ThePortrait

A one-act play

“Art is never finished, only abandoned.”

1

CAST

FRANCESCO del Giocondo : a merchant of Florence, considerably older than his wife. He tends to see things only in terms of their monetary value.

LISA del Giocondo: Francesco’s second wife. She is intelligent, perceptive but uneducated.

LEONARDO da Vinci: a genius with no social skills.

SYNOPSISThis is the story behind the painting of the MONA LISA, being the only work of art Leonardo Da Vinci ever kept with him until the day he died.

SETTINGThe play takes place in both the DEL GIOCONDO’s's living area and LEONARDO's studio as indicated. The stage is divided in half. One side is the DEL GIOCONDO’S main living area, as indicated by a simple sofa. The other side of the stage has a table on which papers and drawing are strewn about. There is an easel with a canvas and a stool on which Lisa sits when Leonardo is painting her portrait. The area between each side is a sort of no-man’s land and only Lisa crosses this space. Francesco and Leonardo actually enter and exit through their own doors. Lighting is used to indicate which space is in use. The lighting should be washes of rose and yellows, to give a soft, warm feeling to the set. Set colours should be those of an Italian Renaissance painting. Used with the soft lighting, this will help create the mood of the play.

2

(The DEL GIOCONDO’S living area. LISA is calmly sitting as FRANCESCO enters )

FRANCESCO: I like the front, it looks better

LISA: I'm not so sure. Maybe digging up those old pavers and laying new ones was not such a good idea.

FRANCESCO: But you were the one always complaining about the drainage and smell.

LISA: I know. But somehow the new pavers don't look ...right.

FRANCESCO: They are the best money can buy. I think they look just fine.

LISA: Yes. You are right. (pause) All this running around is not really necessary Francesco.

FRANCESCO: I made you a promise when we were married, and I intend to keep it.

LISA: You don’t have to keep the promise.

FRANCESCO: Every merchant in the city has a portrait of his wife.

LISA: Right…

FRANCESCO: What?

LISA: Admit it, my dear. If every other merchant has a portrait and you don't, well then ...

3

FRANCESCO: There is a little truth in what you say; but it would still honour you.

LISA: And you will gain something ….

FRANCESCO: What do you mean?

LISA: If a portrait was enough, then you would have settled for any painter of reasonable reputation. But I have watched you approach Lippi ...

FRANCESCO: Thief! He demanded too much money -

LISA: And Fra Bartolomeo ...

FRANCESCO: He only paints religious portraits -

LISA: And Botticelli ...

FRANCESCO: He is above it all -

LISA: Well I can only conclude that you hope that the portrait will prove to be a great investment as well as an "honour" to me.

FRANCESCO: There are many other famous painters who I have not asked.

LISA: But none as old as those I have mentioned.

FRANCESCO: So?

LISA: Doesn’t a painter's work increase in value after he has died? A painter half way to the grave is a good idea for a man wishing to make an investment and keep up appearances at the same time.

FRANCESCO: Are you offended, Lisa?

LISA: No Francesco. But I wish you had confided in me.

FRANCESCO: I thought you might see it only as a concern with money. As though I did not care for you.

LISA: That’s what you are like..

FRANCESCO: I don't understand what you mean by that.

LISA: I wonder though, why you have not asked your friend Ser Piero about his son. As a favour. I know he is not so old but even now his work is worth something.

FRANCESCO: Actually, I did approach Ser Piero's son, but he was too busy. He has started a new commission for the city.

LISA: I should have thought his engineering work for Borgia would have kept him busy.4

FRANCESCO: How do you know about this?

LISA: Well, I don’t know too much, or understand much. But I cannot be in the same room as you and Ser Piero and not overhear your conversation. So, what is he like?

FRANCESCO: Who?

LISA: Ser Piero's son! What is he like?

FRANCESCO: Like any other man. Sort of "this" big with, you know, with - um -hair -

LISA: (impatiently interrupting) And two eyes, a nose, a mouth, two hands and so on. Really! Men! What was he like?

