“I see it!” Sienna said, pointing to the upper-right quadrant, precisely in the right spot.
Langdon wished he had younger eyes.
The two walked closer to the towering mural, and Langdon gazed up at its splendor. Finally, they were here. The only problem now was that Langdon was not sure why they were here. He stood in silence for several long moments, staring up at the details of Vasari’s masterpiece.
If I fail … then all is death.
A door creaked open behind them, and the custodian with the floor buffer peered in, looking uncertain. Sienna gave a friendly wave. The custodian eyed them a moment and then closed the door.
“We don’t have much time, Robert,” Sienna urged. “You need to think. Does the painting ring any bells for you? Any memories at all?”
Langdon scrutinized the chaotic battle scene above them.
The truth can be glimpsed only through the eyes of death.
Langdon had thought perhaps the mural included a corpse whose dead eyes were gazing blankly off toward some other clue in the painting … or perhaps even elsewhere in the room. Unfortunately, Langdon now saw that there were dozens of dead bodies in the mural, none of them particularly noteworthy and none with dead eyes directed anywhere in particular.
The truth can be glimpsed only through the eyes of death?
He tried to envision connecting lines from one corpse to another, wondering if a shape might emerge, but he saw nothing.
Langdon’s head was throbbing again as he frantically plumbed the depths of his memory. Somewhere down there, the voice of the silver-haired woman kept whispering: Seek and ye shall find.
“Find what?!” Langdon wanted to shout.
He forced himself to close his eyes and exhale slowly. He rolled his shoulders a few times and tried to free himself from all conscious thought, hoping to tap into his gut instinct.
Very sorry.
Vasari.
Cerca trova.
The truth can be glimpsed only through the eyes of death.
His gut told him, without a doubt, that he was standing in the right location. And while he was not yet sure why, he had the distinct sense that he was moments away from finding what he had come here seeking.
Agent Brüder stared blankly at the red velvet pantaloons and tunic in the display case before him and cursed under his breath. His SRS team had searched the entire costume gallery, and Langdon and Sienna Brooks were nowhere to be found.
Surveillance and Response Support, he thought angrily. Since when does a college professor elude SRS? Where the hell did they go!
“Every exit was sealed,” one of his men insisted. “The only possibility is that they are still in the gardens.”
While this seemed logical, Brüder had the sinking sensation that Langdon and Sienna Brooks had found some other way out.
“Get the drone back in the air,” Brüder snapped. “And tell the local authorities to widen the search area outside the walls.” Goddamn it!
As his men dashed off, Brüder grabbed his phone and called the person in charge. “It’s Brüder,” he said. “I’m afraid we’ve got a serious problem. A number of them actually.”
CHAPTER 36
The truth can be glimpsed only through the eyes of death.
Sienna repeated the words to herself as she continued to search every inch of Vasari’s brutal battle scene, hoping something might stand out.
She saw eyes of death everywhere.
Which ones are we looking for?!
She wondered if maybe the eyes of death were a reference to all the rotting corpses strewn across Europe by the Black Death.
At least that would explain the plague mask …
Out of the blue, a childhood nursery rhyme jumped into Sienna’s mind: Ring around the rosie. A pocketful of posies. Ashes, ashes. We all fall down.
She used to recite the poem as a schoolgirl in England until she heard that it derived from the Great Plague of London in 1665. Allegedly, a ring around the rosie was a reference to a rose-colored pustule on the skin that developed a ring around it and indicated that one was infected. Sufferers would carry a pocketful of posies in an effort to mask the smell of their own decaying bodies as well as the stench of the city itself, where hundreds of plague victims dropped dead daily, their bodies then cremated. Ashes, ashes. We all fall down.
“For the love of God,” Langdon blurted suddenly, wheeling around toward the opposite wall.
Sienna looked over. “What’s wrong?”
“That’s the name of a piece of art that was once on display here. For the Love of God.”
Bewildered, Sienna watched Langdon hurry across the room to a small glass door, which he tried to open. It was locked. He put his face to the glass, cupping his hands around his eyes and peering inside.
