The Immaculate Deception

Jonathan Argyll #7

by Iain Pears

Our Review
When in Rome

A stolen masterpiece with arcane allegorical significance; a decades-old political kidnapping and murder; and, of course, a tantalizing artwork of unknown provenance -- in his seventh Jonathan Argyll art mystery, The Immaculate Deception, English art historian Iain Pears returns with a virtuosic display of ingenious plotting and literary trompe l'oeil.

Pears's clever and effortlessly erudite art mysteries have found a select readership on both sides of the Atlantic. But the phenomenal success of Pears's 1998 literary thriller, An Instance of the Fingerpost -- a multifaceted Restoration whodunit on a par with Umberto Eco's The Name of the Rose -- has dramatically increased stateside interest in the author's earlier work. The Immaculate Deception once again centers on the exploits of the affable and perpetually distracted English art dealer Jonathan Argyll; the beautiful and formidable Flavia di Stefano of the Italian Art Theft Squad; and her
erstwhile boss, General Taddeo Bottando, along with several of the series' usual -- or, more appropriately -- unusual supporting cast of suspects.

When a masterpiece on loan for the opening of an international exhibition is stolen in a manner calculated to embarrass the Italian government, Flavia di Stefano is ordered by the newly installed prime minister to recover the painting at all costs. Her deceptively simple mandate quickly reveals itself to be a politically fraught, no-win situation. If is she meets the thief's ransom demands, she'll almost certainly be disgraced -- and perhaps go to jail; if she refuses the order, she'll be summarily removed from her post. With Jonathan jaunting through the Tuscan countryside on the trail of an interesting art collection, Flavia turns to her old
friend and confidant General Bottando for advice. As a seasoned survivor of the Roman political arena himself, he suggests that she follow the time-honored convention and do as other Romans: "When faced with deviousness, you must be devious yourself."

Working together, Flavia and Bottando devise a plan to recover the painting. But no sooner has the ransom been paid than the art-napper -- a former '60s radical turned bourgeois performance artist -- is found dead under highly suspicious circumstances. Worse, Bottando himself has disappeared without a trace, leaving Flavia to face her first major crisis as head of the Art
Squad alone. Risking official censure and hounded by a sinister journalist, Flavia explores the tenuous connection between a decades-old act of terrorism and recent events, only to discover a secret conspiracy that could topple the government -- or cost her her life.

Like Michael Dibdin's award-winning Aurelio Zen novels, Pears's Jonathan Argyll mysteries go beyond genre fundamentals to immerse readers in every aspect of contemporary Italian culture -- from its legendary art and cuisine to the labyrinthine bureaucracy of the political and criminal justice systems to candid, unexpectedly breathtaking portrayals of everyday life. The Immaculate Deception is a splendid addition to a mystery series of the first order, and an exuberant confirmation of Iain Pears as a modern
master of the form.

--Greg Marrs

Genres: Mystery, Fiction, Art, Italy, Crime, Mystery Thriller, British Literature

224 pages, Hardcover

First published January 1, 2000

About the author

Iain Pears is an English art historian, novelist and journalist. He was educated at Warwick School, Warwick, Wadham College and Wolfson College, Oxford. Before writing, he worked as a reporter for the BBC, Channel 4 (UK) and ZDF (Germany) and correspondent for Reuters from 1982 to 1990 in Italy, France, UK and US. In 1987 he became a Getty Fellow in the Arts and Humanities at Yale University. His well-known novel series features Jonathan Argyll, art historian, though international fame first arrived with his best selling book An Instance of the Fingerpost (1998), which was translated into several languages. Pears currently lives with his wife and children in Oxford.

Reviews

[Sue · Rating 4 out of 5]

I've read the first in this series and now, apparently, the last, so I really should read the others. But that's what comes of reading what is on one's shelves!

Enjoyable, quite Italian in it's development and eventual coming together, this is a mystery for art lovers and mystery lovers, lovers of the chase who don't mind if that chase becomes a bit crazy though not in any hare-brained sense. As in the rest of the series, the main characters are Flavia diStefano, now temporary head of the art theft squad, and new husband, Jonathan Argyll, art historian. So theft is in the air immediately but the nature of the theft is what keeps the pages turning. The nature of art is what keeps many of the characters moving.