FRANCESCO: Sort of - abrupt - I should say. Nice enough. I felt he wasn't really paying attention to me. I was a little offended.

LISA: But then you often are offended - a little.

FRANCESCO: There you go again.

LISA: Pardon?

FRANCESCO: What was that remark supposed to mean?

LISA: Nothing. I'm sorry.

(There is a knocking offstage, voices can be heard)

LISA: Are you expecting someone?

FRANCESCO: No. I shall see what it is.

LISA: Beatrice has already answered the door.

FRANCESCO: I shall just see.

(Exits, to return with LEONARDO)

FRANCESCO: (To LISA) My dear. An honour. May I present Signor Leonardo. Signor, my wife.

LEONARDO: Signora.

LISA: Signor.

LEONARDO: (To FRANCESCO) Signor, I have come to tell you that I have changed my mind. I am prepared to paint a portrait of your wife.

5

FRANCESCO: This is a little sudden Signor. I don't know that I -

LEONARDO: I now have more time. I no longer work for Borgia and the city's commission allows me quite a bit of time. Besides, I like to work on several projects at once. I shall come one day in the next week when the conditions are right for the first sketch. After that, I shall require her to come to my studio.

FRANCESCO: But I -

LEONARDO: Yes?

FRANCESCO: The contract will be drawn up in the morning.

LEONARDO: I am sure that is unnecessary. We are gentlemen, aren’t we?

FRANCESCO: Certainly, but in the event of a problem arising I should like -

LEONARDO: There will be no problem. Signora, wear that dress. The colour is good.

LISA: But this is a house dress!

FRANCESCO: My wife has a fine white silk gown that I would like her to wear -

LEONARDO: White is wrong for her. She should wear the olive green.

FRANCESCO: Signor, since I am paying for the portrait -

LEONARDO: I am the artist, signor, you are the merchant. I would never question your decisions in your occupation. Please do not question my decisions in matters of art. Now, I must go. (bowing) Signor, Signora. By the way, those pavers out the front are wrong for this house. Colour and proportion. You should try to find the originals and have them laid.

(LEONARDO exits, leaving the others bemused)

LISA: Well!

FRANCESCO: Yes.

LISA: I see what you mean.

FRANCESCO: About what?

LISA: His being abrupt.

FRANCESCO: Yes. He is.

LISA: So I noticed.

FRANCESCO: Hmm.6

LISA: Well.

FRANCESCO: You don't think he is right, do you?

LISA: About the dress?

FRANCESCO: No, the pavers.

LISA: Oh. I thought you meant the dress.

FRANCESCO: No. The pavers.

LISA: How would I know?

FRANCESCO: After all, he is an artist, not a plumber, or a professional on pavers.

LISA: He is also an engineer.

FRANCESCO: So, what does he know about pavers? Wear the white.

LISA: What?

FRANCESCO: Wear the white dress. I like you in it.

LISA: I don't think it will make any difference. If he wants me in olive, he will paint me in olive.

FRANCESCO: Perhaps this is not such a good idea.

LISA: But you have a gentleman's agreement.

FRANCESCO: Hmm.

LISA: Anyway, I wouldn’t mind seeing his studio.

FRANCESCO: And that is another thing. Portraits are painted in the home of the patron, not the studio of the artist.

LISA: I don't think you need to worry about me. By reputation, he does not like women.

FRANCESCO: I am perfectly aware of his reputation, although how you came to hear of it amazes me.

LISA: Really Francesco, housewives gossip, you know.

FRANCESCO: I'm not sure you are even supposed to know of such things.

LISA: I love you when you are like this.

7

FRANCESCO: Hmm.

(FRANCESCO and LISA exit. End of scene. Fade to the courtyard where LEONARDO enters, followed by LISA)

LEONARDO: What a wonderful setting! Perfect. Absolutely perfect.

LISA: I waited each one of those sunny days that we had, so sure you would come. Now, today you are here and it is so overcast.

