marble altar through the blue, yellow, and green stained-glass windows that lined the walls. Below them were a series of panels depicting the Stations of the Cross, scenes from the trial of Jesus by Pontius Pilate to his burial in the tomb.
Mike’s right hand was busy combing through his hair. He looked around, as though taking everything in anew, but didn’t speak.
“What is it, Mike?”
“Who was the last king of the French? That’s a subject dear to your heart,” he said, beginning to pace, staring up at the windows as he walked through the crossing.
“Look, it’s a little early for Jeopardy! Why did you bring me here?”
“Last king of the French.”
“Louis-Philippe. The July Monarchy, as it was called.”
Mike was motioning with his cupped fingers to give him more. “When?”
“Eighteen thirty to eighteen forty-eight.”
“I’ll take you the rest of the way, Coop. See these six windows? Three on each side? The most brilliant-colored ones?”
I looked back and forth. Of the sixteen windows that lined the nave, six were larger and far more exquisite than the others.
“So, Louis-Philippe had the idea to make a grand gift to the Catholics in America. He had these six stained-glass windows, said to be the most beautiful in the world, designed for St. Patrick’s Cathedral—the old one—”
“The one where the body was found today.”
“Exactly. They were created in Sèvres, France, and shipped to New York as the king’s—what do you call it?”
“Beau geste.”
“Yeah. But these windows didn’t fit at Old St. Pat’s. Imagine that? A king’s ransom worth of stained glass, but the wrong dimensions for the fancy new cathedral in Manhattan,” Mike said. “So the bishop shipped them up here to the little farming village of Fordham, so they could be the centerpiece of this new seminary that was still under construction and could be modified to hold them.”
I studied these glorious works with a deep appreciation of their magnificence—the depiction of handsome biblical figures, which were indeed so much richer in color and style than the other windows in the chapel, and than their replacements at Old St. Pat’s.
“Sorry for my ignorance, Mike. Who are they?”
“That’s Saints Paul and Peter, holding the Keys to the Kingdom. Then you’ve got the four apostles—John, Luke, Mark, and Matthew.”
The artistry of the glasswork was extraordinary.
“Now, here’s what got me thinking, Coop. You remember where the body was this morning?”
“Between two old headstones, and beneath the window that depicted Matthew.”
“Exactly. Manny Chirico was fixated on the names on grave markers for clues, but I kept thinking about the portraits in the stained glass, ’cause there was something unusual about that image.”
“In what way?”
“I mean, most of the time—in Christian art—the apostles are portrayed like this.” Mike was at his most animated, taking me by the hand to stand before these masterpieces of religious glasswork. “See? Each of them is painted with one of the living creatures described in the book of Revelation.”
The larger-than-life-size evangelists were posed on golden pedestals, and at their bases were bright blue enamel medallions—the same color as their halos—bearing their names.
“So that’s John, with an eagle at his feet,” I said. “Mark with a lion, Luke beside a bull, and then—”
“That’s what was different at St. Pat’s,” Mike said, breaking into my sentence as we stood beneath the stunning portrait of the fourth apostle. “There were no beasts, no creatures in those windows. But look, Coop, look at this.”
The French medallion below the figure in the fourth soaring window bore the name Matthieu.
He was robed in magenta, composing his gospel, pen in hand, as he gazed toward heaven. Holding the emerald-green writing tablet for him and glancing back at us was a young man—a young man with wings on his back, feathered and tipped with gold.
“A winged man,” I said in a whisper.
“He’s gaming us, this killer. Somehow he got himself over the gates at Mount Neboh—”
“Like Luther Audley said, the guy flew.”
“Well, he did it again this morning, into the graveyard. At least, that’s what he wants us to believe.”
“Like the symbolism at the fountain at St. John the Divine, when you asked me about the flying guy in the statue,” I said, visualizing the Archangel Michael, hovering over a decapitated Satan.
“Yeah.”
“You’re thinking that the killer left the body at St. Pat’s this morning, and cut out her tongue. You’re thinking he brought it here. That he knew about the connection between the two churches because of the windows, because of the classic portraits of the apostles.”
Mike nodded at me.
“But he couldn’t possibly