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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 hadn’t been back to Florence in seven years—seven years! Even after the Florentines burned that madman friar at the stake, same as he’d burned their Botticellis—an irony that still gives me no end of joy—and fashioned their city into a modern republic, I’d been too afraid to return. But then, I heard a rumor about a new statue unveiled in Florence that, according to travelers along the pilgrimage route, “would change art forever.” One young woman—ears so pointed she could’ve been a fairy—told me that it had been made by the same sculptor who’d carved his name into his Roman Pietà. No matter what he says now, no one knew his name back then, even though we’d all heard of his Pietà: a marble masterpiece of the Virgin Mary cradling the crucified Christ. I hadn’t been to Rome, so I hadn’t seen it yet, but that sculptor was already my hero. According to rumors, he’d carved his name into the strap crossing the Madonna’s chest: Such and such from Florence carved this. Who had ever heard of such arrogance, such boasting, such . . . brilliance? Che grande! Yes, even at the time, I recognized the irony that although we’d heard about the act of signing his work, we couldn’t remember his name, but still, I’d followed his lead and painted my own name onto my Marriage of the Virgin altarpiece, too. (On the cornice of the temple in the background: “Raphael Urbinas 1503.”)

Where am I in the story, again? Ah yes . . . Not even the ghosts of Florence could keep me from seeing that sculptor’s new statue.

As I neared the city, the cathedral’s terra-cotta dome crested over the horizon first. It was late in the day, so the sky was turning warm golden pink. (If you want to make such a color, grind up the dried bodies of female Chermes insects, add a bit of white lead and a touch of yellow—ochre over orpiment—and a thin layer gold leaf over the top.) The Arno River reflected the pink-orange sky and distant violet mountains. No wonder art had grown back so quickly after that madman friar’s execution: the city looked perfect as any painting I could imagine.