During the election of a new Pope in the mid-18th century, famed violinist Antonio Vivaldi learns of a ring of art forgers who are replacing the Vaticanâs priceless treasures with expertly-painted fakes. Desperate, the composer hides a message in a special melody, hoping someone, someday, will take down the culprits . . .
Nearly 300 years later, the confession of a dying Mafia Don alerts a Venetian priest to a wealth of forged paintings in the Vatican Museum, and the key to their identities lies hidden in a puzzling piece of music. Father Michael Dominic, prefect of the Secret Archives, investigates, and is mystified when he finds a cipher in an old composition from Vivaldi. Desperate to stop this conspiracy, he calls on Hana Sinclair and Dr. Livia Gallo, a music cryptologist.
But the Camorra, an Italian Mafia clan, wonât stand by while some priest ruins their most lucrative operation. Along with a French commando and two valiant Swiss Guards, Dominic explores the dark canals and grand palazzos of Venice to uncover the evidence he needs to stop the sinister plot. Can he unearth it in time, or will the Churchâs most valuable artworks fall prey to this massive conspiracy?
During the election of a new Pope in the mid-18th century, famed violinist Antonio Vivaldi learns of a ring of art forgers who are replacing the Vaticanâs priceless treasures with expertly-painted fakes. Desperate, the composer hides a message in a special melody, hoping someone, someday, will take down the culprits . . .
Nearly 300 years later, the confession of a dying Mafia Don alerts a Venetian priest to a wealth of forged paintings in the Vatican Museum, and the key to their identities lies hidden in a puzzling piece of music. Father Michael Dominic, prefect of the Secret Archives, investigates, and is mystified when he finds a cipher in an old composition from Vivaldi. Desperate to stop this conspiracy, he calls on Hana Sinclair and Dr. Livia Gallo, a music cryptologist.
But the Camorra, an Italian Mafia clan, wonât stand by while some priest ruins their most lucrative operation. Along with a French commando and two valiant Swiss Guards, Dominic explores the dark canals and grand palazzos of Venice to uncover the evidence he needs to stop the sinister plot. Can he unearth it in time, or will the Churchâs most valuable artworks fall prey to this massive conspiracy?
Vatican City, Rome â February 1740
The first symptom of the poisoning began as a fever.
Sitting at one of two long white-silk-draped tables in the Sistine Chapel, along with sixty-seven of his fellow cardinal-electors, Pietro Ottoboni cast his vote for Pope on the eighth day of the conclave to replace the late Pope Clement XII.
Enfeebled by fever, the 73-year-old Ottoboni made his way toward the front of the chapel to a small altar below Michelangeloâs majestic fresco The Last Judgment, dropped his ballot onto a brass saucer, then tipped the saucer, letting the ballot fall into the large brass urn beneath it.
A few moments later, having returned to his seat, the cardinal collapsed onto the table, the high temperature having sapped his energy. Shocked, the other cardinals stood to better see what was happening to their colleague. The master of papal liturgical celebrations suspended the conclave while they moved Ottoboni to his apartment under the care of a Vatican physician.
Long considered favorite among the papabili to succeed Pope Clement, Pietro Ottoboni was born in the Most Serene Republic of Venice to a rich and noble family, whose most distinguished member was his grand-uncle, Pope Alexander VIII. Ottoboni had held every important post in the Vatican during an illustrious career, and as cardinal-bishop to several churches in Italy, his annual salary exceeded fifty thousand gold scudiâthe present-day equivalent of six million dollars per year.
Cardinal Ottoboni had been a prolific paramour with a countless number of lovers, many of whom were married to the great patricians of Venice. In fact, the famous masks unique to Venetians were introduced not to ward off the plague, as many later believed, but to officially disguise the wearerâs identityâthus permitting anyone, noble or peasant, to do or say whatever one pleased. With this ingenious permissiveness, affari di cuoreâaffairs of the heartâwere as common as the fleet of gondolas plying the canals of the celebrated city, without legal recourse. Having taken full advantage of this liberal device, Cardinal Ottoboni was known to have produced up to seventy children in his lifetime among his various mistresses.
