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

My lips opened, but my tongue was too heavy to speak. I shook my head.

“Good luck, Raphael Santi of Urbino. May you get every miracle that you deserve.”

Chapter LIII

Chapter LIII

Maestro, I’m confused.” Guillaume wrinkled his nose at a drawing of a tall, winged angel in a flowing gown. “Is this figure for The Mass at Bolsena?”

“No, for The Deliverance of St. Peter.” I pointed to stacks of papers neatly collected under the arched northern wall of my miracles room. That new scene would be dark—dark prison, dark walls, dark armor of dark guards—contrasted with a brilliant blast of light as an angel exploded in the middle of the blackness to liberate St. Peter. “And these”—I handed him another stack of draw-ings—“are for the ceiling, and these are for the fire scene.”

“Pardon, there’s a fire scene now?”

“I don’t know where it goes yet.” It was only an idea for a wall; I didn’t know the story yet, but I had this vision from the riots— fires burning among ruins, people passing jugs of water, women flinging hands toward heaven, a naked man climbing out of a burning building. A scene worthy of Michelangelo. “Make a separate stack. I don’t care where. Somewhere.”

Guillaume bumped into Lotto as they hurried in opposite directions across the room. In the weeks after Margherita’s departure, work was frantic. Driven by unspent energies, I drew fast and hot. As my men built new scaffolding, enlarged preparatory drawings, mixed plaster, and ground pigments, I drew hundreds of drawings for five or six different frescoes. If I could convince the pope to promote me to Bramante’s job, then I would be powerful enough to rebuild Rome in my own vision and keep Margherita safe. Wouldn’t I? Then, I could convince her to return to Rome. If only . . .

It seemed all of my incessant painting worked because one day, without warning, Bramante was standing over me and saying, “The moment has come.”

I stretched my aching hands. “What moment?”

“The pope’s going to appoint you as my successor.”

I smoothed down my chalk-smudged vest. “Now?”

“He’s summoned me and asked me to bring you. His nephew is with him now. We’re to have an audience as soon as they’re finished.”

I stood and smoothed out my breeches, too. Today of all days to wear breeches instead of tights . . . “Do I have time to change?”

“No,” Bramante said, adjusting his lapel (a fine velvet green jacket with red trim. He’d had time to don a new set of clothes).

“Va bene,” I said, looking back at my men. Sodoma grinned, Lotto’s eyes were wide, Guillaume waved me onward. A promotion for me would mean their rise, too.