Captain Bezu Fache carried himself like an angry ox, with his wide shoulders thrown back and his chin tucked hard into his chest. His dark hair was slicked back with oil, accentuating1 an arrow-like widow's peak that divided his jutting2 brow and preceded him like the prow3 of a battleship. As he advanced, his dark eyes seemed to scorch4 the earth before him, radiating a fiery5 clarity that forecast his reputation for unblinking severity in all matters.
Langdon followed the captain down the famous marble staircase into the sunken atrium beneath the glass pyramid. As they descended6, they passed between two armed Judicial7 Police guards with machine guns. The message was clear: Nobody goes in or out tonight without the blessing8 of Captain Fache.
Descending9 below ground level, Langdon fought a rising trepidation10. Fache's presence was anything but welcoming, and the Louvre itself had an almost sepulchral11 aura at this hour. The staircase, like the aisle12 of a dark movie theater, was illuminated13 by subtle tread-lighting14 embedded15 in each step. Langdon could hear his own footsteps reverberating16 off the glass overhead. As he glanced up, he could see the faint illuminated wisps of mist from the fountains fading away outside the transparent17 roof.
"Do you approve?" Fache asked, nodding upward with his broad chin.
Langdon sighed, too tired to play games. "Yes, your pyramid is magnificent."
Fache grunted18. "A scar on the face of Paris."
Strike one. Langdon sensed his host was a hard man to please. He wondered if Fache had any idea that this pyramid, at President Mitterrand's explicit19 demand, had been constructed of exactly 666 panes20 of glass—a bizarre request that had always been a hot topic among conspiracy21 buffs who claimed 666 was the number of Satan.
Langdon decided22 not to bring it up.
As they dropped farther into the subterranean23 foyer, the yawning space slowly emerged from the shadows. Built fifty-seven feet beneath ground level, the Louvre's newly constructed 70,000-square-foot lobby spread out like an endless grotto24. Constructed in warm ocher marble to be compatible with the honey-colored stone of the Louvre facade25 above, the subterranean hall was usually vibrant26 with sunlight and tourists. Tonight, however, the lobby was barren and dark, giving the entire space a cold and crypt-like atmosphere.
"And the museum's regular security staff?" Langdon asked.
"En quarantaine," Fache replied, sounding as if Langdon were questioning the integrity of Fache's team. "Obviously, someone gained entry tonight who should not have. All Louvre night wardens27 are in the Sully Wing being questioned. My own agents have taken over museum security for the evening."
Langdon nodded, moving quickly to keep pace with Fache.
"How well did you know Jacques Saunière?" the captain asked.
"Actually, not at all. We'd never met."
Fache looked surprised. "Your first meeting was to be tonight?"
"Yes. We'd planned to meet at the American University reception following my lecture, but he never showed up."
Fache scribbled28 some notes in a little book. As they walked, Langdon caught a glimpse of the Louvre's lesser-known pyramid—La Pyramide Inversée—a huge inverted29 skylight that hung from the ceiling like a stalactite in an adjoining section of the entresol. Fache guided Langdon up a short set of stairs to the mouth of an arched tunnel, over which a sign read: DENON. The Denon Wing was the most famous of the Louvre's three main sections.
"Who requested tonight's meeting?" Fache asked suddenly. "You or he?"
The question seemed odd. "Mr. Saunière did," Langdon replied as they entered the tunnel. "His secretary contacted me a few weeks ago via e-mail. She said the curator had heard I would be lecturing in Paris this month and wanted to discuss something with me while I was here."
"Discuss what?"
"I don't know. Art, I imagine. We share similar interests."
Fache looked skeptical30. "You have no idea what your meeting was about?"
Langdon did not. He'd been curious at the time but had not felt comfortable demanding specifics. The venerated31 Jacques Saunière had a renowned32 penchant33 for privacy and granted very few meetings; Langdon was grateful simply for the opportunity to meet him.
"Mr. Langdon, can you at least guess what our murder victim might have wanted to discuss with you on the night he was killed? It might be helpful."
The pointedness34 of the question made Langdon uncomfortable. "I really can't imagine. I didn't ask. I felt honored to have been contacted at all. I'm an admirer of Mr. Saunière's work. I use his texts often in my classes."
Fache made note of that fact in his book.
The two men were now halfway35 up the Denon Wing's entry tunnel, and Langdon could see the twin ascending36 escalators at the far end, both motionless.
