lippi's frescoes.

Encouraged to continue his studies, he came into contact with Florence's Soprintendenza which commissioned him some restoration works of minor painters in Arezzo and Cortona.

In 1943 he saved the Filippino Lippi's Tabernacle at Canto del Mercatale in Prato, bombed by the allied air forces. At that time he met members of New York University and Harvard, who were to help him, even economically, many times in his scientific researches.

In 1947-49 he restored Giotto's Peruzzi and Bardi Chapels' frescoes in Santa Croce in Florence.

In 1948-50 he was the Director of the restoration works of "Trionfo della morte" in Pisa's Monumental Cemetery (which was bombed by the allied, causing a grat fire and the collapse of the building's roof).

In 1956-60 he was in Naples, where he contributed to the arrangement of Capodimonte's Museum. At that time he restored the Masaccio's Crucifix and some Simone Martini's works.

In 1957-61 he directed restoration works of Giotto's Scrovegni Chapel's frescoes in Padua.

In 1960-63 he was in Arezzo, in S. Francesco Church, where he worked on Piero della Francesca's "Storie della Vera Croce" cycle.

In 1965 he restored a whole cycle of Paolo Veronese's frescoes in San Sebastiano church in Venice. His intervention after the 1966 Florence flood was important and authoritative.
"The receding water had left heaps of muddy objects. Planks, canvas and sculptures, already restored and ready to reach their destination, lay devastated in the mud..."

He made countless working trips abroad: "Of course I wasn't alone. Elena never backed out, not even in view of unconfortable situations, she rather encouraged me not to miss interesting opportunities".

In 1964 he was in Mexico to study Bonampak temple's Maya paintings and to restore Riviera and Orozco's modern paintings.