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It is being lauded as the exhibition of the century. 

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London's National Gallery is making history this week as it opens the most comprehensive display of Leonardo da Vinci works ever seen.

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Each night this week, we'll be bringing you special reports on this major coup for the art world. 

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Tonight, Nick Glass begins our coverage with a rare look at the centerpiece of the show, 

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a long-lost da Vinci known as a "Salvator Mundi."

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Is this the most thrilling art discovery of our time? 

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A Leonardo painting of Jesus Christ, the first discovered Leonardo to be accepted by scholars in over a century.

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This is the art historical equivalent of a gold medal, and like many gold medalists, they don't repeat their achievements, 

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and I don't... I'm not expecting to, either.

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Five hundred years ago, when Leonardo painted his Christ, Manhattan was little more than forest and wetland. Of course, it's changed a little since then. 

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And it's where, two months ago at a secret location, we were privileged to be among the first to see the painting.

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We were also extremely lucky to see the painting before it was covered by glass. 

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Jesus Christ looks directly back at us and beyond us. 

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Like the few others who'd seen him, we felt he had a spiritual presence.

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And he'd been transformed. This is how he looked in a black-and-white photograph from the early 1900s.

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In his research, Robert Simon, who's well-connected in the art world, discovered that the image had been very popular during and after Leonardo. 

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He tracked down some 20 versions of varying quality, evidently copies of a masterwork. 

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But what was intriguing about this painting was that the artist had done something copyists don't do. He changed his mind about the detail.

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The word in Italian is pentimento, a change of heart.

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There was a kind of a crucial moment, and that was when a pentimento was discovered. 

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And it really had to do with, at this spot here, this thumb. The artist had originally positioned the thumb at a different angle.

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The art dealer wrestled with his thoughts.

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In this kind of internal dialectic, an argument with oneself, really understanding the reason for it, is that Leonardo painted it. 

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And it was a very frightening moment, actually. 

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The presence of the pentimento was for me, really the very convincing bit of physical evidence that was indeed the autograph painting.

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This was the moment when hopes increased dramatically. 

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In 2008, the painting was taken to the National Gallery in London, and a group of Leonardo specialists gave their blessing.

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You have academic scholars from Italy, from Oxford... 

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Yes.

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... standing in front of what we now know to be a discovered Leonardo. What was said? How did they react?

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Well, they... seriously, if they had the kind of eureka moment, they...  I think each kept it to himself. 

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It had the... , you know, perhaps the tenor of a group of specialist surgeons around a patient. 

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So, I don't think... and perhaps with the patient in the middle of the room, one didn't want to say too much.