"So you shared interests with him?" Fache asked.
"Yes. In fact, I've spent much of the last year writing the draft for a book that deals with Mr. Saunière's primary area of expertise37. I was looking forward to picking his brain."
Fache glanced up. "Pardon?"
The idiom apparently38 didn't translate. "I was looking forward to learning his thoughts on the topic."
"I see. And what is the topic?"
Langdon hesitated, uncertain exactly how to put it. "Essentially39, the manuscript is about the iconography of goddess worship—the concept of female sanctity and the art and symbols associated with it."
Fache ran a meaty hand across his hair. "And Saunière was knowledgeable40 about this?"
"Nobody more so."
"I see."
Langdon sensed Fache did not see at all. Jacques Saunière was considered the premiere goddess iconographer on earth. Not only did Saunière have a personal passion for relics41 relating to fertility, goddess cults42, Wicca, and the sacred feminine, but during his twenty-year tenure43 as curator, Saunière had helped the Louvre amass44 the largest collection of goddess art on earth—labrys axes from the priestesses' oldest Greek shrine45 in Delphi, gold caducei wands, hundreds of Tjet ankhs resembling small standing46 angels, sistrum rattles47 used in ancient Egypt to dispel48 evil spirits, and an astonishing array of statues depicting49 Horus being nursed by the goddess Isis.
"Perhaps Jacques Saunière knew of your manuscript?" Fache offered. "And he called the meeting to offer his help on your book."
Langdon shook his head. "Actually, nobody yet knows about my manuscript. It's still in draft form, and I haven't shown it to anyone except my editor."
Fache fell silent.
Langdon did not add the reason he hadn't yet shown the manuscript to anyone else. The three-hundred-page draft—tentatively titled Symbols of the Lost Sacred Feminine—proposed some very unconventional interpretations50 of established religious iconography which would certainly be controversial.
Now, as Langdon approached the stationary51 escalators, he paused, realizing Fache was no longer beside him. Turning, Langdon saw Fache standing several yards back at a service elevator.
"We'll take the elevator," Fache said as the lift doors opened. "As I'm sure you're aware, the gallery is quite a distance on foot."
Although Langdon knew the elevator would expedite the long, two-story climb to the Denon Wing, he remained motionless.
"Is something wrong?" Fache was holding the door, looking impatient.
Langdon exhaled52, turning a longing53 glance back up the open-air escalator. Nothing's wrong at all, he lied to himself, trudging54 back toward the elevator. As a boy, Langdon had fallen down an abandoned well shaft55 and almost died treading water in the narrow space for hours before being rescued. Since then, he'd suffered a haunting phobia of enclosed spaces—elevators, subways, squash courts. The elevator is a perfectly56 safe machine, Langdon continually told himself, never believing it. It's a tiny metal box hanging in an enclosed shaft! Holding his breath, he stepped into the lift, feeling the familiar tingle57 of adrenaline as the doors slid shut. Two floors. Ten seconds.
"You and Mr. Saunière," Fache said as the lift began to move, "you never spoke58 at all? Never corresponded? Never sent each other anything in the mail?"
Another odd question. Langdon shook his head. "No. Never." Fache cocked his head, as if making a mental note of that fact. Saying nothing, he stared dead ahead at the chrome doors.
As they ascended59, Langdon tried to focus on anything other than the four walls around him. In the reflection of the shiny elevator door, he saw the captain's tie clip—a silver crucifix with thirteen embedded pieces of black onyx. Langdon found it vaguely60 surprising. The symbol was known as a crux61 gemmata—a cross bearing thirteen gems—a Christian62 ideogram for Christ and His twelve apostles. Somehow Langdon had not expected the captain of the French police to broadcast his religion so openly. Then again, this was France; Christianity was not a religion here so much as a birthright.
"It's a crux gemmata" Fache said suddenly.
Startled, Langdon glanced up to find Fache's eyes on him in the reflection.
The elevator jolted63 to a stop, and the doors opened.
Langdon stepped quickly out into the hallway, eager for the wide-open space afforded by the famous high ceilings of the Louvre galleries. The world into which he stepped, however, was nothing like he expected.
Surprised, Langdon stopped short.
Fache glanced over. "I gather, Mr. Langdon, you have never seen the Louvre after hours?"
I guess not, Langdon thought, trying to get his bearings.
