P. 1
The Florence and Venice of Dan Brown's Inferno_ An illustrated Guide

The Florence and Venice of Dan Brown's Inferno_ An illustrated Guide


|Views: 9,534|Likes:
Published by Catherine Sanders
Are you curious to see the places and objects mentioned in dan brown's novel, Inferno? here is a guide with lots of pictures and hyperlinks for those who want to delve deeper into the mysteries of Florence and Venice.
Are you curious to see the places and objects mentioned in dan brown's novel, Inferno? here is a guide with lots of pictures and hyperlinks for those who want to delve deeper into the mysteries of Florence and Venice.

More info:

Published by: Catherine Sanders on Jun 27, 2013
Copyright:Attribution Non-commercial


Read on Scribd mobile: iPhone, iPad and Android.
download as PDF, TXT or read online from Scribd
See more
See less





The  Florence  and  Venice  of  Dan  Brown’s  Inferno    

C.V.  Starr  Professor   Middlebury  College     Robert   Langdon,   the   Harvard   Professor   of   Symbology   and   Art   History,   has   been   sighted   again.   The   creation   of   author   Dan   Brown,   who   with   his   novels   and   films   of   Angels   and   Demons,   The   DaVinci   Code   and   The   Lost   Symbol   has   reached   hundreds  of  millions  readers  and  viewers,  returns  to  Europe  where  he  had  searched   and  solved  puzzles  in  Rome  and  Paris,  based  on  his  knowledge  of  art,  architecture   and  history.     The   popularity   of   Brown’s   novels   created   its   own   touristic   explorations   of   those  two  cities  and  there  is  little  reason  to  doubt  that  Florence  and  Venice  will  be   experience  anything  different.       Brown   commented   in   a   May   17,   2013   interview   with   Charlie   Rose:   “Location   is   a   character   in   these   books.   I   love   art.   I   love   architecture.   My   hero   loves   art   and   architecture.   And   part   of   this   chase,   really   in   all   of   my   books,   is   a   chase   through   a   landscape.   Langdon   is   one   of   these   characters   who,   while  he's   on   the   run,   if   he   passes  a  Caravaggio,  he's  probably  going  to  have  a  thought  about  it."     One  should  be  clear  from  the  beginning  that  Brown  has  written  a  novel  and   had   no   intention   of   making   his   work   a   guidebook   to   Florence   or   Venice.   But   Inferno,   as  the  preceding  Robert  Langdon  novels  opens  with  a   declaration  before  the  actions   commence   that   “All   artwork,     .   .   .   and   historical   references   are   real.”   The   astute   reader   will   have   read   on   the   copyright   page   the   more   revealing   disclaimer:     “This   book   is   a   work   of   fiction.   Names,   characters,   .   .   .   places     .   .   .   are   the   product   of   the   author’s   imagination     or   are   used   fictitiously.     Any   resemblance   .   .   .   is   entirely   coincidental.”     But,   and   this   may   be   our   starting   point,   Brown   has   rediscovered   and   presented   for   millions   some   very   famous   places   in   a   new   light,   and   some   lesser   known  attractions  that  may   now  receive  their  due.     This   work   traces  the  geography   of   the   novel,   Inferno,   in   the   order   the   sites   appear   in   the   book.   The   verbal   art   of   Dan   Brown   is   here   enhanced   by   the   actual   visual   representation   through   photographs   taken   by   the   author   and   additional   hyperlinks   to   other   resources.   At   the   end   of   Robert  Langdon’s  visit  to  Florence,  then  Venice,  I  will  provide  some  suggestions  as   to  how  and  what  can  be  accomplished  in  a  single  day  or  two.      

©  Thomas  R.  Beyer,  Jr.  


The  Prologue  
    Shade,  the  first  reference  to  Dante  and  his   own  Divine  Comedy  where  the  inhabitants  of  Hell   (Inferno)  are  known  as  “shades,”  is  running   feverishly.  Believing  he  is  hotly  pursued  he  turns   left  from  the  banks  of  the  Arno  River  and  heads   north  along  the  Via  dei  Castellani,  sinking  into  the   shadow  of  the  Uffizi  that  will  also  take  him  past  the   rear  of  the  Palazzo  Vecchio.    Onward  to  the  Piazza   di  San  Firenze  he  passes  the  Bargello  Museum  on   his  right  and  then  makes  his  way  into  the  courtyard   of  the  Badia  Church  and  Monastery.           The  Church  itself  is  the  first  of  allusions  to  the  poet  and  patrician/politician   of  Florence,  Dante  Alighieri,  in  the  novel.  Founded  in  978  the  Church  is  across  the   street  from  Dante’s  birthplace  and  presumed  to  be  the  Church  mentioned  in  Canto   XV  of  Paradise:  “Florence,  within  her  ancient  ring  of  walls  that  ring  from  which  she   still  draws  tierce  and  nones  sober  and  chaste,  lived  in  tranquillity.”    The  Church   complex  also  served  as  the  meeting  place  for  the  city  councilors  or  Priors  before  the   construction  of  the  Palazzo  Vecchio  in  1299.    Dante  was  one  of  them  for  a  brief   period  of  time.     It  is  here  that  the  Shade  will  climb  the  tower  of  the  Badia  Fiorentina  and   eventually  leap  to  his  death.       As  abruptly  as  it  had  begun,  so  does  the  Prologue  end  with  the  body  of  Shade   on  the  ground  just  yards  away  from  more  places  intimately  connected  with  the  life   of  Dante.          

