The saga of Nicolò, the eclectic merchant from Bruges, unfolds with ease in this third chapter of his adventures, once again showcasing the crystalline virtuosity of Dorothy Dunnett, capable of captivating with her books and especially extremely skilled in blending historical reality and fantasy.

This third volume tells the adventures of Nicolò and his small army in Cyprus, desired both by Queen Carlotta and by the hated stepbrother Zacco of Lusignano, both eager to ensure their predominance and the wealth of the Aegean island at the expense of the other.

In this difficult context, Nicolò will know how to extricate himself on his own among sieges and love games, betrayals and vendettas, without forgetting that he is a shrewd merchant before being a valiant leader and that accumulating wealth and making powerful friends will be the beacons that will guide him safely through so many perils.

As the story progresses, we are drawn deeper into Nicolò's world, filled with political intrigues, complex relationships, and thrilling escapades. Dunnett's vivid descriptions bring the characters and settings to life, making us feel as if we are right there with Nicolò, experiencing his triumphs and tribulations.

The third chapter of Nicolò's saga is a must-read for fans of historical fiction and adventure, offering a rich and engaging narrative that will keep you on the edge of your seat from beginning to end.

This is not historic fiction that is created with broad and general strokes. Instead, it is one among a vast number of minute details.

It delves deep into the nitty-gritty of a particular era or event, presenting a vivid and accurate portrayal.

Each detail is carefully crafted and considered, adding to the overall authenticity and richness of the narrative.

It is through these countless details that the story comes to life, transporting the reader back in time and allowing them to experience the past in a more immersive way.

This attention to detail sets this work apart from other forms of historic fiction and makes it a truly remarkable and engaging piece of literature.

It shows the author's dedication and research, as well as their ability to bring history to life in a captivating and meaningful way.

Whether it is a small object, a particular phrase, or a specific event, every detail plays an important role in creating a complete and believable picture of the past.

As is becoming a habit with me, I raced through this book at breakneck speed. So fast, in fact, that there are likely far more significant critiques to be made than I will manage. After a little reflection - and I do mean very little, since I bought all of the books in this series and, barring a significant drop in quality, fully intend to continue reading right through to the end - a few things have become clearer.

One is that, despite being described differently, all of Nicholas' band of merry men are, for the most part, interchangeable. They have slightly different reactions to him, but so far there has been no irreparable rift. Even when Tobie and Godsalc discover that Nicholas apparently committed 'incest', and he never corrects anyone on this. Indeed, when it became evident that Katelina was going to reenter the action in a big way, I was completely confused by her so-called hatred. I initially thought it was a ruse to throw Simon off the scent, but no. For a while, even she, the only person with access to the exact timelines, believed Nicholas had intentionally seduced her to plant an imposter son in Simon's house. Even Nicholas, the practically psychic one, couldn't have predicted that she'd get pregnant and then choose Simon as the target, and it would be an extremely long and chancy game to play anyway. So I was glad when that was cleared up, even if it came at the expense of Katelina's life. I had foreseen her being Nicholas' One True Love, the one that got away, swimming in and out of the narrative until they were finally both free. But of course, Simon won't be removed as an antagonist until near the end, so the only way to increase the tension was to bring Katelina back and then remove her. Which makes sense now, but at the time it hit me like an anvil.

The other thing I realized is that Nicholas is fundamentally not the Claes I fell in love with, the amiable goof who secretly has the mind of a machine. I mean, the plot arc of him being a Medici courier was dropped by the end of book one. I quite liked the Trebizond interlude, but it was a big leap. The fact that in this book, Nicholas is dragged back onto the political stage by his hair makes it more interesting and less immediately clear whose side he's on.

The most affecting thing, however, was Tzani-Bey's massacre of the kitties. I was so charmed by Cape Gatto and I really felt for the monks when they adopted their 'little children of Christ'. "They lead us into sin," said the monk. "We love them too much." And then he KILLS them all. And later gives Nicholas a CLOAK OF THEIR SKINS. I have serious issues with the way the mere prospect of consensual homosexual acts creeps Nicholas et al. out so very much, but independently of being a decadent homosexual (And That's Bad), Tzani-Bey kills the beautiful gattos and for this he must die. And this, as Dunnett assumes we all agree, is correct. Because it is. (I had to put the book down and pace around for a good fifteen minutes before I could stop being the monk crushed by grief among the mutilated bodies of his pets.)

'And, of course, there is a great deal to be said for traditions. On the other hand, we should live in caves if traditions were not sometimes broken.' 'It's called after Saint Lazarus. He settled here when he rose from the dead.' 'Good,' Tobie said. 'Did he leave any notes?' Tobie's still my fave. Even if he's just less excitable Julius. 'To which Zacco had merely said, 'If you can avoid it. If you can do without it. There are many men, otherwise strong, who cannot face bitter winds without lovebands. Consider those you have bound. Consider what they lose if you fall, or you stumble.'' I love this insight. 'Mixed, thickened, ribboned, oh God, with vermilion. By God, Who could afford all that vermilion, as He could afford ultramarine, and love, and revenge, and never get hurt.' The WRITING. 'And she drew his hand closer and laid her cheek on it, so that he knew she, too, was thinking of Bruges, when she had allowed him that right, and of Ghent, and of a place by a waterfall. When he lifted his head, Diniz was looking at him. Then he looked away.' 'The physician had also brought to Nicholas an object he did not know how to pack. It was a dried and broken chaplet of reeds, hastily plaited, and it had been stored with a veil. Nicholas had taken the package, saying, 'I will see to it.' Reader, I cried.

Dunnett is truly an outstanding writer. Her talent and creativity have been widely recognized in the literary world.

However, I must admit that I didn't consider this particular work to be her strongest. The edition I read was unfortunately marred by a significant number of typos, which rather distracted from the overall reading experience.

The plot, too, didn't seem to possess the same level of strength and intrigue as her previous works. It felt a bit lackluster and failed to grip me as tightly as her earlier novels.

Perhaps it could be attributed to the fact that I have become more familiar with her writing style after delving into the Lymond series. With that in mind, this book seemed to progress at a somewhat sluggish pace, lacking the excitement and momentum that I have come to expect from her.

Nevertheless, I still have great respect for Dunnett and her body of work, and I look forward to seeing what she has in store for us in the future.