LEONARDO: I prefer misty days for portraits. The light is soft and the features are gentle. Sit here (he arranges a chair, she hesitates, then sits). I would like to pose you here in the courtyard. After that you will have to come to my studio. It will take several sessions. I would like to get to know my model first. Especially now, when the beauty of one of the great mysteries of nature is added to your own beauty.

LISA: What do you mean?

LEONARDO: You are pregnant, aren't you Lisa?

LISA: How did you know? I haven't told anyone, not even Francesco!

LEONARDO: It is the way you sit. And your inner knowledge. You have a great knowledge and a secret. It shows.

LISA: I hope it does not show to everyone else so soon. I like the freedom to walk in public.

LEONARDO: Silly custom that. Can’t understand why anyone would be offended at the sight of a pregnant woman. Now, I want to draw you just like that.

8

(There is a pause. LEONARDO sketches during the following)

LISA: Signor?

LEONARDO: Leonardo.

LISA: Leonardo. Would you answer a question for me?

LEONARDO: If I can, I will.

LISA: Why did you decide to paint me?

LEONARDO: I saw you in the marketplace and I wanted to paint you. So I had you followed.

LISA: Is this how you paint portraits?

LEONARDO: No.

LISA: I did not think so. That is why I had to ask.

LEONARDO: Your face ... captured me.

(enter FRANCESCO)

FRANCESCO: Ah! Signor. I did not expect you on a day like this.

LEONARDO: The light was right. And I had finished testing the wall of the Great Council.

FRANCESCO: Testing the wall?

LEONARDO: Drilling a few holes. Seeing what it is made of.

FRANCESCO: Is that really necessary?

LEONARDO: If I were going to paint it, perhaps not. But I am thinking of using Fire wax Encaustic for the Battle Of Anghiari.

FRANCESCO: Fire what?

LEONARDO: Fire Wax Encaustic. It was a technique used by the Romans about a thousand years ago.

LISA: Does the Council know about this?

LEONARDO: (shrugging) It does not matter. I am sure they are fine men but they know nothing about painting.

FRANCESCO: What do you do now?

LEONARDO: Think about it. Do some anatomy studies and watch some horses. I have the wax and oil. By next month I should have some sketches.

FRANCESCO: I meant about Lisa's portrait.

LEONARDO: She can come to my studio. When she likes.

FRANCESCO: (looking at the sketch) Are you going to use the columns for background?

LEONARDO: For the moment. They give depth. I don't know.(Pause) I am off now. If you need an escort to my studio, send a note and I will have Salai or Marco accompany you.

FRANCESCO: Who?

LEONARDO: Marco is my assistant and Salai is my ... friend. Lisa will be perfectly safe with either.

FRANCESCO: I would not doubt your word Signor.

LEONARDO: (to LISA) Come when you want. And wear the olive dress.

LISA: I know.

LEONARDO: Signor. Signora (exits)

FRANCESCO: That man!

LISA: I know. (pause) Francesco?

FRANCESCO: Hmm.

LISA: I think I should tell you.

FRANCESCO: Yes?

LISA: I am pregnant.

FRANCESCO: You are sure?

LISA: Oh yes.

FRANCESCO: Then this is wonderful. I was so afraid that after the last time -

LISA: I know.

FRANCESCO: This time it will be different. This time it will be all right.

LISA: Yes. This time it will be different.

FRANCESCO: But the portrait. Leonardo will have to finish it before you are showing.

LISA: I think my pregnancy won’t matter. I don’t think it will change the portrait.

FRANCESCO: What do you mean by that?

LISA: Leonardo will paint what he wants to paint. I don't think we have much say in it.

FRANCESCO: But I have commissioned him!

LISA: I think that means very little to him..

(FRANCESCO exits and as LISA crosses to the other side, the scene fades to LEONARDO'S Studio, several months later. LISA's pregnancy is beginning to show. LEONARDO enters)

LEONARDO: That wax and oil mixture is proving to be a real headache. But it is the only way. It is the best way of doing the Battle of Anghiari. But I just can't get the blend - the oil and wax keep separating.