People often make the mistake of thinking that art
dealing is all about art. It isn't; it is all about
information, and the person who knows what a picture
is generally is in a stronger position than the one
who merely owns it. (p 102)


Heartily recommended for the story, the quality of the writing, and flashes of humor throughout.

[Deb Omnivorous Reader · Rating 4 out of 5]

This series is one I have been following and enjoying for quite some time. It is a fun little 'comfort read' crime and sleuth series with an art theme running through it. I have always enjoyed the charmingly detailed descriptions of Rome, the excellent little snippets of art history which I pleasantly learn along the way and the fun scenarios and characters the author creates so well.

The series is based around the characters of English art historian Jonathan Argyll, now living in Rome and his Italian partner, (now wife) Flavia di Stefano who is an officer, (and in this book, acting head) of the Italian Art Theft Squad.

Each book deals with a different art theft mystery which takes the combined efforts of Flavia as an Italian officer, and Jonathan as an art historian, to solve. This book also includes two characters that I have come to know an love from previous novels, Flavia's old boss and mentor, General Taddeo Bottando and retired art thief, English Mary Verney.

In this book, an old master is stolen in a very flamboyant way from a collection that has been loaned to Rome at the express guarantee of the Prime Minister. Flavia is reluctantly caught up in it and the plot is as confoundingly constructed as all the others are.

This book departs at the end from the previous ones, suggesting that the author after six novels with the same formula, has decided to depart from a few base elements. I hope that means he is going to write more with the same characters in different scenarios.

I would thoroughly recommend this series to anyone who likes serial crime writers, anyone who enjoys reading about Italy or about art.

[Cynthia · Rating 5 out of 5]

Fantastic fun and easy and intelligent read. This is my second Jonathan Argyll thriller by Pears and it's just as good as the first I read, with a completely different plot and a great deal of growth and change in the characters. While I have nothing against series' where each book is basically the same as the others, it's a treat to read one where each book is a completely fresh read. This series revolves around art history, something I know next to nothing about, but Pears makes the artwork parts interesting and easy to understand.

[Vontel · Rating 4 out of 5]

This appears to be the last book in the series of Argyll and Flavia, much to my sorrow. I loved this book, with the characters developed more fully and their lives having progressed several years and changes, as well as the plot of this book and the political scandals. There are big changes coming in their lives at the end of the book. Now I can only go back and read the earlier books in this series which I have not read. It would be lovely if Iain Pears could write about this couple and again, with further adventures and mysteries to solve.

[Kirsten · Rating 4 out of 5]

I'd really forgotten how much I enjoyed the Jonathan Argyll series. It is just too bad this was the last in the series.

This book was funny in the fact that it was obviously the last in the series judging by how the author tied everything up before the last page. I love the pairing of Jonathan and Flavia, it is just too bad he only wrote 7 of these.

[Steven Belanger · Rating 4 out of 5]

Very good, quick read, by the author of An Instrance of the Fingerpost, which will always be his masterpiece. Pears will always have that line on the cover of all of his books, as he does on this one.

I didn’t think to see which of the other books I’d had first, and it turns out I have a few, though not all seven, I don’t think. Anyway, this is the first in the series I’ve read, but that didn’t matter. One character is recurring, besides the main characters, and I didn’t miss anything by not reading the others first. There are no lines, references or bon mots that you’ll miss by reading them out of order.

This one is a mystery stumbled upon, and then a few deaths happen. It changes POV between the two married main characters, sort of like The Thin Man in Italy, I guess. I normally hate that, and it did bother me a tiny bit here, but I’m also sure that it’s more me than the writing. It didn’t bother me after awhile, so it’s probably just a preference to me, and not indicative of the writing. As it turns out, they solve the mystery together by doing it separately, and that sort of works. I’m curious if that’s the way all the books in the series are.

Some good artwork and painters to Wikipedia, too, if you’re the sort to do that, as I am. The writing is breezy, the mystery seems light—though there are murders and a Prime Minister involved. The characters are believable, even if the case seems too light at times.

It’s not An Instance… and maybe nothing Pears writes will ever be that, as Umberto Eco had never bettered The Name of the Rose. But that’s okay. If you like breezy mysteries, and if you don’t mind lots of descriptions of lots of great places in Italy, you’ll like this one.

