The Story
Introduction
May 2019 saw the 500th anniversary of Leonardo’s death yet he is still celebrated as one of the greatest geniuses that ever lived. His anatomical research and inventions, supported by the most intricate drawings were centuries ahead of their time.
Controversy has always surrounded the Mona Lisa. Research has now revealed many alterations to the original, the most notable being the overpainting of a typical headdress of the period, the form of which can be detected around Giaconda’s hair. Changes to the hands and other detail keep the scholars wondering if it is all truly the work of the Master.
What we can be sure of is that the painting was never delivered to the man who commissioned it. It was kept by Leonardo and bequeathed to his beloved 'apprentice' and close companion Salai, who had it with him at the time of his death.
So, our story attempts to explain events surrounding the creation of the masterpiece. Set against the background of Leonardo's illicit love for Salai, dates, characters and locations are as accurate as history will allow. It is, however, first and foremost a dramatic interpretation, woven around the known facts. Of necessity some characters are fictional and certain events assumed.
The Prologue is inspired by Amilcare Ponchelli’s 1876 Opera, ‘La Gioconda’, which strangely enough has no connection at all with the Mona Lisa. This itself was loosely based on the 1835 play ‘Angelo, Tyran de Padoue’ by Victor Hugo.
THE PROLOGUE
- FLORENCE
1473
WHERE IT ALL BEGINS...
Our story takes place in Florence, in autumn 1503. However the extraordinary events of those few months are set in motion some thirty years before, on the day of the Regatta del Palio on the River Arno. Florence, at this time is a city ruled by fear and political intrigue. One of the five main Italian city states, it is effectively controlled by the powerful Medici family. It can be a dangerous place - state spies are everywhere, watching and listening. Bastiano, who styles himself as the ‘Grand Inquisitor’, is one of them, not nice to know and not a man to get on the wrong side of.
Today is a feast day - a public holiday - and it seems like the whole city is out to enjoy it. In the Piazza della Signoria outside the Medici Palace, Bastiano, as is his habit, is scornfully watching the crowd. When the main event of the Regatta is announced the people rush to the river and the square empties. As the crowd leaves, a young girl, Aragona Farnese, enters the Piazza with her ageing mother Giovanna, who is almost blind. The Farnese are a ‘middle class’, reputable Florentine family. However, Bastiano and Aragona have history. He has tried many times to seduce her but she will have none of it. The arrogant Bastiano won’t take no for an answer and as she approaches he yet again makes unwanted advances. They have an argument during which Aragona scratches his face. Bastiano is incensed.
The crowd start to return with some of the boatmen. Against all expectations the local favourite Zuane has lost, and no-one can understand it.
‘We were leading right up to the last bend,' he complains, 'and then suddenly we were becalmed’.
The people are restless. Bad enough to see their favourite beaten, but worse still many have lost money on the race. Bastiano, seeing a chance of revenge tells them that it was almost certainly witchcraft, and lies to implicate Aragona’s mother, suggesting that Aragona is the opposing captain's mistress.
The simmering crowd turn on the bewildered Giovanna, and ignoring Aragona’s denials they threaten to take her to the river. Fortunately a friend of the Farnese family, Lucrezia del Caccia, who is well respected in Florentine society, steps in. Climbing the Palace steps she speaks up for them and attempts to placate the angry mob.
At the height of the commotion the doors of the Palace swing open and the then de facto ‘ruler’ of Florence, Lorenzo di Medici comes out with his wife Clarice. His guards calm the crowd, and he demands to know what is going on. Clarice knows Lucrezia well and asks her to explain. Relating the story, Lucrezia defends the family and tells Lorenzo there is simply no evidence.
‘Then who accuses this woman?’ asks Lorenzo.
The finger is pointed at Zuane, who in turn blames Bastiano. The boatmen are quick to confirm Bastiano’s guilt and Aragona then tells Lorenzo of his evil intentions towards her. Bastiano, realising his scheme has badly backfired tries to sneak away, but Lorenzo orders the guards to arrest him. Lorenzo has no time for Bastiano, and promises the mob, who by now are baying for Bastiano's blood, that he will be thrown in jail and banished from Florence.
There is no question of a trial, and no appeal. Indeed, such is the power and influence of the Medici, Bastiano is lucky to escape with his life!