LISA: (entering) The rooms of your studio are very small.

LEONARDO: I like small rooms. I can shut myself up with one thing at a time.

LISA: Over your doorway -

LEONARDO: (working on the portrait) Yes?

LISA: It says "Let no man enter who is not a mathematician"

LEONARDO: Yes.

LISA: I do not understand. What do you mean by hanging it there?

LEONARDO: Mathematics is the basis of measurement. And measurement is the basis of art. Without measurement, there would be no proportion, no perspective or symmetry,

no nothing.

LISA: I see.

LEONARDO: But just as important is light. Light is the heart and soul of painting. Light and shade. Outlines are easy and colours are not so important. Light and shade defines form.

LISA: It sounds like a lot of work.

LEONARDO: It is a lifetime's work. But in the area between light and shade is not only form but beauty. (pause, he looks at LISA) Absolute beauty.

(There is a silence between them)

LEONARDO: I have to go away for a week or two.

LISA: Where to?

LEONARDO: I am going to follow the Arno between Florence and Pisa.

LISA: For a holiday?

LEONARDO: It is part of a project. Machiavelli wants to change the course of the Arno.

LISA: Why?

LEONARDO: It would leave Pisa high and dry. We would win the war against Pisa without a battle.

LISA: But I don't think you are interested in war.

LEONARDO: Why do you say that?

LISA: Oh, maybe interested in things, but not war. Am I wrong?

LEONARDO: I am interested in water. How to control it.

LISA: Why?

LEONARDO: (rudely) Because I am interested in cause and effects!

(Offended, LISA rises to leave)

LEONARDO: Wait! (a pause). I am not used to talking about it.

LISA: Water? I am not surprised.

LEONARDO: Water is life. Nothing is more important. People just can’t see the implications.

LISA: What implications?

LEONARDO: Water naturally moves. That's how it stays fresh. Stagnant water is poison. One is Life, the other is Death.

LISA: So?

LEONARDO: Well, if that is the truth about water, then it has to be the truth about everything. The earth, the universe…

LISA: (slowly) If the earth is alive, then it must be moving … oh!

LEONARDO: It has to be true.

LISA: Have you told Machiavelli about this?

LEONARDO: No, He is a politician.

LISA: (Locking eyes) Why have you told me these things?

LEONARDO: I don't know.

(LEONARDO exits. Fade to a few weeks later. Lisa is wandering around the studio, looking at things. Se picks up a piece of paper and stuffs it up her sleeve as she hears Leonardo coming.)

LEONARDO: Sorry to keep you waiting.

LISA: It's all right. I didn't steal anything.

LEONARDO: (not really listening) They want to see a sketch of the Battle of Anghiari by tomorrow. Everything is a rush.

LISA: What have you shown them so far?

LEONARDO: Nothing.

LISA: Considering you signed the contract five months ago, that isn't a lot.

LEONARDO: I should be putting the sketches together by now but I don't feel ready.

LISA: Have you done any sketches at all?

(There is a silence)

LEONARDO: Let's do some work on your portrait.

(He gets out a folder, examines some sketches, looks at LISA now and again, looks at sketches, then puts them all away.)

LEONARDO: Very good. Enough for today. (pause) I have to get back to the fresco.

LISA: (angry) Aren't you going to draw? Because if you aren't going to draw I wonder why I come here. I come halfway across Florence and for what? This is the third time you've done this. I wish you'd tell me what this about, so I can decide whether or not to come back.

LEONARDO: Is there a problem Lisa?

LISA: (really losing her temper) What exactly do you have in mind, Leonardo? Do you like bringing me to the studio so that you can make fun of me?

LEONARDO: What do you want Lisa? Do you want me to hide behind the easel? I have been a master painter for years. I don't need to draw you. All I need is to look at you once in a while.

LISA: Why get out the drawing then?

(He pulls his chair over to hers, sits down with his face about half a metre from hers and stares intently at her for some moments. She turns away.)

