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’d spent countless hours fretting about how to fulfill my promise to the pope and make people love him. Pope Julius II wasn’t exactly warm, was he? He was as likely to curse you as bless you, fire you as praise you. I had to work to find that man’s humanity. I looked past his legendary temper and the pomp of his holy office, and I painted a man. An aging, slack-jawed, wrinkled, lonely man. I didn’t paint him as he was in the days after the French retreat—jubilant, fierce, strong. No, I painted him as he was before: bearded, beaten, worn, like any man battling through life. I didn’t find the pope’s beauty in his power, but in his frailty, a symbol of how youth and strength fade, even when buffeted by power. Death comes for us all, and not even a pope can stop it. When a man as powerful as a pope shows his vulnerability, you feel for him—don’t you?—and you can’t help but love him.

That’s the portrait that I painted.

But that’s not what they saw.

“It’s powerful.”

“Intense.”

“Calls for action.”

“It will make the people fear us.” His Holiness turned to me with that sagging, toothless smile of his and said, “You’ve done it, Raphael. You’ve made another miracle.”

And although it wasn’t my intention—it was not, believe me— those around the pope used my portrait to fan his flames of anger against those traitorous Florentines.

“Now, it’s time to behave like the man in this portrait,” said Felice, arm linked through her father’s. “Strong, decisive, aggressive. The people will want to follow this man as he conquers those who have rebelled against him.” Her eyes darted to me, then back to her father. “Like the Florentines.”

“Felice’s right,” nodded Cardinal Riario. “The Florentines must pay for supporting a scheme to depose you, or else what will be the deterrent for others rebelling against you?”

“I agree,” said Cardinal de’ Medici, stepping up to the pope’s side. (I noticed that Medici, for one, had not remarked upon the portrait’s ferocity—he’d seen it for what it was—but he hadn’t contradicted the others, either. When something pours in your direction, why push back?) “Now’s the moment to bring Florence back under the rule of the Medici.”

“You mean, bring Florence back under the rule of the papacy,” corrected His Holiness.

“Exactly,” said Medici. “Florence has rebelled and been a Republic for long enough. It’s time for us to assert control once again. Take Florence back for our side.”