The crowd are appeased by this rough justice and feel that honour has somehow been satisfied.
As they disperse Aragona and Giovanna go over to thank Lucrezia for saving her life, and they make a solemn promise that her kindness will be repaid. The old lady takes a pendant that Aragona is wearing and places it round Lucrezia's neck. It is a ‘Cornicello’, a traditional Italian charm of gold and red coral that is believed to protect the wearer from the ‘evil eye’. Giovanna tells her:
‘This has been passed down through our family from mother to daughter. Now you must have it. When you have a daughter of your own give this to her, and she will be protected - as we have been.'
Naturally Lucrezia protests but the Farnese are insistent and, blessing Lucrezia, they leave. Six years later Lucrezia, now Lucrezia Gherardini, does indeed have a daughter - Lisa Gherardini, the Mona Lisa - and that seemingly simple trinket will play a crucial part in her life - and art history.
ACT ONE
- FLORENCE
Autumn 1503
THIRTY YEAR LATER...
Thirty years have passed. In the intervening years much has changed. The power of the Medici has waned and Florence now has a republican government. However it is still ruled by political intrigue and, in effect, controlled by a small number of powerful families.
Leonardo da Vinci, born the illegitimate son of a Florentine notary, and raised in the hills just outside Florence, is now in his early fifties. He enjoys an enviable reputation throughout Italy, not only as one of the leading artists of his time but also as an inventor and military engineer. His work is always in demand. Having left Florence some twenty years earlier he has spent the intervening years enhancing his fame in Milan and Venice with powerful patrons such as the Sforzas and latterly the Borgias. Now disillusioned with his work in Milan for Cesare Borgia - and unpaid - Leonardo has moved his household back to Florence. He has taken space for a studio and lodgings, filling five rooms on two floors in part of the friary of the Santissima Annunziata.
His favoured ‘apprentice’ Gian Giacomo Caprotti, known as 'Salai', has already been with him for thirteen years. Salai, meaning ‘Little Devil’ is the nickname given to him by Leonardo – probably because when he was younger he had been known to steal and cheat. It is clear that Leonardo has deep feelings for Salai. For his part, Salai, protective of his position will tease Leonardo but would never respond.
Although they would eventually become lovers, at this time Leonardo would not reveal the true nature of his love for Salai, accepting that it is ‘a love that cannot speak its name’. Homosexuality was quite common in Florence at that time, and some years earlier Leonardo himself had, with others, twice been accused of sodomy – a crime punishable by death! He was never brought to trial, possibly because of his and his father’s influence in Florentine society.
Leonardo indulges Salai perhaps more than he should. Salai likes the easy life and he spends too much (of Leonardo’s!) money on clothes and merrymaking. Leonardo is constantly urging him to be more responsible and implores him to ‘settle down’ - advice that seemingly falls on deaf ears. It comes as a surprise then to Leonardo when Salai announces that he has found 'a patron'. At that time it was widespread practice for rich families to support up-and-coming artists financially, not least as a way of atoning for their sins in a deeply religious society – but it also became a mark of one’s social standing.
Leonardo, finding it hard to believe, demands to know
who this ‘patron’ is. It is in fact none other than Aragona
Farnese. Now 46 years old she is twice Salai's age and has
married into the notable and exceedingly wealthy Orsini
family, but constantly complains that she is neglected by
her husband, Ludovico.
As a bonus, according to Salai she is ‘madly in love’ with
him, causing Leonardo to have grave doubts about the
wisdom of this arrangement. As we shall later see, his
misgivings are wholly justified.
Following a friendly visit from one of the Servite monks gently enquiring about the possibility of paying some rent, Leonardo reveals to Salai that their finances are poor and, reluctantly, he is considering taking a commission. He hates painting for money and these days would much rather be working on his scientific research and inventions. Inventions such as a primitive helicopter that Salai scoffs at!
Leonardo tells him with typical foresight: ‘Mark my words my boy, one day men will fly!’
However, needs must, and he has arranged to meet with
one of his father's clients, Francesco del Giacondo, who
is coming next day with his wife to discuss the possibility
of Leonardo painting her portrait.
His wife is Lisa Gherardini.