[Lars Dradrach · Rating 4 out of 5]

A fitting conclusion to a very enjoyable series

Flavia, now acting chief of the arts squad, is dropped right into a political crossfire, when a painting on loan to the Italian government is stolen in a way cause maximum embarrassment, she’s ordered to bring the painting back, unofficially even to pay a ransom.

Meanwhile Jonathan is doing some private research into a painting that he has seen at Bottando’s apartment, as some kind of departure gift to the retiring general.

The two investigations becomes intermingled when an old antagonist reappears and some old romantic relations are revealed.

This novel completes a 3 book storyline, which is far more serious action/adventure than the earlier booms in the series, but Pears manages the transition effortlessly as a natural progression.

It’s easy to see from all the books that Pears has a great affection for Italy and Italians in general and Rome specifically, however this doesn’t stop him from, once in while, exposing the ridiculous and sometimes criminal side of their bureaucracy and government, and in this novel especially it becomes a theme.

[Sandy · Rating 4 out of 5]

A wonderful wrap up to the series with an intricate plot that unites past, present and future for our protagonists.

[CatMS · Rating 4 out of 5]

Love the Jonathan Argyle and Flavia di Stefano series for its light heartiness and humor. A change from the historical novels, which I also love.

[aPriL does feral sometimes · Rating 4 out of 5]

This is the only realpolitik cozy series that has ever sat on my shelves. I'm full of admiration for the tricks Iain Pears pulled out of that clever head of his, but I'm left with a feeling of bereavement. Apparently, Pears never wrote another Flavia and Jonathan mystery after writing this (apparently) last book in the series. The ending certainly winds up every string.

Flavia, as head of the Italian Art Theft Squad, finds herself trapped between two powerful politicians playing a deadly game with leftist terrorists, who have revived a personal agenda created decades ago during a police action which caused the death of a kidnap victim, the wife of one of the politicians. There are suspicions one of the leftists had talked to the police so many years ago leading to the tragedy. Now, one of the former anti-government rebels has apparently stolen a famous painting and is demanding a ransom to return it or he will shame the Italian government in revealing its theft (it is a borrowed foreign painting for a nationalistic, but prestigious exhibition). Flavia is told to get it back without breaking the law on paying ransoms, yet not allow a word of what is happening get out to the press. As she discovers there is more to this story than she has been told, her own life appears to be soon forfeit to someone with the power of the entire Italian government.

Meanwhile, as a gift to the retiring General Taddeo Bottando, Flavia's old boss, Jonathan is tracking down the proper papers and proofs for a painting he saw on the General's wall, meant as an affectionate gesture. Instead, his research leads him to a notorious art thief and a pair of famous art experts intent on destroying the other by whatever means they can get away with. The evidence also describes a crime that Bottando might have abetted many years ago while starting his police career, involving this same painting on his wall. Is Bottando, who both Flavia and Jonathan believed the only honest friend they could trust, a crook?

Things look very bleak for both Flavia and Jonathan. This might be the first cozy mystery series which finishes with a noir ending.

I AM sad......in any case, it's all over.

[Ruth · Rating 2 out of 5]

C2005.FWFTB: Italian, art, theft, squad, Renaissance. An interesting premise involving a husband and wife team so no so-called romance story arc to worry about. Once again, I did not realise that this was the 7th book in a series known as the “Jonathan Argyll Art Mystery “ series’ so I missed a lot of the background of the relationship between the 2 main characters.The plotting seemed a little weak to me with this book being more about the details of the art rather than a straight forward whodunit.Mr Pears background as an Art Historian is well used in this book and, as the adage goes, stick with what you know!So, The Sunday Times had this to say about the book –“‘The writing is graceful, the characters are people in whose company it would be a delight to pass an evening. And Pears gives a rich sense of what it is to live in raddled, ever-glorious Rome’ Yeah – not sure I can agree totally with this but the blurb gives you a fair idea of what to expect especially if you know the ‘types’ of books that TST review on a regular basis. Whilst I enjoyed the read – I am not invested in the characters and therefore not able to recommend to the normal crew. FCN: Flavia di Stefano, Jonathan Argyll, Antonio Sabauda, Taddeo Bottando. ”"Her condition was so obvious that she felt foolish for not thinking of it herself"

[Judith Shadford · Rating 2 out of 5]

Having just discovered that "Immaculate Deception" is part 7 of a series (art detective stories), I probably should modify my comments. But no. I am disappointed in a broader sense. Finding a mystery series that circles around the world of fine art should make me ravenous to read the entire series. Not indifferent. I loved "An Instance of the Fingerpost" and was tickled to find another Iain Pears on a second-hand shelf. The book is disappointing when it should be utterly absorbing. The dense narrative of "Fingerpost" is just tedious here. I pretty much gathered the resolution about halfway through. What should have been surprises were, whatever. The characters two-dimensional--just because there are other stories about the characters is no excuse to flatten them into roadkill. Sorry. Very sorry.

