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

While cardinals debated and voted behind locked doors, I finished my Mass at Bolsena fresco. (It’s an obscure miracle, so I don’t know why you would’ve heard of it, but it was one of Pope Julius’s favorites, so I was pleased to leave it on the wall in his honor: in 1263, at a church in Bolsena, a doubting priest was conducting mass when the bread began to bleed, leaving a cross-shaped stain on the tablecloth, proving that the bread and wine indeed turn to the Body and Blood during the Eucharist.) In that fresco, to the left, at the front of an adoring crowd of faithful, I included a painting of Margherita, tall and bold, in a long, flowing yellow dress. (D’accordo, it has more of a golden tone than the sunflower dresses of such notorious ladies; I couldn’t overtly paint a puttana on a miracles fresco in the Vatican, now could I?) That single figure among a crowd would never be enough to immortalize her, but it was a start. I remember thinking: if Cardinal Riario becomes pope, I’ll cover the entire Vatican with Margherita’s face.

Then, on the cold afternoon of March 9th, word came that the cardinals were going to vote again. And this time, so went the rumor, one man had the necessary votes to be pope.

“Is that smoke?” asked Bramante, as we all packed into the square outside the Vatican, waiting for smoke to rise out of the chimney atop the roof of the Sistine Chapel and tell us there had been a vote: if no pope had been elected, black smoke would rise. If one man had enough votes to be pope, then we would be greeted by a puff of white smoke and cheers. The duke stood with us as we stretched our necks trying to get a glimpse of that slender, cylindrical chimney. “Is that . . . ?” Bramante exclaimed again, but it took another five gasps for him to be right. Eventually, the chimney coughed . . .

White smoke.

The crowd cheered, “A new pope, a new pope, praise God Almighty, we have a new pope.”

“It doesn’t have to be Riario for this to be a victory, you know,” Bramante whispered, sounding nervous. “Bibbiena would also be good.”

“The Farnese cardinal, too,” said the duke. “He likes me.”

“And he praised your Madonna of the Veil at the funeral,” Bramante added to me.