Fakes, forgeries and plagiarism abound in Ackroyd’s brilliant historical novel, set in the 19th century during the excavation of the Bronze Age site of Troy.

“I cannot wait to bring you to the plain of Troy. To show you the place where Hector and Achilles fought. To show you the palace of Priam. And the walls where the Trojan women watched their warriors in battle with the invader. It will stir your blood, Sophia.”

Sophia Chrysanthis is only 16 when the German archaeologist, Herr Obermann, comes wooing: he wants a Greek bride who knows her Homer. Sophia passes his test, and soon she is tying canvas sacking to her legs so that she can kneel on the hard ground in the trench, removing the earth methodically, identifying salient points, lifting out amphorae and bronze vessels without damaging them.

“Archaeology is not a science,” Obermann says. “It is an art.”

Obermann is very good at the art of archaeology — perhaps too good at it. The atmosphere at Troy is tense and mysterious. Sophia finds herself increasingly baffled by the past . . . not only the remote past that Obermann is so keen to share with her in the form of his beloved epics of the Trojan wars, but also his own, recent past — a past that he has chosen to hide from her.

But she, too, is very good at the art of archaeology . . .