  Robert   Langdon   awakes   disoriented   to   discover   he   is   in   a   clinic   or   some   other   health   care   facility.   Readers   who   have   completed   the   novel   will   understand   why   the   specific   clinic   or   hospital   cannot   be   identified   or   geographically   positioned.   The  mysterious  Vayentha,  however,  is  waiting  outside  on  the  Via  Torregalli.  (There   is  an  actual  hospital,  the  Nuovo  Ospedale  di  San  Giovanni  di  Dio  nearby).  From  his   room   Langdon   can   see   the   stone   fortress   with   its   three   hundred   foot   tower,   bulging   at  the  top,  the  Palazzo  Vecchio.  As  such  we  know  that  Langdon  is  on  the  south  side   of  the  River  Arno.     From   the   clinic   Langdon   makes   his   escape   with   the   help   of   Sienna   Brooks.   (*See   the   conflict   of   Siena   and   Florence   in   Wikipedia.   Dante   will   use   it   in   Inferno   Canto  XXXII).  Via  taxi  they  pass  a  cemetery  to  her  apartment,  another  place  not  to  be   located   on   the   map.   Langdon   does   look   out   a   window   to   see   the   spires   of   the   the   Badia,   the   Bargello,   the   Campanile   (Bell   Tower),   and   the   dome   of   il   Duomo   (The   Cathedral).    On  the  street  below  across  and  in  front  of  the  Pensione  la  Fiorentina  sits   Vayentha,  who,  we  believe,  is  on  an  assassin’s  mission.         When   it   is   time   to   leave   the   apartment   Langdon   and   his   newfound   savior   or   guide   (not   unlike   the   guides   in   Dante’s   Divine   Comedy),   scooter   out   of   a   garage   and   make   a   hard   left   onto   the   winding  Viale  Niccolò  Macchiavelli.  They   stop   short   three   hundred   yards   north   of   the   southeastern   edge   of   the   Porta   Romana.           Meanwhile   Vayentha   is   heading   north   along   the   Viale   del   Poggio   Imperiale— a   straight   boulevard   leading   into   the   south   end   of   the   Porta   Romana.   Finding   a   massive  traffic  jam  she  reverses  direction  to  find  another  way  across  the  Arno  River   via   the   Ponte   alle   Grazie.   Then   she   will   circle   to   her   left   toward   the   Palazzo   Vecchio,   park   her   bike   and   walk   out   onto   the   Ponte   Vecchio.   From   the   bridge   she   will   take   her   motorcycle   north   of   the   Palazzo   Vecchio,   park   then   return   through   the   Piazza   della  Signoria    passing  the  famous  Loggia  dei  Lanzi.          

The  Far  Side  of  the  River  

  Langdon   and   Sienna   take   to   foot   avoid   the   roadblock   at   the   Porta   Romana   rotary   and   join   a   group   of   students   headed   for   classes   at   the   L’Istituto   Statale   d’Arte   (The   longer   name   being   L'Istituto   d'Arte,  ora  Liceo  Artistico  Statale  di  Porta  Romana).               We  can  follow  along  through  the  gateway  on  the  right  at  the  end  of  the  Viale   Niccolò  Macchiavelli.  On  their  way  in  Langdon  asks  a  student  how  one  might  enter   the  Boboli  Gardens  without  attracting  attention.  Robert  and  Sienna  head  to  their  left   behind  a  set  of  cars  where  they  leap  over  the  wall  into  the  south  east  corner  of  the   gardens.    (We  can  avoid  that  tricky  move  by  simply  paying  the  entrance  fee  at  the   entrance  to  the  right  of  the  Porta  Romana  through  a  huge  iron-­‐wrought  gate).     The   Boboli   Gardens,   like   many   of   the   other   places   described   by   Brown,   deserve  more  time  than  Langdon  cares  to  spend.  A  wonderful  overview  is  provided   by  Professor  Jack  Ahern  and  Megan  Plante.             Beginning   at   the   far   southwestern   end   of   the   Gardens   we   too   shall   rush   this   time   to   the   Isolotto,   and   the   fountain   and   statue   of   Perseus  on  a  half  submerged  horse.           The   difficulty   with   describing   something   seen   in   the   past   is   that   like   internet   links,   they   may   no   longer   be   accurate.     The   statue   in   fact   is   at   the   time   of   this  writing    (June  2013)  being  restored.  The   center  of  the  isle  known  now   as  the  Fountain   of   the   Islands,   is   Giambologna’s   Ocean   Fountain,   originally   designed   for   the   Amphitheatre  and  placed  here  in  1636.          

Trying  to  stay  ahead   of   detection   Langdon   suggests   they   ascend   the   hill   by   following   a   covered   pathway   or   arborway,   La   Cerchiata,   parallel   and   slightly   to   the   right   of   the   more  majestic  Viottolone.             As  they  reach  the  top  of  the  hill  they   dash  forward  to  the  statue  of  Neptune:   “The  Fountain  of  the  Fork.”                       They  look  down  at  the  Pitti  Palace  and  descend  the  embankment  to  join  the   tourists  in  the  lower  garden.        




    They  cross  the  Amphitheater  and   pass  the  obelisk  of  Ramses  and  a  rather   prosaic,  at  least  today,  sculptured  object   looking   a   bit   like   a   bath   tub,   originally   from  Rome’s  Baths  of  Caracalla.                  


From   here   they   descend   a   stone   passageway   to   emerge   into   the   courtyard   of   the  Palace  where  off  to  the  left  is  a  small  café.  They  approach  the  main  entrance  and   look  out  onto  the  Via  dei  Guicciardini  and  the  Piazza  dei  Pitti.    



Seeing   a   gathering   set   of   police   arriving,   they   step   back  into  the  courtyard  and  then  back  up  the  staircase  where   Sienna  asks  directions  to  the  Costume  Gallery  at  the  far  end   of   the   Palace.     But   they   actually   head   down   the   opposite   pathway.            

    They    pass  by  Fontana  del  Bacchino,  a  statue  of  a   naked   dwarf   riding   a   turtle.   This   is,   in   fact,   Braccio   di   Bartolo,  the  court  dwarf  of  Cosimo  I  as  rendered  by  the   sculptor  Valerio  Cioli.                     They  continue  on  to  the  back  wall  housing  the  famous  Buontalenti  Grotto.      


  The   grotto   itself   is   an   extraordinary   piece   of   work.   Although   it   is   normally   gated,  Langdon  and  Sienna  make  their  way  inside  the  first  of  three  chambers,  each   described  accurately.  The  outer  chamber  has  Michelangelo’s  Prisoners    (here  in  copy   since  1909).      

          In   the   second   chamber   they   hide   behind   a   statue   of   intertwined   lovers.   The   third   chamber   is   highlighted   with   sunshine   and   the   Bathing   Venus.      


  With   no   place   to   escape   our   heroes   are   saved   momentarily   when   their   pursuers  are  redirected  to  the  Costume  Gallery  before  the  two  are  discovered.           Nevertheless   they   need   a  way  to  leave  undetected.    To   the   left   of   the   grotto   is   a   grey   door,  and  knocking  vigorously   they   summon   the   guard   inside   the  door.            

    While   some   have   always   known   of   its   existence   both   for   its   architectural   significance   and   its   magnificent   collection   of   portrait   art,   the   Vasari   Corridor   will   come   as   a   surprise   even   to   many   who   have   visited   Florence   and   have   walked   the   famous  Ponte  Vecchio  replete  with  its  gold  jewelry  shops.    



