Linda Fairstein - The Bone Vault

Mercer took the Grooten file and we followed Bellinger back to the elevators and downstairs. Clouds were forming above us, casting shadows over the crosswalks in the cloistered garden. As we reentered the building on the far side from the tower, nearly every archway in the arcade seemed covered with fantastic animals.

“She loved those, Ms. Cooper. I’d often see Katrina out here, no matter how cold or wet the day, sketching these odd beasts.” He saw me slow my step to look up at the stone menagerie. “That’s a manticore-a man’s face, lion’s body, and a scorpion’s tail. Quite a combination, eh? And she’d had a cast made of that pelican, to use in the big exhibit. It pierces its own breast so that its blood, falling on its dead brood, can bring them back to life.”

We walked behind him into a two-story building at the southwest corner of the museum property. Mike whispered to me, “It looks like a stone deadhouse.”

I shivered at the sound of the words, an old name for a morguelike place where bodies are stored, and shuddered again at the cold interior of the Gothic chapel. Everywhere I looked, against each wall and in the middle of the room, were funereal monuments.

Bellinger clearly felt at home. “By the eleventh century, it had become quite fashionable in Europe for noblemen to commemorate themselves and their families with carved effigies. These tomb sculptures are what Katrina studied, back in France. Famous masons of the time would plan and execute these, including details of the patron’s coat of arms and the particular costumes and possessions of their ladies.”

“And Katrina, what did she do exactly?”

“Everything at the Cloisters, including the stones of the chapels themselves, was purchased from ruins in Europe and reconstructed here. Some were of provenances that were easily traced and proved, while others were just scraps of rock, vandalized as the monasteries broke up over the centuries. This poor fellow,” Bellinger said, crouching as he spoke, “was found facedown, being used as part of a bridge to cross a stream in the Alps.”

I kneeled beside him and rubbed my hand over the enormous black slab bearing the praying figure of a man.

“So Katrina studied the art form, learning who the sculptors were and how to recognize a particular style of carving or identifiable family traits. It’s a continuing effort to verify what we have, and to know when to purchase valuable pieces should they come up for sale on the European market.”

I circled the room, looking at all the dead figures in whose company Katrina Grooten had spent her days.

“These sarchophagi,” I said, gesturing at the many tombs that lined the walls, some piled on top of each other. “Are there more like these in storage?”

“Plenty of them.”

“Here?”

“Some here and some at the Met. They’ve got a vast basement, you know.”

“Any reason for Katrina to have some of the others shipped up to the Cloisters? I mean, from periods other than the Middle Ages.”

“She’s done it, I know. To compare styles. To help scholars who come here to research the way funereal art has changed over the ages.”

“Ever had any Egyptian pieces here?” Mike asked.

“I wouldn’t doubt it. Shipments come in and out from the Met all the time.”

Mercer was moving in another direction. “Was Ms. Grooten involved in anything controversial while she was here?”

Bellinger turned to walk us back toward the exit. “Not that I can think of. She didn’t normally operate at a high enough level to cross the big shots at the Met. The bestiary project was an exception, and there she was just on the committee acting in my stead. I wouldn’t have thought she’d ruffle any feathers while sitting in for me.”

Mercer was thumbing through the file as we moved along. “What’s the reference in here to the ‘flea market fiasco,’ two years back? It’s in a memo from you to Thibodaux.”

Bellinger stopped in his tracks. “The young scholars are so idealistic. It wasn’t a big deal. Katrina just had to be made to understand the commercial side of museum work.”

I repeated Mercer’s question. “What exactly was the fiasco about?”

“We got word-”

“Who’swe?”

“I was with Pierre Thibodaux and Erik Poste at a convention in Geneva. Word got around the place that one of those unusual finds had been made at a local flea market. A small medieval ivory, a carving of a hound chasing a rabbit, very similar to the large version that appears in the stonework outside.” Bellinger took a few steps. “I wanted it, for obvious reasons. And Thibodaux was willing to pay the price.”

“Was Katrina there?”

“Oh, no. But it’s a small world, this museum business. She had heard the rumor about the piece even before I flew back here. Anyway, we tried to buy the ivory but it was too late. It had been promised to the Copenhagen museum.”

“What was Erik Poste’s role in this?”

“Just that it made him furious while the squabbling about who would get the piece was going on, before the Danes firmed it up. Poste wanted Pierre to spend the money on something major for his European painting department rather than on some little rabbit that I coveted. A great portrait, or an artist like Bazille who’s underrepresented in the Met collection, rather than a six-inch piece of walrus tusk. We argued, but that happens among us all the time. You can’t hold a grudge around here, Ms. Cooper.”

“And the carving?”

The reclusive scholar smiled. “One of Thibodaux’s favorite smugglers-”

“Smugglers?”

“Yes, Ms. Cooper, you heard me. Pierre has a few favorites he relies on when he doesn’t get his own way with his checkbook. It’s an old tradition in this field. Anyway, Pierre’s man managed to get the piece out of Switzerland in about a week’s time, before the arrangements were made to ship it to Copenhagen. For his usual four percent commission. A month later, it was in one of our storerooms deep below Fifth Avenue.”

“You stole the carving.”

“Surely you don’t prosecute crimes that occur in Europe?” Bellinger laughed. “That’s been the nature of this work since museums first opened their doors. Some treasures came home in grand style, like Lord Elgin stealing the Greek marbles and setting them up for all the world to see in the British Museum. Others arrived more quietly and were bartered around town in secret. If there weren’t grave robbers and petty thieves, I’m afraid there would be far fewer works of art in public institutions everywhere in the world.”

“And your precious little object?”

“Will go on display after the summer. There wasn’t much of a scandal. We sent the Danes something of ours that they’d been longing for, and I got my ivory. All that was needed was a cooling-down period. People forget after a year or so. They quiet down.”

“And Grooten?”

“She learned as we all did. If you’re looking for a selfless way to help humanity, Detective, join the Red Cross. If you’re going to work in a museum, get used to the fact that most of what you see has been stolen from beneath someone’s nose. The great archaeologists who dug in Egypt and Turkey and Pompeii, they all believed what they recovered belonged to them personally. Took the urns and coins and jewels home to display on their own mantels and bandy about at their gaming clubs. Gave them away as gifts. Sold them to the highest bidder.”

I looked around the room at the assortment of tombstones from France, Belgium, Spain, and England. Lords and ladies at rest together, far from their intended graves.

“The spoils of war and the looted booty of imperial rule, Ms. Cooper. The Trojans did it, the British did it, the Germans did it, and may I add, even the American troops serving in the European and Pacific theaters did it during the Second World War. The only pretty part of this museum acquisition work is what you finally see behind the glass display cabinets.”