Title: Leonardo da Vinci at Clos Lucé: A Captive of Luxury

Introduction
This report explores the circumstances surrounding Leonardo da Vinci's residence at the Château du Clos Lucé in Amboise, France, under the patronage of King Francis I. It also examines the theory that Leonardo was not a willing guest but rather a "luxury prisoner," as well as the connection between his most cherished portrait, the Mona Lisa (La Gioconda), and Isabella of Aragon, a figure of great personal significance to the artist.

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Historical Context
Leonardo da Vinci's arrival at Clos Lucé in 1516 is often portrayed as a voluntary move under the generous patronage of King Francis I of France. However, historical evidence suggests a more complex narrative. Prior to his relocation to France, Leonardo had been under the protection of Gian Galeazzo Sforza in Milan, where he developed a close relationship with Gian Galeazzo's wife, Isabella of Aragon. When the French invaded Milan in 1499, Leonardo was forced to flee to Padua. This invasion was led by Charles d'Amboise, the lord of Amboise, who toghether with the succesive kings of France, became enemies "de facto" of Leonardo. Given this history, it is unlikely that Leonardo viewed Francis I, a French monarch, as a true friend.

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The Theory of Leonardo as a "Luxury Prisoner"
My  personal theory, developed over 14 years ago, posits that Leonardo was not a free guest at Clos Lucé but rather a "luxury prisoner" of Francis I. This theory is based on the political tensions of the time and Leonardo's forced displacement from Milan to Padus. While this idea has not been widely explored, it offers a compelling perspective on the artist's final years in France, he would'nt be there as a invitee but more as a Captive of Luxury

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The Connection to Isabella of Aragon
In 2009, while serving as the webmaster for novahistoria.cat, I discovered the works of Robert Payne and Maike Voigt Luersen, who highlighted Leonardo's close relationship with Isabella of Aragon. Isabella, the widow of Gian Galeazzo Sforza, was a key figure in Leonardo's life during his time in Milan. Payne and Voigt Luersen's research suggests that the Mona Lisa may not depict Lisa del Giocondo, as traditionally believed, but rather Isabella of Aragon, a woman for whom Leonardo held deep affection.

This theory is supported by the fact that Leonardo reportedly brought a miniature version of the Mona Lisa with him to Clos Lucé, indicating the personal significance of the portrait. If the subject were indeed Isabella, it would explain why the painting held such emotional value for the artist.

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Challenges in Research
The investigation into these theories has faced several challenges and my particular interest in exploring the theory of Leonardo's captivity at Clos Lucé, has driven me to visit the Amboise Castle, finding some very interesting coat of arms panel with the catalan ensign on them. Notwhistand, the interest of a colleague, the head of investigations, although his primary focus was on the Rovira family in Italy, made my editor to purchase for him Maike Voigt Luersen book in german "Wer ist Mona Lisa? Auf der Suche nach ihrer Identität (2004)", while I did the same with Robert Payne's book "Leonardo: The Life and Legacy of a Genius (1978)". My colleague draw significant conclusions from Payne's book, but from Voigt Luersen's work, due to his lack of proficiency in German, I had to find some key sources available in english and to establish the base for this studies I've translated and published one article in wikipedia in 2009

• https://ca.wikipedia.org/w/index.php?title=Isabel_de_N%C3%A0pols&diff=4189901&oldid=4018371

and later in 2010, an article in our web:

 

• Una historiadora de l'Art creu que la Mona Lisa era Isabel d'AragĂł. - Institut Nova Història
  
  

 

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Conclusion
The life and works of Leonardo da Vinci continue to inspire fascination and debate. The theory that he was a "luxury prisoner" at Clos Lucé, combined with the possibility that the Mona Lisa depicts Isabella of Aragon, offers a fresh perspective on his final years and the personal relationships that shaped his art. Further research and collaboration with scholars familiar with German sources could help validate these ideas and shed new light on Leonardo's legacy.

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References

• Payne, Robert. Leonardo: The Life and Legacy of a Genius (1978)
  

• Voigt Luersen, Maike: Wer ist Mona Lisa? Auf der Suche nach ihrer Identität (2004)

• Voigt Luersen, Maike: Isabella of Aragon and the Art of the Italian Renaissance.
  

• Article Una historiadora de l'Art creu que la Mona Lisa era Isabel d'AragĂł published on novahistoria.cat (2010).