Though he lived well in Romeâs grand Palazzo della Cancelleria, Ottoboniâs greatest passions were music and art, and he was a generous patron to some of the most renowned masters in both fields: Arcangelo Corelli, Alessandro Scarlatti, Giuseppe Crespi, Tintoretto, Veroneseâand most of all, to his close friend and protĂŠgĂŠ, the prodigious maestro di violino of Venice, Antonio Vivaldi.
As he lay on his deathbed, Ottoboni summoned Vivaldi to his side. In a low, rasping voice, the cardinal confided to his friend a tale of great importance, a scandalous operation run by the notoriously corrupt Cardinal Niccolò Coscia in league with the feared secret Mafia organization known as the Camorra.
In fact, he added with struggling breath, he was convinced it was Coscia, acting on orders from the Camorra, who had poisoned him to keep him from acting on what he knew. With information gleaned from one of his many spies, Ottoboni had discovered the ongoing scandal days earlier and approached Cardinal Coscia with a warning that he and his Camorra would soon be out of business, at least as the Vatican was concerned. Were it not for his required attendance in the papal conclave, he would have put a stop to it sooner, especially if he was elected Pope, an elevation to supreme power that was expected by everyone.
The following day, however, Cardinal Ottoboni succumbed to the poison, killed for a secret now known only by Antonio Vivaldi.
Like most Italians, Vivaldi survived cautiously within the Camorraâs Venetian sphere of influence. The secret societyâs tentacles reached into everyoneâs life, and their strict enforcement of the seal of omertĂ âthe sacred code of silenceâensured clan activities remained discreet and wholly within la familia. The family.
Since the late 17th century, the Camorra had carved out its territories, starting in Naples and moving northward, into the Lombardy and Veneto regions of Italy encompassing its most lucrative prizes, Milan and Venice. Competing with La Cosa Nostra in Sicily and the 'Ndrangheta of Calabria, the Camorraâs criminal enterprises included prostitution, gambling, smuggling, kidnapping, and art theftâbut also the unusual niche of producing and selling fine art forgeries of the highest order.
During the earlier reign of Pope Benedict XIII, who cared little for managing his vast realm of Papal States, Cardinal Niccolò Coscia oversaw all Vatican government operations, taking advantage of his authority to carry out substantial financial abuses, virtually draining the Papal treasury. But his ongoing misdeeds eventually caught up with him. In 1731 he was charged with corruption, tried and convicted to ten years' imprisonment, and excommunicated from the Church.
However, still not without influence, he managed to get his heavy sentence commuted to a mere fine. He was also mysteriously reinstated as a cardinal, allowing him to take part in the papal conclave of 1740âthe one during which Cardinal Ottoboni had died.
* * *
With Ottoboni out of the way, Cardinal Niccolò Coscia could now carry out his master plan without hindrance. In his not-so-secret role as capo of the Roman Camorra, Coscia led development of the Veneto branch of the Mafia clan, based in Venice and headquartered in his own newly acquired Palazzo Feudatario on the Grand Canal. Purchased with funds he had discreetly absconded from the Vatican treasury, Feudatario would be a most fitting place to carry out his planned forgery operation of the Vaticanâs most profound works of art.
Niccolò Coscia was a meticulous diarist and, owing to all the business he conducted outside the Church, he had created the first book to record the activities of his new organization, naming it Il Giornale Coscia della Camorra VenetaâThe Coscia Journal of the Veneto Camorra. In it he would secretly record careful notations of all paintings by artist and title, including each workâs provenance and to whom the forgeries or originals were sold, depending on which he chose to return to the Vaticanâfor many were prominently displayed in public, while most were simply returned to the Vaticanâs vast art storage vaults, unseen by anyone.
