"Exciting historical mystery"

She is the daughter of Pope Alexander VI and the sister of Cesare Borgia, a ruthless and powerful person, who lives to make war and add land to his empire. Respect of his power and fear of his anger keeps his sister safe at the royal court of Ferrara where she is married to the Duke's heir Alfonso. Their marital state is no love match, but a political alliance that furthers Cesare's goals.

After six weeks of marriage, Alfonso publicly accuses his wife of killing his mistress and her lady-in-waiting Bianca Tedaldo. Lucrezia is angry that her husband would say such things in public after she was making a place for herself in Ferrara. She intends to stop the rumors that are now swirling about her in court by finding the real killer. Just when it looks like she has figured out who the poisoner is, someone impersonating Alfonso's brother murders her suspect at a masked gala. Positive that the two killings are linked, she, her two closest friends, and her maid embark upon a search for a murderer who will not hesitate to kill again.

Robert Gellis is one of the best writers of historical mysteries (especially medieval and renaissance Europe) in the last decade. Her stories are exciting and enthralling because her research works its way in support of the plot so that the reader feels as if he or she is actually visiting Renaissance Italy. Cameo appearance by Leonardo De Vinci is a nice touch that gives the audience a sense of place and time. Hopefully this will be the start of a new series of mysteries starring Lucrezia Borgia.

Harriet Klausner

Reviewed by Harriet Klausner
Posted August 10, 2003

Summary

"Poisoner!" The bellowed accusation strikes into silence all those in Lucrezia Borgia's audience chamber. Lucrezia has fled Rome to a loveless marriage with Alfonso, heir to the duke of Ferrara, to escape the rumors that she is utterly depraved--incestuous, a lecher, a poisoner. To her delight she is warmly welcomed in Ferrara, by the duke, by his court, by the people, indeed by everyone except her husband. And then, after only six weeks of basking in the warmth of general approval, Alfonso rushes into her apartment and accuses her of poisoning Bianca Tedaldo, one of her ladies-in-waiting and his mistress. Immediately, Lucrezia sees the nightmare of her life in Rome recurring. The whispers behind her back, the signs to ward off evil, people making out their wills when she invites them to share a meal. To deny the charge is useless. Lucrezia knows all too well the futility of claiming innocence even when the claim is clearly and plainly true. The only way for her to retrieve her reputation is to discover who committed the crime and expose the true murderer.