The   Vasari   Corridor   indeed   leads   above   ground   from   the   Palace   Pitti   along   the  Via  dei  Guicciardini.  A  slight  curve  around  a  neighbor’s  building  leads  over  the   Ponte  Vecchio.    Langdon  recalls  historical  events  and  a  plaque  at  the  entrance  of  the   Ponte  Vecchio  from  Dante’s  Paradise  Canto  XVI.         In  the  photo  to  the  right  the  golden  lines   beginning  at  the  lower  left  pass  through  the  tiny   building   at   the   southern   end   of   the   bridge.   They   cross  the  Ponte  Vecchio  where  it  will  turn  right   then   left   into   the   Uffizi.   Crossing   to   the   right   hand  hall  down  its  end  the  Corridor  veers  right   then   left   exiting   into   the   Palazzo   Vecchio.   (The   poetical   sound   of   “vecchio”   simply   means   “old”   in  Italian.)            

                            At  the  end  of  the  Ponte  Vecchio  the  Corridor  turns  right  for  about  100  yards   before  it  enters  into  the  Uffizi  Gallery.  If  one  walks  along  the  corridor  of  the  Uffizi  to   its   end,   the   Corridor   goes   once   again   above   the   street   into   the   Green   Room   of   the   Palazzo  Vecchio.      

     (The   pathway   taken   by   Langdon   and   Sienna   can   be   largely   replicated   by   those  fortunate  enough  to  arrange  a  special  tour  of  the  Vasari  Corridor  that  we  will   mention  later.)       The   pair   does   miss   stopping   to   admire   Leonardo   da   Vinci’s   Annunciation,   Michelangelo’s   Holy   Family   and   Botticelli’s   Birth   of   Venus   and   Primavera   to   name   just  a  few.          

    They  cross  over  the  street  through  the  passageway   from  the  Uffizi  Gallery  into  the  Palazzo  Vecchio.      

    The  Center  


Inside   the   Palazzo   Vecchio   the   geographical   locations   and   imagination   are   stretched   to   accommodate   the   needs   of   the   novel.   But   the   places   themselves   are   here  and  can  be  seen.         Let   us   begin   where   the   pair   does   by   entering   the  Salone  dei  Cinquecento,   Hall   of   the   Five   Hundred.     Here   Langdon   admires   first   the   statues,   The   Labors   of   Hercules   that   include   Michelangelo’s   Genius   of   Victory   and   the   Hercules   and  Diomedes.           But   it   is   Vasari’s   Battle   of   Marciano   that   is   the   key   to   the   mystery:   with   the   words   in   the   flag   cerca   trova.   The   words   are   not   new   (they   go   back   to   Gospel   Mathew   7:7.   “seek,   and   ye   shall   find.”).   Yet   some   have   concluded   they   invite   the   viewer  to  look  more  closely.  The  fresco  is  enormous,  but  the  naked  eye  is  unlikely  to   find  the  words  from  below.        




                     In   rapid   succession   the   pair   will   cross   over   with   their   backs  to  the  Vasari  painting  to  Lo  Studiolo.                   Pursued   again   they   make   their   the   Hall   of   Geographical   Maps   with   its   Mappa   Mundi   and   the   Map   of   Armenia   with   its   secret   passage,   to   the   Sala   dei   Modelli   di   Architecturi.               We  discover  that  Langdon  has  taken  the  Mask  of  Dante.  But   thankfully   it   ahs   been   returned   and   you   can   view   it   and   the   actual   historical  explanation  of  its  origin.  



    Finally   Langdon   and   Sienna   make   their   way   up   to   the   rafters   running  above  the  ceiling  of  the  Hall   of   the   Five   Hundred,   navigating   the   beams   to   reach   the   Duke   of   Athens   Staircase     with   its   secret   entrance   that  exits  onto  the  Via  della  Ninna.        

              Here  they  turn  left  heading  east.    Then   they   go   north   along   the   Via   dei   Leoni.     They   pass   the   Bargello   Museum   on   the   right   then   onto   the   Via   Dante   Alighieri   to   the   Casa   di   Dante,   hoping   to   find   a   copy   of   The   Divine   Comedy.  Unfortunately  it  is  a  Monday  and  the   shop  is  closed.  Langdon  wonders  aloud  about   his   favorite   foreign   bookstore   not   far   away,   but   rules   out   the   Paperback   Exchange   at   Via   delle  Oche  4.  


Instead   they   both   proceed   to   the   Chiesa   di   Santa   Margherita   dei   Cerchi.   Beatrice   Portinari   was   the   love   inspiration   for   Dante’s   compelling   New  Life  and  she  will  also  be  his  guide  through  Paradise   in  The  Divine  Comedy.    Next  to  her  tomb  is  a  basket  containing  letters   from   lovelorn   and   others,   including   we   learn   from   Langdon   himself   years   earlier.   Dan   Brown   in   his   appearance   at   Lincoln   Center   mentioned  that  he  himself  has  left  a  similar  note  bearing  the  words   of  Homer’s  Odyssey:  “Sing  in  me  Muse,  and  through  me  tell  the  story.”     (There   are   other   intersections   between   Brown   and   Langdon   as   we   shall  see).               With  no  copy  of   The  Divine  Comedy   to   be   found   Langdon   turns   to   21st   Century  technology,  asking  a  visitor  for   an   I-­‐phone   and   then   accessing   the   text   online.       The   text   he   finds   from   Canto   XXV   of   Paradise:   “I   shall   return   as   poet   and  put  on,/at  my  baptismal  font  is,  the   laurel   crown.“       It   will   lead   him   north   along   the   Via   dello   Studio   toward   the   Piazza   del   Duomo   to   the   Baptistry   of   San  Giovanni  of  the  famous  Cathedral  of   Florence,    il  Duomo.           The  Baptistry  of  San   Giovanni  is  adorned  on  the  east   side  with  gilded  bronze  doors   crafted  by  Lorenzo  Ghiberti  and   once  called  by  Michelangelo   “The  Gates  of  Paradise.”                

Here  Langdon  pauses  to  admire  the   golden  panels,  now  enclosed  behind  a  gate.     His  actual  favorite,  we  learn,  is  the  center  left   panel  with  Jacob  and  Esau,  and  where  the   artist  had  signed  his  name.               The  originals  are  actually  housed  in  the  Museo  dell’Opera.    (Langdon   mentions  at  least  to  the  reader  that  another  set  adorn  the  Grace  Cathedral  in  San   Francisco.)    The  preservation  of  such  originals  recalls  Michelangelo’s    Statue  of   David  in  the  Accademia  Gallery  and  the  Four  Bronzed  Horses  of  St  Marks  in  Venice   housed  inside  the  cathedral  museum.     The   black   gates   that   keep   tourists   at   a   distance   as   well   as   the   doors   themselves   are   left   open   for   him,   and   Sienna   and   he   enter   in   search   of   the   place   where  one  is  baptized.         Like  most  his  gaze  is  first  directed  upward  to  the  dome  and  the  mosaic  that   depicts  heaven  and  hell.  Above  the  altar  sits  Jesus  Christ  with  the  righteous  to  His   right  hand,  the  viewer’s  left.            



