And what apartments! Just a modest little nest of rooms in the Vatican where the Holy Father could remove his jeweled cope (along with the weight of all Christendom) and relax at the end of the evening like any ordinary man. But Rodrigo Borgia would have nothing ordinary. He had declared he would have the papal apartments new-made, stamped and decorated with a lavishness to surpass anything else in Rome. It had taken two years, but that little painter Maestro Pinturicchio had finally finished the frescoes that had been designed especially for the Holy Father’s personal rooms, and the resulting splendor left all Rome gasping. Our small cena tonight had been set in the Sala dei Santi: the long table draped with sumptuous brocades and set with solid silver dishes and fragile Murano glass; the ceiling arched overhead painted in double crowns and the Borgia bull; the frescoes framed with geometric Moorish patterns in a blaze of colors, imported straight from Spain.

Pinturicchio had used us all as models for his various scenes—Lucrezia dimpled and tossed her blond head under the beseeching figure of herself on the wall as Santa Caterina; inscrutable Cesare lounged under his own image as inscrutable Emperor Maximilian in a massive throne; fourteen-year-old Joffre pranced in the painted crowd as one of the background figures; and Juan cut a ridiculous figure on the wall in a silly Turkish mantle as a turbaned heathen. I was a Madonna in one of the other chambers, with my Laura on my lap for the Christ child. “Surely it’s blasphemous to have a girl sit as model for our Lord!” Maestro Pinturicchio had protested.

“Any more blasphemous than to have a harlot sit for the Madonna?” I’d countered, the Holy Virgin’s blue veil swinging about my face like a joke. I’d never asked to be a notorious woman; I’d been raised for a husband and children like any other girl of noble birth, but here I was. I’d made my own choices, and I made no bones either about what it made me—but I’d been determined to have my Laura in the frescoes along with all the other Borgia children. Maestro Pinturicchio had taken one look at the set of my chin and begun sketching. A nice little man, ugly as the day was long, but skilled. His wife was the most notorious harpy in Rome, and I gave him a rose-quartz and crystal bracelet to give her in the hopes it would sweeten her temper. It hadn’t, but he thanked me anyway, and he made Laura look very pretty indeed in our Madonna-and-Child fresco. Though the halo certainly didn’t suit her; she was a full three years old now and a proper little imp!