The Coscia Journal would be passed down to each capintesta, head of the Veneto Camorra, for generations.
Unfortunately for Coscia, Cardinal Ottoboniâs spies had discovered not only the Camorraâs abhorrent plan for art forgeries, but the very existence of the Coscia Journal for recording such transactions. At that point Ottoboniâs death was preordained, for no one could ever know such proof existed.
* * *
Antonio Vivaldi, who at age 25 was ordained a Roman Catholic priest, was now at a crossroads. He feared possessing knowledge of the treacherous secret passed on to him by his esteemed patron in his dying moments. Putting himself at odds with the Camorra was not just an unappealing prospect, it could end up costing him his life, depending on what he did with what he knew.
But Cardinal Ottoboni had one last request of his protĂŠgĂŠ.
Intent on stopping the sinful and unlawful activities of Cardinal Coscia, Ottoboni had pleaded with Vivaldi to see that Coscia was brought to justice, to pay for his felonious actions. Distressed by letting his friend and mentor die without the satisfaction of such a promise, Vivaldi agreed to do what he could. He would ensure that the authorities were informed, the Coscia Journal would be found, and the matter would be settled.
After the cardinalâs stately funeral, Vivaldi waited for the right moment to fulfill his promise. But as he waited, he became more apprehensive. He was just a lowly priest, after all, and not a very good one at that. The violin was his life, and teaching it was his lifeâs work. Besides, who would believe him? Where was the proof? And what would the Camorra do to him if he were to expose its business? He had seen the results of their retributionâthose who crossed the Mafia were dealt with harshly. Beheadings were not uncommon, and those who werenât beheaded were drawn and quarteredâalive. No, he must find a way to honor his pledge without exposing himself to such horrible consequences.
An idea came to him. He would hide the messages in plain sight, in his musical compositions.
Picking up a sheet of staff lined manuscript paper, Vivaldi began to assemble the first of many, his Scherzo Tiaseno in Sol.
* * *
CHAPTER 1
Venice, ItalyâPresent Day
An enormous flight of pigeons, hundreds of them, flocked overhead, diving for potato chips and bits of bread sticks tourists had enthusiastically tossed out for them, as Father Michael Dominic and Hana Sinclair made their way across the Piazza San Marco.
Despite the ban on pigeon-feeding in St. Markâs Square, little children were oblivious to the law and more amused by the flapping gray-and-white spectacle than frightened by the few gendarmerie patrolling the square, whose policing efforts to stop the feeding were futile. Venetian health experts estimate over 130,000 pigeons had roosted in the historic centerâwell over optimal concentrations for such a small public spaceâand efforts to rid the city of the determined birds had failed miserably. The damage to the marble buildings and statuary was considerable, not to mention possible pathogenic health hazards.Â
Locals knew it was often prudent to cover oneâs head with a newspaper or magazine when crossing the vast piazza, lest strollers subject themselves to the inevitable bombardment of bird droppings from above.
An old hand at the practice, Father Dominic had kept pages of the newspaper he had read at breakfast for that very purpose, knowing he and Hana had to cross the piazza in order to get to Veniceâs Biblioteca Marciana, the Library of Saint Mark.Â
The director of the library had requested the Vaticanâs help with a planned exhibition of manuscripts held in its stacks, and as Prefect of the Vatican Secret Archives, Michael Dominic had accepted the invitation, while also taking a weekâs vacation time in the fabled city. At only 31 years old, his access to the Vaticanâs vast number of historical manuscripts still humbled him. The Biblioteca Marciana was yet one more repository of ancient wonders that fascinated him.
Lovingly named La Serenissima by Italians devoted to its âmost sereneâ natural and historical wonders, Venice was also Michael Dominicâs favorite city in the world. He loved its vibrancy, its rich history as a major world trading port up to and through the Renaissance period, and of course the inherent romantic nature of the people and their ancient ways.