On   His   left   side,   the   viewer’s   right,   are   the   sinners   along   with   Satan,   the   man-­‐eating   beast   with   three   heads,   just  as  recounted  by  Dante.             Langdon   also   views   the   tomb   suspended   in   air   of   the   Antipope   John   XXIII,   and  then  turns  his  attention  to  the  tiled  floor.       Originally   the   Baptismal   font   would   have  been  in  the  exact  center  of  the  floor,  a   spot   still   marked   conveniently   for   those   who  wish  to  place  their  cameras  at  the  exact   center   and   photograph   the   magnificent   dome  mosaic.  The  actual  baptismal  font  is  in   a   corner   where   by   lifting   the   lid   Langdon   discovers  the   Mask  of  Dante  that  he  and  the   curator  had  taken  the  previous  evening.                 It   is   behind   a   raised   platform   and   decorative   gate  to  the  right  of  the  Gates  of  Paradise.      Here  he  finds   the   baptismal   basin   or   font   to   recover   the   Mask.   In   a   Ziploc  bag!    On  the  backside  of  the  Mask  they  discover   seven   PPPPPPP’s.   To   decipher   it   Langdon   recalls   the   paining   inside   the   Cathedral   itself   of   Dante   by   the   artist   Domenico   di   Michelino.   Depicted   is   the   Angel   who   guards   Purgatory   and   writes   on   the   forehead   of   Dante   seven   “P’s”   for   “peccatum”    —  sin.  For   in   Purgatory   we   are   told   each   of   the   seven   deadly   sins   is   purged   one  by  one.                

As  they  wash  off  the  layers  of  gesso  on  the  inside  of  the  mask  a  message  of   nine   spirals   appears   beginning   with   Dante’s   exhortation   to   his   readers:   “O,   you   possessed   of   sturdy   intellect   .   .   .   ”   Among   the   words   are   references   to   severed   heads   of  horses,  a  lagoon  and  a  doge  of  Venice.         After  a  decoy  phone  call  to  send  their  pursuers  to  a  private  airport  in  Lucca,   they  take  a  car  along  the  Via  dei  Panzani  toward  Florence’s  main  railroad  station  of   Santa  Maria  Novella.               As   they   pass   the   Hotel   Baglioni   on   the   right   they   pull   up   at   the   station.   Here   they   purchase   tickets   and   board   the   Frecciargento   train  for  the  two  hour  direct  ride  to  Venice.     ,            



At  the  end  of  the  novel,  Robert  Langdon  returns  to   Florence  and  stays  at  his  favorite  hotel,  the   Brunelleschi.  The  name  is  significant  (he  was  the   architect  of  the  Duomo),  and  the  hotel  is  a  delight   hidden  in  the  back  streets  nearby.    


  In   a   matter   of   a   few   hours   Langdon   has   traversed   a   path   that   itself   would   serve   as   a   wonderful   introduction   to   Florence.   But   to   do   it   as   he   has   would   also   mean   to   have   no   time   to   pause   to   admire   the   extraordinary   works   of   art   and   architecture  the  city  has  to  offer.    If  you  can  take  a  day,  or  better  two,  you  too  can   experience  the  secrets  of  the  Palazzo  Vecchio,  the  mysteries  of  the  Vasari  Corridor,   the  Boboli  Gardens  as  well  as  the  other  sights  worthy  of  being  seen.  The  exact  order   may  not  be  the  same,  and  one  should  plan  on  doing  this  in  manageable  slices  of  time.     Maurizio   of   www.Florencepass.com   has   put   together   two   tours   that   take   in   the  vast  majority  of  Robert  Langdon’s  Florence  in  Dan  Brown’s  Inferno.       Tour  I     (Museums).    Starting  at  Piazza  della  Signoria  you  visit  the  Palazzo  Vecchio.   Here   you   enter   the   Hall   of   the   Five   Hundred   and   peek   at   the   door   to   the   Studiolo,   then   climb   upstairs   to   see   the   entrance/exit   in   the   Palazzo   of   the   Vasari   Corridor,   Dante's  Mask,  and  the  Mappa  Mundi  with  the  secret  passage  door  behind  the  Map  of   Armenia.  

Our  Florence  

      You  leave  the  Palazzo  Vecchio  on  the  Via  della  Ninna,  where  you  can  admire   the   secret   doorway   of   Gualtieri   of   Brienne   and   cross     to   enter   into   the   Uffizi.   Here   unlike   Robert   Langdon   and   Sienna,   you   will   have   a   chance   to   examine   Botticelli’s     Birth   of   Venus,   Primavera,   Leonardo   da   Vinci’s's   Annunciation   and   Michelangelo's   Holy   Family   (Tondo   Doni).     Then   you   will   walk   the   one-­‐kilometer   length   of   the   Vasari   Corridor,   and   exit   through   the   grey   door   next   to   Buontalenti's   Grotto.   Finally   you   will   exit   onto   the   Piazza   Pitti   where   you   can   admire   the   panorama   of   the   Palace   itself.      