BASTIANO RETURNS
Bastiano has also recently come back to Florence. Having been forced to leave the area after his release the ever resourceful 'Grand Inquisitor' was able to make a new start and latterly has done well in business - but he can’t forget the wasted years in the Bargello’s jail, for which he blames Aragona. Thus he returns with the sole intention of getting his revenge.
Although thirty years have passed, technically Bastiano is still banished from the city, so he feels the need to keep a low profile. The city has many eyes and ears though, and the spy network soon learns of his return. Back in the day the young Bastiano had enjoyed a noteworthy - albeit brief - reputation as a state spy in Florence. The infamous Niccolò Machiavelli, whose job it is to keep an eye on any potential troublemakers, hears of his return and details his brother Totto to track him down and find out what he is up to.
With his intimate knowledge of the city's seamier side Totto has little trouble locating his quarry. He finds Bastiano at ‘Il Punto Nero’, a riverside inn favoured by sailors and ladies of dubious virtue, run by a couple of rascals, Iseppo and Marco, who take great pains to ensure that their 'guests' can go about their business with no questions asked. Naturally Bastiano is at first suspicious, but Totto befriends him with the tried and trusted combination of flattery and drink.
As men whose stock-in-trade is being devious they have much in common. Very soon Bastiano’s tongue is loosened and Totto learns of his quest to ruin Aragona. Having lost none of his talent for stealth, Bastiano has found out about her relationship with Salai and suspects they are having an affair. Just as soon as he has the proof he needs, he plans to denounce her to her husband.
Although Totto is contemptuous of Bastiano, it seems it would be a good idea to keep an eye on him, so he offers to help – for a small fee of course - with a warning not to do anything hasty in the meantime. Bastiano is delighted to have the support of a Machiavelli and promises to reward him well.
FIRST MEETING
The following day Francesco del Giacondo arrives at Leonardo’s studio with his wife Lisa, formerly Lisa Gherardini, as planned. Francesco is a moderately successful silk merchant twenty years older than Lisa, who is his third wife. Lisa enjoys Francesco’s modest wealth, while Francesco’s stock has improved by marrying a Gherardini – a well respected family name in Florence, where lineage matters above all.
Unaware of her tender years, Leonardo and Salai are not at all sure what Francesco’s wife will look like. Francesco is in his forties and they are expecting someone of similar age – or older! When Francesco asks Lisa to remove her veil they are both totally captivated by her youthful beauty. So much so that a relieved Leonardo almost immediately agrees that he will ‘somehow find the time’, and readily accepts the commission.
While Leonardo and Francesco leave the room to finalise the terms and confirm the agreement with a glass of wine, although Leonardo had warned him to be on his best behaviour, Salai - true to form - starts to flirt with Lisa. He is smitten and he can’t stop himself from being over familiar. He goes too far and Lisa, with false indignation, threatens to tell her husband. Salai, pleading innocence, accuses Lisa of simply misunderstanding an artist's temperament. It is a typically inauspicious start to a relationship that would come to define the rest of their lives!
Leonardo and Francesco return and, with a solemn
promise from Leonardo that they will make a start
‘within the month’, the couple leave.
Traditionally it was normal practice for a trusted apprentice like Salai to assist the Master by working on the less important detail of a painting. On this occasion though Salai wants to be more involved and, after much persuasion, Leonardo reluctantly agrees to let him do his own study of Lisa at the same time as Leonardo. It is much against his better judgement but he finds it hard to refuse Salai, who goes off to celebrate, leaving Leonardo to reflect once more on his true feelings for the boy...
As Salai leaves the studio his 'patron', Aragona, is waiting for him in the street. She chastises him for neglecting her, and he is full of apologies – and excuses. Aragona teases him with a threat to replace him.
Salai is excited by his meeting with Lisa, and thinking they are alone, is a little indiscreet. They talk openly of their liaison. Unknown to them though there is someone lurking - and listening - in the shadows. They agree to meet next day at the Inn, and they part with a brief goodbye kiss.
Unfortunately for them the hooded figure is Totto, who, true to the promise he made to Bastiano, had been following Aragona and has overheard their plans.
INTRIGUE AT THE INN
So, the following day, when Salai and Aragona keep their assignation at the Inn, Totto and Bastiano are already there. They sit inconspicuously in a corner, where they can observe the couple and overhear their conversation.
