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The Bellini Card (Yashim the Eunuch Series #3)

The Bellini Card (Yashim the Eunuch Series #3)

4.4 13
by Jason Goodwin

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Istanbul, 1840: the new sultan, Abdulmecid, has heard a rumor that Bellini's vanished masterpiece-a portrait of Mehmed the Conqueror-may have resurfaced in Venice. Yashim, our eunuch detective, is promptly sent to investigate, but-aware that the sultan's advisers are against any extravagant repurchase of the painting-decides to deploy his disempowered Polish


Istanbul, 1840: the new sultan, Abdulmecid, has heard a rumor that Bellini's vanished masterpiece-a portrait of Mehmed the Conqueror-may have resurfaced in Venice. Yashim, our eunuch detective, is promptly sent to investigate, but-aware that the sultan's advisers are against any extravagant repurchase of the painting-decides to deploy his disempowered Polish ambassador friend, Palewski, to visit Venice in his stead. Palewski arrives in disguise in down-at-the-heel Venice, where a killer is at large, as dealers, faded aristocrats, and other unknown factions seek to uncover the whereabouts of the missing Bellini. But is it the Bellini itself that endangers all or something associated with its original loss? And how is it that all of the killer's victims are somehow tied to the alluring Contessa d'Aspi d'Istria? Will the Austrians unmask Palewski, or will the killer find him first? Only Yashim can uncover the truth to the manifold mysteries.

Editorial Reviews

Publishers Weekly

Near the start of Edgar-winner Goodwin's fine third historical to feature the eunuch Yashim, who serves the Ottoman rulers of early 19th-century Turkey (after 2008's The Snake Stone), Yashim's close friend Stanislaw Palewski, the Polish ambassador to the Turkish sultan, accepts an undercover assignment on the sultan's behalf. Posing as an American, the diplomat travels to Venice in an effort to locate a portrait of Mehmet the Conqueror (who reclaimed Constantinople from the Christians in 1453), painted by the legendary artist Gentile Bellini. Fortunately for Palewski, Yashim, who has a secret plan for the painting's recovery, intervenes in time to set the mission on the right track after the murder of two art dealers. While Yashim initially plays a backstage role, the eunuch and a shadowy power broker engage in an exciting and complex duel of wits in the book's final quarter. Once again, Goodwin skillfully blends deduction, action sequences and period color. (Mar.)

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Library Journal
In his third mystery to feature eunuch detective Yashim—following The Snake Stone (2007), also available from Tantor Media—Edgar Award winner Goodwin (www.jasongoodwin.net) has the investigator for the Ottoman Court traveling to Venice, where murders obscure his hunt for a portrait. Audie Award winner Stephen Hoye (Rich Dad, Poor Dad) handles the multiple accents and voices with ease. Fans of Jenny White's Kamil Pasha mysteries and Caleb Carr's detailed historical novels will love this superb foray into another time and place, in which Goodwin integrates 19th-century history with a fine mystery; highly recommended to readers of both. ["To be savored," read the review of the Farrar hc, LJ 1/09.—Ed.]—Janet Martin, Southern Pines P.L., NC
From the Publisher

“When you read a historical mystery by Jason Goodwin, you take a magic carpet ride to the most exotic place on earth.” —Marilyn Stasio , The New York Times Book Review

“Escapist fiction at its most seductive.” —Heather O'Donoghue, The Times Literary Supplement

“Goodwin's previous books took us into the alleys and byways of nineteenth-century Istanbul. This is an equally vivid and well-informed account of Venice in 1840 . . . The plot is lively and interesting; but the real delight in this book is the atmospheric portrait of a fascinating place.” —Literary Review

“Wonderfully entertaining . . . [Goodwin] uses short, punchy chapters and vibrant, atmospheric prose to bring the glory days of the Ottoman capital to life.” —Adam Woog, The Seattle Times on The Snake Stone

“Everything you could want from a novel--beautifully written, a cracking story, and, in the figure of Yashim the eunuch, a wonderfully seductive and original detective.” —Kate Mose, author of Labyrinth on The Janissary Tree

Product Details

Tantor Media, Inc.
Publication date:
Yashim the Eunuch Series , #3
Edition description:
MP3 - Unabridged CD
Product dimensions:
5.30(w) x 7.50(h) x 0.60(d)

Read an Excerpt

Com’era, dov’era

As it was, where it was

Venetian motto




Never judge a painting or a woman by candlelight

Venetian proverb



He sank slowly through the dark water, arms out, feet pointed: like a Christ, or a dervish, casting a benediction on the sea.

