Back Raphael, Painter in Rome: a Novel
Chapters (75)
  1. Front Cover
  2. Half-Title Page
  3. Title Page
  4. Copyright Page
  5. Dedication
  6. Prologue
  7. Chapter I
  8. Chapter II
  9. Chapter III
  10. Chapter IV
  11. Chapter V
  12. Chapter VI
  13. Chapter VII
  14. Chapter VIII
  15. Chapter IX
  16. Chapter X
  17. Chapter XI
  18. Chapter XII
  19. Chapter XIII
  20. Chapter XIV
  21. Chapter XV
  22. Chapter XVI
  23. Chapter XVII
  24. Chapter XVIII
  25. Chapter XIX
  26. Chapter XX
  27. Chapter XXI
  28. Chapter XXII
  29. Chapter XXIII
  30. Chapter XXIV
  31. Chapter XXV
  32. Chapter XXVI
  33. Chapter XXVII
  34. Chapter XXVIII
  35. Chapter XXIX
  36. Chapter XXX
  37. Chapter XXXI
  38. Chapter XXXII
  39. Chapter XXXIII
  40. Chapter XXXIV
  41. Chapter XXXV
  42. Chapter XXXVI
  43. Chapter XXXVII
  44. Chapter XXXVIII
  45. Chapter XXXIX
  46. Chapter XL
  47. Chapter XLI
  48. Chapter XLII
  49. Chapter XLIII
  50. Chapter XLIV
  51. Chapter XLV
  52. Chapter XLVI
  53. Chapter XLVII
  54. Chapter XLVIII
  55. Chapter XLIX
  56. Chapter L
  57. Chapter LI
  58. Chapter LII
  59. Chapter LIII
  60. Chapter LIV
  61. Chapter LV
  62. Chapter LVI
  63. Chapter LVII
  64. Chapter LVIII
  65. Chapter LIX
  66. Chapter LX
  67. Chapter LXI
  68. Chapter LXII
  69. Chapter LXIII
  70. Chapter LXIV
  71. Epilogue
  72. Coda
  73. Note
  74. Acknowledgments
  75. About the Author

I must’ve been nine or ten—my mother and sister had been gone a good while, but my father had yet to show signs of sick—when a fat-bellied patron filled our doorway with feathers and fussiness. He was dressed like a duke, but he was probably only some new-money merchant putting on airs or else my father never would’ve behaved the way he did. I was hiding behind an altarpiece with only one eye peering out, so my memory of the scene is off-balance, the door pushed to the left of my peripheral vision, while my father’s cluttered studio—wooden shelves sagging under jars, knives, trowels, raw minerals—fills up the right; it’s all on a diagonal, too, the world sliding off to one corner. My father’s shoulders sagged as he declined the man’s request for a commission; he was too busy working for the duke, in the studio, with his son. He recommended Perugino’s workshop, instead. Oh, how I wanted to run after that man and assure him that we could handle his commission—I was not a burden—and that we wouldn’t disappoint anyone. Ever.

I’m still not good at turning down commissions. I’m not certain that I ever have turned one down, as I always make polite excuses and promise to get to it when I have time. But that Carnevale night, in Chigi’s villa, I’d never even attempted to demur before. “Signor Chigi, the commission you’re offering is magnificent,” I said, as he—Imperia on his arm, still nude but pretending not to be—walked me down the empty halls of the upper floor of his villa, giving me a tour of my new dominion, wall after wall, ceiling after ceiling of clean white plaster prepared for paint.

“Why do I hear a ‘nevertheless’ in your tone?” Chigi’s eyes creased with kind.

“I meant what I said, signore. The Vatican project is too important, and as Aristotle said, only pleasure in the job puts perfection in the work, so . . .”

“Working for a pope is prestigious,” Chigi said, leading us outside to a balcony overlooking his gardens and the Tiber beyond. I leaned against the balustrade next to Imperia. I didn’t see how she was standing out there unclothed on such a damp shivery evening.

“There’s also the allure of certain chapels.” Imperia bumped me with her hip.

Blessed Mother, were people talking of my Sistine aspirations? Such rumors would make me seem like a climber. “I wouldn’t dare aspire to such . . .”

“What they say is true,” Imperia said. “You are too nice for Rome.”