'Il Punto Nero' is a popular meeting place for sailors, and a family friend of Aragona’s, Captain Donati, is there, drinking with some of his crew. There’s a lively atmosphere with much singing and merriment, and everyone joins in.
Salai of course is a regular visitor, well known to the Captain and inn-keepers Iseppo and Marco. So the lovers feel it is safe to meet there. After a couple of drinks they start to become flirtatious and a little careless.
Bastiano is eagerly watching and listening and is now utterly convinced that his suspicions are right. He is ready to act, but Totto sensibly warns him of the dire consequences should he go to Aragona’s husband without absolute proof. He reassures Bastiano that they will soon have the evidence they need, and reluctantly Bastiano agrees to bide his time.p>
THE SITTINGS...
Some weeks later, Lisa is invited to Leonardo’s studio for the first of many sittings. This is unusual for Leonardo, who is well known for putting things off as long as he dare, and it's a telling sign of his enthusiasm to start the project. He has been developing a new technique - ‘sfumato’ - for capturing natural flesh tones and can’t wait to try it with Lisa’s young and perfect skin. Unfortunately, very soon things do not go well and there is tension in the air. Lisa is naturally quite nervous and is unsettled by Salai’s presence. She complains about many things – the chair is uncomfortable, the room is too hot - and she grumbles that there are 'just too many people in the room!' To help create a relaxed atmosphere Leonardo likes to have musicians play while he paints, but he is compelled to dismiss them at Lisa’s request.
Salai tries to amuse and impress her but she puts him down, and they start to behave like a couple of quarrelsome children. Eventually, to Salai's dismay Lisa asks Leonardo if it is absolutely necessary for him to remain. Leonardo attempts to smooth things over, and to appease Lisa tells Salai that in future he is not to speak unless she speaks to him. Lisa smiles triumphantly at Salai, who really is happy just to be there. It's an unpromising start...
However, as the weeks pass Lisa, having by now got used to the routine, becomes much more relaxed. Leonardo's painting is well under way, and Salai and Lisa are getting on well - they are of a similar age, and it is becoming obvious that there is a mutual attraction. Of course, Lisa is ever mindful that she is a respectable married woman, but her husband Francesco, being older and more concerned with his business, leaves her feeling neglected. Salai on the other hand is young, exciting, and fun to be with. It's a familiar story.
Although he knows full well it is wrong, Salai finds himself falling in love with her. One fateful day, during a sitting, Leonardo is called away on urgent business with the City Fathers. He has agreed to do a large mural in the Palazzo della Signoria, now the headquarters of the Florentine Republic, but as ever seems to be in no hurry. In fact the only reason Leonardo decided to do it was because his bitter rival, a young Michelangelo Buonarotti, is also doing one on the opposite wall! It is agreed that rather than waste the day Salai should carry on with his painting of Lisa.
Left alone, the conversation between them becomes more open – and more intimate. When Salai compliments her on her beauty Lisa wistfully admits that her husband never seems to notice. Touched by the sadness in her eyes he can contain himself no longer. While holding her hand on the pretext of adjusting her pose, he ardently reveals how deeply he feels about her.
Lisa is in a turmoil. Not being used to such amorous attention she is flattered and seduced by Salai's tender words of love. Although she tries hard not to respond the heart rules the head and passion wins the day. They kiss in a lovers embrace, until Lisa breaks away in guilt. Her heart says yes but her head says no, and in confusion she hurriedly makes to leave.
The following day is a Feast Day. A day of rest when everyone gathers at the Palazzo, where there is singing and dancing. As a flustered Lisa leaves, Salai asks if he might see her there. Without any great conviction she tells him that he certainly won't. Salai wonders if he has gone too far...
Leonardo returns for some sketches he has forgotten
and is surprised to find that Lisa has gone. Already
beginning to suspect that there is something going on
between them, he is not convinced by Salai's explanation,
and senses that there might be trouble ahead.
TROUBLE AT THE PALAZZO
Next day outside the Palazzo, the Piazza della Signoria is full of people enjoying all the festivities of a public holiday. Musicians play and there is traditional folk dancing where everyone joins in. Aragona is there - without her husband Ludovico - and Salai proudly introduces her to Leonardo. To Salai’s surprise and delight Lisa does come along, with Francesco, although she is pointedly cool with him. The atmosphere is happy and lively and everyone is intent on having a good time. Everyone, that is, except Totto Machiavelli, who has been drinking heavily and is hanging around looking for trouble.
