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

Raphael did paint alongside Sodoma in the papal library as described, and Pope Julius II did fire the other more established painters to hand the project solely to Raphael after a short time. Which portion of the ceiling in the papal apartments Raphael painted first is unknown; I chose Justice because I believe it could’ve convinced Pope Julius of Raphael’s spectacular talents. A few fired painters joined Raphael’s workshop—which eventually became the greatest workshop in Renaissance Rome—but there is debate about who stayed. Sodoma likely left, but he’s such a wonderful character, I couldn’t bear to watch him go so quickly (plus, Raphael includes a portrait of him in The School of Athens, so his inclusion has basis). Although Pope Julius did move out of Pope Alexander’s apartments, leaving Pinturicchio’s frescoes behind, I have no reason to believe that Raphael ever lived in them (although his first payment from the Vatican treasury isn’t recorded until months after his arrival, so that’s where I got the idea that he might have faced financial struggles early on).

We have loads of historical information about Michelangelo’s work on the Sistine, so all of that is true: descriptions of figures, his inventive scaffolding design, finishing the Separation of Light from Darkness in a single day—to name only a few details. Look at the fresco of Zechariah and see if you can find that young man perhaps “flipping the fig” at what could be a portrait of Pope Julius. Michelangelo really did curse painting and resented having to interrupt his work on Julius’s marble tomb (which he never finished to his satisfaction; he called it the greatest tragedy of his life). A portion of Michelangelo’s work in the Sistine really did mold after three months of work—he had to start over—and yes, Michelangelo accused Raphael of trying to steal the Sistine from him on many occasions. While painting the Sistine, Michelangelo really did sign his letters “Michelangelo, sculptor in Rome” (which, of course, inspired the title of this novel).

Every named character that appears in these pages is based on a real person (except for Jester Dominic, who is named after my nephew, a request that I could not deny).