Usually impeccably illuminated, the Louvre galleries were startlingly dark tonight. Instead of the customary flat-white light flowing down from above, a muted red glow seemed to emanate64 upward from the baseboards—intermittent patches of red light spilling out onto the tile floors.
As Langdon gazed down the murky65 corridor, he realized he should have anticipated this scene. Virtually all major galleries employed red service lighting at night—strategically placed, low-level, noninvasive lights that enabled staff members to navigate66 hallways and yet kept the paintings in relative darkness to slow the fading effects of overexposure to light. Tonight, the museum possessed67 an almost oppressive quality. Long shadows encroached everywhere, and the usually soaring vaulted68 ceilings appeared as a low, black void.
"This way," Fache said, turning sharply right and setting out through a series of interconnected galleries.
Langdon followed, his vision slowly adjusting to the dark. All around, large-format oils began to materialize like photos developing before him in an enormous darkroom... their eyes following as he moved through the rooms. He could taste the familiar tang of museum air—an arid69, deionized essence that carried a faint hint of carbon—the product of industrial, coal-filter dehumidifiers that ran around the clock to counteract70 the corrosive71 carbon dioxide exhaled by visitors.
Mounted high on the walls, the visible security cameras sent a clear message to visitors: We see you. Do not touch anything.
"Any of them real?" Langdon asked, motioning to the cameras.
Fache shook his head. "Of course not."
Langdon was not surprised. Video surveillance in museums this size was cost-prohibitive and ineffective. With acres of galleries to watch over, the Louvre would require several hundred technicians simply to monitor the feeds. Most large museums now used "containment72 security." Forget keeping thieves out. Keep them in. Containment was activated73 after hours, and if an intruder removed a piece of artwork, compartmentalized exits would seal around that gallery, and the thief would find himself behind bars even before the police arrived.
The sound of voices echoed down the marble corridor up ahead. The noise seemed to be coming from a large recessed74 alcove75 that lay ahead on the right. A bright light spilled out into the hallway.
"Office of the curator," the captain said.
As he and Fache drew nearer the alcove, Langdon peered down a short hallway, into Saunière's luxurious76 study—warm wood, Old Master paintings, and an enormous antique desk on which stood a two-foot-tall model of a knight77 in full armor. A handful of police agents bustled78 about the room, talking on phones and taking notes. One of them was seated at Saunière's desk, typing into a laptop. Apparently, the curator's private office had become DCPJ's makeshift command post for the evening.
"Messieurs," Fache called out, and the men turned. "Ne nous dérangez pas sous aucun prétexte. Entendu?"
Everyone inside the office nodded their understanding.
Langdon had hung enough NE PAS DERANGER signs on hotel room doors to catch the gist79 of the captain's orders. Fache and Langdon were not to be disturbed under any circumstances.
Leaving the small congregation of agents behind, Fache led Langdon farther down the darkened hallway. Thirty yards ahead loomed80 the gateway81 to the Louvre's most popular section—la Grande Galerie—a seemingly endless corridor that housed the Louvre's most valuable Italian masterpieces. Langdon had already discerned that this was where Saunière's body lay; the Grand Gallery's famous parquet82 floor had been unmistakable in the Polaroid.
As they approached, Langdon saw the entrance was blocked by an enormous steel grate that looked like something used by medieval castles to keep out marauding armies.
"Containment security," Fache said, as they neared the grate.
Even in the darkness, the barricade83 looked like it could have restrained a tank. Arriving outside, Langdon peered through the bars into the dimly lit caverns84 of the Grand Gallery.
"After you, Mr. Langdon," Fache said.
Langdon turned. After me, where?
Fache motioned toward the floor at the base of the grate.
Langdon looked down. In the darkness, he hadn't noticed. The barricade was raised about two feet, providing an awkward clearance85 underneath86.
"This area is still off limits to Louvre security," Fache said. "My team from Police Technique et Scientifique has just finished their investigation87." He motioned to the opening. "Please slide under."
Langdon stared at the narrow crawl space at his feet and then up at the massive iron grate. He's kidding, right? The barricade looked like a guillotine waiting to crush intruders.
Fache grumbled88 something in French and checked his watch. Then he dropped to his knees and slithered his bulky frame underneath the grate. On the other side, he stood up and looked back through the bars at Langdon.
Langdon sighed. Placing his palms flat on the polished parquet, he lay on his stomach and pulled himself forward. As he slid underneath, the nape of his Harris tweed snagged on the bottom of the grate, and he cracked the back of his head on the iron.