âIâm so glad you could join me, Hana,â Dominic said as they walked through the piazza. âHave you ever experienced Carnivale before?â
Holding the newspaper awkwardly over her stylish wide brim straw hat, Hana replied with a contented sigh. âI was here once, years ago, but Carnivale had just ended. Iâve been meaning to be here for the real festivities for some time now, and since my editors wanted a piece on the celebration for Le Mondeâs Weekend Section, I volunteered for the assignment.â
She looked up at the priest and smiled. âThanks for letting me tag along with you, Michael. I donât mind that you have a little business to attend to. I need some time off myself and can always float around in a gondola and take notes while youâre occupied.â
Dominic laughed as he removed the newspaper from over his head, having passed the worst pigeon zone. He took Hanaâs paper and tossed them both in a trash receptacle alongside the library façade. âI can just see you now, laid out on a shiny black gondola, that fetching hat drawing everyoneâs eye as you cruise the canals. A fashion photographerâs dream. But letâs have some fun together while weâre here as well.â
âAgreed. I can get some writing done after dinner each night,â she said with a sly grin. âSo, whatâs in this library that youâve been asked to weigh in on?â
âIâm meeting with Paulo Manetti, the curator of the Marcianaâs Cardinal Bessarion Library, a special wing containing the original founderâs collection of books and precious manuscripts from 1468. The Vatican has an original translation of Homerâs Iliad, a companion version to his Odyssey, but the Marciana has the oldest actual texts of the Iliad. Manetti has asked me to consider lending ours to the Marciana for a temporary exhibition on Homer. They also have the only autograph copy of commentary on the Odyssey from the 12th century, so it should be a fine showcase.â
Fascinated as she was by Dominicâs explanation, Hanaâs eyes glazed as the warm sun took hold of her, her white cotton midi skirt fluttering in the light breeze. They had passed the tall brick Campanile and were now walking through the piazzetta between the Marciana Library and the Dogeâs Palace, heading toward the entrance to the Grand Canal. It wasnât quite noon yet, the appointed time for Dominicâs meeting, so they settled onto a stone bench near the traghetto, the gondola landing overlooking the Church of San Giorgio Maggiore on the island across the lagoon. Vaporetti, gondolas, and sleek mahogany water taxis plied the calm waters as they sat there, each in their own dreamy state of mind, an effect Venice has on every visitor.
As the tower bells of the Campanile struck twelve, Dominic leaned back for a deep stretch to rouse himself, then stood and reached out for Hanaâs hand to help her up. With one last glance over the lagoon, they headed toward the library.
First and foremost, a large thank you to Reedsy Discovery and Gary McAvoy for providing me with a copy of this novel, which allows me to provide you with an unbiased review.
Gary McAvoy returns to continue building on his previous series, though the shift away from all things Magdalene has not lessened the impact of the writing. There is still a great deal to discover in the secret archives of the Vatican and who better to bring them to light than Father Michael Dominic. It was during the election of the new pontiff in the mid-18th century that famed violinist Antonio Vivaldi came to learn a dreadful secret, one that could scandalize the Holy See for centuries. Using his skills in musical composition, Vivaldi hid a message in his music, hoping that it would be found and those responsible revealed. Today, Father Dominic comes upon one of these compositions and enlists some help to crack the code. Soon, a long-held secret that will surely tarnish the Vatican comes to light. However, its revelation comes at a price, specifically the ire of a powerful branch of the Italian mob. Dominic will have to stay one step ahead of these ruthless men to ensure the truth is revealed, but staying alive may be a larger concern.
While many would expect the election of a new pope to be a wonderful thing, the papal concave of 1740 held more problems than simply who would be the best candidate. Cardinal Pietro Ottoboni, the obvious front-runner is poisoned, holding onto the knowledge of something sinister. He confesses to Antonio Vivaldi, the famed violinist of the times, on his deathbed. Worried that his own life could be in danger, but refusing to sit on the secret, Vivaldi weaves a cipher into some of his manuscripts, in hopes that someone will learn the truth about the artwork scattered throughout the Vatican collection before it is too late.
