THE VIVALDI CIPHER

by Gary McAvoy

May 4 – 29, 2026 Virtual Book Tour

Hi, everyone!

Today I am sharing my Feature Post and Book Review for THE VIVALDI CIPHER (Vatican Secret Archive Thrillers Book #1) by Gary McAvoy on this Partners In Crime Virtual Book Tour.

Below you will find a book description, my book review, an excerpt from the book, the author’s bio and social media links, and a PICT giveaway. Enjoy!

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Book Description

During the election of a new Pope in the mid-18th century, famed violinist Antonio Vivaldi learns of a ring of art forgers who are replacing the Vatican’s priceless treasures with expertly-painted fakes. Desperate, the composer hides a message in a special melody, hoping someone, someday, will take down the culprits . . .

Nearly three hundred years later, the confession of a dying Mafia Don alerts a Venetian priest to a wealth of forged paintings in the Vatican Museum, and the key to their identities lies hidden in a puzzling piece of music. Father Michael Dominic, prefect of the Secret Archives, investigates, and is mystified when he finds a cipher in an old composition from Vivaldi. Desperate to stop this centuries-long conspiracy, he calls on fellow sleuth Hana Sinclair and Dr. Livia Gallo, a music cryptologist, to help him crack the code and learn the truth.

But the Camorra, a centuries-old Italian Mafia clan, won’t stand by while some interfering priest ruins their most lucrative operation. Along with a French commando and two valiant Swiss Guards, Dominic explores the dark canals and grand palazzos of Venice to uncover the evidence he needs to stop the sinister plot. Can he unearth it in time, or will the Church’s most valuable artworks fall prey to this massive conspiracy?

Goodreads: https://www.goodreads.com/book/show/58488566-the-vivaldi-cipher?ac=1&from_search=true&qid=sbuqQxXuF6&rank=1

The Vivaldi Cipher

Genre: Suspense, Suspense Thrillers, Historical Thriller
Published by: Literati Editions
Publication Date: August 16, 2021
Number of Pages: 400
ISBN: 9781954123076 (ISBN10: 1954123078)
Series: Vatican Secret Archive Thrillers, Book 1

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My Book Review

RATING: 4 out of 5 Stars

THE VIVALDI CIPHER (Vatican Secret Archive Thrillers Book #1) by Gary McAvoy is an exciting, fast-paced, action-packed international thriller that is about a three-hundred-year-old conspiracy involving the Vatican’s vast collection of world-famous paintings and the Venetian Camorra (Mafia). The protagonists are led once again by Father Michael Dominic and his cast of friends who were together in Mr. McAvoy’s previous trilogy, The Magdalene Chronicles. While the characters were in previous books together, you can read this book as a standalone.

A Venetian priest takes the confession of a dying Camorra don and learns of a three-hundred-year ongoing conspiracy involving the Vatican’s most famous paintings, forgery, and the Venetian Camorra. The priest is troubled by the confession and Father Michael Dominic, prefect of the Secret Archives, is called in to investigate. Friend and French reporter, Hana Sinclair, is along to assist and soon they discover they are in more danger than anticipated when a Vivaldi music score is translated and exposes a centuries long conspiracy of forgery between corrupt church officials and the Venetian Camorra.

Can Michael, Hana, and friends uncover the evidence they need to stop this ongoing conspiracy without becoming victims of the Camorra don and his assassins?

I really got caught up in this thriller plot and could not stop reading. There is constant action and high stakes encounters with not only Mafia killers, but corrupt Vatican employees. While not all the characters’ actions are realistic in a few parts of the story, their actions are still exciting, move the plot forward, and did not detract from my enjoyment of the overall story. Even with the fast pace, Mr. McAvoy was able to intersperse moments of art history, art forgery, and interesting facts about Vivaldi throughout. I prefer to read books in order and thought I was reading book one in this series, which I was, but the characters were in a previous trilogy together, so I did have some questions about their previous connections, but it did not stop me from enjoying this book.

I can recommend this exhilarating thriller, and I am looking forward to more books in the Vatican Secret Archive Thrillers series.