The stone at his feet hit the mud with a soft explosion, his knees buckled, and in a moment he was bowing gracefully with the tide. He had always been graceful; pliant, too, when fixing a price; a man who traded and left something in the deal for the other fellow.

Overhead, the killer turned his head from side to side, alert to the slightest motion in the darkness, feeling the rain on his face. He stood for a few minutes, waiting and watching, before he blinked, turned, and padded softly from the bridge, to be swallowed up by the night and the alleyways of the sleeping city.

The tide ebbed. The water sucked at the green weed that lined the walls, gurgled around old pilings, and slipped and receded from worn stone steps. It sank, nudging the trader closer to the sea on which, in her days of glory, the city had made her fortune. Beneath Byzantine domes, dilapidated palaces and tethered boats the corpse was hustled noiselessly towards the sea, arms still flung wide in a gesture of vacant welcome.

Yet some obstruction, a block of stone or loop of rotten rope, must have checked his passage for a time; for when dawn broke, and the tide slackened, the trader was still yards away from the deep waters of the Riva dei Schiavoni into which he would have otherwise sunk without further trace.



The sultan gave a high-pitched sneeze and patted his face with a silk handkerchief.

‘The Queen of England has one,’ he said petulantly.

Resid Pasha bowed his head. King William was dead, like Sultan Mahmut: now, he thought, England and the Ottoman Empire were being ruled by little girls.

‘As the sultan says, may his days be lengthened.’

‘The Hapsburgs have several galleries, I understand. In their dominions in Italy, whole palaces are stuffed with pictures.’ The sultan dabbed at his nose. ‘The Emperor of Austria knows what his grandfather’s grandfather was like by looking at his picture, Resid Pasha.’

The young pasha folded his slender hands. What the sultan said was true, but perfectly ridiculous: the Hapsburgs were notoriously ugly, notoriously alike. They married their close relations, and the chins got bigger every generation. Whereas an Ottoman prince had none but lovely and accomplished women to share his bed.

Resid Pasha tensed his shoulders. ‘The Austrian dogs always piss on the same spot,’ he said, with a jocular grunt. ‘Who would want to see that?’

Even as he spoke, he knew he had made a mistake. Sultan Mahmut would have grinned at the remark; but Mahmut was dead.

The sultan frowned. ‘We are not speaking of dogs now.’

‘You are right, my padishah.’ Resid Pasha hung his head.

‘I speak of the Conqueror,’ Abdulmecid said loftily. ‘Of the blood in these veins.’ He held out his wrists, and the young counsellor bowed, abashed.

‘If the picture exists, I wish for it,’ the sultan continued. ‘I want to see it. Do you desire, Rasid Pasha, that the likeness of the Conqueror should be exposed to the infidel gaze—or that an unbeliever should possess it?’

Resid Pasha sighed. ‘And yet, my sultan, we do not know where the painting might be. If, indeed, it exists at all.’

The young Padishah sneezed again. While he examined his handkerchief, the Pasha pressed on: ‘For more than three centuries, nobody ever saw or heard about this— picture. Today we have a rumor, nothing more. Let us be cautious, my padishah. What does it matter if we wait another month? Another year? Truth is like musk, whose grateful odour can never be concealed.’

The sultan nodded, but not in agreement. ‘There is a faster way,’ he said, in a voice treacled with mucus.

‘Send for Yashim.’



Close to the shoreline of the Golden Horn, on the Pera side, stood a fountain set up by an Ottoman princess as an act of generosity, on a spot where the boatmen used to linger and drop their fares. Hundreds of fountains existed in the streets and squares of Istanbul; but this one was particularly old and lovely, and Yashim had admired it many times as he passed. Sometimes, in hot weather, he would rinse his face in the trickle of clear water that splashed down onto the tiled basin.

