But Leonardo was to do no great work in France, for in truth he was growing old. His health had failed, and although he was still a dandy and court favourite, setting the fashion in clothing and in the cut of hair and beard, he was no longer the brilliant, active Leonardo. Bernard Berensen, has written of him: "Painting ... was to Leonardo so little of a preoccupation that we must regard it as merely a mode of expression used at moments by a man of universal genius." By which Berensen means us to understand that Leonardo was so brilliant a student and inventor, so versatile, that art was a mere pastime. "No, let us not join in the reproaches made to Leonardo for having painted so little; because he had so much more to do than to paint, he has left all of us heirs to one or two of the supremest works of art ever created." Another author writes that "in Leonardo da Vinci every talent was combined in one man." Leonardo was the third person of the wonderful trinity of Florentine painters, Raphael and Michael Angelo being the other two. He knew so much that he never doubted his own powers, but when he died, after three years in France, he left little behind him, and that little he had ever declared to be unfinished--the "Mona Lisa" and the "Last Supper." He died in the Château de Cloux, at Amboise, and it is said that "sore wept the king when he heard that Leonardo was dead." In Milan, near the Cathedral, there stands a monument to his memory, and about it are placed the statues of his pupils. To this day he is wonderful among the great men of the world. PLATE--THE LAST SUPPER This, as we have said, is in the former convent of Santa Maria delle Grazie, in Milan. It was the first painted story of this legendary event in which natural and spontaneous action on the part of all the company was presented. To-day the picture is nearly ruined by smoke, time, and alterations in the place, for a great door lintel has been cut into the picture. Leonardo used the words of the Christ: "Verily, I say unto you that one of you shall betray me," as the starting point for this painting. It is after the utterance of these words that we see each of the disciples questioning horrified, frightened, anxious, listening, angered--all these emotions being expressed by the face or gestures of the hands or pose of the figures. It is a most wonderful picture and it seems as if the limit of genius was to be found in it. The company is gathered in a half-dark hall, the heads outlined against the evening light that comes through the windows at the back. We look into a room and seem to behold the greatest tragedy of legendary history: treachery and sorrow and consternation brought to Jesus of Nazareth and his comrades.