This book is no exception, and is another solid effort by Kay. It takes place in the same world as many of his other books, but in a different set of countries (something like the ruins of the Roman Empire and the Byzantine Empire). It follows a mosaicist who travels to Sarantium to decorate the dome of a new cathedral. Side stories include a freed slave, a man who hires himself out as a servant to travelers, a young queen, and chariot racers, among others.
One thing I notice about this book, in contrast to others I've read (by other authors) is that even though the main character (Crispin) is a craftsman, the descriptions of his craft are not boring. (L.E. Modesitt, Jr., could take a lesson here. Every time I read about Lerris making furniture or Kharl making barrels, I cringe.) Perhaps it's the way the descriptions are brought in, as observations about light or spirited debates about technique. Sometimes the debates have dire consequences. The descriptions are part of the story, and they add depth, without being there just to add depth.
A few too many of the characters are a little too perfect. Crispin says a lot of things that could get him into trouble, but always manages to talk his way out, solve the puzzle that no one else could, be the best at his craft, know the answer to everything -- even save his own life when attacked in a bathhouse. The Emperor during the bulk of the story (not the prologue) is similarly able; he has discourses about all manner of subjects in person and by post, and doesn't appear to need any sleep. (He does have some flaws, such as not apparently paying soldiers so that he can fund his building projects, and a violent response to riots, and an ambition -- not fleshed out well enough in this novel, but there is a sequel -- to retake the Western part of the old empire. I'm assuming we'll hear more about this in the next novel: Lord of Emperors: Book Two of the Sarantine Mosaic
.)There's a little magic, a little conflict between paganism and the Jaddite faith (basically Christianity re-labeled). Perhaps because the religions in Kay's world are basically thinly-veiled versions of humanity's real religions, their practitioners very much like historical social groups, they're much better done than in most fantasy novels. They feel real because, in most cases, they are real. (The Kindath are clearly meant to be Jews and thus their worship of two moon goddesses is a little different, but even so. But that's more at issue in The Lions of al-Rassan
.)Unusually for Kay, this book has a sequel, which I'm reading now. (His Fionavar Tapestry series was a trilogy but most of his other novels, while set in the same world, are standalone.) Perhaps that's why I'm not 100% satisfied with the ending, but since I already had the sequel, and immediately picked it up, this wasn't a huge problem. Another reason I feel a little equivocal about the ending is that there is an interlude with the young Western Queen Gisel, whom we met at the beginning and haven't heard from sense. Her reappearance is a bit abrupt, and interrupts the flow of events in Sarantium. I guess she has to get to Sarantium for the second book, though.
The world feels real, though. We meet cooks, prostitutes, artisans, slaves, priests, soldiers, an alchemist, charioteers, nobles, and others. The court politics feel real -- not that I am an expert on that, by any means. The chariot races in the Hippodrome are exciting and not predictable, and it's interesting how Hippodrome factions spill over into real life. (Maybe it's not Ben-Hur
because it's not so visual, but the racing is well-done.)It's probably not my favorite book by Kay (that honor is shared, so far, to The Lions of al-Rassan
and Tigana
) but it is very good, better than a lot of what I've read lately, and I would wholeheartedly recommend Sailing to Sarantium: Book One of the Sarantine Mosaic
.
and 
several times each, and I will probably do the same when the Last Chronicles are finished. I feel like the Land is a place that's brought to life extremely well. It's one fantasy setting I'd actually like to visit, to see the Wraiths of Andelain and the Ranyhyn, to eat aliantha berries, etc.
knowing who Shadowthrone and Cotillion are from the beginning, or 
knowing who Artanthos is from the beginning. Some characters (e.g. Hetan) meet tragic ends. Others seem to but maybe don't (Whiskeyjack, Coltaine). Sure, some of the language is cheesy and gamer-like, or downright crude, but the scope of the story is downright massive. (I haven't read 
yet, I'm psyching myself up for that particular investment of time...)
). Cook's novels are gritty and dark and matter-of-fact and I love that. There are no unnecessary details. I can tell from reading, especially the later Black Company books, and the Instrumentalities books, that Cook enjoys reading history, and uses it to help build a world with believable groups of people, believable inter-group conflict, etc.
, actually. Carol Berg, from my 
does it better than either of the two by Elizabeth Moon (
and 
). Although Moon gets a bit better in the second of those two volumes. And I'm not saying that Peter Orullian is the best ever, just that Wendra and Tahn actually do sound like different people, for example. (Whereas Dorrin, Arcolin, and Phelan really don't.)