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Excerpt

Prologue

Vatican City, Rome – February 1740

The first symptom of the poisoning began as a fever.

Sitting at one of two long, white-silk-draped tables in the Sistine Chapel, along with sixty-seven of his fellow cardinal-electors, Pietro Ottoboni cast his vote for pope on the eighth day of the conclave to replace the late Pope Clement XII.

Enfeebled by fever, the seventy-three-year-old Ottoboni made his way toward the front of the chapel to a small altar below Michelangelo’s majestic fresco The Last Judgment, dropped his ballot onto a brass saucer, then tipped the saucer, letting the ballot fall into the large brass urn beneath it.

A few moments later, having returned to his seat, the cardinal collapsed onto the table, the high temperature having sapped his energy. Shocked, the other cardinals stood to better see what was happening to their colleague. The master of papal liturgical celebrations suspended the conclave while they moved Ottoboni to his apartment under the care of a Vatican physician.

Long considered favorite among the papabili to succeed Pope Clement, Pietro Ottoboni was born in the Most Serene Republic of Venice to a rich and noble family, whose most distinguished member was his grand-uncle, Pope Alexander VIII. Ottoboni had held every important post in the Vatican during an illustrious career and, as cardinal-bishop to several churches in Italy, his annual salary exceeded fifty thousand gold scudi—the present-day equivalent of six million dollars per year.

Cardinal Ottoboni had been a prolific paramour with a countless number of lovers, many of whom were married to the great patricians of Venice. In fact, the famous masks unique to Venetians were introduced not to ward off the plague, as many later believed, but to officially disguise the wearer’s identity—thus permitting anyone, noble or peasant, to do or say whatever one pleased. With this ingenious permissiveness, affari di cuore—affairs of the heart—were as common as the fleet of gondolas plying the canals of the celebrated city, without legal recourse. Having taken full advantage of this liberal device, Cardinal Ottoboni was known to have produced up to seventy children in his lifetime among his various mistresses.

Though he lived well in Rome’s grand Palazzo della Cancelleria, Ottoboni’s greatest passions were music and art, and he was a generous patron to some of the most renowned masters in both fields: Arcangelo Corelli, Alessandro Scarlatti, Giuseppe Crespi, Tintoretto, Paolo Veronese—and most of all, to his close friend and protégé, the prodigious maestro di violino of Venice, Antonio Vivaldi.

As he lay on his deathbed, Ottoboni summoned Vivaldi to his side. In a low, rasping voice, the cardinal confided to his friend a tale of great importance, a scandalous operation run by the notoriously corrupt Cardinal Niccolò Coscia in league with the feared secret Mafia organization known as the Camorra.

In fact, he added with struggling breath, he was convinced it was Coscia, acting on orders from the Camorra, who had poisoned him to keep him from acting on what he knew. With information gleaned from one of his many spies, Ottoboni had discovered the ongoing scandal days earlier and approached Cardinal Coscia with a warning that he and his Camorra would soon be out of business, at least as far as the Vatican was concerned. Were it not for his required attendance in the papal conclave, he would have put a stop to it sooner, especially if he was elected pope, an elevation to supreme power that was expected by everyone.

The following day, however, Cardinal Ottoboni succumbed to the poison, killed for a secret now known only to Antonio Vivaldi.

Like most Italians, Vivaldi survived cautiously within the Camorra’s Venetian sphere of influence. The secret society’s tentacles reached into everyone’s life, and their strict enforcement of the seal of omertà—the sacred code of silence—ensured clan activities remained discreet and wholly within la familia. The family.

Since the late seventeenth century, the Camorra had carved out its territories, starting in Naples and moving northward into the Lombardy and Veneto regions of Italy, encompassing its most lucrative prizes, Milan and Venice. Competing with La Cosa Nostra in Sicily and the ‘Ndrangheta of Calabria, the Camorra’s criminal enterprises included prostitution, gambling, smuggling, kidnapping, and art theft—but also the unusual niche of producing and selling fine art forgeries of the highest order.

