Dan Brown - Inferno

The woman looked amazed, apparently having yet to learn about this feature. As the search results began to materialize on the tiny screen, Langdon stole a quick glance back at Sienna, who was thumbing through some printed material near the basket of letters to Beatrice.

Not far from where Sienna stood, a man in a necktie was kneeling in the shadows, praying intently, his head bowed low. Langdon couldn’t see his face, but he felt a pang of sadness for the solitary man, who had probably lost his loved one and had come here for comfort.

Langdon returned his focus to the iPhone, and within seconds was able to pull up a link to a digital offering of The Divine Comedy— freely accessible because it was in the public domain. When the page opened precisely to Canto 25, he had to admit he was impressed with the technology. I’ve got to stop being such a snob about leather-bound books , he reminded himself. E-books do have their moments.

As the elderly woman looked on, showing a bit of concern and saying something about the high data rates for surfing the Internet abroad, Langdon sensed that his window of opportunity would be brief, and he focused intently on the Web page before him.

The text was small, but the dim lighting in the chapel made the illuminated screen more legible. Langdon was pleased to see he had randomly stumbled into the Mandelbaum translation — a popular modern rendition by the late American professor Allen Mandelbaum. For his dazzling translation, Mandelbaum had received Italy’s highest honor, the Presidential Cross of the Order of the Star of Italian Solidarity. While admittedly less overtly poetic than Longfellow’s version, Mandelbaum’s translation tended to be far more comprehensible.

Today I’ll take clarity over poesy , Langdon thought, hoping to quickly spot in the text a reference to a specific location in Florence — the location where Ignazio hid the Dante death mask.

The iPhone’s tiny screen displayed only six lines of text at a time, and as Langdon began to read, he recalled the passage. In the opening of Canto 25, Dante referenced The Divine Comedy itself, the physical toll its writing had taken on him, and the aching hope that perhaps his heavenly poem could overcome the wolfish brutality of the exile that kept him from his fair Florence.

While the passage was a reminder that fair Florence was the home for which Dante longed while writing The Divine Comedy , Langdon saw no reference to any specific location in the city.

“What do you know about data charges?” the woman interrupted, eyeing her iPhone with sudden concern. “I just remembered my son told me to be careful about Web surfing abroad.”

Langdon assured her he would be only a minute and offered to reimburse her, but even so, he sensed she would never let him read all one hundred lines of Canto 25.

He quickly scrolled down to the next six lines and continued reading.

Langdon loosely recalled this passage, too — an oblique reference to a political deal offered to Dante by his enemies. According to history, the “wolves” who banished Dante from Florence had told him he could return to the city only if he agreed to endure a public shaming — that of standing before an entire congregation, alone at his baptismal font, wearing only sackcloth as an admission of his guilt.

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.

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.”

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.