It was those tiles which now stopped him on the street, where he stood unnoticed and aghast in the stream of traffic passing along the shore: muleteers with their trains, porters under enormous sacks, two fully-veiled women attended by a black eunuch, a bashi-bazouk on horseback, his sash stuffed with pistols and swords. Neither Yashim, nor the ruined fountain, attracted anyone’s attention: the crowd flowed round him, a man standing alone in a brown cloak, a white turban on his head, watching stricken as a trio of workmen in overalls and dirty turbans attacked the fountain with their hammers.

It was not that Yashim lacked presence. His only lack was of something more definite; but he was used to passing unnoticed. It was as though his presence were a quality he could chose to display, or to conceal; a quality which certain people would be unaware of until they found themselves mesmerised by his grey eyes, his low, musical voice, or by the truths he spoke. Until then, though, he might be almost invisible.

The workmen did not look up as he approached; only when he spoke did one of them glance round, surprised.

‘It’s the bridge, efendi. Once this has gone, then the tree, there’ll be a way through here, see? Got to have a way through, efendi.’

Yashim’s heart sank. A bridge linking Pera to the main city of Istanbul had been talked about for years. Centuries, even: in the sultan’s archives in Topkapi Palace Yashim had once seen a sepia design for such a bridge, executed by an Italian engineer who wrote his letters back-to-front, as if they were written in a mirror. Now, it seemed, a bridge was about to be built: the new sultan’s gift to a grateful populace.

‘Can’t this fountain just be moved aside?’

The workman straightened his back and leaned on his sledgehammer. ‘What, this?’ He shrugged. ‘Too old. New one’d be better.’ His eyes slid along the shore. ‘Not but what it’s a shame about the tree.’

The tree was a colossus, and a welcome patch of shade and shelter on the Pera shore. It had stood for centuries: in days it would be gone.

Yashim winced as a sledgehammer cracked down hard into the basin of the fountain. A chunk of stone broke away, and Yashim put out a hand.

‘Please. A tile or two…’

He carried them away carefully, feeling the old mortar dry and brittle in his palm. The boatman who took him gliding across the Horn by caique spat on the water. ‘The bridge, it’ll kill us,’ he said, in Greek.

Yashim felt a shadow across the sun. He did not risk a reply.

Reaching home, he laid the tiles by the window and sat on the divan, contemplating the strong lines of the twining stems, the beautiful deep reds of the tulips, which had so often refreshed his eyes as the water of the fountain had refreshed his skin. Such flaming reds were unobtainable nowadays, he knew: centuries ago the potters of Iznik had fanned their talents to such heights that the river of knowledge had simply dried up. Blues there always were: lovely blues of Kayzeri and Iznik, but not the reds beloved of the heretics, who came from Iran and vanished in their turn.

Yashim remembered how he had loved such tiles, where they decorated the inner sanctum of the sultan’s palace at Topkapi, a place forbidden to all ordinary men. In the harem itself, home to the sultan and his family alone, many women had admired those tiles; and many sultans, too.

Yashim had seen them only because he was not an ordinary man.

Yashim was a eunuch.

He was still gazing at the tiles, remembering others like them in the cool corridors of the sultan’s harem, when a knock on the door announced the messenger.



Resid Pasha tapped his polished boot with a swizzle stick.

‘The Sultan Mahmud, may he rest in peace, was pleased to order the construction of the bridge,’ he said evenly. He pointed his stick at the divan. ‘The old city and Pera have been too much apart. That is also the view of the Padishah.’

‘Now Pera will come to Istanbul,’ Yashim said, ‘and we will know no peace.’

Resid pursed his lips. ‘Or perhaps the other way round, Yashim efendi.’

‘Yes, my pasha,’ Yashim said doubtfully. He took a seat, cross-legged, on the divan. ‘Perhaps.’

He tried to picture Pera subsiding into dignified silence, as the sober pashas and the minarets and the cypresses of old Istanbul spread their leisurely influence across the bridge, stilling the perpetual scrimmage of touts, tea-boys, porters, bankers, shopkeepers and sailors that milled through the Pera streets. Where would the cypresses find space to grow, between the Belgian hatters and the Greek peddlers, the steam-presses and the foreign crowds? Old Ottoman gentlemen brought their families to Pera now and then, and led them in stately astonishment through crowds of every nationality and none, staring into the big glass windows of the shops on the Grande Rue, before embarking again for home.

‘I understand that you know many languages,’ Yashim added pleasantly.

