Chaos on the water, Langdon mused, eyeing the floating traffic jam. Somehow, the congestion that would be maddening in Boston felt quaint in Venice.
A stone’s throw across the canal, the iconic verdigris cupola of San Simeone Piccolo rose into the afternoon sky. The church was one of the most architecturally eclectic in all of Europe. Its unusually steep dome and circular sanctuary were Byzantine in style, while its columned marble pronaos was clearly modeled on the classical Greek entryway to Rome’s Pantheon. The main entrance was topped by a spectacular pediment of intricate marble relief portraying a host of martyred saints.
Venice is an outdoor museum, Langdon thought, his gaze dropping to the canal water that lapped at the church’s stairs. A slowly sinking museum. Even so, the potential of flooding seemed inconsequential compared to the threat that Langdon feared was now lurking beneath the city.
And nobody has any idea …
The poem on the back of Dante’s death mask still played in Langdon’s mind, and he wondered where the verses would lead them. He had the transcription of the poem in his pocket, but the plaster mask itself—at Sienna’s suggestion—Langdon had wrapped in newspaper and discreetly sealed inside a self-serve locker in the train station. Although an egregiously inadequate resting place for such a precious artifact, the locker was certainly far safer than carrying the priceless plaster mask around a water-filled city.
“Robert?” Sienna was up ahead with Ferris, motioning toward the water taxis. “We don’t have much time.”
Langdon hurried toward them, although as an architecture enthusiast, he found it almost unthinkable to rush a trip along the Grand Canal. Few Venetian experiences were more pleasurable than boarding vaporetto no. 1—the city’s primary open-air water bus—preferably at night, and sitting up front in the open air as the floodlit cathedrals and palaces drifted past.
No vaporetto today, Langdon thought. The vaporetti water buses were notoriously slow, and water taxi would be a faster option. Unfortunately, the taxi queue outside the train station looked interminable at the moment.
Ferris, in no apparent mood to wait, quickly took matters into his own hands. With a generous stack of bills, he quickly summoned over a water limousine—a highly polished Veneziano Convertible made of South African mahogany. While the elegant craft was certainly overkill, the journey would be both private and swift—a mere fifteen minutes along the Grand Canal to St. Mark’s Square.
Their driver was a strikingly handsome man in a tailored Armani suit. He looked more like a movie star than a skipper, but this was, after all, Venice, the land of Italian elegance.
“Maurizio Pimponi,” the man said, winking at Sienna as he welcomed them all aboard. “Prosecco? Limoncello? Champagne?”
“No, grazie,” Sienna replied, instructing him in rapid-fire Italian to get them to St. Mark’s Square as fast as he possibly could.
“Ma certo!” Maurizio winked again. “My boat, she is the fastest in all of Venezia …”
As Langdon and the others settled into plush seats in the open-air stern, Maurizio reversed the boat’s Volvo Penta motor, expertly backing away from the bank. Then he spun the wheel to the right and gunned the engines forward, maneuvering his large craft through a throng of gondolas, leaving a number of stripe-shirted gondolieri shaking their fists as their sleek black crafts bobbed up and down in his wake.
“Scusate!” Maurizio called apologetically. “VIPs!”
Within seconds, Maurizio had pulled away from the congestion at Santa Lucia Station and was skimming eastward along the Grand Canal. As they accelerated beneath the graceful expanse of the Ponte degli Scalzi, Langdon smelled the distinctively sweet aroma of the local delicacy seppie al nero—squid in its own ink—which was wafting out of the canopied restaurants along the bank nearby. As they rounded a bend in the canal, the massive, domed Church of San Geremia came into view.
“Saint Lucia,” Langdon whispered, reading the saint’s name from the inscription on the side of the church. “The bones of the blind.”
“I’m sorry?” Sienna glanced over, looking hopeful that Langdon might have figured out something more about the mysterious poem.
“Nothing,” Langdon said. “Strange thought. Probably nothing.” He pointed to the church. “See the inscription? Saint Lucia is buried there. I sometimes lecture on hagiographic art—art depicting Christian saints—and it just occurred to me that Saint Lucia is the patron saint of the blind.”
“Sì, santa Lucia!” Maurizio chimed in, eager to be of service. “Saint for the blind! You know the story, no?” Their driver looked back at them and shouted over the sound of the engines. “Lucia was so beautiful that all men have lust for her. So, Lucia, for to be pure to God and keep virginity, she cut out her own eyes.”
Sienna groaned. “There’s commitment.”
“As reward for her sacrifice,” Maurizio added, “God gave Lucia an even more beautiful set of eyes!”
Sienna looked at Langdon. “He does know that makes no sense, right?”
“The Lord works in mysterious ways,” Langdon observed, picturing the twenty or so famous Old Master paintings depicting Saint Lucia carrying her own eyeballs on a platter.
While there were numerous versions of the Saint Lucia tale, they all involved Lucia cutting out her lust-inducing eyes and placing them on a platter for her ardent suitor and defiantly declaring: “Here hast thou, what thou so much desired … and, for the rest, I beseech thee, leave me now in peace!” Eerily, it had been Holy Scripture that had inspired Lucia’s self-mutilation, forever linking her to Christ’s famous admonition “If thine eye offend thee, pluck it out and cast it from thee.”