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

And now, despite all my bravado, the moment was upon me, and I was nervous. No, I didn’t want the job for political reasons, but if I did get the job—even if for political reasons—I could use that position to reach even higher, paint even better, and one day maybe even surpass . . . I reached for my father’s paintbrush to twirl. Beh. Right. It was gone. (I’d searched Old St. Peter’s for that paintbrush many times since that night in front of the Pietà. I still look for it sometimes, but it’s never turned up. It’s gone.)

A voice cried out in Latin: “Annuntio vobis gaudium magnum: habemus papam,” and the crowd passed along the traditional announcement: “I announce to you a great joy: we have a pope.” As the people in front of us turned to pass these words back, and we turned and repeated the same words to those behind, I felt a thrill. We, in that square, would be the first to greet a new pope, a new leader of our Church, a new voice of God. And I couldn’t stop thinking: Which name would Fafel—Raffaele Riario—take? Pope Julius III after his cousin? Pope Sixtus V, after their uncle? Could there be a Pope Raphael?

Bramante stood on his toes. The crowd held its breath.

And then, the doors of that Vatican Palace balcony opened and . . .

Do you know what I saw first? Before my eyes registered the pope’s ceremonial white robes or golden staff or papal tiara— before I saw any of that—my eyes landed on the misshapen, bulging, flaring nose of . . .

Michelangelo.

I felt sick. Dizzy. Sweat beaded along my forehead. I might’ve stumbled backward or run my hands through my hair, I don’t know. But there was Michelangelo up on the papal balcony. There was Michelangelo standing next to the new pope.

“Medici.”

I heard the name before my eyes registered his face.

“Medici, Medici, Medici.”

Standing on that balcony, no longer dressed in cardinal reds, but in the brilliant bright, white vestments of the holy pontiff was—wide shoulders, round head, jowls thick as ever—Cardinal de’ Medici . . . Mi scusa . . . No longer cardinal, but pope. The crowd passed his papal name back, and my tongue felt heavy as I turned to repeat the news to those standing behind me: “Cardinal de’ Medici has taken the name Pope Leo X.”

“Oh God, no,” muttered the duke, as he stumbled backward out of the crowd. (I guess Francesco Maria was right to flee that day. A short time later, the Medici pope drove him out of Urbino; without his uncle on the throne to protect him, he’s in exile now, miserable and powerless, as he should be.)