THIS NOVEL WOULD NOT EXIST WITHOUT THE PATIENCE, faith, and adroit editing, both sweeping and fine-tuned, of my amazing editor, Katherine Tegen.
It also would not have the humanity or the thematic and historical depth I hope it does without the influence and help of my adult daughter and son, Megan and Peter, themselves now accomplished creative artists. Both traveled to Florence to research. Both read the manuscript multiple times at various stages, lending me their own imagination, artistic eye, and interpretive talents. Their insights bolstered characters, cut fat, pushed dramatic moments to their fullest import, and honed the issues raised by Ginevra’s life and Leonardo’s portrait of her. They prodded me to be brave, to add bittersweet humor. Peter saved me from a tepid, unsatisfactory ending. Megan’s ability to research and make sense of information, minute or large, added dimension and pith to Ginevra’s personality. Her edits and comments kept the manuscript and its themes on track and a story about female choice and agency as well as art and love.
Zach Mott translated Landino’s poems from Latin to English for me. I also must thank Professor Monique O’Connell of Wake Forest University for helping me refine my characterization of Venetian ambassador Bernardo Bembo and WFU Professor Bernadine Barnes for helping me interpret conflicting scholarship around Ginevra de’ Benci and to highlight Verrocchio’s talents. My love of Renaissance thinking began many decades ago as an undergraduate student at Wake Forest. It was a special pleasure to “return home” for encouragement and mentoring of what I believe to be a beautifully complex and inspiring life that demanded exploration.