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 stood in the center of the Hall of Mysteries, surrounded by those jewel-toned frescoes: Birth of Christ, Adoration of the Magi, Resurrection. When His Holiness ambled into the room—eyes on those walls, red velvet hat in hand—I spoke: “Dante Alighieri said, ‘Worldly fame is but a breath of wind that blows this way, and that, changing name as it changes direction.’ And it’s true, Your Holiness. Pinturicchio was once the most famous painter on this peninsula, but now new generations hardly know his name.” I gestured to a cardinal, gaping at the Assumption of the Virgin fresco, who looked young enough to still require a tutor. “But that’s a disgrace, Your Holiness. We should all know Pinturicchio. Some people, I suppose, might call copying our predecessor’s work thievery.” I glanced at Michelangelo, head back, mouth open, staring up at the Annunciation. “But I call it progress. Painters have built entire styles atop Pinturicchio’s innovations, and these paintings have personally given me inspiration, comfort, protection.” I thought back to those dark nights, when I’d slept in those rooms when I had no others. “So, I’m asking today that you save these paintings, Your Holiness, open these rooms, unbury these walls. These masterpieces don’t deserve to be buried beneath. They deserve to be seen. They deserve to be saved.” I dropped my head with a note of finality and stared down at my leather shoes, a fresh pair for the occasion, with not a single frayed thread or speck of paint.

There was thick silence—not a sniff or cough or shifting stance—and then the pope said in an incredulous or frustrated or defeated tone (I’m not sure which because I didn’t look up to see his expression), “Why in heaven’s name wouldn’t you save your own work, son?”

“Your Holiness,” I said. “Even if you destroy everything of mine inside the Vatican, I can paint new paintings. Because, as you see”—I extended my arms—“I’m still alive. But Pinturicchio? He’s gone from this Earth. He’ll never paint anything again. And the world doesn’t deserve to lose him.”

The pope shook his head—his expression was impossible to read—but before he could speak, a new voice called from across the room, “Allow me to show you what the world doesn’t deserve to lose, Holiness.”

The pope and I exchanged a bewildered look and then, along with everyone else, turned to see who had interrupted.