Angels and Demons

“On a busy European street, the killer serpentined through a crowd. He was a powerful man. Dark and potent. Deceptively agile. His muscles still felt hard from the thrill of his meeting.”

The Hassassin is characterized as both powerful and intimidating. The choice of the word “serpentined” likens him to a snake and implies that his movement down the street, and his actions more broadly, are smooth but menacing and wily. He is quickly established as a fearful antagonist. This characterization foreshadows the torturous murders that he carries out with apparent delight.

“On the far wall, dominating the decor, was an enormous wooden crucifix, which Langdon placed as fourteenth-century Spanish. Above the cruciform, suspended above the ceiling, was a metallic mobile of the orbiting planets. To the left was an oil painting of the Virgin Mary, and beside that was a laminated periodic table of elements.”

Vetra symbolizes the union of science and Catholicism, elements that have traditionally stood in opposition. His study, which is adorned with both religious and scientific features, acts as a broader symbol of his belief that these schools of thought are complementary rather than in opposition.

“Staring up at her from the floor, discarded like a piece of trash, was an eye-ball. She would have recognized that shade of hazel anywhere.”

The Hassassin manages to access the Haz-Mat chamber, which contains the largest sample of antimatter, by removing Vetra’s eyeball and using it for the retina scan. This further characterizes this character as an evil antagonist. This moment also clarifies that the antimatter has been stolen and moves the plot forward toward Vatican City, where Vittoria Vetra and Langdon desperately search for it.

“The room was a lushly adorned Renaissance library complete with inlaid bookshelves, oriental carpets, and colorful tapestries […] and yet the room bristled with high-tech gear—banks of computers, faxes, electronic maps of the Vatican complex, and televisions tuned to CNN.”

The Vatican is both a historical and religious relic, as well as home to the current Pope, the supporting Church officials, and the Swiss Guard. It is also a tourist attraction. The Swiss Guard Office contains elements that illustrate all of these seemingly contrasting features—it is both ancient and modern. On a broader level, this corresponds to Langdon’s use of symbology to solve a modern and pressing threat to the Vatican.

“Langdon felt hypnotized by the Camerlengo’s presence. Young and wearied as he was, the priest has the air of some mythical hero—radiating charisma and authority.”

The Camerlengo is initially characterized as capable, empathetic, and a passionate protector of the Church. This characterization intentionally leads the reader away from suspecting him as the orchestrator of the bogus plot.

“Four cardinals. Four churches. The four altars of science.”

The Hassassin refers to the assassination of the cardinals on the altars of science. This seems metaphorical to the other listeners, but Langdon, with his wealth of religious history knowledge, correctly interprets that the cardinals will be killed in the four churches of the Illuminati map. This begins Langdon and Vittoria’s frantic search across Rome to try to save the four cardinals.

“From Santi’s earthly tomb with demon’s hole,

‘Cross Rome the mystic elements unfold.

The path of light is laid, the sacred test,

Let angels guide you on your lofty quest.”

Vittoria and Langdon discover John Milton’s poem in Galileo’s Diagramma Della Verita. The poem seems to point to the Pantheon, where Raphael Santi’s body is entombed. However, Langdon later realizes that it points to a tomb constructed by Raphael in a church connected to the element of earth. The poem also alludes to the fact that the altars of science form the shape of a cross: “cross Rome the mystic elements unfold.” Symbology is introduced as a pivotal and recurring theme as Langdon guides them across Rome by interpreting ancient symbols.

“The Chigi Chapel was not always known as the Chigi. It used to be called Capella della Terra.”

Langdon realizes that the Chigi Chapel is the location of the first captured Cardinal when he remembers that the Church used to be called Chapel of the Earth. This symbolically links the location to earth, the first scientific element, and therefore the first “altar of science.” Symbology continues to be a prevalent theme in these chapters.

“He was buried up to his waist in the earth. Standing upright with half of him below ground. Stripped naked. [...] The man’s mouth had been jammed open and packed solid with dirt.”

