HOUSE OF HONOR

An art student is drawn into a dark world of crime in Philbrick’s thriller.

At the heart of this narrative is the great artist Caravaggio—the novel concerns the breadth of his work, in particular 1609’s “The Adoration of Shepherds with Saint Lawrence and Saint Francis,” which was stolen from the Oratorio della Compagnia di San Lorenzo in Palermo in 1969. Philbrick sets her novel in the 1960s and introduces readers to Orazio Bordoni, an art aficionado who moves to Rome and (at first) dismisses his new landlady’s warnings about the criminal element hanging out in the public square. In Rome, he meets Lena Condotti and quickly falls in love with her; he also encounters Don Giotto, a charismatic scion of the Sicilian Mafia who also excites a strong emotional reaction (“Something about him challenged me,” Orazio confesses) as he introduces Orazio to a world of crime and violence. The persistent surprise of this novel is its explicit depiction of evil—not only Caravaggio’s deeds, as chronicled in the story’s frequent Renaissance flashbacks, but also the hard, violent demimonde to which Orazio is introduced by Don Giotto. The author’s skill at drawing her characters is impressive; even the supporting players (especially Vincenzo, a curator of the Vatican’s Secret Archives, who believes his document work brings glory to God) feel entirely fleshed out. The main narrative is organized around an allegory of the New Testament parable of the Prodigal Son, but the story Philbrick tells is much more nuanced and moving than any simple moral lesson, and the characters she creates here are all memorable. By the time a heartbroken Orazio wonders if he can graft himself back to the Bordoni vine, readers will be eagerly asking the same question.

A gripping novel about the intersection of art and crime.