Tour   II   (Panoramic).     We   begin   at   the   Piazalle   Michelangelo   for   an   unforgettable   panoramic   view   of   the   city.   From   here   we   will   explore   some   of   the   best   kept   secrets   of     Florence.   We   will   retrace   the     pathway   of   Robert   (and   Dan   Brown)   as   they   proceed   to   Porta   Romana   next   to   the   Istituto   d'Arte.   [You   may   join   the   tour   here].   From  here  we  will  enter  the  Boboli  Gardens  passing  through  the  Isoletto  and  then   you   may   ascend   either   via   the   arborway,   La   Cerchiata,   or   the   more   spectacular   Viottolone.    As  you  emerge  to  view  the  Fountain  of    Neptune  you  can  look  down  at   Ramses’  obelisk  and  the  Pitti  Palace  itself.  Taking  the  pathway  to  the    right  brings  us   to  Buontalenti's  Grotto  and  the  unmarked  entrance  to  the  Vasari  Corridor.  Heading   back  up  to  the    courtyard  of  the  Palace  we  will  exit  onto  the  street  and  follow  along   the  path  of  the  Corridor  to  the  Ponte  Vecchio.  As  we  cross  on  foot  the  Ponte  Vecchio   you  can  admire  the  plaque  with  Dante’s  words,  the  famous  gold  merchants,  and  look   up   with   your   secret   knowledge   that   the   Vasari   Corridor   is   just   overhead.   We   will   stop  at  the  Piazza  della  Signoria  to  enjoy  the  sculptures  and  facades  as  well  as  the   famous   Loggia.   Then   we   move   on   past   the   Badia   Fiorentina   and   Bargello   and   the   Casa  di  Dante.  We  shall  stop  at  the  Chiesa  di  Dante  to  pay  homage  to  Beatrice  before   heading   for   the   bronze   doors   of   the   Baptistry.   Inside   along   with   our   hero   we   will   uncover  the  secrets  it  reveals.   The   Panoramic   Tour   promises   to   show   you   aspects   of   Florence   far   beyond   the   traditional  tours  of  the  inner  city.  Dan  Brown’s  choice  of  these  locales  is  his  gift  to   the  city  and  to  us.         Whether  you  take  a  tour  or  set  out  on  your  own  here  are  things  you  should   not  miss.    



  The  Boboli  Gardens  are  in  themselves  worth  a  long  afternoon  visit,  or  a  virtual  tour.             While  Langdon  hops  a  wall  to  enter   on  the  southwest  side  and  avoids   paying  the  entrance  fee,  you  can  still   follow  his  steps  by  going  to  the  Porta   Romana,  then  walking  through  the   gates  to  the  L’Istituto  Statale  d’Arte.                   It  is  probably  wise  not  to  hop  the  fence,  but  pay   the   fee   to   enter   at   the   southwest   corner.     Here   you   would   proceed   up   the   main   alley   to   the   Island   Fountain,   then   pass   through   and   choose   the   path   slightly   off   to   the   right   and   walk   in   the   footsteps   of   our   heroes  up  through  the  arborway,  La  Cerchiata.                           Alternatively   you   could   take   the   parallel   and   more  scenic  route  along  the  main  alley,  the  Viottolone,   climbing  northeasterly.                        

The  Boboli  Gardens  

  At   the   top   of   the   hill   take   time   to   admire   the   view   of   the   city   to   your   left   before   you   exit   to   the   top   of   the   Neptune   Fountain.   From   here   the   panorama   reveals   the   Pitti   Palace   itself   and   in   the   foreground   the  Amphitheater.                       As   you   descend   you   will   pass   the   Ramses  obelisk  and  “bathtub.”                 Follow  the  pathway  into  the  courtyard.      


  Perhaps   stop   for   a   cup   of   coffee   or   light   snack.   You   might   also   visit   the   actual   Costume  Gallery  inside  the  Palace  where  Langdon  sends  his  pursuers.    

            Then  you  will  want  to  walk  down  to  the  Buontalenti  Grotto.      





It  is  normally  enclosed  behind   a  locked  gate,  but  if  you  are   fortunate  it  may  be  open   permitting  you  to  enter  all  three   chambers.                       Be  sure  to  take  notice  of  the  grey  door  to  the  left  of   the   Grotto,   the   exit   of   the   Vasari   Corridor.   In   real   life   those   fortunate   enough   to   tour   the   Vasari   Corridor   are   likely   to   exit   here.   If   you   walk   up   the   pathway   leading   directly   opposite   the   Grotto   you   will   see   on   your   right   the   statue   of   Cosimo’s  naked  dwarf  riding  a  turtle  by  Valerio  Cioli.  



    The  Vasari  Corridor  can  be  visited  only  by  prior  arrangement  and  here  one  is   best  served  reserving  a  tour  in  advance.    One  of  the  best  is  offered  by  Florencepass   (www.florencepass.com)   that   can   also   include   a   visit   to   The   Uffizi   Gallery   and   the   Palazzo  Vecchio.     The   Corridor   is   noteworthy   both   architecturally   and   also   because   of   its   portrait   gallery.     Take   time   to   enjoy   both.     There   are   also   windows   along   the   way   where  you  look  down  at  the  Ponte  Vecchio  and  capture  one  of  the  photos  Brown  has   posted  on  his  Facebook  page  (facebook.com/danbrown).          

The  Vasari  Corridor  

            Inside   the   Corridor   there   is   also   the   list   of   portraits  of  the  Medici  family  that  too  was  one  of  the   earliest   hints   on   Facebook   of   the   role   of   Florence   and   the   Vasari   Corridor   prior   to   the   novel’s   publication.            




The  Palazzo  Vecchio  

    Most  of  the  Palazzo  Vecchio  is  open,  but  access  to  a  few  places  (Studiolo,  the   attic)  mentioned  in   Inferno  requires  a  special  Secret  Passages  Tour.  But  let  us  take   one  by  one  those  you  can  see  on  your  own.      

          The   Hall   of   the   Here   across   from   the   statues   mentioned   in   the   the  Apotheosis  of  Cosimo  I   Fans   of   Brown’s   novel   similarities   here   to   the   of   Washington   in   the   Capitol   Building   in   portrayed   in   The   Lost        



Five   Hundred.     entrance   are   the   book,   as   well   as   on   the   ceiling.     will   clearly   see   great   Apotheosis   Dome   of   the   U.S.   Washington   DC   Symbol.      

The   painting   that   catches   Langdon’s   eyes   is   by   now   the   already   familiar   Giorgio  Vasari,  designer  of  the  Corridor  and  responsible  for  the  redesign  of  the  Hall   of   the   Five   Hundred.   His   paintings   include   the   Apotheosis   just   mentioned   and   the   large  three  story  high  Battle  of  Marciano.    




This   fresco   painting   has   recently   come   under   greater   scrutiny   by   art   historians.     One   theory   is   that   an   original   unfinished   fresco   by   Leonardo   da   Vinci   was  covered  over  and  on  top  of  it  the  new  Vasari  fresco  was  created.     There   are   the   barely   legible   words   (and   you   will   not   be   able   to   spot   them   without  binoculars  or  opera  glasses)  in  the  green  flag  in  the  upper  section  right  of   center:   cerca…trova.  (By  this  time  you  should  have  also  seen  on  the  dust  cover  of   the  novel  inside  the  nine  circles  around  Dante’s  head  the  letters).     C  A  T  R  O  V  A  C  E  R     Several   interpretations   of   its   meaning   and   reference   can   be   found,   but   Langdon  decides  to  look  further  and  make  his  way  over  to  the  left  hand  corner,  if  his   back   is   to   the   painting,   to   enter   the   Studiolo.     You   too   might   be   able   to   peek   into   the   room;  a  visit  is  possible  only  with  a  special  tour.    