During a pause in the music Lisa asks her husband if they might join the next dance. Francesco complains that he is 'much too old for such things' and innocently suggests that ‘young’ Salai would oblige! Aragona tries not to appear jealous, but there is tension in the air. Acutely aware of the developing relationship between Salai and Lisa, Leonardo gallantly offers to step in.
At that point, Totto, who also has designs on Lisa, spots his opportunity. He drunkenly pushes the others aside and grabs Lisa’s arm.
'Here, I'll show you how it's done!' he says.
Salai, unable to control himself, overreacts. He instinctively goes to defend her and confronts Totto. Leonardo, using his worldly wisdom, is able to make light of it all and calms Salai down. Totto skulks away while a bemused Francesco and Aragona look on.
The music ends the crowd start to disperse. Aragona is one of the last to leave and as she does she catches sight of someone standing watching her across the square. Although thirty years have passed since she last saw him there's no mistaking that cold stare.
She is horrified – it is Bastiano!
END OF ACT ONE
ACT TWO
- FLORENCE
late 1503
LEONARDO'S FEARS ARE CONFIRMED
The months have passed and the painting which will become the Mona Lisa is largely completed. Leonardo, Salai and Lisa are in the studio at the end of a long sitting. Inevitably Salai and Lisa are now lovers and it is becoming ever more difficult for them to hide their feelings when they are together. Growing increasingly concerned, Leonardo tells them that very soon Lisa won’t need to come for any more sittings. They both protest, and Salai lamely pleads that he still needs to carry on with his painting of Lisa.
Leonardo is no fool. He realises what is going on between them, and with Lisa out of the room he angrily challenges Salai, accusing him of treating her as just another conquest. To some extent Salai is a victim of his past reputation. He confesses the truth but defends his actions, swearing that this time it’s different, and he really does love Lisa. For Leonardo this is no defence. He angrily tells Salai that falling in love is no excuse when it's with someone else’s wife – and reminds him that Francesco Giacondo is a powerful man - they are playing a dangerous game!
Later, when Salai is alone with Lisa he reveals that
Leonardo knows about their affair, and tells her what has
been said. They reflect on what the future might hold,
and although Salai reassures her, she wonders if she
should end it now.
In her heart though, she knows it is already too late.
BASTIANO SHOWS HIS HAND -
MONDAY
Meanwhile Bastiano has run out of patience. With Totto as his witness he now feels confident enough to go to Aragona’s husband, Ludovico Orsini, and tell him of her relationship with Salai. His quest for revenge has become all-consuming to the point of obsession, and he has been secretly shadowing Aragona.
Urgently wanting to speak to Salai, Aragona goes to the Inn hoping to find him there. Unfortunately no one has seen him, and she is forced to leave a message with Captain Donati telling that their plans have changed, as Ludovico will return unexpectedly at the weekend.
Skulking in the shadows, a delighted Bastiano overhears the conversation, and as she leaves he can restrain himself no longer. He finally confronts her and can't stop himself from telling her what he plans to do.
Aragona is shocked. She denies it, of course, and goes on the offensive. In no uncertain terms she warns Bastiano what her husband will do to him for making such an allegation that he couldn’t possibly prove. He is totally unfazed, and defiantly responds by telling her that he has a witness - no other than Totto Machiavelli - who will willingly confirm his accusation.
At the mention of the Machiavelli name she is distraught. She breaks away and runs home in distress.
Suspecting that Aragona will try something to avoid her fate, Bastiano decides to find Totto and get him to keep an eye on her.
TOTTO HEARS EVERYTHING
Aragona is by now in a panic. The Machiavelli are very powerful and if Bastiano carries out his threat Ludovico would surely have to act to save face. Later that day she rushes to the studio to tell Salai of this turn of events, but the ever watchful Totto is following her.
Like most old buildings in Florence the Friary has many secret passages, allowing rapid escape to the street. Mostly, long forgotten - except by the likes of Salai - and Totto! He enters the Friary and hides where he can hear all that is going on in Leonardo's studio.