[Mrsgaskell · Rating 3 out of 5]

I always enjoy mysteries that involve events from the past! When art dealer Jonathan Argyll sets out to establish the provenance of a painting he discovers that it was mysteriously stolen and rediscovered decades ago and that its current owner General Taddeo Bottando was one of the policemen involved at the time. Bottando is the former boss of Flavia di Stefano who heads the Italian Art Theft Squad and is now also Argyll's wife. Flavia is involved in a tricky political situation due to another art theft and consults Bottando. The plot raised all kinds of suspicions in my mind, many of which were way off. I took this book on holidays with me and it was entertaining reading for a long train journey.

[Cindy · Rating 5 out of 5]

This volume is the culmination of an intriguing and intelligent mystery series. I wish the author were more reachable (e.g. on Facebook), because I would send him a letter to thank him for creating this thoroughly enjoyable and worthwhile series. These seven books have much to recommend them: the engaging Italian (and British) settings and the author's insights into their cultures and aesthetics, the informative art history themes, the endearing characters (well, Flavia, Jonathan, Mary, and Bottando, in any case--not the villains!), and (oddly) the recurring motif of moral ambiguity. This is actually central to the series as a whole. I was sorry to close the last book!

[Stephanie · Rating 3 out of 5]

Wonderful! The Immactulate Deception, by Iain Pears, was just what I needed: a dandy detective story, a fast read with likeable heros and despicable villains. I've read another book by Mr. Pears, The Instance of the Fingerpost, that challenged and provoked me in ways that this one does not begin to do. But to observe this is not a criticism, nor is it a complaint. Today, it is praise.

[Ali · Rating 2 out of 5]

This book had a few too many minor characters with disproportionately large roles in the resolution of the mystery -- I had a hard time keeping track of everyone.

I'm sure I'll continue reading Pears' books (I'm such a sucker for books about art and art theft), but I think they're definitely going down hill as the series goes on.

[Phair · Rating 3 out of 5]

Mostly interesting but not great. It read like a first in a series rather than #7. Argyll seemed to take a back seat to his wife, Flavia, as the focus of the story action and what appeared to be two separate quests ended up connecting. I found Argyll's art research to be the more interesting part. Seems to mark a turning point in the series. Doubt I'll read others.

[Steve · Rating 2 out of 5]

Great premise. But the ending seemed to be thrown together with lots of clues that the reader would not have possibly been able to determine. I read it on an airplane and it kept my attention. Could have used some more editing for continuity of the story line, characters and mystery solution.

[Cyd · Rating 2 out of 5]

Didn't rivet my attention. Also didn't like the artist of the painting in question remaining unnamed--there seemed to be hints that the reader was supposed to get, but I didn't. Maybe only art historians get it.

[Captain Curmudgeon · Rating 2 out of 5]

I'm tired of life among the rich and famous, particularly when they're solving mysteries.

[Vanda · Rating 2 out of 5]

I liked the idea of this book, and I liked the plot, and I even liked the characters, but, it failed to grip me and I found the prose a little clunky. Pity, because I like the whole Art Crime thing.

[Bettie · Rating 4 out of 5]

Bettie's Books

[✘✘ Sarah ✘✘ (former Nefarious Breeder of Murderous Crustaceans) · Rating 3 out of 5]

Yet another entertaining instalment in the Jonathan Argyll series.

[Georgiana 1792 · Rating 3 out of 5]

L'ultimo caso nel mondo dell'arte per Jonathan Argyll e Flavia Di Stefano

Flavia Di Stefano e Jonathan Argyll sono sposati da quattro settimane. Jonathan è un ex mercante d’arte inglese, un po’ pasticcione, con una spiccata tendenza a mettersi nei guai: quando un quadro viene rubato o viene commesso un delitto nel mondo dell’arte, è sempre il primo ad essere sospettato. Adesso è docente di Arte Barocca in un istituto per studenti stranieri a Roma, e si affanna alla ricerca di argomenti per le pubblicazioni accademiche che l’istituto per cui lavora gli ha richiesto. Flavia è da poco diventata il capo del Nucleo investigativo per la tutela del patrimonio artistico (un corpo di polizia inesistente, inventato ad hoc da Pears) ad interim. Il suo ex-capo, il Generale Taddeo Bottardi, infatti, sta per andare in pensione; nel frattempo egli sbriga del lavoro burocratico in un efficientissimo ufficio dell’Eur. Per celebrare il semestre di Presidenza Italiana al Consiglio dell’Unione Europea, che inizierà di lì a breve, si è allestita una mostra su tutti gli aspetti dell’arte Europea. Ma uno dei quadri, un quadro che era stato inviato dal Louvre solo dopo che governo italiano era intervenuto ufficialmente per garantirne la sicurezza, viene rubato. Si tratta del Paesaggio con Cefalo e Procri di Claude Lorrain.

Non era certo un Raffaello, però quel dipinto aveva un passato turbolento. La fama di essere uno dei quadri più rubati al mondo gli conferiva un’importanza che andava ben oltre la qualità dell’opera.

Flavia viene convocata dal Presidente del Consiglio Antonio Sabauda e dal Dottor Guglielmo Macchioli, direttore del Museo Nazionale, che si occupa di allestire la mostra, per cercare di recuperare il quadro senza suscitare lo scalpore dei media. Il presidente dl Consiglio fa capire a Flavia che, sebbene per lo Stato Italiano sia un reato pagare un riscatto, ci sarebbe un privato cittadino disposto a fornire qualsiasi cifra, pur di tenere l’intero affare sotto completo silenzio. La giovane sa di trovarsi in una situazione senza sbocchi. Qualunque cosa accada si troverà in una posizione molto scomoda: nel caso il dipinto non venga recuperato la colpa ricadrebbe in un modo o nell’altro su di lei, nel caso invece lo sia, si ritroverebbe a conoscenza di un segreto pericoloso che riguarda il presidente del Consiglio. In entrambi i casi dunque rischia il licenziamento.

Nel frattempo Jonathan ha deciso che la sua prossima pubblicazione riguarderà la ricostruzione della storia di un dipinto raffigurante l’Immacolata Concezione che il generale Bottardi tiene appeso sul caminetto di casa.

Eppure Bottardi, benché avesse speso metà della sua lunga carriera nel tentar di recuperare le opere d’arte rubate, non gli era mai sembrato il tipo desideroso di averne una tutta per sé. Ma quel quadretto era delizioso: dipinto a olio su un supporto di legno di circa venti centimetri per trenta, un po’ rovinato dal tempo, raffigurava la Vergine con un angioletto che volava sopra di lei. Insolito e poco ortodosso. Una Vergine diversa dalle altre, in poche parole. Era di una bellezza rara; inoltre il pittore aveva dipinto due personaggi inginocchiati di fronte a lei, assorti in preghiera. Era un bel quadro, in condizioni decenti, adatto a stare su un caminetto. Benché qua e là fosse riconoscibile l’opera di un restauratore, gli interventi sembravano essere stati pochi e leggeri. Secondo Argyll, risaliva circa al 1480 ed era attribuibile a un artista dell’Italia centrale, anche se non aveva potuto essere più preciso, dal momento che l’opera apparteneva a un periodo di cui lui non era esperto.

Oltre ad aver trovato un argomento per la sua relazione, Jonathan vorrebbe donare a Bottardi la ricostruzione della storia di quel dipinto, come presente per il suo pensionamento. Una volta che il riscatto viene pagato ed il quadro del Lorenese viene recuperato, però, Flavia non abbandona le indagini: ormai ha deciso di scoprire la vera motivazione del furto, che ha messo la sua carriera in crisi e che l’ha portata indietro agli anni di piombo, fra terroristi e intrighi politici. Ed il furto di quel particolare quadro, con Cefalo e Procri, la cui storia è narrata nelle Metamorfosi di Ovidio, potrebbe avere una motivazione più significativa di quanto non credesse inizialmente.

Argyll cercherà di ricostruire la storia del quadro dell'Immacolata Concezione, invece, con innumerevoli puntatine in Toscana, a Villa Buonaterra, un tempo tenuta di Robert Stonehouse, la cui collezione d’arte, di cui il quadretto del Bottardi un tempo faceva parte, è stata smembrata. Jonathan nelle sue indagini scoprirà la rivalità fra i vari collezionisti d’arte, ed una bizzarra storia di furti e ritrovamenti del quadretto in questione, in cui risultano coinvolti una giovane Mary Verney, una tristemente nota ed ormai anziana ladra di opere d’arte, e lo stesso Taddeo Bottardi.

Questo libro è il settimo e conclusivo caso del ciclo di Jonathan Argyll, scritto cinque anni dopo i primi sei romanzi, che invece si sono susseguiti con cadenza annuale. Forse è proprio per il lasso di tempo trascorso fra quest’ultimo libro ed i precedenti, o forse è per la riluttanza di Pears a chiudere questo ciclo, che questa storia perde un po’ del mordente dei primi casi, Il Caso Raffaello o Il Comitato Tiziano, per intenderci. Le due indagini parallele su due quadri così diversi, che hanno l’unico punto di contatto nel legame che c’è fra Flavia e Jonathan (comprendendo anche il Generale Bottardi e Mary Verney) danno sì, ritmo alla storia, ma nello stesso tempo sminuiscono l’importanza delle due ricerche.
Il caso seguito da Flavia, quello nelle alte sfere politiche italiane, poi, è intriso di luoghi comuni sull’Italia ed i suoi cittadini che, se possono funzionare bene per il lettore anglosassone medio, al lettore italiano sembrano farseschi ed inverosimili. Certamente ci rivelano come uno straniero possa vedere il nostro paese, la sua storia più recente e la sua politica da un’ottica esterna, ma l’esagerazione sui difetti degli italiani, sulla loro indolenza, sul pressappochismo, sull’incompetenza potrebbero infastidire chi si sente molto lontano dal modello disegnato da Pears.

Tuttavia quando lo scrittore inglese ritorna sul suo campo, quello dell'arte, quando descrive le rivalità e gli atteggiamenti degli storici dell’arte verso i collezionisti e viceversa, ritroviamo la vena ironica che ci aveva fatto amare lui ed i suoi personaggi della serie, e le teorie di Jonathan Argyll sul collezionismo ed il furto d’arte sono espressione della filosofia dello stesso Pears.

Il collezionismo poteva essere visto come la prima manifestazione d’arte, effimera, fluttuante ed evanescente. Esisteva solo per qualche breve istante e subito svaniva, spazzata via dai venti del cambiamento indotti da sistemi economici corrosivi. E il furto? In tale ottica, anch’esso poteva essere interpretato come un atto estetico, parte del ciclo continuo dello scomporsi e ricomporsi di raccolte di quadri. Santo cielo, pensò, potrei farne il mio argomento per la relazione che devo scrivere.

Tutto sommato una lettura molto gradevole: dal punto di vista strettamente giallo della storia, è un libro molto ben costruito, perché è imprevedibile fino all’ultima pagina. Resta però l’amaro in bocca del doversi congedare da Jonathan e Flavia con un romanzo che non fa onore alla bellissima storia costruita attraverso le precedenti indagini.

Per leggere l'articolo completo, visitate questo LINK:

http://greenyellowale.blogspot.it/201...

[Miriamgreen · Rating 4 out of 5]

The final book of the series rips away the façade of government responsibility, and the total corruption that has seen the Italian government run by some of the most decadent, disgraceful political leaders
The final book in pairs art series is a fitting closure somewhat like the ouroboros
The allegorical painting stolen is the central thread that revisits a 20 year previous time of upheaval and terrorist attacks. It explicitly explores the entanglement of money and politics, and the politicians who cannot afford to break from their firm embrace of one another.
It shows the beginning of Botando’s career with the theft and return of a mysterious small painting and the introduction of a young Mary Verney. It ends with the predictable marriage and onset of pregnancy of Flavia and Jonathan and the ending of both her and her bosses careers. It was so fitting that the ransom of the stolen painting of $3 million came to these two couples so they could leave. Their official duties and retire to new paths of leisure and love. The surprising yet not surprising coupling of Botan and Mary Vernie seemed absolutely fitting. So we leave these four individuals who inhabited the eight books in the series with all small questions answered, and all edges tucked in. Pears delivered a great deal of art history through the series N this last title did not disappoint in that area. The entire series was exceptionally well done