Very suave89, Robert, he thought, fumbling90 and then finally pulling himself through. As he stood up, Langdon was beginning to suspect it was going to be a very long night.
贝祖。法希局长外表像一头发怒的公牛。他宽厚的肩膀向后倾，下巴向胸部伸得很厉害。他乌黑的头发向后梳得整整齐齐，油光可鉴，像战舰舰头一样的V形发尖与突出的前额隔开来，看起来更像是个箭头。往前走时，他黑色的眼睛似乎能把面前的地面烤焦。他眼里喷射出的火清澈透明，那种清澈使人感到他有一股干什么事都决不含糊的认真劲。
兰登跟随着局长沿着那个有名的楼梯往下走，进入深藏在金字塔下面的正厅。在他们往下走的过程中，他们从两个握有机枪的武装司法警察中间穿过。这传递的信息非常明了：没有法希局长的恩准，今夜谁也进不来，出不去。
下到地平面以下后，兰登就和不断袭来的惶恐作斗争。法希的存在一点也不受欢迎。此刻的卢浮宫本身似乎有种墓穴的气氛。楼梯像黑暗中的电影院通道一样，每迈一步都有反应灵敏的脚踏灯照亮。兰登能听到他自己的脚步声在头顶的玻璃上回响。朝上望去，他可以看到从喷泉散出的带着些许亮光的水雾正在透明房顶外散去。
"你赞成这种做法吗？"法希边问边用他宽大的下巴指向上方。
兰登叹了口气他太累了，不想演戏了。"你们的金字塔真宏伟。"
法希咕哝了一声，然后说："巴黎脸上的一块疤。"
得罪了一位。作为客人的兰登感到他的主人不好取悦。他不明白法希是否知道，在密特朗总统明确要求下，这个金字塔正好由666块玻璃构成。这种奇怪的要求一直是喜欢研究阴谋事件的人们的一个热点话题。他们说666恰好是撒旦的代码。
兰登决定不提这事。
他们继续往下走，来到地下的正厅，一个宽大的空间渐渐从阴影中显露出来。卢浮宫新落成的岩洞。地下大厅是用暖色的赭色大理石建成，以便和上面卢浮宫正面的蜜色石头相协调。这地下大厅从早到晚大都人声鼎沸。今夜则不然，大厅空无一人，漆黑一片，整个大厅笼罩在阴冷、墓穴般的气氛里。
"美术馆常规保安人员呢？"兰登问道。
"隔离起来了。"法希答道，听口气他好像认为兰登怀疑他手下人员的诚实。显然，今晚有不该进来的人进来了。卢浮宫所有的看守人员都有在萨利厅里接受询问。我的人已接管了卢浮宫今晚的安全守卫工作。
兰登点点头，快步跟上法希。
"你对雅克。索尼埃有多少了解？"局长问道。
"事实上，一点也不了解，我们从未见过面。"
法希显得非常吃惊。"你们的初次会面是在今晚？"
"是的。我们原计划在我作完报告后的巴黎美国大会举行的招待会上见面的，可他一直就没露面。" 法希在他的小本本上草草记下一些文字。他们继续往前走。这时兰登看到了卢浮宫那个名气稍小一些的金字塔--倒金字塔。它是一个巨大的倒置的天窗，好像钟乳石一样在楼面夹层处悬着。法希领着兰登走上一段楼梯，来到拱型隧道的洞口。洞口上方用大写字母写着德农两个字。德农厅是卢浮宫三个主区中最重要的一区。
"谁提出要今晚见面的？是你，还是他？"法希突然问道。
这个问题似乎有点怪。"是索尼埃先生。"兰登在进洞时回答道。"他的秘书几周前通过电子邮件和我取得联系。她说馆长听说我本月要来巴黎讲学，希望在我在巴黎期间和我讨论一些事情。"
"讨论什么？"
"我不知道。艺术，我想。我们有共同的兴趣。"
法希将信将疑。"你不知道你们见面后要谈写什么？"
兰登的确不知道。他当时有些好奇，但觉得问得过细不太合适。人们都有知道倍受尊敬的雅克。索尼埃喜欢深居简出的生活，很少答应和别人见面。兰登因这次见面的机会简直对他感激不尽。
"兰登先生，你能不能至少猜一猜我们这位受害者在被害的晚上想和你讨论些什么？这对我们可能有些帮助。"
这个直截了当的问题使兰登感觉很不自在。"我无法想象。我没问过。他和我联系，我倍感荣幸。我很欣赏索尼埃先生的作品。我上课选用他的文章。"
法希在本子上记下了这些。
二人此刻刚好处在通往德农厅的隧道的一半的路程上。兰登看到了尽头的一对向上的扶手电梯，但两个扶手梯都一动不动。
"你和他有共同的兴趣？"法希问。
"是的。事实上我去年花了许多时间写一部书的初稿。书中涉及索尼埃先生的主要专业领域。我期待着能够挖他的脑子。"
法希往上看了一眼。"对不起，我没听懂。"
这俗语显然没传达清楚意思。"我期待着在那方面向他请教。"
"我明白了。哪个方面？"
兰登犹豫了一下，拿不准该怎样确切地表达它。"书稿主要是关于女神崇拜的图像符号的--一种女性崇拜的概念以及与其相关的艺术和象征符号。
法希把一只肥嘟嘟的手插进头发。"索尼埃在这方面很有学问？"
"没有谁比他更有学问。"
"我明白了。"
兰登认为法希一点也不明白。雅克。索尼埃被认为是全球有关女性崇拜图像符号学的第一专家。索尼埃不仅自己非常喜爱与生育、女神教派、巫术崇拜和圣女相关的文物，还帮助卢浮宫收集了全世界大量的女神艺术品--从德尔菲古老的神殿中女祭司手中的拉布里斯斧头、金质的墨丘利魔杖、好几百只像站立的小天使似的饰有小圆环的T型器物，到古希腊用来驱鬼神用的叉铃，还有一大堆描述何鲁斯被女神伊希斯哺育的情景的小雕像，简直令人难以置信。
"或许雅克。索尼埃听说过你的书稿吧？"法希说道。"他想约见你，为你写书提供帮助。"
兰登摇摇头。"事实上，没人知道我的书稿。现在还只是草稿，除了我的编辑处，我从未给人看过。"
法希不说话了。
兰登没有说明他未将手稿给任何人看的原因。这三百页的草稿题目初步定为圣女遗失的符号。它提出要对约定俗成的宗教符号学做出的非传统解析，这肯定会引起争议。
快到静止的扶手电梯时，兰登停了下来。他意识到法希已不再在他身边。转身回望，兰登发现法希站在几码远外的电梯旁。
"我们乘电梯，我相信你知道步行去大画廊挺远的。"法希在电梯门打开时说道。
虽然兰登知道乘电梯去德农厅要比爬两层楼梯快得多，他还是站着没动。
"怎么啦？"法希按着门不让它关上，显得很不耐烦。 兰登喘了口气，充满期待地看了一眼上面的并不密封的扶手电梯。一切都好。他骗自己，慢吞吞地走回电梯。还是个孩子时，兰登掉进了一个废弃的深井里，他在那狭窄的空间踩水好几个小时后才获救，差点死在那里。打那以后，他就对封闭的空间，如电梯、地铁、壁式网球场等充满恐惧。电梯是极安全的机器。兰登反复这样告诫自己，却一点也不相信它安全。它是个悬在封闭的筒子中的小小的金属盒子！他屏住呼吸，走进电梯。当电梯关上时，他心中感到一阵颤栗，这颤栗以前也感受过。
两层楼。十秒钟。
电梯开动时法希说："你和索尼埃先生，你们从未说过话吗？从未通信？有没有互相寄过邮件什么的？"
又是一个古怪的问题。兰登摇摇头。"没有。从没有过。"
法希扬起头，好像要把这事实记在脑子里。他一言不发，死盯着眼前的铬钢门。
在上升过程中，兰登尽力把注意力集中到其它东西上，他不敢想他周围的四面墙。光洁的电梯门能照出人影，从反射的影像中，兰登看到局长的领带夹--一个镶有十三颗黑色缟玛瑙的银质十字架。兰登感觉到有一些说不清道不明的惊奇。这种标志被称作宝石十字架--带有十三颗宝石的十字架--是基督教关于耶稣和他的十二个门徒的表意符号。这位法国警察局长这么公开地宣扬自己所信奉的宗教，倒有点出乎兰登的预料。而且，这是在法国，基督教并不是那么一个一生下来就得信奉的宗教。
"这是宝石十字架。"法希突然说。
兰登吓了一跳，抬头看了一眼，从反射中可以看到法希的眼睛正盯着他。
电梯一顿，停了下来。门开了。
兰登迅速走出电梯，走进厅廊。他渴望享受卢浮宫画廊高得出名的天花板下那宽敞的空间。然而，刚才他所步入的那个狭小空间可一点也不是他想要的那种。
兰登怔住了，突然停了下来。
法希扫了他一眼。"兰登先生，我想你从未在卢浮宫不开放的时候进来过。"
我想我是没来过。兰登心里想，尽量使自己不失态。
卢浮宫大画廊通常光线极充足，但今夜却是惊人的黑暗。今夜没有平常从上面倾泻而下的柔和的灯光，只有踢脚线处似乎有微微的红光发出，这一处，那一处，断断续续照在地板上。
兰登怔怔地望着阴森森的走廊，他意识到他本该预想到这种情形。几乎所有的主要画廊夜间都用这种耐用灯照明。这些灯放的位置很巧，都在低处，不刺眼，有利于工作人员夜间走过廊道，同时也使这些画作处于相对阴暗的地方，减缓因强光照射而褪色的速度。今夜，这地方简直使人压抑得透不气来，到外是长长的阴影，原来高高拱起的天花板今夜却像是一片低垂的空窟窿。
"这边走。"法希说。他向右急转身，走进一个段段相互联接的画廊。
