the presently unfinished Tezi Altarpiece, on which the maestro has only painted the brilliant blues of the Madonna's cloak. His mention of it to his companions is shouted down in the anxiety and pain of the journey. After their arrival, the chapter shifts to when the Tezi Altarpiece was first commissioned in Perugia. Following the legalities of noting the commission, the maestro sets out to have the poplar panel made by a local craftsman, who is the first to refer to the maestro by his name, more than halfway through the chapter. The painstaking process of preparing the wood is gone through in incredible detail to demonstrate the assistants' favor with the maestro. When the underdrawing is finally to be drawn onto the canvas, Aulista is chosen to demonstrate the process to the gathered apprentices. Following this, the painting sits untouched until they have moved from Perugia to Florence, when the maestro has Aulista prepare the paint for the blue robes of the Madonna. The maestro has the workshop leave him alone for a few moments so he can secretly work on the paint, before allowing them back in to watch him paint. He leaves a small corner for Aulista to finish and date. The painting remains in this state for years until their return to Perugia, where the chapter returns to the initial timeline. The four assistants arrived in Perugia to find the maestro already at their workshop. Exhausted, they slept for days, and awake to the new assistants and apprenticeships hired for the new workshop. The only painter they didn't know previously was a young Raphael, who the maestro took an immense interest in, and treated differently than his loyal assistants of the past decades. Suddenly, for reasons not given to the workshop, the maestro returns to the Tezi Altarpiece, working on it daily in his brilliant colors and masterful strokes. To the confusion and interest of everyone except Raphael, the maestro does not paint St. Jerome's miter, the Madonna's shirt, St. Nicholas of Tolentino's book, or St. Sebastian's cloak until the end. Aulista initially prepares the red for these items, but the maestro again asks everyone to leave for a few minutes. When they return he is already painting with the most striking red Aulista had ever seen. He is still not sure of the reason why they had to leave Florence, and why his master (and