Whatever Langdon was looking for, Sienna hoped he spotted it in a hurry; the custodian had just reappeared, now with a look of deepening suspicion at the sight of Langdon sauntering off to snoop at a locked door.
Sienna waved cheerfully to the custodian, but the man glared at her for a long cold beat and then disappeared.
Lo Studiolo.
Positioned behind a glass door, directly opposite the hidden words cerca trova in the Hall of the Five Hundred, was nestled a tiny windowless chamber. Designed by Vasari as a secret study for Francesco I, the rectangular Studiolo rose to a rounded, barrel-vaulted ceiling, which gave those inside the feeling of being inside a giant treasure chest.
Fittingly, the interior glistened with objects of beauty. More than thirty rare paintings adorned the walls and ceiling, mounted so close to one another that they left virtually no empty wall space. The Fall of Icarus … An Allegory of Human Life … Nature Presenting Prometheus with Spectacular Gems …
As Langdon peered through the glass into the dazzling space beyond, he whispered to himself, “The eyes of death.”
Langdon had first been inside Lo Studiolo during a private secret passages tour of the palazzo a few years back and had been stunned to learn about the plethora of hidden doors, stairs, and passageways that honeycombed the palazzo, including several hidden behind paintings inside Lo Studiolo.
The secret passages, however, were not what had just sparked Langdon’s interest. Instead he had flashed on a bold piece of modern art that he had once seen on display here—For the Love of God—a controversial piece by Damien Hirst, which had caused an uproar when it was shown inside Vasari’s famed Studiolo.
A life-size cast of a human skull in solid platinum, its surface had been entirely covered with more than eight thousand glittering, pavé-set diamonds. The effect was striking. The skull’s empty eye sockets glistened with light and life, creating a troubling juxtaposition of opposing symbols—life and death … beauty and horror. Although Hirst’s diamond skull had long since been removed from Lo Studiolo, Langdon’s recollection of it had sparked an idea.
The eyes of death, he thought. A skull certainly qualifies, doesn’t it?
Skulls were a recurring theme in Dante’s Inferno, most famously Count Ugolino’s brutal punishment in the lowest circle of hell—that of being sentenced to gnaw eternally on the skull of a wicked archbishop.
Are we looking for a skull?
The enigmatic Studiolo, Langdon knew, had been built in the tradition of a “cabinet of curiosities.” Nearly all of its paintings were secretly hinged, swinging open to reveal hidden cupboards in which the duke had kept strange possessions of interest to him—rare mineral samples, beautiful feathers, a perfect fossil of a nautilus shell, and even, allegedly, a monk’s tibia decorated with hand-pounded silver.
Unfortunately, Langdon suspected all the cupboard items had been removed long ago, and he had never heard of any skull on display here other than Hirst’s piece.
His thoughts were cut short by the loud slam of a door on the far side of the hall. The brisk click of footsteps approached quickly across the salon.
“Signore!” an angry voice shouted. “Il salone non è aperto!”
Langdon turned to see a female employee marching toward him. She was petite, with short brown hair. She was also extremely pregnant. The woman moved snappily toward them, tapping her watch and shouting something about the hall not yet being open. As she drew near, she made eye contact with Langdon, and immediately stopped short, covering her mouth in shock.
“Professor Langdon!” she exclaimed, looking embarrassed. “I’m so sorry! I didn’t know you were here. Welcome back!”
Langdon froze.
He was quite certain he had never seen this woman before in his life.
CHAPTER 37
“I almost didn’t recognize you, Professor!” the woman gushed in accented English as she approached Langdon. “It’s your clothing.” She smiled warmly and gave Langdon’s Brioni suit an appreciative nod. “Very fashionable. You look almost Italian.”
Langdon’s mouth went bone dry, but he managed a polite smile as the woman joined him. “Good … morning,” he stumbled. “How are you?”
She laughed, holding her belly. “Exhausted. Little Catalina kicked all night.” The woman glanced around the room, looking puzzled. “Il Duomino didn’t mention you were coming back today. I assume he’s with you?”
Il Duomino? Langdon had no idea who she was talking about.