                              Since   we   cannot   follow   Langdon’s   route,   you   should   take   the   stairs   at   the   back   right   of   the   room   opposite   the   Studiolo   and   go   up   to   examine   the   series   of   rooms  that  Langdon  this  time  avoids.  In  the  museum  you  will  pass  through  several   rooms.   Take   note   of   the   Green   Room   that   has   the   original   entrance   to   the   Vasari   Corridor.  Pass  by  the  Mask  of  Dante,  safely  returned  to  its  case  as  described  in  the   novel.             You   will   also   end   up   in   the   famous   Hall   of   Geographical   Maps   with   its   Map   of   Armenia   in   the   right   rear   corner   that   has   a   secret   door   to   a   secret  passage.        

    Some   spaces   are   indeed   accessible   to   those   on   the   “Secret   Passages   Tour.”     Here   you   will   enter   the   tiny   door   on   the   Via   della   Ninna   where   Langdon   and   Sienna   exit.   The   room   has   a   secret   door   connecting   into  the  Studiolo.  Langdon  mentions  only  a  few  of  the   paintings   The   Fall   of   Icarus…An   Allegory   of   Human   Life…Nature   Presenting   Prometheus   with   Spectacular   Gems.             Langdon  even  mentions  in  passing  that  he,  (and  most  likely  Dan  Brown),  had   first   seen   the   room   on   a     “Secret   Passages   Tour”   —   the   only   way   that   you   will   be   able   to   examine   its   treasures.   On   his   own   homepage   (www.danbrown.com)   the   author   has   a   box   at  the  very  bottom  where  you  can  enter  a  word  that  is  the  solution   to   some   of   the   puzzles   on   the   page.   Typing   in   the   name   “Pythagoras”   will   open   a   video  of  Dan  Brown  himself  exiting  into  the  Studiolo  from  one  of  its  secret  doors.         The   paintings   that   line   the   walls   each   conceal   either   a   secret   door   to   somewhere   or   formerly   treasure   chests.     The   Secret   Passages   Tour   also   lead   one   through  a  door  that  goes  one  floor  higher  to  open  onto  a  small  model  of  the  inner   ceiling   of   the   Palazzo   redesigned   by   Vasari.   The   ceiling   above   the   Hall   of   the   Five   Hundred  in  the  rafters  houses  a  model  of  those  beams  and  structures  along  which   Langdon   and   Sienna   tread,   and   through   which   the   mysterious   Vayentha   trips   and   falls   tearing   through   the   Apotheosis.     Fortunately   there   are   really   no   such   blank   spots  in  the  floor,  save  for  where  the  chandeliers  were  lifted.    

The  Secret  Passages  




      You   can   see   the   secret   doorway   through   which   the   novel’s  heroes  pass  on  the  Via  della  Ninna.                           You  will  want  to  head   east   then   north   past   the   Badia   on   your   left   and   the   Bargello  Museum  and  Tower   on  your  right.                 You  can  admire  the  Casa  di  Dante  where  you  actually  can  purchase  the  entire   Divine  Comedy  on  a  poster.  

In  Search  of  Dante’s  Baptism  



At   the   Chiesa   di   Santa   Margherita   dei   Cerchi.   you   can   leave   a   message  in  the  basket  by  Beatrice.                  




As  you  make  your  way  to  the  Baptisty  pass   by  along  the  narrow  alley  home  to  the  Hotel   Brunelleschi,  Piazza  Santa  Elisabetta,  3. Readers  of   The  DaVinci  Code  may  recall  that  Langdon  had  told   Sophie  he  would  be  there  a  month  later,  hoping   she  might  come.      At  the  end  of  Inferno,  Langdon   returns  to  his  hotel  where  you  too  might  want  to   stop  for  a  delightful  cup  of  espresso  or  cappuccino.   (The  hotel  has  no  public  record  of  the  author  Dan   Brown  having  stayed  there,  but  that  does  not  rule   out  his  use  of  an  alias).              

As   you   arrive   at   the   Piazza   del   Duomo   admire   the   striking   Cathedral   itself   and  the  Campanile  (Bell  Tower).          

                                                              The  Baptistry  can  be  visited,  either  on  a  tour  or   by   purchasing   a   ticket   in   the   passageway   to   the   north.     Entrance   for   tourists   is   normally   through   the   north,   but  the  famous  Gates  of  Paradise  are  on  the  east  side.     The   favorite   plate   is   the   one   in   the   center   on   the   left   Esua  and  Jacob.                   Inside   be   sure   to   examine   the   floor,   bend   down   and   see   the   earlier   foundation  through  the  grates.    You  can  also  place  your  camera  here  and  point  to  the   ceiling   to   capture   the   mosaic   on   the   dome.     Above   the   altar   is   the   mosaic   of   the   Last   Judgment   and   on   the   bottom   to   the   right   of   Christ   is   the   devil.   The   baptismal   fountain  where  the  mask  of  Dante  is  recovered  is  to  your  left  as  you  enter  from  the   north.     Realizing  that  the  actual  trail  leads  to  Venice.    Langdon  will  take  a  cab,  but  it   is   a   short   walk   along   the   Via   Panzani   past   the   Hotel   Baglioni   on   the   way   to   the   Railroad   Station   of   Santa   Maria   Novella.   Here   you   too   can   purchase   tickets   and   board  the  Frecciargento  to  Venice.      


Places  Not  to  Miss  

    Realistically   speaking   you   need   two   days   just   to   cover   the   ground   Langdon   and  Sienna  cover  in  but  a  few  hours.    But  it  would  be  a  shame  to  rush  through  the   Boboli  Gardens,  The  Uffizi,  The  Palazzo  Vecchio,  The  Vasari  Corridor,  The  Baptistry,   and   Dante’s   places.     If   you   confine   yourself   to   a   Dan   Brown   itinerary   you   will   not   have   walked   and   admired   and   perhaps   made   a   purchase   on   the   Ponte   Vecchio,   visited   the   Church   of   Santa   Croce,   where   are   buried   Michelangelo,   Galileo,   Machiavelli  and  a  place  still  waits  for  Dante.    There  is  also  the  Basilica  of  Santa  Maria   Novella  near  the  train  station,  the  site  of  the  Council  of  Florence,  the  final  attempt  to   reunify   the   Eastern   and   Western   branches   of   Christianity   before   the   fall   of   Constantinople.    


