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

Virgil! He would’ve been good, too. Since my tongue had apparently decamped for the night, I did the only thing I could: pulled a stub of chalk out of my vest and—no paper available—picked up the round end of the wooden barrel that the lady had used as a shield against those wolves and crouched down to draw. I usually start with the shape of a person’s face, but—as she marched toward me, rage flushing up her cheeks—I started with her eyes: gently curving ovals bulging like eggs peeking out of feathers in a nest; swooping lids; fine bristles of lashes; smoky shadows whispering around the edges of . . .

She snatched the board out of my hands and said, “What’s wrong? Never seen a puttana before?” But then she looked down at my sketch. Her lips parted. (They’re full and pink and tempting as peach meat.) She blinked. (Her irises are the center of a sunflower—rich, warm brown brightened with gold.) The color faded from her cheeks. (Her unblushing skin is alabaster with a thin glaze of amber.) She pushed her wet hair off her forehead. (In that dim light, it was brown as peat, but on a sunny day, it flares bright as bronze.) Her eyes found mine. I didn’t flash an amorous smile. I didn’t raise an eyebrow. I didn’t reach for poets. I held her gaze steady. Silently, she handed the board back to me. She sat down, her yellow skirt floating around her in a pool of cold water. I sat down, too. I took my time capturing every turn of skin, every shadow along every ridge, every strand of hair falling along her face. I caught the ruffle of her yellow dress curving off her shoulders, the folds of her gown, the ribbons, her fingers . . .

Mi dispiace, I’m not supposed to be talking about this; I’ve made promises. She says that my story without her isn’t the way things are, but the way things are supposed to be, and I understand that, but regardless, there is no version in which I’m the hero without her. Basta.

I don’t know when the rain stopped. I don’t know when the blue night turned purple, pink, gold. I don’t know when we heard the first wagon roll past.

“The priests will be here soon.” She gathered up her cloak and the round end of the barrel, bearing my drawing of her face. “I should make sure you get home safely.” She offered her arm, and I took it. “Where shall I escort you?” she asked.

And I answered, “The Vatican.”

I swear she bit her lip. She swears she gave no reaction to my revelation.