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

What do you remember about Gaston de Foix? Allora, he was general to the French army, nephew to the French king, and known as the “Thunderbolt of Italy” for his lightning-quick attacks against Italian cities. He was young—twenty-one or so—handsome, brilliant, and an enthusiastic warrior. According to rumors, Gaston hummed children’s songs while he sliced necks with his sword, and now, that sword was pointed at the pope. A few years before, the pope had been in an alliance with King Louis XII against Venice, but then the pope teamed up with the Venetians and pledged to “evict the French barbarians from the peninsula.” King Louis took the betrayal personally. He didn’t only want the pope’s territory; he wanted the pope’s head. And Gaston de Foix had been charged with bringing it back.

“Gaston himself may already be inside the palace,” said one papal guard, holding the pope’s arm in one hand and a spear in the other. “We must get you to safety in the Castel. Now.”

The Castel Sant’Angelo, that huge, hunk of a round, stone fortress sitting on the banks of the Tiber like a fat warrior. Have you ever been inside? It’s dark. Dreary. Feels like a tomb. No wonder, since it was originally built by Emperor Hadrian as a mausoleum. Did you know that it’s connected to the Vatican via secret passageway? The Passetto, it’s called, a corridor that shuttles popes to safety whenever Rome is under attack. If the pope was moving into the Castel, it meant danger from the French was imminent.

“Pack up,” I ordered my men, and we grabbed a few supplies— our best paintbrushes, sketchbooks, a stack of gold leaf, anything we couldn’t afford to lose—and joined in with the entourage hustling after the pope. Cardinals ran down halls, servants hid silver, guards waved us along, “Quickly, quickly . . .”

Felice dropped back in the pack alongside me. She was pregnant again, her intensity only heightened by her condition. “You can’t go to the Castel,” she whispered.

“Why? Is the pope still that upset about the portrait? I wasn’t the one who . . .” I couldn’t even say the word murdered.

She waved her hand dismissively. “He’d happily have you. But you have to stay behind.”

“There are assassins in the Vatican.”

“Maybe. Or maybe this is only panic.”

“And if it’s true?”

She shrugged. “They’re hunting for the pope, not his painter.” I’d like to see her shrug if it were her life we were bandying about like dice.

“Are you going into hiding?”

She shot me that look. “Haven’t I told you the story of enemies kidnapping daughters to get to their fathers?”

“Then, I’m going into hiding, too.”

She tapped her temple. “Think. We’ll all be away. My father, cardinals, Michelangelo . . .”

“Why does everyone always choose Michelangelo over me?”