兰登紧跟着，他的视力慢慢适应了黑暗。四周的巨幅油画变得清晰具体了，他们好像是在一个巨大的暗室里冲洗出的照片，展现在他面前……他在房间里走到哪里，他们的眼睛就跟到哪里。他能闻到博物馆里常有的干燥剂、除湿剂的刺鼻的气味。除湿剂带有些微的碳的气味。碳是一种工业用品，是一种过滤煤用的除湿装置，以消除游客呼出的二氧化碳所产生的腐蚀作用。高高安置在墙上的安全摄像机赫然可见，它向游客清楚地传达这样的信息：我们看着你呢，别动手触摸任何东西。
"有真的吗？"兰登边问边指向摄像机。
法希摇头说："当然没有。" 兰登一点也不觉得奇怪。在这么大的美术馆实施录像监视，成本太高，很难做到，而且效果也不好。要监视这数公顷的画廊，单负责信息传输的技术人员，整个卢浮宫就得要好几百人。大多数大型的博物馆现在都使用一种叫"封闭保护"的防范措施。别想着不让贼进来，要让他们出不去。封闭装置在闭馆后启动。如果侵入者拿走一件艺术品，自动封闭的出口就会将画廊封死，即便在警察没赶来之前，贼就已被挡在栅栏里面出不去了。
声音在上面的大理石走廊内回响。嘈杂声好像是从右前方隐蔽处的小房间里传出来的。那里有一束亮光倾泻在走廊里。
"馆长办公室。"局长说。
和法希走近那个小室后，顺着一条又低又短的走廊望去，兰登能看到索尼埃豪华的书房--暖色木材的家具，从前的大师们的画作，还有一个巨大的古色古香的写字台，写字台上立着个两英尺高的全身铠甲的武士模型。房间里几个警察正在忙忙碌着，其中一个坐在索尼埃的桌子前正往手提电脑里输入东西。显然，馆长的私人办公室已成了中央司法警察今晚的临时指挥部了。
"先生们。"法希用法语大声喊道，人们转向他。"不要以任何理由来打扰我们，听到了吗？"
办公室里的人都点头表示明白。
兰登在宾馆的门上曾多次挂过法语写的"请勿打扰"的牌子，所以刚才大致听懂局长"请勿打扰"之类的话。无论如何都不许打搅法希和兰登。
法希把一帮警察抛在身后，带着兰登沿着黑暗的走廊继续向前走。三十码开外的地方出现了通往卢浮宫大画廊的入口。大画廊是卢浮宫最受欢迎的地方--像个走不到头的长廊。长廊里藏有卢浮宫最有价值的意大利杰作。兰登发觉索尼埃的尸体卧躺之地正是此处。大画廊里的嵌木拼花地板明白无误地显现在宝丽莱快照里。
他们走近后，兰登看到入口被一个巨大的钢铁栅栏堵住了。钢栅栏看去像是中世纪城堡中人用来把强盗挡在外面的防御工具。
"封闭保护"法希走近栅栏后说。
即使是在黑暗中，这道封锁线看上去也能抵挡住一辆坦克。到了外边，兰登透过钢栅栏往昏暗的，硕大的洞穴般的大画廊里探视。
"你先进，兰登先生。"法希说。
"我先进？进哪儿？"兰登转过身来。 法希指向钢栅栏基部的地板。
兰登低头望去。在黑暗中他什么也没有看到。封锁栅栏被抬起了两英尺，下面有个进出很不方便的间隙。
"卢浮宫的保安现在还不能进入这个区域，我手下的技术警察刚刚在这调查完毕。"法希说。"从底下爬进去。"
兰登盯着脚下窄窄的空隙，又抬眼看着那巨大的铁栅栏。他是开玩笑吧？那铁栅栏像个断头台一样，时刻等待着把入侵者压碎。
法希用法语咕哝了一句，又看了看表。然后他双膝跪下，挪动着肥胖的身子从栅栏下爬了进去，站起身，透过栅栏回望着兰登。
兰登叹了口气。他把手掌平放在光滑的嵌木拼花地板上，肚子趴上去，使劲往前挪。他爬到栅栏底下时，他的哈里斯花格尼上衣的背部被栅栏的底部挂刮开了，后脑勺碰到了铁栅栏上。
真够斯文的，罗伯特，他想。他伸手摸了摸，最后终于把自己挪进去了。兰登站起后便意识到这一夜可短不了。
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1
accentuating
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| v.重读( accentuate的现在分词 )；使突出；使恶化；加重音符号于 | |
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jutting
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| v.（使）突出( jut的现在分词 )；伸出；（从…）突出；高出 | |
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prow
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| n.(飞机)机头，船头 | |
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scorch
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| v.烧焦，烤焦；高速疾驶；n.烧焦处，焦痕 | |
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fiery
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| adj.燃烧着的，火红的；暴躁的；激烈的 | |
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descended
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| a.为...后裔的，出身于...的 | |
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judicial
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| adj.司法的，法庭的，审判的，明断的，公正的 | |
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blessing
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| n.祈神赐福；祷告；祝福，祝愿 | |
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descending
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| n. 下行 adj. 下降的 | |
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trepidation
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| n.惊恐，惶恐 | |
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sepulchral
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| adj.坟墓的，阴深的 | |
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12
aisle
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| n.（教堂、教室、戏院等里的）过道，通道 | |
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13
illuminated
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| adj.被照明的；受启迪的 | |
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14
lighting
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| n.照明，光线的明暗，舞台灯光 | |
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embedded
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| a.扎牢的 | |
