When the device began to glow, Langdon pointed it at the flat surface before them. La Mappa dell’Infernoappeared, glowing brightly in the dim light.
Botticelli on a chemical toilet, Langdon thought, ashamed. This had to be the least elegant place a Botticelli had ever been displayed. Langdon ran his eyes down through the ten ditches and began nodding excitedly.
“Yes!” he exclaimed. “This is wrong! The last ditch of the Malebolge is supposed to be full of diseased people, not people upside down. The tenth level is for the liars, not the clerical profiteers!”
Sienna looked intrigued. “But … why would someone change that?”
“Catrovacer,” Langdon whispered, eyeing the little letters that had been added to each level. “I don’t think that’s what this really says.”
Despite the injury that had erased Langdon’s recollections of the last two days, he could now feel his memory working perfectly. He closed his eyes and held the two versions of La Mappain his mind’s eye to analyze their differences. The changes to the Malebolge were fewer than Langdon had imagined … and yet he felt like a veil had suddenly been lifted.
Suddenly it was crystal clear.
Seek and ye shall find!
“What is it?” Sienna demanded.
Langdon’s mouth felt dry. “I know why I’m here in Florence.”
“You do?!”
“Yes, and I know where I’m supposed to go.”
Sienna grabbed his arm. “Where?!”
Langdon felt as if his feet had just touched solid ground for the first time since he’d awoken in the hospital. “These ten letters,” he whispered. “They actually point to a precise location in the old city. That’s where the answers are.”
“Where in the old city?!” Sienna demanded. “What did you figure out?”
The sounds of laughing voices echoed on the other side of the Porta-Potty. Another group of art students was passing by, joking and chatting in various languages. Langdon peered cautiously around the cubicle, watching them go. Then he scanned for police. “We’ve got to keep moving. I’ll explain on the way.”
“On the way?!” Sienna shook her head. “We’ll never get through the Porta Romana!”
“Stay here for thirty seconds,” he told her, “and then follow my lead.”
With that, Langdon slipped away, leaving his newfound friend bewildered and alone.
CHAPTER 21
“Scusi!”Robert Langdon chased after the group of students. “Scusate!”
They all turned, and Langdon made a show of glancing around like a lost tourist.
“Dov’è l’Istituto statale d’arte?”Langdon asked in broken Italian.
A tattooed kid puffed coolly on a cigarette and snidely replied, “Non parliamo italiano.”His accent was French.
One of the girls admonished her tattooed friend and politely pointed down the long wall toward the Porta Romana. “Più avanti, sempre dritto.”
Straight ahead, Langdon translated. “Grazie.”
On cue, Sienna emerged unseen from behind the Porta-Potty and walked over. The willowy thirty-two-year-old approached the group and Langdon placed a welcoming hand on her shoulder. “This is my sister, Sienna. She’s an art teacher.”
The tattooed kid muttered, “T-I–L-F,” and his male friends laughed.
Langdon ignored them. “We’re in Florence researching possible spots for a teaching year abroad. Can we walk in with you?”
“Ma certo,”the Italian girl said with a smile.
As the group migrated toward the police at the Porta Romana, Sienna fell into conversation with the students while Langdon merged to the middle of the group, slouching low, trying to stay out of sight.
Seek and ye shall find, Langdon thought, his pulse racing with excitement as he pictured the ten ditches of the Malebolge.
Catrovacer.These ten letters, Langdon had realized, stood at the core of one of the art world’s most enigmatic mysteries, a centuries-old puzzle that had never been solved. In 1563, these ten letters had been used to spell a message high on a wall inside Florence’s famed Palazzo Vecchio, painted some forty feet off the ground, barely visible without binoculars. It had remained hidden there in plain sight for centuries until the 1970s, when it was spotted by a now-famous art diagnostician, who had spent decades trying to uncover its meaning. Despite numerous theories, the significance of the message remains an enigma to this day.
For Langdon, the code felt like familiar ground — a safe harbor from this strange and churning sea. After all, art history and ancient secrets were far more Langdon’s realm than were biohazard tubes and gunfire.
Up ahead, additional police cars had begun streaming into the Porta Romana.
“Jesus,” the tattooed kid said. “Whoever they’re looking for must have done something terrible.”
The group arrived at the Art Institute’s main gate on the right, where a crowd of students had gathered to watch the action at the Porta Romana. The school’s minimum-wage security guard was halfheartedly glancing at student IDs as kids streamed in, but he was clearly more interested in what was happening with the police.
A loud screech of brakes echoed across the plaza as an all-too-familiar black van skidded into the Porta Romana.
Langdon didn’t need a second look.
Without a word, he and Sienna seized the moment, slipping through the gate with their new friends.
The entry road to the Istituto Statale d’Arte was startlingly beautiful, almost regal in appearance. Massive oak trees arched gently in from either side, creating a canopy that framed the distant building — a huge, faded yellow structure with a triple portico and an expansive oval lawn.
This building, Langdon knew, had been commissioned, like so many in this city, by the same illustrious dynasty that had dominated Florentine politics during the fifteenth, sixteenth, and seventeenth centuries.
The Medici.
The name alone had become a symbol of Florence. During its three-century reign, the royal house of Medici amassed unfathomable wealth and influence, producing four popes, two queens of France, and the largest financial institution in all of Europe. To this day, modern banks use the accounting method invented by the Medici — the dual-entry system of credits and debits.
The Medici’s greatest legacy, however, was not in finance or politics, but rather in art. Perhaps the most lavish patrons the art world has ever known, the Medici provided a generous stream of commissions that fueled the Renaissance. The list of luminaries receiving Medici patronage ranged from da Vinci to Galileo to Botticelli — the latter’s most famous painting, Birth of Venus, the result of a commission from Lorenzo de’ Medici, who requested a sexually provocative painting to hang over his cousin’s marital bed as a wedding gift.
Lorenzo de’ Medici — known in his day as Lorenzo the Magnificent on account of his benevolence — was an accomplished artist and poet in his own right and was said to have a superb eye. In 1489 Lorenzo took a liking to the work of a young Florentine sculptor and invited the boy to move into the Medici palace, where he could practice his craft surrounded by fine art, great poetry, and high culture. Under Medici tutelage, the adolescent boy flourished and eventually went on to carve two of the most celebrated sculptures in all of history — the Pietàand the David. Today we know him as Michelangelo — a creative giant who is sometimes called the Medici’s greatest gift to humankind.
Considering the Medici’s passion for art, Langdon imagined the family would be pleased to know that the building before him — originally built as the Medici’s primary horse stables — had been transformed into the vibrant Art Institute. This tranquil site that now inspired young artists had been specifically chosen for the Medici’s stables because of its proximity to one of the most beautiful riding areas in all of Florence.