  Some  of  my  favorites  and  sites  that  you  will  surely  want  to  visit  are   The  Duomo   Ponte  Vecchio   Uffizi  Gallery   Santa  Croce   Rivoire  Café   The  Basilica  of  San  Lorenzo  and  the  Medici  Chapels   Accademia   The  Open  Air  Markets  

    Don’t   forget   that   Florence   has   some   of   the   finest   gelato   in   the   world,   and   a   thriving  outdoor  market  in  leather  goods.  Here  too  is  one  of  the  oldest  pharmacies   in   the   world,   still   producing   and   selling   cosmetics   and   teas,   in   what   is   more   a   museum  than  a  shop,  the  renowned  Santa  Maria  Novella  Pharmacy.     But  it  is  time  to  take  the  train  and  travel  on  to  Venice.      



    Venice   and   its   masquerades   were   already   on   Dan   Brown’s   mind   ten   years   ago.    The  webpage  for  Professor  Robert  Langdon  highlighted  a  picture  of  a  masked   and  costumed  Robert  Langdon  and  his  editor  identified  as  J.  Faukman  (an  anagram   for  his  real  life  editor,  Jason  Kaufman)  in  Venice.     As   their   train   arrives   at   the   Santa   Lucia   central   train   station   of   Venezia,   Langdon  looks  back  at  the  stoic  architecture  and  the  simple  initials  “FS”  inscribed  in   wings,  for   Ferrovie  dello  Stato,   the  state  run  managers  of   the   railroad   system.   In   front   of   the   station   he   could   take   the   vaporetto,   a   waterbus,   the   most   inexpensive   and   preferred  method  of  transportation.                       But  being  strapped  for  time  he  hires  the   Venetian  version  of  the  limousine  for  hire,  a   mahogany  ship  (you  could  too).    With    Sienna  he  sets   off  at  breakneck  speed  along  Venice’s  Grand  Canal.                  

      They   pass   under   the   Ponte   degli   Scalzi   and   view   the   Church   of   San   Geremia   (the   Church   of   Saints   Jeremy   and   Lucy)   that   houses   relics   from   Santa   Lucia   (Lucy).   Langdon   uses   the   occasion   to   tell   the   story   of   Santa   Lucia,   who   in   one   historical   legend  plucked  out  her  eyes  to  preserve  her  chastity.      

                        Also  on  their  left  is  the  Casino  di  Venezia.  The   banners   which   Langdon   recalls   are   nowhere   to   be   seen,  but  the  bright  burgundy  awning  can’t  be  missed.   Soon   on   the   right   they   pass   the   Ca’   Pesaro,   the   Venetian  Museum  of  Modern  Art.              


    Rialto.     As  they  turn  to  the  right  they  pass  under  the  famous  and  spectacular  Ponte  di          

              Langdon’s   short   historical   architectural   narrative   also   mentions   the   edge   of   the   island   that   overlooks   the   famous   St   Mark’s   Square,   the   Dogana   da   Mar  with  its  massive  golden  globe.                  


    The  driver  asks   disembark   in   front   of   the   clientele   that   has   Marilyn   Monroe,   Woody  Allen.                    

if   they   wish   to   Harry’s   Bar,   famous   for   included   among   others   Ernest   Hemingway,   and  


      Langdon   prefers   the   other   entrance   to   San   Marcos   Square   passing   in   front   of   the   Doge’s   Palace,   admiring  the  Bridge  of  Sighs  and  docking  by  the  Hotel   Danieli.          

      They   will   move   to   their   left   back   to   the   Square   passing   the   two   columns,   where  stands  St.  Theodore  and  atop  the  other  the  winged  lion,  symbol  of  the  city.      

    As  they  look  straight  ahead  they  make  their  way  to  glance  at  the  Clock  Tower.    


      On   their   left   they   walk   past   the   Campanile,   the   bell   tower,   and   arrive   at   St.   Mark’s  Basilica  dominating  the  square  with  its  statue  of  Mark,  the  winged  lion  and   The  Horses  of  St.  Mark’s.      

              Langdon  notes  that  the  bronze  horses  had  been   taken  from  Constantinople  during  the  Crusades  just  as   The   Tetrarchs   off   to   the   right   hand   side   with   the   missing  foot.                    


    The   horses   above   the   main   entrance   are   not   the   originals;   they   are   kept   on   the   second   floor   museum   accessible   through   the   front   of   door   of   the   Basilica  and  to  your  right.                             Also  from  the  second  floor  one  can  observe   looking   downward   the   broad   expanse   of   the   Cathedral   in   all   its   golden   glory   including   the   golden  mosaic  ceiling  and  the   Pala    d’Oro,    with  its   famed  icons.          

        There   is   a   crypt   supported   by   columns   but   it   is   not   open   to   the   general   public.     The   planned   escape   route   through   the   grates   leading   to   the   plaza  might  be  viewed  from  the  top  on  street  level.                          

But  as  we  know  Langdon  is  captured  and  transferred  to   the   Mendacium  for   his  next  adventure.           Sienna   does   escape   and   makes   her   way   through   the   famous   arch   of   St.   Mark’s   Clock   Tower   and   along   the   Merceria  dell’Orologie.    Sienna  crosses  the  Rialto  Bridge  and   then  goes  left  along  the  Fondamento  Vin  Castellano.  She  will   turn  into  an  alleyway  east  of  the  Frari  Church  and  knocks  on   the   door   of   the   famed   costumer,   Atelier   Pietro   Longhi.     She   asks   to   speak   with   Giorgio   Venci,   the   master   designer.   He   is   more   than   willing   to   help   by   providing   his   private   jet   to   Sienna.           The  Venice  journey  is  over  for  Robert  Langdon  and  Sienna  Brooks,  but  ours  is   just  about  to  begin.  


Our  Venice  
  Venice   in   a   few   hours   is   certainly   a   shame.   You   will   want   to   take   time   to   explore  its  museums,  its  churches,  its  canals  and  streets  and  shops.    

    If  you  choose  to  follow  in  the  footsteps  of  Robert  Langdon  and  Sienna  Brooks,   it  is  possible  in  a  few  hours  to    travel  to  St.  Mark’s  Square  on  the  water  and  return  by   foot.       You  can  see  most  to  the  places  mentioned  if  upon  arrival  either  at  the  Santa   Lucia  train  station    

    or  the  bus  depot  on  the  Piazzale  Roma.    


