Her husband grunted. “Yeah, we could have seen this at home and saved six grand.”
While Bernard navigated through the late afternoon traffic, Rowan Rover consulted a city map and called out street names to look for in order to reach the abbey. Fifteen minutes and several orbits later, Bernard pulled the bus up to the curb on Falkland Road and said, “I don’t think there’s going to be any place to park nearby. Why don’t I let you out here, and come back for you in a bit. All right?”
“Fair enough,” said Rowan, standing up and stretching. “It’s only a block up to the abbey. Ladies and Charles, we’re getting off here.”
As he marched them up the street toward the abbey, Rowan recited the particulars of the afternoon’s attraction. “Torre Abbey has belonged to the city of Torquay since 1930. Before that it was the home of the Cary family, and before that it was a monastery for…” He took a deep breath. “Premonstratensian Canons. Built in 1196.”
“What is… what you said?” asked Kate Conway.
“I haven’t the faintest idea,” Rowan assured her. “Some species of monk, I presume. Ask your guide at the abbey. They provide their own tours.” And I shall wait out in the garden and smoke copious quantities of cigarettes in blissful solitude, he finished silently.
A few moments later they turned the corner and came within sight of Torre Abbey. Very little of the original twelfth-century architecture remained, except some ruins away from the converted abbey. Most of the structure was a solid red-brick building with white-trimmed windows, reminiscent of an American elementary school. It certainly did not resemble the group’s idea of an eight-hundred-year-old edifice.
“And what is its connection with Agatha Christie?” asked Maud Marsh.
“Only that this is the city of her birth,” said Rowan. “And since this is the city’s museum, they have set aside a room in her honor. The abbey also has a restored Victorian kitchen that serves teas. Off we go.”
He bounded up the steps and into the spacious main hallway. Beside the door was an information desk, manned by a guard/ticket-taker.
“Good afternoon,” said Rowan briskly. “I believe you have a reservation for a mystery tour of a dozen persons booked to see the abbey today.”
The man behind the counter glanced at a chart and assured the group that they were expected. “We haven’t any guides this afternoon, though,” he said. “We were terribly busy earlier in the month, and now they’ve all taken advantage of the lull to get a bit of time off themselves.”
“No guides!” Rowan looked stricken.
“Don’t worry. You can take them round yerself, sir. I have a sheet here that specifies what all the exhibits are. Everything is numbered so you can’t get it wrong. All right? Off you go, then!”
Rowan Rover, still parchment-pale and muttering under his breath, stalked off in the direction indicated by the guard, while the mystery tourists pattered happily in his wake. Bloody ad-libbing. What if they ask me something not on this handout? They entered a small room filled with ship models in glass cases. “Ladies and Charles, here we have a collection of ship models in glass cases, no doubt of sentimental importance to the folk of a coastal town,” said the impromptu guide in the hearty tone one uses to persuade children to eat asparagus. “Aren’t they neatly painted?”
The group dutifully admired the tiny ships for several seconds. Thereupon they proceeded to further exhibits. “Here we have one of the Cary family drawing rooms. It is called the Blue Room, perhaps because of its blue walls. That constitutes a guess on my part. This paper does not actually say that.” Rowan looked around. “The room contains a crystal chandelier, a fireplace, the sort of marble statue that unscrupulous Italian con men-cum-antique dealers used to sell to…” He checked himself in mid-editorial. “Never mind. Some sculptures. And some landscape paintings of the Christmas card school of art. Take a moment to admire it.” He ran his finger down the page of exhibit listings.
“My aunt Amanda would enjoy this room,” said Elizabeth. “She has several very much like it.”
“It doesn’t look like an abbey to me,” sniffed Frances Coles. “I have read all of the Brother Cadfael novels, and I know about twelfth-century monasteries.”
“I expect the family did extensive renovations,” said Martha Tabram. “People usually do when they buy an older home. We did. The Carys had over two hundred years of ownership in which to redecorate.”
“I wonder if it would be expensive to redecorate a place like this,” mused Susan. “We have some wonderful old mansions along the Mississippi.”
“I thought you lived in Minnesota,” said Rowan.
“I do. On the Mississippi.”
Right, thought Rowan, and I am king of the Belgians. American geography had eluded him completely. “And I am sure that Minneapolis has museums just as fine as this one,” he said carefully.
“It does remind me of the Sibley House in Mendota,” said Susan, serenely unconscious of self-incrimination. “It was the home of Minnesota’s first state governor. Of course, it isn’t as old as this.”
“Perhaps if the Vikings had been more politically inclined, it could have been,” Rowan murmured. “Of course, then it would have been the Leif Erickson House.”
“I wonder if it would cost much to heat this place,” said Charles Warren, eager to change the subject.
His wife shivered. “To get it as warm as I’d want, you’d have to set fire to it.”
“Ah!” said Rowan Rover. “The guide sheet informs me that there is an exhibit of marble statuary through this passage in another small room. Supposedly by a local sculptor… nineteenth century… Ah, here we are…” He looked appraisingly at the conglomeration of carved figures jamming the tiny room. “Oh, dear, yes. He was a local sculptor, wasn’t he? I believe his name was…” Rowan had lost his place on the fact sheet, so he improvised. “… Fred Smith.”
“The Fred Smith?” asked Elizabeth solemnly.
“No,” said Rowan Rover. “A Fred Smith.”
A few more rooms finished the ground-floor exhibits, and Rowan led them up a wide marble staircase festooned with paintings which, after the first shudder, he steadfastly ignored. “The Agatha Christie room is tucked away somewhere up here,” he muttered. “I suppose we’ll have to plow through more of this to find it, though.”
He poked his nose into one dimly lit room. “Ah!” he cried, turning to face his party. “There seems to be a real painting here. Come on, come in. That large picture over there is The Children’s Holiday by Holman Hunt. It is the showpiece of the collection.” He stepped back to what he hoped was out of earshot and murmured, “Dear God, I never thought I’d see Holman Hunt seem so exalted. I think they use him at the Tate to prop doors open.”
Frances Coles, who quite liked Victorian art, was gazing admiringly at the happy scene of a matronly woman presiding over a silver-laden tea table at an outing with her five children and their various pets. It was as exact as a photograph, and seemed to capture the children’s personalities in their varying expressions.
“You can tell she had domestic help,” said Alice MacKenzie, who was also studying the painting.
“I wonder if they had to cook all those things for the picnic every time Mr. Hunt came to paint some more of the picture,” mused Kate Conway.
Having already given Mr. Holman Hunt considerably more than his due, in Rowan’s jaded opinion, the guide shooed them out into another passageway. “Now this is more like it!” he exclaimed, catching a glimpse of the framed drawings that lined the corridor. “These are William Blake’s own illustrations for Songs of Innocence. Wonderful! I thought these were in the Tate!” While the group congregated around the first few etchings, Rowan took another look at his crib sheets. “Reproductions!” he exclaimed. “The originals are in the Tate!” Seeing the questioning expression on the faces of his followers, Rowan forced a note of enthusiasm back into his voice. “But these are very good copies. Quite recognizable. And should you ever visit the Tate, you will know what to look for. Let’s move along, shall we.”