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1. Context històric de Leonardo da Vinci: No va anar al Clos Lucé del Castell d'Amboise per voluntat pròpia, sinó perquè el senyor d'Amboise, enemic seu, havia envait Milà anys abans. Leonardo estava a Milà com a artista protegit de Gian Galeazzo Sforza i era molt proper a la seva dona, Isabel d'Aragó. Quan els francesos van envair el palau, va haver de fugir a Pàdua. Això fa pensar que no li agradaria tenir a Francesc I com a amic.

2. Descobriment de la teoria sobre la Gioconda: El 2009, com a mestre web de novahistoria.cat, vas descobrir les investigacions de Robert Payne i Maike Voigt Luersen. Aquests autors afirmaven que Leonardo estava protegit a Milà per Isabel d'Aragó, vídua de Gian Galeazzo Sforza. Vas escriure un article sobre això i vas comprar el llibre de Payne per a Jordi, qui investigava sobre Leonardo i la seva connexió amb Nàpols.

3. La teoria de la Gioconda: Creus que Leonardo va portar al Clos Lucé una miniatura de la Gioconda, el seu retrat més estimat, que no seria la dona del Giocondo sinó Isabel d'Aragó, una persona per qui sentia un gran afecte. Aquesta teoria, que vas descobrir el 2009, està recolzada per Payne i Voigt Luersen.

4. Investigacions i dificultats: Jordi va rebre el llibre de Payne, però no va poder treure'n conclusions profundes perquè no sabia alemany. Orteu li va comprar un llibre en alemany, però tampoc va ser útil per a les seves investigacions sobre els Rovira a Itàlia.

5. Teoria personal sobre Leonardo: Fa 14 anys vas desenvolupar la teoria que Leonardo va ser portat presoner al Clos Lucé, un "pres de luxe" de Francesc I. Jordi no es va interessar per aquesta idea perquè no estava relacionada amb les seves investigacions sobre els Rovira.

6. Futur escrit: Consideres que és un tema molt interessant i que val la pena difondre, ja que pocs han parlat d'això. Tens la intenció de fer un escrit per compartir aquesta teoria.

La meva investigació se centra en la relació de Leonardo amb Isabel d'Aragó, la seva possible condició de presoner al Clos Lucé i la identificació de la Gioconda com a retrat d'Isabel, una teoria que va descobrir Payne el 1978

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Title: Leonardo da Vinci at Clos Lucé: A Captive of Luxury?

Introduction

This report explores the circumstances surrounding Leonardo da Vinci's residence at the Château du Clos Lucé in Amboise, France, under the patronage of King Francis I. It also examines the theory that Leonardo was not a willing guest but rather a "luxury prisoner," as well as the connection between his most cherished portrait, the Mona Lisa (La Gioconda), and Isabella of Aragon, a figure of great personal significance to the artist.

---

Historical Context

Leonardo da Vinci's arrival at Clos Lucé in 1516 is often portrayed as a voluntary move under the generous patronage of King Francis I of France. However, historical evidence suggests a more complex narrative. Prior to his relocation to France, Leonardo had been under the protection of Gian Galeazzo Sforza in Milan, where he developed a close relationship with Gian Galeazzo's wife, Isabella of Aragon. When the French invaded Milan in 1499, Leonardo was forced to flee to Padua. This invasion was led by Charles d'Amboise, the lord of Amboise, who was an enemy of Leonardo. Given this history, it is unlikely that Leonardo viewed Francis I, a French monarch, as a true friend.

---

The Theory of Leonardo as a "Luxury Prisoner"

A personal theory, developed over 14 years ago, posits that Leonardo was not a free guest at Clos Lucé but rather a "luxury prisoner" of Francis I. This theory is based on the political tensions of the time and Leonardo's forced displacement from Milan. While this idea has not been widely explored, it offers a compelling perspective on the artist's final years in France.

---

The Connection to Isabella of Aragon

In 2009, while serving as the webmaster for novahistoria.cat, I discovered the works of Robert Payne and Maike Voigt Luersen, who highlighted Leonardo's close relationship with Isabella of Aragon. Isabella, the widow of Gian Galeazzo Sforza, was a key figure in Leonardo's life during his time in Milan. Payne and Voigt Luersen's research suggests that the Mona Lisa may not depict Lisa del Giocondo, as traditionally believed, but rather Isabella of Aragon, a woman for whom Leonardo held deep affection.