    Outside  the  station  purchase  a  ticket  for  the  Vaporetto,  the  famed  Venetian   waterbus.  Vaporetto  #1  has  a  few  more  stops  than  Number  2,  but  both  follow  the   same  route  along  the  Grand  Canal.  (If  you  want  to  get  off  and  on  it  may  be  best  to   purchase  a  twelve  hour  unlimited  ticket).    

      As  you  embark  on  the  leisurely  trip  along  the  Grand  Canal  take  note  as  you   pass  under  the  bridge,  for  on  your  left  will  be  the  Chiesa  San  Geremia  (Cathedral  of   Saints  Jeremy  and  Lucy),  with  the  inscription  of  the  wall:  LUCIA  VERGINE  DI   SIRACUSA,  MARTIRE  DE  CHRISTO,  IN  OVESTO  TEMPIO  RIPOSA.      



Next  on  your  right  comes  the  Casino  de  Venezia  and  shortly  thereafter  on  the   opposite  side  of  the  canal  the  Ca’  Pesaro  comes  into  view.      

    Pass  under  the  Ponte  di  Rialto  and  around  the  next  bend  in  the  canal  off  to   your  right  admire  the  Dogana  da  Mar  and  the  golden  globe.           The   first   Vaporetto   stop   for   St.   Mark’s   Square   will   let   you   off   in   front   of   Harry’s  Bar,                   But   you   might   want   to   go   one   more   stop,   San   Zaccharia,  to  view  the  square  from  the  water  and  pass   by   the   Doge’s   Palace.     You   can   walk   back   admiring   the   Bridge  of  Sighs  and  the  Hotel  Danieli.                

Take  time  to  look  up  at  the  two  columns  with  St.  Theodore  and  the  winged   lion.    

  In   front   of   you   in   the   distance   will   be   the   Clock   Tower   and   on   your   left   the   Campanile,  the  bell  tower.    On  the  right  as  you  approach  the  basilica  you  can  see  The   Tetrarchs   off   to   the   right   hand   side   with   the   missing   foot.     Before   you   enter   the   basilica  walk  to  its  front  and  look  up  at  the  statue  of  Mark,  the  winged  lion  and  the   Horses  of  St.  Mark’s.      



      To   see   the   originals   you   will   need   to   ascend   the   stairs   to   the   second   floor   museum.   Here   look   down   upon   the   entire   expanse   of   the   basilica   including   its   golden  mosaic  ceiling  and  the  Pala  d’Oro.     You   will   not   be   able   to   enter   the   crypt   supported   by   columns   for   it   is   not   open  to  the  general  public.    As  we  know  Langdon  is  captured  and  transferred  aboard   the  Mendacium  for  his  next  adventure.      

  The   planned   escape   route   through   the   grates   leading   to  the  plaza  might  be  viewed  from  the  top  on  street  level.               You   can   follow   in   the   tracks   of   Sienna   who   escapes   and   makes   her   way   through  the  famous  arch  of  the  clock  and  along  the  Merceria  dell’Orologie.        

      Cross   the   Rialto   Bridge   and   then   turn   left   along   the   Fondamento   Vin   Castellano.      

There   is   alleyway   east   of   the   Santa   Maria   dei   Frari   Church,   leading   to   the   Atelier   Pietro   Longhi.     You   may   knock   on   the   tiny   office   door   at   Sestieri   San   Polo   2608,   and   if   you   are   adventurous   and   can   plan   ahead   you   might   e-­‐mail   Raffaele   (raffaele@pietrolonghi.com)   or   call   the   Pietro   Longhi   studio   and   museum   for   an   appointment  (+39  041  714478).      Saving  the  tradition  of  the  great  costumes,  using   original   and   hand   made   materials,   the   master   recreates   the   glory   of   the   Venetian   Carnivale.    The  modest  ground  floor  cramped  office  does  have  a  secret  passageway   to  a  reception  room  with  little  of  note.              

        But  behind  closed  doors  to  the  Palazzo  Zeno  there  are  costumes  and  hats  and   masks  on  display  along  with  the  riches  of  the  Renaissance  palace  itself.    If  you  can’t   make   it   to   the   address,   or   call   ahead,   then   be   sure   to   visit   the   website   and   have   a   look.        

Most  of  all  enjoy  and  explore  Venice  and  all  it  has  to  offer.  Enjoy  a  city  where   there   are   no   motor   vehicles.   Sit   and   enjoy   the   magnificent   St.   Mark’s   Square— actually   an   L   shaped   construction   with   a   view   of   the   cathedral   and   the   famous   clock   tower.     Ride   the   vaporetto   along   the   Grand   Canal   itself.       Step   inside   a   few   of   the   extraordinary  churches,  each  with  its  own  collection  of  art.  Visit  the  museums,  get   lost  in  the  back  streets  of  this  unique  city  of  canals.  Window  shop!  Take  time  to  read   about  the  Black  Death,  the  Plague,  and  its  impact  then  and  now  on  this  city,  once  one   of   the   richest   in   the   world.   Our   word   “quarantine”   comes   from   the   forty   day   required  off  shore  anchorage  of  ships  coming  to  the  city.     If   you   so   desire   you   can   pick   up   a   souvenir   of   lace,   or   a   mask   or   a   piece   of   famous  Murano  glass.               Venice   can   be   expensive   and   busy   all   year   round,   but   especially   in   the   summer   months   when   it   celebrates   the   Biennale,   the   worlds   largest   art   exhibit.   You   might   consider   staying   in   a   hotel   across   the   water   in   Mestre   that   has   good   bus   connections   to   the   city   itself.   Remember   that   no   motor   vehicles   are   allowed   so   whether  you  arrive  by  car,  bus  or  rail  makes  little  difference.         If   Inferno   has   not   been   100%   accurate   as   to   how   you   move   from   one   place   to   another,   it   certainly   meets   the   original   statement   that   “All   artwork,   literature,   science  and  historical  references  in  this  novel  are  real.”  Moreover,  Brown  has  done  a   great  service  in  shining  light  on  a  number  of  aspects  of  the  city  largely  overlooked  in   the  quick  one  or  two  visits  to  the  city.       This   illustrated   guide   to   the   cities   is   intended   for   readers   of   Dan   Brown’s   novel,   Inferno,   to   visualize   and   experience   the   real   geographical   places   mentioned.   All  the  photos  are  original  and  done  by  me.  The  hyperlinks  are  provided  for  those   who  wish  additional  information,  but  they  are  only  a  starting  point.         These  notes  will  become  part  of  a  larger  online  guide  to  the  novel  at     http://keystoinferno.wetpaint.com/             I  welcome  your  comments  and  suggestions  at  tom.beyer@middlebury.edu.                

You're Reading a Free Preview

/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->