The book is arranged in four main sections. The first consists of extracts from the famous Italian art-historian, Vasari's almost contemporary life of Leonardo, translated into Swedish and freely commented upon and greatly expanded by Dr. Sirén. Many illustrations are given showing Leonardo's extraordinary knowledge of mechanics, engineering, architecture, fortification, anatomy, etc. Dr. Sirén finally demolishes one of our pet illusions, i. e., that Leonardo died in the arms of Francis I of France, by showing that King Francis was at St. Germain-en-Laye, attending the birth of a son, at the moment when Leonardo was breathing his last at Cloux in Touraine. It appears this was one of Vasari's occasional "decorations of the truth" for the sake of picturesqueness. Another myth was that Leonardo prostrated himself at the feet of the church at his last hour with tears and cries of repentance for the independence of thought for which he had consistently stood. In this connexion it is noteworthy that he studiously avoided introducing halos or nimbuses round the figures in his religious pictures! Neither is there more than one example of the cross in any of his undoubted works, and that may have been added by another hand afterwards. His object was plainly to accentuate the simple human and natural side in everything that he touched. Even the head of the Christ in The Last Supper has no radiance; the Teacher is painted just as he might have been seen by ordinary vision. The distinction of Leonardo's sacred figures depends upon the superior beauty and majesty of expression and bearing. This was a very daring innovation on Leonardo's part.
The second portion of Dr. Sirén's learned volume treats of Leonardo's pictures and sculptures in more detail; his scientific work is sufficiently dealt with in the earlier part of the volume, for after all, his fame depends mainly upon his standing as an artist. Special chapters are devoted, respectively, to the work of his youth: The Adoration of the Magi, the Madonna among the Rocks, The Last Supper, The Battle of the Standard, Leda and the Swan, John the Baptist, St. Anne, and his studies for equestrian statues, etc.
Dr. Sirén strongly accentuates the fact that Leonardo's leading motive was Movement. While he rivaled Michel Angelo in form, Titian and Giorgione in color, and Raphael in composition, his greatest efforts were concentrated upon the true rendering of life and action. His brilliant effects of light and shade, for which he was particularly noted, were skilfully used to emphasize the impression of vital energy which he felt to be the principal object of the true painter's art.
Dr. Sirén has most carefully weighed the evidence concerning the rival claims of the two or three replicas of the Virgin among the Rocks, one of which is in London and the others in Paris and Copenhagen, and he conclusively establishes the authenticity of the one in the Louvre, Paris. That one, the famous Vierge aux Rochers, is by far the most satisfactory in composition, and the faces and figures of the children are much more beautiful than those of the others. The one in the National Gallery, London, is by Ambrogio Preda, who was a close imitator of Leonardo. The figures have nimbuses in that one, but not in Leonardo's. Dr. Sirén illustrates his argument with a large number of plates.
With respect to The Last Supper at Milan, it is satisfactory to learn that Professor Cavenaghi, who has just finished a long and extremely careful scientific examination of the work, has proved that it is far better preserved than was believed. It turns out that very little indeed has been repainted; the heads are quite untouched, and though greatly damaged and obscured in places, we really are able to look at the actual work of the master. This has been a great surprise to the artistic world.
The third part of the book deals with Leonardo's personality, and several good portraits of him are given. It is to be regretted that there is not one surviving that was taken when he was young, for it is related of him that he was almost divinely beautiful. In his old age his countenance is very impressive. Dr. Sirén discusses the moot question of Leonardo's alleged visit to Oriental countries, and he throws the weight of his opinion in favor of the journey. Certainly it is difficult to see how Leonardo could have given such accurate descriptions unless he had been to the places and undergone certain experiences. There are many gaps in his life which are yet unfilled by reliable evidence. When one reflects upon the extraordinary character and knowledge of the great man it seems not unlikely that he spent some time in the East receiving instruction which it was impossible to get in Europe.
The fourth part consists of a translation into Swedish of his Treatise on Painting, and it gives, as Dr. Sirén says:
a glimpse of a section through a soul-life filled with all that is possible or thinkable for a human being, of observation of nature, of experience of the world, of search for truth, and passion for beauty. One lays the treatise down with the grateful and humble feeling that one has stood before one of the greatest of our race, has met his eye and heard him speak.
We may learn almost more about him from this work and from his sketches than from his pictures, for as Dr. Sirén says: