The mystery is intriguing, but following the progress of Brunetti via canal and calle provides the real pleasure; this has been the case since Brunetti’s first appearance in Death at La Fenice (1992). Crossing St Mark’s Square, for example: “He ambled, delighting in the sight of the flags swirling about in the breeze, and the horses poised, front legs lifted delicately, gazing down the Piazza, as if pausing which way to go. How wonderful they were, even if only copies, how bold and excessive, like so much within his line of sight.” It’s as if you’re there, the wind in your face, the baroque splendour of La Serenissima all around. If only . . .