LEONARDO: You see. People don't like being stared at. So I pretend to check the drawing. To make it easier for you.

LISA: When will the painting be finished?

LEONARDO: Soon. And now I must get back to the fresco.

LISA: And I must get home. Francesco will be waiting.

(pause)

LEONARDO: You have a terrible temper Lisa.

(She laughs)

LISA: Can I look at the sketches?

LEONARDO: Yes.(He pulls out the sketches and she looks at them)

LISA: It doesn't look like me, but I can see how it is me.

LEONARDO: What's wrong?

LISA: Well, it is sort of like I am in the mirror. A little lopsided and fat and the arches and column are grand but -

LEONARDO: But what?

LISA: There's still a lot to be done.

LEONARDO: Yes. A lot to be done.

LISA: Francesco will like it.

LEONARDO: He commissioned me to paint it.

LISA: But you turned him down.

LEONARDO: And then I changed my mind.

LISA: Not because of Francesco.

LEONARDO: (reluctantly) Your portrait is a matter between you and me.

LISA: And no one else. (pause) When will you draw the Battle on the wall?

LEONARDO: When the scaffolding is up. I still have to run more tests on the oil and wax mixture. A week?

(She nods. LEONARDO exits. LISA pulls out the piece of paper from her sleeve, looks at one side, turns it over, and reads aloud.)

LISA: "The sun does not move".

(She is confused for a moment then gasps at the implication. She folds the paper and puts it back in her sleeve, then gazes for a moment. She crosses back to the Del Giocondo’s side of the stage. FRANCESCO enters)

FRANCESCO: How is the portrait going?

(LISA shrugs.)

FRANCESCO: When will it be finished? It has been three months.

LISA: He said soon.

FRANCESCO: The scaffolding is in place for the fresco. Very clever. The scaffolding moves up and down like this. (He mimes).

LISA: He designs lots of machines. He is always inventing something. Like Fire Wax Encaustic.

FRANCESCO: If he fails, the Council will sue him.

LISA: If he fails, it will break his heart.

FRANCESCO: Does it matter to you?

LISA: (pause) He might not finish the portrait.

FRANCESCO: Then we will get another painter.

LISA: No! I am tired of ...

FRANCESCO: Is it the baby, Lisa?

LISA: Yes. The baby.

FRANCESCO: Then I’ll let you make the decision.

LISA: Thank you.

(FRANCESCO leans forward and kisses her on the forehead.)

FRANCESCO: The Great Council have approved the Arno project. Machiavelli leaves soon.

LISA: This could affect the painting.

FRANCESCO: It shouldn’t affect it at all but as I said, we can always get another painter. If you wanted to.

(FRANCESCO exits. Fade to the studio. LEONARDO is working on the portrait and has his back to LISA as she enters.)

LEONARDO: I wish you wouldn't just stand there. Haven't you got anything to do?

LISA: No. Not really.

LEONARDO: (He looks up quickly and smiles). Sorry. I thought you were Marco. I thought you might come when you heard they approved the Arno.

LISA: Well I suppose I can’t wait around until I’m invited.

LEONARDO: That's right. You mustn't.

LISA: Why didn't you tell me so yourself?

LEONARDO: Do I need to tell you everything Lisa?

LEONARDO: It won't be easy. Francesco doesn't -

LEONARDO: I know. But it is only for a few more weeks.

LISA: A few more weeks! But if the Arno project doesn't -

LEONARDO: All we need is a place where we can make it climb a hill.

LISA: How can you make a river climb a hill?

LEONARDO: That's the tricky part. The right depth and width of the trench, the speed of the water - everything has to be just right. But we knew that from the start.

LISA: So when do you leave?

LEONARDO: I don't. I have drawn up all the plans. They just have to follow them.

LISA: (looking some papers) These plans?

LEONARDO: Yes.

LISA: What is this?

LEONARDO: What?

LISA: This drawing. Of a man inside a circle and a square.

LEONARDO: It is an illustration.

LISA: Of what?

LEONARDO: An old saying.

