eyes. One trickled down his cheek. ‘I’d planned to thank him publicly at the reception tonight. And … what happened? Who did this? Why?’
‘The killer calls himself Cronus,’ Pope replied. ‘He sent me a letter. Some of it is in ancient Greek. We’d hoped you could translate it for us.’
Daring glanced at his watch and then nodded. ‘I can give you fifteen minutes right now. I’m sorry but …’
‘The exhibition,’ Pope said. ‘We understand. Fifteen minutes would be brilliant of you.’
After a pause, Daring said, ‘You’ll have to walk with me, then.’
The museum curator led them behind the curtains into a remarkable exhibition that depicted the ancient Olympic Games and compared them to the modern incarnation. The exhibit began with a giant aerial photograph of the ruins at Olympus, Greece, site of the original Games.
While Pope showed Daring her copy of Cronus’s letter, Knight studied the photograph of Olympus and the diagrams that explained the ruins.
Surrounded by groves of olive trees, the area was dominated by the ‘Atlis’, the great Sanctuary of Zeus, the most powerful of the ancient Greek gods. The sanctuary held temples where rituals and sacrifices were performed during the Games. Indeed, according to Daring’s exhibit, the entire Olympus site, including the stadium, was a sacred place of worship.
For over a thousand years, in peace and in war, the Greeks had assembled at Olympus to celebrate the festival of Zeus and to compete in the Games. There were no bronze, silver, or gold medals given. A crown of wild olive branches was sufficient to immortalise the victor, his family, and his city.
The exhibit went on to contrast the ancient Games with the modern.
Knight had been highly impressed with the exhibit. But within minutes of reaching the displays that contrasted the old with the new, he began to feel that the ancient Games were heavily favoured over the modern Olympics.
He’d no sooner had that thought than Pope called to him from across the hall. ‘Knight, I think you’re going to want to hear this.’
Chapter 19
STANDING IN THE exhibition hall in front of a display case featuring Bronze Age discuses, javelins, and terracotta vases painted with scenes of athletic competitions, Dr Daring indicated the first sentence in the text.
‘This
is
ancient Greek,’ he said. ‘It reads, “Olympians, you are in the laps of the gods.” That’s a term in Greek mythology. It means the fate of specific mortals is in the gods’ control. I think the term is most often used when some mortal has committed a wrongdoing grave enough to upset the residents of Mount Olympus. But do you know who it would be better to ask about this sort of thing?’
‘Who’s that?’ Knight asked.
‘Selena Farrell,’ Daring replied. ‘Professor of Classics at King’s College, London, eccentric, brilliant. In another life she worked for NATO in the Balkans. That’s where I, uh, met her. You should go and see her. Very iconoclastic thinker.’
Writing down Farrell’s name, Pope said, ‘Who is Cronus?’
The museum curator picked up his iPad and began typing, saying, ‘A Titan – one of the gods who ruled the world before the Olympians. Again, Selena Farrell would be better on this point, but Cronus was the God of Time, and the son of Gaia and Uranus, the ancient, ancient rulers of earth and sky.’
Daring explained that, at his enraged mother’s urging, Cronus rebelled eventually against his father and ended up castrating him with a scythe.
A long curved blade, Knight thought. Wasn’t that how Elaine had described the murder weapon?
‘According to the myth, Cronus’s father’s blood fell into the sea and re-formed as the three Furies,’ Daring continued. ‘They were Cronus’s half sisters – spirits of vengeance, and snake-haired like Medusa.
‘Cronus married Rhea and fathered seven of the twelve gods who would become the original Olympians.’ Then Daring fell silent, seeming
‘The killer calls himself Cronus,’ Pope replied. ‘He sent me a letter. Some of it is in ancient Greek. We’d hoped you could translate it for us.’
Daring glanced at his watch and then nodded. ‘I can give you fifteen minutes right now. I’m sorry but …’
‘The exhibition,’ Pope said. ‘We understand. Fifteen minutes would be brilliant of you.’
After a pause, Daring said, ‘You’ll have to walk with me, then.’
The museum curator led them behind the curtains into a remarkable exhibition that depicted the ancient Olympic Games and compared them to the modern incarnation. The exhibit began with a giant aerial photograph of the ruins at Olympus, Greece, site of the original Games.
While Pope showed Daring her copy of Cronus’s letter, Knight studied the photograph of Olympus and the diagrams that explained the ruins.
Surrounded by groves of olive trees, the area was dominated by the ‘Atlis’, the great Sanctuary of Zeus, the most powerful of the ancient Greek gods. The sanctuary held temples where rituals and sacrifices were performed during the Games. Indeed, according to Daring’s exhibit, the entire Olympus site, including the stadium, was a sacred place of worship.
For over a thousand years, in peace and in war, the Greeks had assembled at Olympus to celebrate the festival of Zeus and to compete in the Games. There were no bronze, silver, or gold medals given. A crown of wild olive branches was sufficient to immortalise the victor, his family, and his city.
The exhibit went on to contrast the ancient Games with the modern.
Knight had been highly impressed with the exhibit. But within minutes of reaching the displays that contrasted the old with the new, he began to feel that the ancient Games were heavily favoured over the modern Olympics.
He’d no sooner had that thought than Pope called to him from across the hall. ‘Knight, I think you’re going to want to hear this.’
Chapter 19
STANDING IN THE exhibition hall in front of a display case featuring Bronze Age discuses, javelins, and terracotta vases painted with scenes of athletic competitions, Dr Daring indicated the first sentence in the text.
‘This
is
ancient Greek,’ he said. ‘It reads, “Olympians, you are in the laps of the gods.” That’s a term in Greek mythology. It means the fate of specific mortals is in the gods’ control. I think the term is most often used when some mortal has committed a wrongdoing grave enough to upset the residents of Mount Olympus. But do you know who it would be better to ask about this sort of thing?’
‘Who’s that?’ Knight asked.
‘Selena Farrell,’ Daring replied. ‘Professor of Classics at King’s College, London, eccentric, brilliant. In another life she worked for NATO in the Balkans. That’s where I, uh, met her. You should go and see her. Very iconoclastic thinker.’
Writing down Farrell’s name, Pope said, ‘Who is Cronus?’
The museum curator picked up his iPad and began typing, saying, ‘A Titan – one of the gods who ruled the world before the Olympians. Again, Selena Farrell would be better on this point, but Cronus was the God of Time, and the son of Gaia and Uranus, the ancient, ancient rulers of earth and sky.’
Daring explained that, at his enraged mother’s urging, Cronus rebelled eventually against his father and ended up castrating him with a scythe.
A long curved blade, Knight thought. Wasn’t that how Elaine had described the murder weapon?
‘According to the myth, Cronus’s father’s blood fell into the sea and re-formed as the three Furies,’ Daring continued. ‘They were Cronus’s half sisters – spirits of vengeance, and snake-haired like Medusa.
‘Cronus married Rhea and fathered seven of the twelve gods who would become the original Olympians.’ Then Daring fell silent, seeming
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