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reverberating
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| 回响，回荡( reverberate的现在分词 )； 使反响，使回荡，使反射 | |
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transparent
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| adj.明显的，无疑的；透明的 | |
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18
grunted
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| （猪等）作呼噜声( grunt的过去式和过去分词 )； （指人）发出类似的哼声； 咕哝着说 | |
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explicit
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| adj.详述的，明确的；坦率的；显然的 | |
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panes
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| 窗玻璃( pane的名词复数 ) | |
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conspiracy
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| n.阴谋，密谋，共谋 | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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23
subterranean
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| adj.地下的，地表下的 | |
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grotto
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| n.洞穴 | |
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facade
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| n.(建筑物的)正面，临街正面；外表 | |
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vibrant
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| adj.震颤的，响亮的，充满活力的，精力充沛的，(色彩)鲜明的 | |
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wardens
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| n.看守人( warden的名词复数 )；管理员；监察员；监察官 | |
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28
scribbled
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| v.潦草的书写( scribble的过去式和过去分词 )；乱画；草草地写；匆匆记下 | |
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inverted
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| adj.反向的，倒转的v.使倒置，使反转( invert的过去式和过去分词 ) | |
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skeptical
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| adj.怀疑的，多疑的 | |
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venerated
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| 敬重（某人或某事物），崇敬( venerate的过去式和过去分词 ) | |
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renowned
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| adj.著名的，有名望的，声誉鹊起的 | |
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penchant
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| n.爱好，嗜好；（强烈的）倾向 | |
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pointedness
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| n.尖角，尖锐；棱角 | |
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halfway
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| adj.中途的，不彻底的，部分的；adv.半路地，在中途，在半途 | |
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ascending
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| adj.上升的，向上的 | |
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expertise
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| n.专门知识(或技能等)，专长 | |
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apparently
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| adv.显然地；表面上，似乎 | |
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essentially
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| adv.本质上，实质上，基本上 | |
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knowledgeable
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| adj.知识渊博的；有见识的 | |
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relics