When Aragona arrives Salai is alone with Lisa, and hurriedly has to hide her – out of earshot! Aragona is hysterical and through her tears tells a disbelieving Salai the whole story about Bastiano and his quest for revenge. Trying to calm her down Salai’s first reaction is that they will simply deny it, but learning of the Machiavelli involvement he begins to share Aragona’s fears. She is convinced that when Bastiano tells Ludovico, they will both be dead!
Aragona decides that a drastic solution is called for - they will have to leave Florence! She has the money and tells Salai he must see Captain Donati and organise their passage down the river – before Ludovico returns at the weekend, and with absolute secrecy. Salai is horrified. The idea of leaving Florence - and Lisa - is bad enough, but to run away with Aragona... and by the weekend? Events are moving too fast even for Salai, who is a past master at getting out of such tricky situations.
Although he has absolutely no intention of going through with it, to buy some time he reluctantly agrees to go along with her plan.
From his hiding place in the secret passage Totto is delighted to hear all this and makes to go, but there is yet one more surprise in store for him. Aragona leaves, and bringing her out of hiding Salai tells Lisa that she has to go as he has urgent business. Unaware that their every word is being heard, they talk openly of their love, and foolishly Salai tells Lisa of the other portrait of her that he is working on – a nude study - the Monna Vanna.
Totto is amazed to now discover that they too are lovers! Having heard all he needs to hear, he makes his way back down the hidden passage and waits for Lisa outside. As we witnessed at the Palazzo, Totto has long had designs on Lisa, and his intentions, shall we say, are less than honourable. As she leaves he surprises her and tells her all that he has just overheard. Taking a leaf out of Bastiano’s book, he threatens to tell her husband of her affair with Salai - unless she gives herself to him!
A shocked Lisa tries in vain to deny it and angrily tells him she would never give in to him. Totto is quick to remind her of the dire consequences should he tell Francesco. With heartless benevolence he says he will give her a little time to 'think it over', then adds to her distress by telling her of Salai’s romance with Aragona.
Feeling well pleased with his day’s work Totto departs, leaving a tearful and disbelieving Lisa to ponder her fate.
SALAI'S DILEMMAS -
TUESDAY
Next morning Salai dutifully goes to the Inn to see the Captain. He’s convinced that there must be a better solution to Aragona’s problem with Bastiano, but knowing that Bastiano will definitely carry out his threat he decides to play it safe for now and tentatively make the arrangements to leave the city.
Captain Donati, being a friend of both Salai and Aragona, is understanding of their predicament. After some little discussion it is agreed that he will organise a boat for them to leave discreetly on Friday night.
Salai returns to the studio with absolutely no intention of leaving and, as he often does in times of trouble, resolves to tell Leonardo everything, in the hope that he might have an answer. When Leonardo hears about the affair with Aragona, although not totally surprised, he is angry with Salai for getting his life into yet another unseemly mess. He is annoyed with himself too for not realising what was going on and acting sooner.
His first instinct though is to protect the boy, and as the full story is revealed he realises that perhaps he can intervene. Totto’s infamous brother Niccolò Machiavelli is a good friend – they worked together for Cesare Borgia – and Niccolò’s word is law in that family. Knowing that time is of the essence he goes off immediately to ask Niccolò to restrain Totto, and have Bastiano ‘warned off’, leaving Salai thinking that yet again the Gods are looking kindly on his amorous misdemeanours. However, his relief is short-lived!
No sooner has Leonardo left, than a distraught Lisa arrives. She tearfully tells Salai of Totto’s treachery and his threat to tell Francesco. Knowing that Leonardo has gone to the selfsame Machiavelli to sort out the Aragona problem, Salai is understandably at his wits end.
They realise they are now in deep trouble and briefly consider braving it out, but Salai knows that Totto can’t be dealt with as easily as Bastiano. He genuinely loves Lisa, and in a long overdue display of maturity accepts that this time he must take responsibility for his actions, and face up to the consequences. Grasping for an answer he comes to the same conclusion that Aragona did - that they will have to leave Florence. He has an inspiration.
Convinced that Leonardo will solve the Bastiano problem, he is satisfied that Aragona is now no longer in danger. So, he'll simply rearrange the plans he made with the Captain, and he and Lisa will leave - on ‘Aragona’s’ boat! To avoid any confrontation though, he decides it would be wiser to sail a day earlier - on Thursday night! Promising undying love, he convinces Lisa that if they are to survive they have to go away, and tells her that he can arrange safe and secret passage out of the city.
