Inferno (Page 77)
In the passage Langdon had just read, Dante, having declined the deal, proclaims that if he ever returns to his baptismal font, he will be wearing not the sackcloth of a guilty man but the laurel crown of a poet.
Langdon raised his index finger to scroll farther, but the woman suddenly protested, holding out her hand for the iPhone, apparently having reconsidered her loan.
Langdon barely heard her. In the split second before he had touched the screen, his eye had glossed over a line of text … seeing it a second time.
I shall return as poet and put on,
at my baptismal font, the laurel crown;
Langdon stared at the words, sensing that in his eagerness to find mention of a specific location, he’d almost missed a glowing prospect in the very opening lines.
at my baptismal font …
Florence was home to one of the world’s most celebrated baptismal fonts, which for more than seven hundred years had been used to purify and christen young Florentines—among them, Dante Alighieri.
Langdon immediately conjured an image of the building containing the font. It was a spectacular, octagonal edifice that in many ways was more heavenly than the Duomo itself. He now wondered if perhaps he’d read all he needed to read.
Could this building be the place Ignazio was referring to?
A ray of golden light blazed now in Langdon’s mind as a beautiful image materialized—a spectacular set of bronze doors—radiant and glistening in the morning sun.
I know what Ignazio was trying to tell me!
Any lingering doubts evaporated an instant later when he realized that Ignazio Busoni was one of the only people in Florence who could possibly unlock those doors.
Robert, the gates are open to you, but you must hurry.
Langdon handed the iPhone back to the old woman and thanked her profusely.
He rushed over to Sienna and whispered excitedly, “I know what gates Ignazio was talking about! The Gates of Paradise!”
Sienna looked dubious. “The gates of paradise? Aren’t those … in heaven?”
“Actually,” Langdon said, giving her a wry smile and heading for the door, “if you know where to look, Florence is heaven.”
CHAPTER 53
I shall return as poet … at my baptismal font.
Dante’s words echoed repeatedly in Langdon’s mind as he led Sienna northward along the narrow passageway known as Via dello Studio. Their destination lay ahead, and with every step Langdon was feeling more confident that they were on the right course and had left their pursuers behind.
The gates are open to you, but you must hurry.
As they neared the end of the chasmlike alleyway, Langdon could already hear the low thrum of activity ahead. Abruptly the cavern on either side of them gave way, spilling them out into a sprawling expanse.
The Piazza del Duomo.
This enormous plaza with its complex network of structures was the ancient religious center of Florence. More of a tourist center nowadays, the piazza was already bustling with tour buses and throngs of visitors crowding around Florence’s famed cathedral.
Having arrived on the south side of the piazza, Langdon and Sienna were now facing the side of the cathedral with its dazzling exterior of green, pink, and white marble. As breathtaking in its size as it was in the artistry that had gone into its construction, the cathedral stretched off in both directions to seemingly impossible distances, its full length nearly equal to that of the Washington Monument laid on its side.
Despite its abandonment of traditional monochromatic stone filigree in favor of an unusually flamboyant mix of colors, the structure was pure Gothic—classic, robust, and enduring. Admittedly, Langdon, on his first trip to Florence, had found the architecture almost gaudy. On subsequent trips, however, he found himself studying the structure for hours at a time, strangely captivated by its unusual aesthetic effects, and finally appreciating its spectacular beauty.
Il Duomo—or, more formally, the Cathedral of Santa Maria del Fiore—in addition to providing a nickname for Ignazio Busoni, had long provided not only a spiritual heart to Florence but centuries of drama and intrigue. The building’s volatile past ranged from long and vicious debates over Vasari’s much-despised fresco of The Last Judgment on the dome’s interior … to the hotly disputed competition to select the architect to finish the dome itself.
Filippo Brunelleschi had eventually secured the lucrative contract and completed the dome—the largest of its kind at the time—and to this day Brunelleschi himself can be seen in sculpture, seated outside the Palazzo dei Canonici, staring contentedly up at his masterpiece.
This morning, as Langdon raised his eyes skyward to the famed red-tiled dome that had been an architectural feat of its era, he recalled the time he had foolishly decided to ascend the dome only to discover that its narrow, tourist-crammed staircases were as distressing as any of the claustrophobic spaces he’d ever encountered. Even so, Langdon was grateful for the ordeal he’d endured while climbing “Brunelleschi’s Dome,” since it had encouraged him to read an entertaining Ross King book of the same name.
“Robert?” Sienna said. “Are you coming?”
Langdon lowered his gaze from the dome, realizing he had stopped in his tracks to admire the architecture. “Sorry about that.”
They continued moving, hugging the perimeter of the square. The cathedral was on their right now, and Langdon noted that tourists were already flowing out of its side exits, checking the site off their to-see lists.
Up ahead rose the unmistakable shape of a campanile—the second of the three structures in the cathedral complex. Commonly known as Giotto’s bell tower, the campanile left no doubt that it belonged with the cathedral beside it. Adorned in the identical pink, green, and white facing stones, the square spire climbed skyward to a dizzying height of nearly three hundred feet. Langdon had always found it amazing that this slender structure could remain standing all these centuries, through earthquakes and bad weather, especially knowing how top-heavy it was, with its apex belfry supporting more than twenty thousand pounds of bells.