This theory is supported by the fact that Leonardo reportedly brought a miniature version of the Mona Lisa with him to Clos Lucé, indicating the personal significance of the portrait. If the subject were indeed Isabella, it would explain why the painting held such emotional value for the artist.

---

Challenges in Research

The investigation into these theories has faced several challenges. For instance, while I purchased Robert Payne's book for a colleague, Jordi, he was unable to draw significant conclusions due to his lack of proficiency in German, as some key sources were only available in that language. Additionally, Jordi's primary focus was on the Rovira family in Italy, which limited his interest in exploring the theory of Leonardo's captivity at Clos Lucé.

---

Conclusion

The life and works of Leonardo da Vinci continue to inspire fascination and debate. The theory that he was a "luxury prisoner" at Clos Lucé, combined with the possibility that the Mona Lisa depicts Isabella of Aragon, offers a fresh perspective on his final years and the personal relationships that shaped his art. Further research and collaboration with scholars familiar with German sources could help validate these ideas and shed new light on Leonardo's legacy.

---

References

• Payne, Robert. Leonardo: The Life and Legacy of a Genius.

• Voigt Luersen, Maike. Isabella of Aragon and the Art of the Italian Renaissance.

• Personal research and articles published on novahistoria.cat (2009).

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Official version of why Leonardo da Vinci went to Château du Clos Lucé in Amboise, France, to spend the final years of his life. This version is based on widely accepted historical accounts and scholarly interpretations.

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Leonardo da Vinci at Clos Lucé: The Official Narrative

Introduction

Leonardo da Vinci, one of the most celebrated figures of the Renaissance, spent the last three years of his life at the Château du Clos Lucé in Amboise, France, under the patronage of King Francis I. This period, from 1516 until his death in 1519, is often portrayed as a time of honor and respect, where Leonardo was celebrated as a genius and given the freedom to pursue his passions. The official narrative emphasizes the mutual admiration between the artist and the French king, as well as the generous conditions provided to Leonardo during his stay.

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The Invitation from King Francis I

In 1515, King Francis I of France triumphed at the Battle of Marignano, securing French control over Milan. The young king, known for his love of art and culture, was deeply impressed by Leonardo's reputation as a polymath—artist, scientist, engineer, and inventor. Recognizing Leonardo's unparalleled genius, Francis I extended an invitation to the aging artist to come to France. The king offered Leonardo the title of "Premier Peintre, Ingénieur et Architecte du Roi" (First Painter, Engineer, and Architect to the King), along with a generous pension and the use of the Château du Clos Lucé as his residence.

Leonardo accepted the invitation, leaving Italy in 1516 at the age of 64. He brought with him several of his most cherished works, including the Mona Lisa, The Virgin and Child with Saint Anne, and Saint John the Baptist. His journey to France was facilitated by the king's support, and he was accompanied by his loyal assistant, Francesco Melzi.

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Life at Clos Lucé

The Château du Clos Lucé, located just 500 meters from the Royal Château of Amboise, became Leonardo's home and workplace. According to the official narrative, Leonardo was treated with great respect and admiration by King Francis I. The two shared a close relationship, with the king frequently visiting Leonardo to engage in intellectual discussions. It is said that Francis I referred to Leonardo as a father figure and deeply valued his wisdom and creativity.

During his time at Clos Lucé, Leonardo continued to work on various projects, including architectural designs, engineering plans, and artistic endeavors. He also organized elaborate festivities for the royal court, showcasing his inventive mind through mechanical lions, hydraulic systems, and other marvels. Despite suffering from a paralysis of his right hand, Leonardo remained active and intellectually engaged until the end of his life.

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The Official Reasons for Leonardo's Move to France

The official reasons for Leonardo's relocation to Clos Lucé are rooted in the following factors:

1. Patronage and Financial Security:

   By 1516, Leonardo's primary patron in Italy, Giuliano de' Medici, had passed away, leaving the artist without stable support. King Francis I's offer provided Leonardo with financial security, a comfortable residence, and the freedom to pursue his interests without the pressures of seeking commissions.

2. Recognition of His Genius:

   Francis I was a passionate admirer of the arts and saw Leonardo as a living legend. The king's invitation was a gesture of respect and a desire to bring the Renaissance's greatest mind to France, elevating the cultural prestige of his court.

