Langdon turned to the huge sculpted pyramids and shook his head. Bernini was a religious sculptor. Theres no way he carved those pyramids. Vittoria shrugged. Tell that to the sign behind you. Langdon turned to the plaque: ART OF THE CHIGI CHAPEL While the architecture is Raphaels, all interior adornments are those of Gianlorenzo Bernini. Langdon read the plaque twice, and still he was not convinced. Gianlorenzo Bernini was celebrated for his intricate, holy sculptures of the Virgin Mary, angels, prophets, Popes. What was he doing carving pyramids?

Langdon looked up at the towering monuments and felt totally disoriented. Two pyramids, each with a shining, elliptical medallion. They were about as un-Christian as sculpture could get. The pyramids, the stars above, the signs of the Zodiac. All interior adornments are those of Gianlorenzo Bernini. If that were true, Langdon realized, it meant Vittoria had to be right. By default, Bernini was the Illuminatis unknown master; nobody else had contributed artwork to this chapel! The implications came almost too fast for Langdon to process. Bernini was an Illuminatus. Bernini designed the Illuminati ambigrams. Bernini laid out the path of Illumination. Langdon could barely speak. Could it be that here in this tiny Chigi Chapel, the world-renowned Bernini had placed a sculpture that pointed across Rome toward the next altar of science?

Bernini, he said. I never would have guessed. Who other than a famous Vatican artist would have had the clout to put his artwork in specic Catholic chapels around Rome and create the Path of Illumination? Certainly not an unknown. Langdon considered it. He looked at the pyramids, wondering if one of them could somehow be the marker. Maybe both of them? The pyramids face opposite directions, Langdon said, not sure what to make of them. They are also identical, so I dont know which . . . I dont think the pyramids are what were looking for. But theyre the only sculptures here. Vittoria cut him o by pointing toward Olivetti and some of his guards who were gathered near the demons hole. Langdon followed the line of her hand to the far wall. At rst he saw nothing. Then someone moved and he caught a glimpse. White marble. An

A torso. And then a sculpted face. Partially hidden in its niche. Two lifesize human gures intertwined. Langdons pulse accelerated. He had been so taken with the pyramids and demons hole, he had not even seen this sculpture. He moved across the room, through the crowd. As he drew near, Langdon recognized the work was pure Berninithe intensity of the artistic composition, the intricate faces and owing clothing, all from the purest white marble Vatican money could buy. It was not until he was almost directly in front of it that Langdon recognized the sculpture itself. He stared up at the two faces and gasped. Who are they? Vittoria urged, arriving behind him. Langdon stood astonished. Habakkuk and the Angel, he said, his voice almost inaudible. The piece was a fairly well-known Bernini work that was included in some art history texts. Langdon had forgotten it was here.