Naturally she is devastated at the thought of leaving her home and family, but seemingly she has little alternative - and this way there's a chance that one day she might be able to return. Reluctantly she agrees. Meanwhile, he advises that if Totto should contact her again she needs to play for time...
AN UNEXPECTED DEVELOPMENT -
WEDNESDAY
Leonardo’s request to Niccolò Machiavelli to have Bastiano warned off was successful. Unfortunately ’warned off’ is open to interpretation. Unfortunately for Bastiano that is...
Leonardo had specifically told Niccolò ‘no violence’, but somehow the message didn’t get through. That night in the small hours, as a drunken Bastiano walks home he is set upon and stabbed to death.
At the Inn the following morning Marco and Iseppo, being the gossips they are, are keen to tell everyone about it. Captain Donati is in for breakfast and, learning that the poor victim was Bastiano, he is not surprised when Salai rolls up to speak to him about the boat. He is surprised though when Salai asks about the possibility of leaving on Thursday night instead of Friday.
When the Captain remarks that with Bastiano dead his troubles must now be over, a stunned Salai is taken aback at the news. Without naming Lisa he then has to explain his latest romantic predicament to the Captain, who reacts with a mixture of pity and admiration! It is now Wednesday morning, but he reassures Salai that a Thursday departure should not be a problem. So it is agreed that, unless he hears from him, the Captain will pick them up at the studio on Thursday, at six in the evening.
A relieved Salai goes off, and Captain Donati summons his first mate Lazzaro to go and organise the change of plan. Salai hurries home to tell Leonardo about Bastiano’s demise. Leonardo is shocked, and understandably distressed. Despite his 'no violence' request to the Machiavelli, he feels responsible for Bastiano’s death. He is comforted though by the realisation that Salai will no longer have to leave him.
Sadly, his comfort is brief. Salai feels he has no choice but to then tell him about Totto’s threats to Lisa, and the new plan to leave Florence with Lisa on Thursday night. With a mixture of anger and despair Leonardo tries to take in the implications of this latest turn of events. He blames himself for not doing enough to save Salai from his own foolishness, but even he can’t see a way out of this.
Salai justifies himself by telling Leonardo that Lisa is not like the others, his love for her is genuine. Cruelly, he openly doubts that Leonardo would understand about love and what it can do to a man.
Leonardo is hurt, and again is left to reflect on ‘a love that dare not speak its name’...
TOTTO SEEKS REVENGE -
THURSDAY
Alas, Captain Donati's first mate Lazzaro is part of Totto’s network of ‘eyes and ears’, and has wasted no time informing him of Salai's new arrangement. Learning of this, Totto is also puzzled as to why, with Bastiano out of the picture, Salai would still want to leave the city. As you’d expect from a master of the art of scheming, the realisation rapidly dawns that Salai must now be planning to leave with Lisa, not Aragona!
Unable to control his anger he is determined to teach them all a lesson. On the Thursday morning, he seeks out Aragona. With Bastiano’s death she feels less intimidated by Totto, reassured by the fact that now she doesn't have to go away. Reassured, that is, until he informs her that Salai is still leaving! At first she refuses to believe him, but she is no fool, and as he reveals the whole story about Lisa and Salai a small doubt is growing in her mind.
He tells her with relish that the Captain will confirm it, and she should go to Leonardo’s studio at six that night to see for herself. She begins to wonder if it really could be true that Salai has betrayed her with a younger woman.
To further twist the knife Totto delivers an anonymous note to Francesco Giacondo, telling him of his wife’s affair with Salai, and the six o’clock assignation at the studio...
SIX O’CLOCK
At the appointed hour, with heavy hearts Salai and Lisa sit waiting at the studio with Leonardo. They have accepted their fate and are resigned to the fact that, for now at least, they will have to leave the city. Totto, with eager anticipation, has entered by the secret passage and is hidden behind the wall, where he can see and hear all that is happening.
The doorbell rings and Leonardo, assuming it is the Captain, goes to answer it. As Salai and Lisa prepare to go they hear raised voices. Lisa is horrified – it is Francesco! He storms in and accuses them. Leonardo tries to defend them but Francesco will hear none of it, and produces the note.
