DEATH AND THE OLD MASTER

A violent death rocks the fictitious Hardwick College, surely the last outpost in Cambridge University to be visited by homicide.

Going to investigate an untoward shriek, night porter Oliver Staunton finds Sir Flyte Rascallian, the master of the college, stabbed in the back. Given the inveterate envy characteristic of so many academics, it’s possible that the motive for his killing was the eagerness that Prof. Patricia Beadle-Batsford, of the Department of Women’s Studies, has expressed to succeed him in his August position. It seems more likely, though, that he was really killed because of another old master: Rembrandt, who may just have painted the portrait of a young woman that was among the canvases and papers Sir Flyte was given by Beatrice Rascallian, his uncle’s widow, shortly before she died. DCI Arthur St. Just, returning for another investigation, is clearly in no hurry to close the case, and the unruffled pace of his investigation gives the killer time to claim another victim, narrowing the little pool of suspects even further. Was the master killed by Beadle-Batsford; by her teenage daughter, Peyton; by the American graduate student Rufus Penn, whom Peyton insists is her boyfriend; by gallery owner Ambrose Nussknacker, who’d shown a keen interest in having the suspect Rembrandt tested to establish authenticity; or by one of the other Hardwick porters? The question is upstaged by the fact that the mysterious painting has disappeared. Malliet works conscientiously to distribute suspicion among the survivors, but none of them is half as interesting as that portrait.

Lots of potential conflicts, but they’re as soft-pedaled as the background music at a funeral parlor.