During the earlier reign of Pope Benedict XIII, who cared little for managing his vast realm of Papal States, Cardinal Niccolò Coscia oversaw all Vatican government operations, taking advantage of his authority to carry out substantial financial abuses, virtually draining the papal treasury. But his ongoing misdeeds eventually caught up with him. In 1731, he was charged with corruption, tried and convicted to ten years’ imprisonment, and excommunicated from the Church.

However, still not without influence, he managed to get his heavy sentence commuted to a mere fine. He was also mysteriously reinstated as a cardinal, allowing him to take part in the papal conclave of 1740—the one during which Cardinal Ottoboni had died.

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With Ottoboni out of the way, Cardinal Niccolò Coscia could now carry out his master plan without hindrance. In his not-so-secret role as capo of the Roman Camorra, Coscia led development of the Veneto branch of the Mafia clan, based in Venice and headquartered in his own newly acquired Palazzo Feudatario on the Grand Canal. Purchased with funds he had discreetly absconded from the Vatican treasury, Feudatario would be a most fitting place to carry out his planned forgery operation of the Vatican’s most profound works of art.

Niccolò Coscia was a meticulous diarist and, owing to all the business he conducted outside the Church, he had created the first book to record the activities of his new organization, naming it Il Giornale Coscia della Camorra Veneta—The Coscia Journal of the Veneto Camorra. In it he would secretly record careful notations of all paintings by artist and title, including each work’s provenance and to whom the forgeries or originals were sold, depending on which he chose to return to the Vatican—for many were prominently displayed in public, while most were simply returned to the Vatican’s vast art storage vaults, unseen by anyone.

The Coscia Journal would be passed down to each capintesta, head of the Veneto Camorra, for generations.

Unfortunately for Coscia, Cardinal Ottoboni’s spies had discovered not only the Camorra’s abhorrent plan for art forgeries, but the very existence of the Coscia Journal for recording such transactions. At that point Ottoboni’s death was preordained, for no one could ever know such proof existed.

* * *

Antonio Vivaldi, who at age twenty-five was ordained a Roman Catholic priest, was now at a crossroads. He feared possessing knowledge of the treacherous secret passed on to him by his esteemed patron in his dying moments. Putting himself at odds with the Camorra was not just an unappealing prospect; it could end up costing him his life, depending on what he did with what he knew.

But Cardinal Ottoboni had one last request of his protégé.

Intent on stopping the sinful and unlawful activities of Cardinal Coscia, Ottoboni had pleaded with Vivaldi to see that Coscia was brought to justice, to pay for his felonious actions. Distressed by letting his friend and mentor die without the satisfaction of such a promise, Vivaldi agreed to do what he could. He would ensure that the authorities were informed, the Coscia Journal would be found, and the matter would be settled.

After the cardinal’s stately funeral, Vivaldi waited for the right moment to fulfill his promise. But as he waited, he became more apprehensive. He was just a lowly priest, after all, and not a very good one at that. The violin was his life, and teaching it was his life’s work. Besides, who would believe him? Where was the proof? And what would the Camorra do to him if he were to expose its business? He had seen the results of their retribution—those who crossed the Mafia were dealt with harshly. Beheadings were not uncommon, and those who weren’t beheaded were drawn and quartered—alive. No, he must find a way to honor his pledge without exposing himself to such horrible consequences.

An idea came to him: he would hide the messages in plain sight, in his musical compositions.Picking up a sheet of staff lined manuscript paper, Vivaldi began to assemble the first of many, his Scherzo Tiaseno in Sol.

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Author Bio

Gary McAvoy is an American novelist known for internationally bestselling thrillers that blend historical intrigue, religious scholarship, and modern suspense. A lifelong researcher of rare manuscripts and Church history, he draws on extensive archival study to craft narratives rooted in authentic detail. His work includes the Vatican Secret Archive Thrillers, the Magdalene Chronicles, and the Vatican Archaeology Thrillers. Before turning to fiction, McAvoy built a distinguished career as an entrepreneur, technology consultant, and collector of historical documents. He now writes full time from the Pacific Northwest, where he continues to explore the shadowed crossroads of faith, power, and history.

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