LISA: What does it mean?

LEONARDO: Different things, depending on who you are.

LISA: Tell me! It might be useful.

LEONARDO: Useful? Lisa! It proves that man fits into the most perfect geometric shapes - the square and the circle. It is supposed to prove that man is the centre of the Universe.

LISA: But you don't believe that.

LEONARDO: No.

LISA: Why?

LEONARDO: It's too simple. There are too many unanswered questions.

LISA: Like what?

LEONARDO: Fossils and the way God works.

LISA: So what do you mean by the way God works?

LEONARDO: I don't know. On one side there's squares and circles, and on the other there's earthquakes and storms that move mountains and seas.

LISA: And life? Human beings …

LEONARDO: At the best of times, human beings are observers..

(Pause)

LISA: You frighten me sometimes.

LEONARDO: Don't worry. Things like this happen slowly.

LISA: I am not frightened by what you say, but that you say it. It's dangerous. How many other men think like you?

LEONARDO: I don't know.

LISA: Be careful.

LEONARDO: Come and look at your portrait.

(She goes over and examines the painting)

LISA: The courtyard columns are gone.

LEONARDO: Yes.

LISA: It is a mountain landscape. It looks like a cold, far-away place.

LEONARDO: Do you like it?

LISA: Yes. But Francesco won't. It’s the image of storms and earthquakes and floods.

LEONARDO: It isn't just the background, is it?

LISA: It isn't me. I look like I've been sitting there forever watching the mountains rise out of the sea.

LEONARDO: You understand how God works. The figure still needs work, although it is all there already.

LISA: It is time for me to go home.

LEONARDO: I try the Fire Wax Encaustic in a few days.

(LISA smiles .LEONARDO exits. Fade to del Giocondo's with LISA sitting. FRANCESCO enters)

FRANCESCO: The Arno project failed.

LISA: Why? What happened?

FRANCESCO: They tried it out early to take the Pisans by surprise. But it didn't work.

LISA: Why not?

FRANCESCO: Leonardo says that there were too many people not following his instructions.

LISA: I see. Machiavelli will think of something else.

LEONARDO: He already has. He wants to raise an army to go against Pisa.

LISA: The portrait is almost finished.

FRANCESCO: I'm glad. You have changed….

LISA: No. Not really. Only in the way mountains and storms change things. You know you live with them without even noticing or seeing what they mean.

FRANCESCO: That is what I am talking about.

LISA: They're just thoughts.

(pause)

FRANCESCO: There are screens all around the Council wall.

LISA: Why?

FRANCESCO: I suppose he wants to hide the work from Michaelangelo who is painting a fresco on the opposite wall.

(FRANCESCO exits. Fade to studio. LEONARDO is sitting as LISA enters)

LISA: I came as soon as I heard. Tell me what happened.

LEONARDO: Lisa. It went so well at first. The lower parts of the painting cleared and shone, just like the tests. But then I saw it wasn't working at the top.

LISA: And then what happened?

LEONARDO: I stoked up the fires and for a while it worked and then -

LISA: Then?

LEONARDO: The parts closest to the fire began to melt. They just turned to liquid and ran off the wall.

LISA: What is it like?

LEONARDO: There's nothing left. Just melted paint and wax dribbles.

LISA: Oh Leonardo! What will you do?

LEONARDO: I cannot stay in Florence.

LISA: No.

LEONARDO: Do you understand, Lisa?

LISA: Yes.(LEONARDO exits as fade to del Giocondo's. FRANCESCO enters followed by LISA who carries her baby.)

FRANCESCO: I’ve heard news from Milan. Leonardo is staying there and he might be moving onto France. We’ll never have the painting now. All those sittings. All that time you spent in his studio -

LISA: It does not matter. You would not have liked it anyway. Let him have the painting. After all, an artist owns his own work.

FRANCESCO: I will commission another. Something we can hang in the main room.

LISA: No. You could not reproduce that portrait and - I think that one portrait of me is enough.

(fade to blackout)FINIS.