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 shook my head. Although the pope had agreed to let me throw out Bramante’s designs and use my own for the walls, he’d dictated that my Religion fresco was to be a scene of the Disputation of the Holy Sacrament: fifty or so religious figures standing around talking about the mystery of the Eucharist. How was I supposed to make a conversation interesting? “But if I copy the Masaccio, I’ll leave the upper half of the arch empty.”

Sodoma, feeding crusts of bread to the bird on his shoulder, said, “So?”

Before I could reply, Lotto answered for me in a mocking tone, “So, then it won’t be perfect.”

The pope and his advisers came back into the room—arguing about Venice or the French, I don’t know what, but it wasn’t conducive to deep thought—so I tossed Lotto my smock and said, “You’re in charge.”

Outside, it was hot and humid—one of those awful summer days in Rome when the sun is so bright that you think you’ll melt fast as candle wax—but the heat felt good. That past winter and spring, it had rained like washbasins, as if Michelangelo beginning the Sistine with a painting of The Flood had reminded God that there was plenty of ugliness that still needed washing away. A chill took hold. The ends of my fingers wrinkled with wet. Frescoing’s impossible in all that rain; the plaster turns to cold pottage. Not that it mattered because I’d spent that entire winter, spring, and the early weeks of summer not painting, but making hundreds— no, thousands—of sketches. And yet, here I was at the end of June, no closer to starting to paint than I’d been in January.

On the other hand, Michelangelo, I’d heard, had identified a good plaster mix and started painting. Again. He was starting for the second time before I could begin my first. Of course, no one knew how progress on the ceiling was coming along, as he’d hung tarps beneath his scaffolding to hide his work. He also threw planks at the heads of anyone who tried to climb up for a look— even at the pope. Planks! At the pope’s head. Can you imagine? “You’ll see it when I’m finished,” he would bellow.