The woman apparently saw his confusion and gave a reassuring chuckle. “It’s okay, everybody in Florence calls him by that nickname. He doesn’t mind.” She glanced around. “Did he let you in?”
“He did,” Sienna said, arriving from across the hall, “but he had a breakfast meeting. He said you wouldn’t mind if we stayed to look around.” Sienna enthusiastically extended her hand. “I’m Sienna. Robert’s sister.”
The woman gave Sienna’s hand an overly official handshake. “I’m Marta Alvarez. Aren’t you the lucky one—having Professor Langdon as a private guide.”
“Yes,” Sienna enthused, barely hiding the roll of her eyes. “He’s so smart!”
There was an awkward pause as the woman studied Sienna. “Funny,” she said, “I don’t see any family resemblance at all. Except perhaps your height.”
Langdon sensed an impending train wreck. Now or never.
“Marta,” Langdon interrupted, hoping he had heard her name correctly, “I’m sorry to trouble you, but, well … I guess you can probably imagine why I’m here.”
“Actually, no,” she replied, her eyes narrowing. “I can’t for the life of me imagine what you would be doing here.”
Langdon’s pulse quickened, and in the awkward silence that followed, he realized his gamble was about to crash and burn. Suddenly Marta broke into a broad smile and laughed out loud.
“Professor, I’m joking! Of course, I can guess why you returned. Frankly, I don’t know why you find it so fascinating, but since you and il Duomino spent almost an hour up there last night, I’m guessing you’ve come back to show your sister?”
“Right …” he managed. “Exactly. I’d love to show Sienna, if that’s not … an inconvenience?”
Marta glanced up to the second-floor balcony and shrugged. “No problem. I’m headed up there now.”
Langdon’s heart pounded as he looked up to the second-story balcony at the rear of the hall. I was up there last night? He remembered nothing. The balcony, he knew, in addition to being at the exact same height as the words cerca trova, also served as the entrance to the palazzo’s museum, which Langdon visited whenever he was here.
Marta was about to lead them across the hall, when she paused, as if having second thoughts. “Actually, Professor, are you sure we can’t find something a bit less grim to show your lovely sister?”
Langdon had no idea how to respond.
“We’re seeing something grim?” Sienna asked. “What is it? He hasn’t told me.”
Marta gave a coy smile and glanced at Langdon. “Professor, would you like me to tell your sister about it, or would you prefer to do so yourself?”
Langdon nearly jumped at the opportunity. “By all means, Marta, why don’t you tell her all about it.”
Marta turned back to Sienna, speaking very slowly now. “I don’t know what your brother has told you, but we’re going up to the museum to see a very unusual mask.”
Sienna’s eyes widened a bit. “What kind of mask? One of those ugly plague masks they wear at Carnevale?”
“Good guess,” Marta said, “but no, it’s not a plague mask. It’s a much different kind of mask. It’s called a death mask.”
Langdon’s gasp of revelation was audible, and Marta scowled at him, apparently thinking he was being overly dramatic in an attempt to frighten his sister.
“Don’t listen to your brother,” she said. “Death masks were a very common practice in the 1500s. It’s essentially just a plaster cast of someone’s face, taken a few moments after that person dies.”
The death mask. Langdon felt the first moment of clarity he’d felt since waking up in Florence. Dante’s Inferno … cerca trova … Looking through the eyes of death. The mask!
Sienna asked, “Whose face was used to cast the mask?”
Langdon put his hand on Sienna’s shoulder and answered as calmly as possible. “A famous Italian poet. His name was Dante Alighieri.”
CHAPTER 38
The Mediterranean sun shone brightly on the decks of The Mendacium as it rocked over the Adriatic swells. Feeling weary, the provost drained his second Scotch and gazed blankly out his office window.
The news from Florence was not good.
Perhaps it was on account of his first taste of alcohol in a very long time, but he was feeling strangely disoriented and powerless … as if his ship had lost its engines and were drifting aimlessly on the tide.
The sensation was a foreign one to the provost. In his world, there always existed a dependable compass—protocol—and it had never failed to show the way. Protocol was what enabled him to make difficult decisions without ever looking back.