[Eugene · Rating 4 out of 5]

Wow! Iain Pears sure can bring the fireworks. Alas and alack, this is the 7th and last in his wonderfully charming Art History Mystery series. General Bottando retires abruptly from Rome’s Art Theft Squad thus putting our recently married Flavia di Stefano into his chair.
No sooner does she ascend that throne than a painting on loan from the Louvre for an exhibition in Rome goes missing and a ransom is demanded. Flavia is summoned to the Prime Minister’s office, where he demands that she recover the painting immediately, without a whiff of its absence becoming known, whilst not paying the $3 million ransom (illegal under Italian law.) Of course, immediately thereafter the $3 million shows up in a cardboard box delivered to Flavia’s office anonymously, obviously with the connivance of said Prime Minister. In this impossible situation, Flavia reaches out to her mentor, the retired General Bottando.
While they devise a plan, new husband Jonathan Argyle disappears into the countryside to research the provenance of a small Renaissance painting, his retirement gift to Bottando. But it soon becomes obvious that there is some sort of link between Argyle’s search and Flavia’s missing painting.
The action is fast paced, the plot is dizzying, and the denouement is a fireworks display of virtuosity that makes a glorious (yet saddening) end to this terrific series.

[Deb · Rating 4 out of 5]

I had forgotten how much I loved Iain Pers' art history mysteries! With Bottando "promoted" to a job with the EU, Stefania is now the acting head of the art investigation squad in Rome. When the prime minister asks her to handle the theft of a visiting Claude Lorrain landscape, she remembers Bottando's aphorism that prime ministers can ruin your career. Nevertheless, she succeeds in finding some non-official money and, with Bottando's help, ransoming the painting. Of course that's not the end of it. The thief winds up dead, the ransom turns out to have been provided by a splinter political party, and Bottando himself is in possession of a mysterious fifteenth century painting that appears to be part of a triptych...a gift from a friend, he says. As Jonathan pursues the provenance of the little Madonna, Stefania chases down leads on why the Claude was stolen in the first place and Bottando tries to retire quietly. Enter our old friend Mary Verney, the creative art thief. Nothing is quite as it seems. Such fun. Such a satisfying ending to the series.

[Greg · Rating 4 out of 5]

This book is full of witty repartee, great locations, and complicated plot-lines, and is both a fun and entertaining read.

Unfortunately, I realized more than half-way through that NONE of the characters interested me! Yes, they were aptly described, but nonetheless remained (at least for me) something like one-dimensional cardboard figures rather than as interesting, complicated human beings.

So, if you're looking for a fluidly written novel that involves clever deception and winding plot-lines, then this will be a fine read -- appropriate for an airplane trip or a leisurely relax on a beach somewhere.

Otherwise, you perhaps would be advised to look elsewhere.

I find this review to be a sad conclusion to a book that I at first read with great pleasure and some out-loud guffaws.

[Jo · Rating 3 out of 5]

easy reading
The Immaculate Deception once again centers on the exploits of the affable and perpetually distracted English art dealer Jonathan Argyll; the beautiful and formidable Flavia di Stefano of the Italian Art Theft Squad; and her
erstwhile boss, General Taddeo Bottando, along with several of the series' usual -- or, more appropriately -- unusual supporting cast of suspects.


When a masterpiece on loan for the opening of an international exhibition is stolen in a manner calculated to embarrass the Italian government, Flavia di Stefano is ordered by the newly installed prime minister to recover the painting at all costs. Her deceptively simple mandate quickly reveals itself to be a politically fraught, no-win situation.

[Helen · Rating 3 out of 5]

I think this is a place holder in the Jonathan Argyll series, since its chief function appears to be to fill in the time following Argyll's marriage to Flavia and the repositioning of characters. Flavia's boss retires, their favourite thief turns up and has a surprising change in life style, there is a major washing/drying/re-investing of 3 million euros, Flavia (and Jonathan) are allowed a quick peak into a hidden gallery in the Vatican, and we are encouraged to believe that the entire Italian government is rotten from top to bottom. Oh, yes, and Flavia realises she is pregnant.
The book was more characters than plot and I haven't read any in this series, although I will, but evaluations are a little suspect on a mid series book when the rest is unfamiliar.