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| [pl.］n.遗物，遗迹，遗产；遗体，尸骸 | |
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cults
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| n.迷信( cult的名词复数 )；狂热的崇拜；（有极端宗教信仰的）异教团体 | |
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43
tenure
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| n.终身职位；任期；(土地)保有权，保有期 | |
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amass
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| vt.积累，积聚 | |
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45
shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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46
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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47
rattles
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| （使）发出格格的响声， （使）作嘎嘎声( rattle的第三人称单数 )； 喋喋不休地说话； 迅速而嘎嘎作响地移动，堕下或走动； 使紧张，使恐惧 | |
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48
dispel
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| vt.驱走，驱散，消除 | |
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49
depicting
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| 描绘，描画( depict的现在分词 )； 描述 | |
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50
interpretations
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| n.解释( interpretation的名词复数 )；表演；演绎；理解 | |
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51
stationary
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| adj.固定的，静止不动的 | |
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52
exhaled
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| v.呼出，发散出( exhale的过去式和过去分词 )；吐出（肺中的空气、烟等），呼气 | |
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53
longing
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| n.（for）渴望 | |
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54
trudging
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| vt.& vi.跋涉，吃力地走（trudge的现在分词形式） | |
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55
shaft
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| n.(工具的)柄，杆状物 | |
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56
perfectly
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| adv.完美地，无可非议地，彻底地 | |
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57
tingle
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| vi.感到刺痛，感到激动；n.刺痛，激动 | |
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58
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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59
ascended
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| v.上升，攀登( ascend的过去式和过去分词 ) | |
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60
vaguely
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| adv.含糊地，暖昧地 | |
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61
crux
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| adj.十字形；难事，关键，最重要点 | |
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62
Christian
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| adj.基督教徒的；n.基督教徒 | |
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63
jolted
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| （使）摇动， （使）震惊( jolt的过去式和过去分词 ) | |
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64
emanate
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| v.发自，来自，出自 | |
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65
murky
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| adj.黑暗的，朦胧的；adv.阴暗地，混浊地；n.阴暗；昏暗 | |
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66
navigate
