Inferno: (Robert Langdon Book 4)

and shimmered as if it were made of smoldering coals. Its burnished amber-gold surface reflected the ambient light unevenly from more than a million smalti tiles—tiny ungrouted mosaic pieces hand-cut from a glassy silica glaze—which were arranged in six concentric rings in which scenes from the Bible were depicted.
    Adding stark drama to the lustrous upper portion of the room, natural light pierced the dark space through a central oculus—much like the one in Rome’s Pantheon—assisted by a series of high, small, deeply recessed windows that threw shafts of illumination that were so focused and tight that they seemed almost solid, like structural beams propped at ever-changing angles.
    As Langdon walked with Sienna deeper into the room, he took in the legendary ceiling mosaic—a multitiered representation of heaven and hell, very much like the depiction in The Divine Comedy .
    Dante Alighieri saw this as a child , Langdon thought. Inspiration from above.
    Langdon fixed his gaze now on the centerpiece of the mosaic. Hovering directly above the main altar rose a twenty-seven-foot-tall Jesus Christ, seated in judgment over the saved and the damned.
    At Jesus’ right hand, the righteous received the reward of everlasting life.
    On His left hand, however, the sinful were stoned, roasted on spikes, and eaten by all manner of creatures.
    Overseeing the torture was a colossal mosaic of Satan portrayed as an infernal, man-eating beast. Langdon always flinched when he saw thisfigure, which more than seven hundred years ago had stared down at the young Dante Alighieri, terrifying him and eventually inspiring his vivid portrayal of what lurked in the final ring of hell.
    The frightening mosaic overhead depicted a horned devil that was in the process of consuming a human being headfirst. The victim’s legs dangled from Satan’s mouth in a way that resembled the flailing legs of the half-buried sinners in Dante’s Malebolge.
    Lo ’mperador del doloroso regno , Langdon thought, recalling Dante’s text. The emperor of the despondent kingdom.
    Slithering from the ears of Satan were two massive, writhing snakes, also in the process of consuming sinners, giving the impression that Satan had three heads, exactly as Dante described him in the final canto of his Inferno . Langdon searched his memory and recalled fragments of Dante’s imagery.
    On his head he had three faces … his three chins gushing a bloody froth … his three mouths used as grinders … gnashing sinners three at once.
    That Satan’s evil was threefold, Langdon knew, was fraught with symbolic meaning: it placed him in perfect balance with the threefold glory of the Holy Trinity.
    As Langdon stared up at the horrific sight, he tried to imagine the effect the mosaic had on the youthful Dante, who had attended services at this church year after year, and seen Satan staring down at him each time he prayed. This morning, however, Langdon had the uneasy feeling that the devil was staring directly at him .
    He quickly lowered his gaze to the baptistry’s second-story balcony and standing gallery—the lone area from which women were permitted to view baptisms—and then down to the suspended tomb of Antipope John XXIII, his body lying in repose high on the wall like a cave dweller or a subject in a magician’s levitation trick.
    Finally, his gaze reached the ornately tiled floor, which many believed contained references to medieval astronomy. He let his eyes move across the intricate black-and-white patterns until they reached the very center of the room.
    And there it is , he thought, knowing he was staring at the exact spot where Dante Alighieri had been baptized in the latter half of the thirteenth century. “ ‘I shall return as poet … at my baptismal font,’ ” Langdon declared, his voice echoing through the empty space. “This is it.”
    Sienna looked troubled as she eyed the center of the floor, where Langdon was now pointing. “But … there’s nothing here.”
    “Not anymore,” Langdon replied.
    All that remained was a large reddish-brown octagon of pavement. This unusually plain, eight-sided area clearly interrupted the pattern of the more ornately designed floor and resembled nothing so much as a large, patched-up hole, which, in fact, was precisely what it was.
    Langdon quickly explained that the baptistry’s original baptismal font had been a large octagonal pool located at the very center of this room. While modern fonts were