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Far easier on the eyes was Michelangelo’s breathtaking Genius of Victory, which stood to the right, dominating the central niche in the south wall. At nearly nine feet tall, this sculpture had been intended for the tomb of the ultraconservative pope Julius II—Il Papa Terribile—a commission Langdon had always found ironic, considering the Vatican’s stance on homosexuality. The statue depicted Tommaso dei Cavalieri, the young man with whom Michelangelo had been in love for much of his life and to whom he composed over three hundred sonnets.
“I can’t believe I’ve never been here,” Sienna whispered beside him, her voice suddenly quiet and reverent. “This is … beautiful.”
Langdon nodded, recalling his first visit to this space—on the occasion of a spectacular concert of classical music featuring the world-renowned pianist Mariele Keymel. Although this grand hall was originally intended for private political meetings and audiences with the grand duke, nowadays it more commonly featured popular musicians, lecturers, and gala dinners—from art historian Maurizio Seracini to the Gucci Museum’s star-studded, black-and-white gala opening. Langdon sometimes wondered how Cosimo I would feel about sharing his austere private hall with CEOs and fashion models.
Langdon lifted his gaze now to the enormous murals adorning the walls. Their bizarre history included a failed experimental painting technique by Leonardo da Vinci, which resulted in a “melting masterpiece.” There had also been an artistic “showdown” spearheaded by Piero Soderini and Machiavelli, which pitted against each other two titans of the Renaissance—Michelangelo and Leonardo—commanding them to create murals on opposite walls of the same room.
Today, however, Langdon was more interested in one of the room’s other historical oddities.
Cerca trova.
“Which one is the Vasari?” Sienna asked, scanning the murals.
“Nearly all of them,” Langdon replied, knowing that as part of the room’s renovation, Vasari and his assistants had repainted almost everything in it, from the original wall murals to the thirty-nine coffered panels adorning its famed “hanging” ceiling.
“But that mural there,” Langdon said, pointing to the mural on their far right, “is the one we came to see—Vasari’s Battle of Marciano.”
The military confrontation was absolutely massive—fifty-five feet long and more than three stories tall. It was rendered in ruddy shades of brown and green—a violent panorama of soldiers, horses, spears, and banners all colliding on a pastoral hillside.
“Vasari, Vasari,” Sienna whispered. “And hidden in there somewhere is his secret message?”
Langdon nodded as he squinted toward the top of the huge mural, trying to locate the particular green battle flag on which Vasari had painted his mysterious message—CERCA TROVA. “It’s almost impossible to see from down here without binoculars,” Langdon said, pointing, “but in the top middle section, if you look just below the two farmhouses on the hillside, there’s a tiny, tilted green flag and—”
“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.
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