Yashim did not know Resid well. The young vizier belonged to another generation at the palace school, the generation which studied French and engineering; his training had taken him beyond the boundaries of the empire. Resid’s mother was from the Crimea, an exile; his family was poor. He was in his mid-twenties, maybe, four or five years older than the sultan he served, but reputed to be a hard worker, pious without ostentation, quick-thinking, and very sure of himself: certainly he had advanced very rapidly under the eye of the old sultan, who insisted that he learn languages and had sent him on missions to Paris and Vienna, for Mahmut had lost confidence in the official dragomen, or interpreters, most of whom were local Greeks. No doubt he had considered him, too, a useful influence on his son.

The pasha shrugged. ‘Languages, of course. It saves time.’

Yashim lowered his eyes. He spoke eight languages perfectly, including Georgian, and loved three: Greek, Ottoman, and French.

‘The sultan has called for you, Yashim efendi. He is aware of the services you have rendered to his house.  It was I who reminded him.’

Yashim inclined his head politely. There had been times when old Mahmud would roar for Yashim, and present him with some dilemma which suited Yashim’s peculiar talents. Many things in the harem, and beyond, had required his attention: not all of them mere peccadilloes. Theft, unexplained deaths, threats of mutiny or betrayal which struck at the very stability or survival of the oldest ruling house in Europe: Yashim’s job was to resolve the crisis. As unobtrusively as possible, of course. Yashim knew that the air of invisibility which surrounded him should also envelop the mysteries he was called upon to penetrate.

‘And I would remind you, Yashim efendi, that the sultan is very young.’

Yashim almost smiled. Resid Pasha’s only visible affectation was a small moustache which he waxed with care, but his chin was smooth and soft. He wore the stambouline, that hideous approximation of Western dress that the old sultan had officially prescribed for all his subjects, Greek, Turk, Armenian, or Jew, and which people were still learning to adopt. Yashim, long ago, had decided not to bother.

‘Sultan Mehmed was young centuries ago, Resid Pasha, when he took this city from the Greeks.’

‘But one would say that Mehmed had more experience.’

Is that what you have? Yashim wondered. At twenty five—experience?

‘Mehmed judged his interests very well,’ Resid continued. ‘He also overruled advice. But times have changed, I think.’

Yashim nodded. It was well put.

‘Each of us must strive to serve the sultan’s best interests in our own way, Yashim. There will be occasions, I am sure, when you will be able to serve him with your special talent for peering into men’s hearts and minds. Many others—it is natural, and no shame to them at all—serve him by their mere alacrity.’

His dark eyes searched out Yashim’s.

‘I understand,’ Yashim murmured.

The young vizier seemed unconvinced. ‘We Ottomans have many generations of understanding the ways of princes, Yashim. They give us—the sultan is pleased to give us his orders. And we say: the sultan has said this, or this. It shall be done. Among these orders, though, we have recognised a class of—what? Watery commands. Written on water, Yashim.’

Yashim did not stir a hair, but he thought: the boy is good. Better than his training, too.

What is written on the water cannot be read.

‘I believe the sultan will receive you this afternoon.’ Resid raised his hand in a vague gesture of dismissal. ‘You will have many opportunities to show—alacrity,’ he added. ‘I can see that it shall be so.’

Yashim stood and bowed, one hand to his chest.

The elevation of the new sultan, like the rising of a planet, was creating new alignments, shifts in the weight and composition of the cabals and cliques that had always flourished in the palace around the person of the all-powerful sultan. Resid had been singled out for advancement by Mahmut; now Abdulmecid had confirmed his father’s choice.

Was Resid’s friendship—his protection—an offer Yashim could afford to refuse?

Outside the vizier’s office, Yashim turned and walked a long way down a carpeted corridor, towards a pair of double doors flanked by motionless guards, and a row of pink-upholstered straight-backed chairs.

The guards did not blink. What did the sultan want, Yashim wondered, that Resid so palpably did not?

He took a chair and prepared to wait—but almost immediately the doors flew open and a white-gloved attendant ushered him into the presence.


Excerpted from Bellini Card. By Jason Goodwin.

Copyright © 2009 by Jason Goodwin.

Published in the United States by Farrar, Starus and Giroux in hardcover, and by Picador in trade paperback.