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| v.航行，飞行；导航，领航 | |
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67
possessed
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| adj.疯狂的；拥有的，占有的 | |
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68
vaulted
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| adj.拱状的 | |
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69
arid
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| adj.干旱的；(土地)贫瘠的 | |
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70
counteract
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| vt.对…起反作用，对抗，抵消 | |
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71
corrosive
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| adj.腐蚀性的；有害的；恶毒的 | |
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72
containment
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| n.阻止，遏制；容量 | |
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73
activated
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| adj. 激活的 动词activate的过去式和过去分词 | |
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74
recessed
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| v.把某物放在墙壁的凹处( recess的过去式和过去分词 )；将（墙）做成凹形，在（墙）上做壁龛；休息，休会，休庭 | |
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75
alcove
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| n.凹室 | |
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76
luxurious
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| adj.精美而昂贵的；豪华的 | |
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77
knight
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| n.骑士，武士；爵士 | |
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78
bustled
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| 闹哄哄地忙乱，奔忙( bustle的过去式和过去分词 )； 催促 | |
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79
gist
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| n.要旨；梗概 | |
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80
loomed
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| v.隐约出现，阴森地逼近( loom的过去式和过去分词 )；隐约出现，阴森地逼近 | |
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81
gateway
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| n.大门口，出入口，途径，方法 | |
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82
parquet
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| n.镶木地板 | |
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83
barricade
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| n.路障，栅栏，障碍；vt.设路障挡住 | |
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84
caverns
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| 大山洞，大洞穴( cavern的名词复数 ) | |
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85
clearance
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| n.净空；许可(证)；清算；清除，清理 | |
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86
underneath
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| adj.在...下面，在...底下；adv.在下面 | |
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87
investigation
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| n.调查，调查研究 | |
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88
grumbled
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| 抱怨( grumble的过去式和过去分词 )； 发牢骚； 咕哝； 发哼声 | |
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89
suave
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| adj.温和的；柔和的；文雅的 | |
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90
fumbling
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| n. 摸索,漏接 v. 摸索,摸弄,笨拙的处理 | |
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