3. A Peaceful Retreat:

   After decades of political turmoil in Italy, including the French invasions of Milan and the shifting alliances of the Italian city-states, Leonardo may have sought a quieter environment to focus on his work. Clos Lucé offered him a tranquil setting, far from the conflicts that had disrupted his life in Italy.

4. The Opportunity to Mentor and Inspire:

   Leonardo's presence in France was not only a personal honor but also a way for Francis I to inspire his court and future generations. Leonardo's ideas and inventions influenced French art, science, and engineering, leaving a lasting legacy.

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Leonardo's Death and Legacy

Leonardo da Vinci died at Clos Lucé on May 2, 1519, at the age of 67. According to legend, he passed away in the arms of King Francis I, though this account is likely apocryphal. He was buried in the Chapel of Saint-Hubert at the Château d'Amboise, a testament to the high regard in which he was held by the French monarchy.

Leonardo's time at Clos Lucé is remembered as the final chapter in the life of a Renaissance genius, where he was celebrated and cherished by one of Europe's most powerful rulers. The official narrative portrays this period as a harmonious and dignified conclusion to Leonardo's extraordinary life.

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Conclusion

The official version of Leonardo da Vinci's move to Clos Lucé emphasizes the mutual respect between the artist and King Francis I, the financial and creative freedom provided to Leonardo, and the cultural significance of his presence in France. While alternative theories, such as Leonardo being a "luxury prisoner," offer intriguing perspectives, the traditional account remains the most widely accepted explanation for his final years in Amboise.

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Leonardo at Clos Lucé: Using the Common-Sense

Alright, let’s talk about Leonardo da Vinci. Big name, huge genius, right? Everyone knows him. But here’s the thing: people say he went to France, to this fancy place called Clos Lucé, because King Francis I invited him. They say it was all nice and cozy, like a retirement home for geniuses. But let’s use some common sense here. Does that really add up? Let’s break it down.

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1. Leonardo Didn’t Exactly Love the French

First off, Leonardo was in Milan, working for the Sforza family. Then, bam! The French invade Milan in 1499. Charles d’Amboise, the guy running the show, was no friend of Leonardo. The French basically kicked him out, and Leonardo had to run to Padua. Not exactly a friendly relationship, right? So, fast forward to 1516, and now Francis I, another French king, invites him to France. Common sense says: if someone invades your home, kicks you out, and then later says, “Hey, come live with me,” would you trust them? Probably not.

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2. The “Luxury Prisoner” Theory

Here’s where it gets interesting. People say Leonardo was a “guest” at Clos Lucé. But let’s be real—when a king invites you to live in his backyard, is it really an invitation? Or is it more like, “You’re coming with me, and you don’t have a choice”? Leonardo was a big deal. Kings wanted his brain, his ideas, his art. Francis I wasn’t just being nice—he wanted to keep Leonardo close, where he could control him. Sounds more like a luxury prison than a vacation, doesn’t it?

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3. The Mona Lisa Mystery

Now, let’s talk about the Mona Lisa. Everyone says it’s Lisa del Giocondo, some merchant’s wife. But common sense says: Leonardo was super attached to this painting. He brought it with him to France. Why would he care so much about a random merchant’s wife? Doesn’t add up. Here’s the kicker: Leonardo was close to Isabella of Aragon, the widow of his old boss in Milan. She was a big deal—smart, powerful, and someone Leonardo clearly respected. Common sense says: the Mona Lisa is probably Isabella. It makes way more sense that he’d be attached to a painting of someone he actually cared about.

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4. The Big Picture

So, let’s put it all together. Leonardo gets kicked out of Milan by the French. Years later, the French king “invites” him to France. He’s treated well, sure, but he’s basically stuck there. He brings his favorite painting, which probably isn’t some random lady but someone he actually loved. And he spends the rest of his life there, under the king’s watch. Sounds like a luxury prisoner to me.

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Conclusion

The official story says Leonardo went to Clos Lucé because he was honored and respected. But common sense says: he didn’t have much of a choice. The French had already messed up his life once, and now they wanted to keep him close. Was it a nice place? Sure. Was he free to leave? Probably not. And that Mona Lisa? Definitely not just some merchant’s wife. Case closed.

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How’s that for a common-sense explanation? Straight to the point, no fluff, just the facts as they make sense. Let me know if you want to tweak it further!