All rights reserved. This work is protected under copyright laws and reproduction is strictly prohibited. Permission to reproduce the material in any manner or medium must be secured from the publisher.

Meet the Author

Jason Goodwin is the author of Lords of the Horizons: A History of the Ottoman Empire and On Foot to the Golden Horn.

Actor Stephen Hoye is a graduate of London's Guildhall and a veteran of London's West End. An award-winning audiobook narrator, he has won thirteen AudioFile Earphones Awards and two prestigious APA Audie Awards.

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The Bellini Card (Yashim the Eunuch Series #3) 4.5 out of 5 based on 0 ratings. 13 reviews.
harstan More than 1 year ago
The Bellini Card Jason Goodwin FSG, Mar 3 2009, $25.00 ISBN: 9780374110390 In 1840, the new Ottoman Empire Sultan Abdulmecid orders the eunuch Yashim to travel to Venice to obtain a portrait of Mehmet the Conqueror painted by Bellini. However, before leaving for Italy, Resid Pasha directs Yashim to keep the expenses including the purchase down. Yashim asks his friend impoverish Polish Ambassador Stanislaw Palewski to masquerade as an American to help locate the portrait of the hero who took Constantinople from the Christians in the fifteenth century. In Venice while Palewski conducts his search, a killer has murdered two dealers connected to the Bellini masterpiece. Soon the Polish Ambassador becomes a target of this unknown murderer, but Yashim working from the shadows keeps his friend safe while trying to obtain the painting. The third Yashmin historical thriller (see THE JANISSARY TREE and THE SNAKE STONE) is an enjoyable fascinating look at Venice and at the Ottoman Empire. Interestingly Yashim plays second fiddle for much of the early part of the novel, but once he comes on stage, he and his adversary battle in am electrifying contest. Fans will enjoy this terific nineteenth century mystery due in part to the investigations into the portrait and the killer, but also because of the deep sense of time and place. Harriet Klausner
eagle3tx More than 1 year ago
The best yet. I have read all of the series and continue to recommend to friends -- a little trouble convincing them to give it a try considering the main character is a eunuch. I am fascinated by the historical perspective -- so much I didn't know about the 1830s in Istanbul. I find myself doing google earth to see the locations covered in the books. The author has a truly winning and novel approach, and the characters have grown on me in each succeeding book. Thank you to Jason Goodwin for the time I've spend reading the books.
Tennesseedog More than 1 year ago
Another enjoyable mystery from this young writer. Here, Mr. Goodwin takes us to Venice to solve a puzzle which seems straightforward enough but turns into a suspenseful riddle. The familiar Turkish operative of the Sultan in Istanbul in the early 19th Century, Yashim, matches wits with an interesting array of Venetian characters as well as villans from Austria-Hungary and his hometown of Istanbul. The mystery of the Bellini painting and the interwoven story of the Contessa make for a pleasurable reading experience. Expect that Mr. Goodwin will throw in some of his usual delightful literary touches. From the use of Italian phrases and informative descriptions of Venetian history and architecture to the little things such as Yashim's cooking and sleuthing, this makes for a pleasant ride on the Grand Canal. There even are some surprises with Yashim's pal, Polish Palewski, getting top billing in the mystery and Yashim getting physical with the Contessa. Not bad for a eunuch. This is the third in the series and the books continue to evolve with more information on Yashim and his early years plus a new Sultan and further adventures sure to follow. A quick read and worth spending the time with.
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I enjoyed the descriptive nature of the writing. I haven't run across a book with so many (120) short chapters (one has just 96 words!). There was good character development of the major characters, leading you to think that you had a good sense of how they all fit in, until, that is, near the end, when the complexities are revealed. I thought there was a bit much of deus ex machina stuff going on, but the overall effect was good. I did get some sense of how Venice fits together, though I have never been there. And the historical connections were interesting - it makes me wonder how much of that was accurate history and hoe much was fiction - perhaps I'll have to check the history books about that!
Anonymous More than 1 year ago
Anonymous More than 1 year ago
Jason Goodwin's cleverness and originality shine in the Yashim books. I don't ordinarily read mysteries or detective novels, but these are a lot of fun, and I am learning a lot about the Ottoman Empire in the 19th century. You'll be surprised how sexy a eunuch can be.