LEONARDO da Vinci's last home - in France – has opened the first ever major exhibition on his French connections.

Léonard de Vinci et la France is a chance to see original drawings by the ultimate “Renaissance man” and curiosities like a reconstruction of a mechanical lion he once made.

The exhibition is in the beautiful setting of Clos Lucé, Amboise, where the attractions include da Vinci’s French chateau - a gift of King François I - and recently created gardens which are inspired by his theories.

Spokeswoman Catherine Simon Marion said the exhibition, which has explanations in French and English, would chart da Vinci's connections with France from his first contact with the French kings when he lived in Italy, to his last three years when he came to Clos Lucé at the invitation of François I, aged 65.

The artist and scientist made the arduous 500-mile journey by foot and mule.

Ms Simon Marion said: “His relationship with the French kings started with Louis XII and Charles VIII.

“Louis XII in particular was fascinated with his painting of The Last Supper in Milan - he wanted to bring it to France but could not, so he had copies made.”

However it was François I (king from 1515) who invited da Vinci to France, at the start of 1517, and gave him Clos Lucé, next to the royal chateau of Amboise, where the court was established at the time.

He became so fond of the old painter he is said to have referred to him as mon père.

The later 16th Century art historian Giorgio Vasari claimed da Vinci died at Clos Lucé (in 1519) in the king’s arms. Modern historians think this unlikely, but the story nonetheless indicates the close rapport the men are said to have shared.

Ms Simon Marion said: “The exhibition retraces his last works. People think when da Vinci came to France he didn’t do much work and just came here to rest. However that was not the case. He came here with three of his most beautiful paintings – The Mona Lisa (La Joconde in French), The Virgin and Child with Saint Anne and Saint John the Baptist and with all his notebooks and sketches - thousands of pages of manuscripts. He finished off some of his work here, giving last touches to paintings, and catalogued everything.

“We have contemporary source material in the exhibition, like an account from the secretary of a cardinal who said he saw da Vinci here and noticed a painting of an Italian lady with a strange look on her face.”

“Vasari tells us - in relation to that famous smile - that da Vinci employed actors, singers and jesters to try to take away the melancholy feel typical of portraits of the day.

Ms Simon Marion said: “He did some of his last drawings, like The Pointing Lady, which is very pretty and we are hoping for authorisation (from the British Royal Collection) to display the original, and studies of the movement of water in floods.

“He was fascinated by nature and always said he had learned everything from her.

“In his childhood in Tuscany with his uncle and grandfather he was used to country walks, hunting and observing nature.

“We also hope to have original drawings he did here of dancing ladies and horsemen.”
The exhibition is being organised by Carlo Pedretti, the world’s leading expert on da Vinci as well as other historians whose work overlaps with the different themes of the showcase.

One such theme is the plans he made for a chateau at Romorantin, a town 50km from Amboise which was a favourite of the king. He wanted him to design him an ideal royal palace.

It was never built but historians think the Château de Chambord, especially its extraordinary two-way double-helix staircase where a person going up does not meet a person coming down, was inspired by his designs.

There will be a model of how da Vinci’s chateau might have looked.

“We show his lighter side too - the parties that he arranged for the king here. He imagined caravans the king could use to visit with his court and he created a mechanical lion which, when the king gave it a blow with a sword its chest opened up and fleurs de lys (lily flowers - a royal symbol) came out. We have recreated the lion.

“He was seen as a kind of magician because of the inventions he dreamed up.”

Ms Simon Marion said the exhibition would have elements appealing to children as well as adults – children’s workshops are also organised at the site though not specifically in connection with Léonard de Vinci et la France.

You can also visit the new garden, which has been created by draining marshes – it explores da Vinci’s ideas about botany, geology and water movement.
In the chateau and its grounds there are reconstructions or models of some of da Vinci’s machines, like versions of a helicopter, a tank and a hang glider.

There are plans for a da Vinci study centre dedicated to his life’s work and to recreate his workshop.

“The Saint Bris family who own the house reinvest the income to restore it and create new activities. As da Vinci’s interests were multiple we have 10-15 years of projects to complete.

“It is a both educational and fun. However, the family wants to make sure we concern ourselves only with the truth. A few years ago they were asked if a private showing of The Da Vinci Code could be held here and they refused – it’s a nice film, but it’s fiction. We are careful that what is said and done here respects da Vinci’s memory.”

Clos Lucé is open daily all year round (until 19.00 in June or 20.00 in July and August) and a visit can be combined with one to the royal Château d’Amboise, just 500m away.

The exhibition Léonard de Vinci et la France runs June 25 - January 30.
See www.closluce.com or telephone 02 47 57 00 73.

Photo:Léonard de Serres