In present day, a priest takes a confession of a dying mafia don, one who has chilling news about the Vaticanâs art collection. This stirs up some curiosity, which is furthered when curator of the Vaticanâs Secret Archives, Father Michael Dominic, stumbles upon one of the Vivaldi compositions. With the help of Hana Sinclair, a sharp-witted journalist, and a famed cryptologist, Dr. Livia Gallo, they all learn the message Vivaldi wished to broadcast. It would seem much of the artwork within the Holy See is forged and a powerful mafia organization, Camorra, continues to run the ring to this day.
Dominic, Sinclair and Gallo slowly uncover the truth, which leads them to one of Vivaldiâs descendants, Contessa Donatella Vivaldi herself. While visiting the woman in Venice, much is revealed and truths begin to emerge. However, this is only the beginning, as Camorra cannot have their operation foiled or the truth about the secret come to light. Itâs been running smoothly for centuries and some meddlesome priest will not halt the lucrative business because he wants to âdo rightâ with his employer.
Dominic and Sinclair enlist the help of their friends in the Swiss Guard to delve deeper and uncover those responsible. This is no small feat and itâs soon discovered that with such secrets come battles to the death. As Dominic pushes ahead, his mettle is tested, particularly when Hana is captured and assured she will die. While most of the art world is none the wiser, Father Dominic must risk it all for the woman who is a friend and a truth that must come out! McAvoy picks up just where his past series ended with this chilling piece that I could not put down, no matter what obstacles tried to find their way in my path.
It was just last summer that I discovered the work of Gary McAvoy and I have not been able to say enough about him since. Using a backdrop of the Vatican, McAvoy pens a wonderful series of thrillers that push mysteries beyond what most writers would concoct and keeps the reader guessing until the end. Use of two forms of art in this piece make for added thrills in a book that tries to serve as a standalone, but is also wonderfully complements McAvoyâs past trilogy. I cannot get enough of these books, as my binge reading has proven repeatedly.
The Dominic-Sinclair connection is back and both play wonderful protagonists again. They work together well, while complementing one another in numerous ways. McAvoy avoids more backstory for them, choosing instead to push these two deeper into their roles as sleuths who seek answers amongst the dust-landed documents inside the Secret Archives. There is surely a damsel in distress portion, but itâs not because Sinclair is weak or helpless. Rather, the ruthless group knows just how to find Dominicâs Achilles heel, even if he is not yet ready to admit it.
As with each of the three previous books, those who grace the pages of the book both complement and accentuate the protagonists. There are a number of great repeat characters whose supporting role cannot be overlooked. Alongside those names and faces series fans know well are the darker characters, those who wish nothing more than to flex their muscle and show that they will do whatever it takes to see secrets kept and lives sacrificed for the caused. McAvoy does a great job contrasting the good and evil, without the need for salacious killing or language.
As I read the book, I could not help but wonder if this could be the continuation of the past series. It flows so well and keeps the same pace I found in each of the Magdalene thrillers, but seeks to branch out a little. Father Dominic is back in the limelight and using his vocation to bring new adventures to light, even if they are filled with danger. McAvoy concocts a wonderful thriller with a powerful narrative push that is like few books I have seen before. Short chapters and clipped dialogue keep the reader pushing ahead, fuelled by a plot that is full of twists at every turn. I could not stop reading and found myself bingeing just to get through this book, more out of addiction to the story than anything else. Those who have yet to discover Gary McAvoy ought to begin with his Magdalene trilogy, though I suppose this could serve as a standalone (but why would you want to shortchanged yourself?). I cannot wait to see whatâs next, as I will be first in queue to get my hands on it.
Kudos, Mr. McAvoy, for another winner. You sure know how to spin a tale, with equal parts mystery and historical possibility.