Lisa pleads with him, asking how he could doubt her – and on the word of an anonymous note. She tells him it is most certainly the work of Totto Machiavelli, and tells of his threats to ruin her life. She reassures him that, not wanting to trouble him, she came only to seek Leonardo’s help – a fact confirmed by Leonardo and Salai.
Francesco is momentarily pacified, but Totto, hearing this, can contain himself no longer. He leaps out, and challenges Lisa. Francesco goes for his sword but Totto tells him that he can prove his accusations. To further discredit the lovers he tells Francesco to ask them about the nude portrait of Lisa that Salai keeps hidden! Leonardo is stunned at this revelation, but as Salai starts to deny it the doorbell rings again.
Aragona has arrived, with Captain Donati. Totto is triumphant. As they enter the room he eagerly tells Francesco that they will confirm what he says - Salai and Lisa are lovers and secretly plan to leave that night. An exasperated Francesco turns to Aragona and asks if this is true.
Turning despondently to Salai and Lisa, Aragona approaches them and starts to speak. Trying to postpone the inevitable Lisa falls to her knees and, taking out the Cornicello on her necklace, swears on her mother’s life that Totto lies. Aragona is stopped in her tracks. She immediately recognises the jewel, and asks Lisa where she got it. A puzzled Lisa confirms that she got it from her mother, who was given it to repay an act of kindness. ‘Your mother? Then you are Lucrezia Gherardini’s daughter?’, asks Aragona. Lisa nods her confirmation.
Aragona now knows very well that Totto speaks the truth. She is hurt and betrayed, but remembering the promise that she and her mother made all those years ago, she is torn between revenge and mercy. She turns slowly to Francesco... and tells him that Totto is lying, and it is she who is leaving with Salai. The ever faithful Captain confirms that this is so.
Francesco draws his sword but Totto, pulling out a knife grabs Aragona and holds it to her throat. Using her as a shield he backs towards the passage. Furiously ranting and yelling betrayal, with a final curse he stabs Aragona through the heart and escapes.
As the terrible reality of what they have just witnessed sinks in Francesco and the Captain make to go after Totto and call out the Militia. Lisa and Salai try to help the wounded Aragona, but there is nothing they can do.
She dies in Lisa’s arms.
Leonardo is bereft. He tells them that there will be no more work on the painting, and it will never be delivered. He and Salai will go away for a while until things settle down, Lisa will go back to her family, and they must vow never to see each other again.
With great sadness Salai and Lisa realise that Leonardo is right. Their unthinking love has brought about a tragic death, and nearly ruined so many lives. With a last embrace they part – forever.
EPILOGUE - MILAN 1524
FINALE
The final scene in GIACONDA! takes place on Salai’s deathbed. He has both of Lisa's portraits with him. Surrounded by his and Leonardo’s paintings, he looks back over his life and in the closing song reflects on the futility of it all.
Typically, Salai met an untimely end, having been wounded by a crossbow in a duel. He was 43 years old.
Lisa Giacondo lived out her life in Florence with Francesco and her family - she had five children.
After the events of 1503 Salai stayed with Leonardo and worked with him, living at various times in Florence, Milan, and at the Vatican in Rome. It is generally accepted that they were lovers. Indeed they were so close that some art historians believe that some of Salai’s work has been attributed to Leonardo, and vice versa.
In 1515 Salai revealed the existence of the ‘Monna Vanna’, the nude drawing of the Mona Lisa. Some say the facial features are more like Salai than Lisa! Until recently it was generally believed that this was a copy by Salai of a lost original, but research has now proved that it was made in Leonardo's studio and is contemporary with the Mona Lisa.
With failing health it became harder for Leonardo to work and in 1516 he moved to France, with Salai. There he lived in the castle at Amboise in the Loire valley, as the guest of his patron King Francois, where he died and was buried, in 1519 aged 67. In Leonardo’s will Salai inherited money, property and many paintings – including the Mona Lisa. He was left one half of Leonardo’s vineyard near Milan, where he married and lived very comfortably for the rest of his short life.
In Salai's will the Mona Lisa was valued at 505 Florentine lire – probably the equivalent of a year’s income, and an exceptional price at the time for what is after all a quite small painting on a thin sheet of poplar wood...
It is now regarded as the world's most valuable painting