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I shall return as poet … at my baptismal font.
Because of his exile, Dante had never been permitted to return to this sacred site—the place of his baptism—although Langdon felt a rising hope that Dante’s death mask, through the unlikely series of events that had occurred last night, had finally found its way back in his stead.
The baptistry, Langdon thought. This has to be where Ignazio hid the mask before he died. He recalled Ignazio’s desperate phone message, and for a chilling moment, Langdon pictured the corpulent man clutching his chest, lurching across the piazza into an alley, and making his final phone call after leaving the mask safely inside the baptistry.
The gates are open to you.
Langdon’s eyes remained fixed on the baptistry as he and Sienna snaked through the crowd. Sienna was moving now with such nimble eagerness that Langdon nearly had to jog to keep up. Even at a distance, he could see the baptistry’s massive main doors glistening in the sun.
Crafted of gilded bronze and over fifteen feet tall, the doors had taken Lorenzo Ghiberti more than twenty years to complete. They were adorned with ten intricate panels of delicate biblical figures of such quality that Giorgio Vasari had called the doors “undeniably perfect in every way and … the finest masterpiece ever created.”
It had been Michelangelo, however, whose gushing testimonial had provided the doors with a nickname that endured even today. Michelangelo had proclaimed them so beautiful as to be fit for use … as the Gates of Paradise.
CHAPTER 54
THE BIBLE IN bronze, Langdon thought, admiring the beautiful doors before them.
Ghiberti’s shimmering Gates of Paradise consisted of ten square panels, each depicting an important scene from the Old Testament. Ranging from the Garden of Eden to Moses to King Solomon’s temple, Ghiberti’s sculpted narrative unfolded across two vertical columns of five panels each.
The stunning array of individual scenes had spawned over the centuries something of a popularity contest among artists and art historians, with everyone from Botticelli to modern-day critics arguing their preference for “the finest panel.” The winner, by general consensus, over the centuries had been Jacob and Esau—the central panel of the left-hand column—chosen allegedly for the impressive number of artistic methods used in its making. Langdon suspected, however, that the actual reason for the panel’s dominance was that Ghiberti had chosen it on which to sign his name.
A few years earlier, Ignazio Busoni had proudly shown Langdon these doors, sheepishly admitting that after half a millennium of exposure to floods, vandalism, and air pollution, the gilded doors had been quietly swapped out for exact replicas, the originals now safely stored inside the Museo dell’Opera del Duomo for restoration. Langdon politely refrained from telling Busoni that he was well aware of the fact that they were admiring fakes, and that in actuality, these copies were the second set of “fake” Ghiberti doors Langdon had encountered—the first set quite by accident while he was researching the labyrinths at Grace Cathedral in San Francisco and discovered that replicas of Ghiberti’s Gates of Paradise had served as the cathedral’s front doors since the mid-twentieth century.
As Langdon stood before Ghiberti’s masterpiece, his eye was drawn to the short informational placard mounted nearby, on which a simple phrase in Italian caught his attention, startling him.
La peste nera. The phrase meant “the Black Death.” My God, Langdon thought, it’s everywhere I turn! According to the placard, the doors had been commissioned as a “votive” offering to God—a show of gratitude that Florence had somehow survived the plague.
Langdon forced his eyes back to the Gates of Paradise while Ignazio’s words echoed again in his mind. The gates are open to you, but you must hurry.
Despite Ignazio’s promise, the Gates of Paradise were definitely closed, as they always were, except for rare religious holidays. Normally, tourists entered the baptistry from a different side, through the north door.
Sienna was on tiptoe beside him, trying to see around the crowd. “There’s no door handle,” she said. “No keyhole. Nothing.”
True, Langdon thought, knowing Ghiberti was not about to ruin his masterpiece with something as mundane as a doorknob. “The doors swing in. They lock from the inside.”
Sienna thought a moment, pursing her lips. “So from out here … nobody would know if the doors were locked or not.”
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