Langdon finds the first cardinal brutally murdered in the demon’s hole of the Chigi Chapel. This confirms his theory about the correct interpretation of the first Illuminati clue. Suspense builds as the horrific theory postulated by Langdon is confirmed. The characters are motivated to prevent further murders by interpreting the Illuminati clues to find the other altars of science. This murder once again illustrates the violent and sadistic nature of the Hassassin. It also alludes to Carlo Ventresca’s betrayal, as the reader later learns that these murders were orchestrated by him.

“The reporter continued, sounding tense. ‘Shocking developments in the Vatican elections this evening. We have reports that two members of the College of Cardinals have been brutally murdered in Rome.’”

The media receives word of the murders via Glick and Macri’s coverage. They, in turn, were tipped off by the Hassassin on Ventresca’s instruction. The media coverage of the shocking events alludes to Ventresca’s desire for the crimes to receive public attention. He wants to draw the world’s attention to the triumph of religion over science when he allegedly receives communication from God and saves Vatican City.

“His tongue was black as death.”

Vittoria accompanies Ventresca and several Swiss Guards to exhume the late Pope and inspect him for signs of poisoning. His black tongue indicates that he was murdered through an overdose of the prescription medication Heparin. The Pope’s murder indicates a betrayal from within and alludes to Ventresca’s scheme.

“Finally, Janus spoke. ‘Eliminate them if need be.’ The killer smiled. ‘Consider it done.’ He felt a warm anticipation spreading through his body. Although the woman I may keep as a prize.”

The Hassassin’s sadistic pleasure in killing is revealed in his smile and anticipation at the idea of killing Vittoria and Langdon. Furthermore, his excitement at the idea of keeping Vittoria as “a prize” reveals his misogyny; he objectifies Vittoria and believes that he has a right to rape her. The reader’s shock when they later learn that Ventresca is Janus is accentuated by the realization that Ventresca—seemingly nonchalantly—ordered the deaths of so many to further his cause.

“To science, I say this. The church is tired. We are exhausted from trying to be your signposts. Our resources are drying up from our campaign to be the voice of balance as you plow blindly on in your quest for smaller chips and larger profits.”

Ventresca addresses the world and preaches scientific restraint and a return to faith. Unlike Vetra—who believed that science and faith could coexist—Ventresca articulates that a dichotomy exists between science and the Church. This alludes to Ventresca’s scheme to set up a showdown between religion and science and have religion prevail as the victor.

“Oh come on! It’s so obvious! Think about it! The Illuminati disappear off the face of the Earth in the 1950s at about the same time CERN is founded. CERN is a haven for the most enlightened people on earth.”

Gunther Glick postulates that CERN might be the new Illuminati base. This positions the reader to wonder whether Maximilian Kohler, the head of CERN, might be Janus. Brown encourages this red herring when Kohler reveals his hatred of religion.

“The lone pagan is the pagan symbol for the Angel of Peace.”

Langdon successfully identifies the final Illuminati marker, which directs him toward the Church of Illumination. Symbology continues to be essential in driving the plot. The difficulty in interpreting this symbolic marker also illustrates the Illuminati values of intelligence and persistence; only the most determined and thoughtful scientists would be led to their Church of Illumination.

“Vittoria waved a torch in front of her, the vengeance in her face resplendent in the flames. How he escaped, Langdon did not know or care. He began scrambling back up over the banister.”

Vittoria is characterized as powerful and capable when she escapes the ropes that bind her and attacks the Hassassin. The Hassassin views her as a powerless object and looks forward to assaulting and killing her. Poetic justice is achieved when she escapes and instead kills him.

“The Camerlengo, still twisted on the floor, rolled towards Rocher, and with the trancelike terror of the early witch hunts, pointed his index fingers at Rocher and yelled a single word, ‘ILLUMINATUS!’”

Rocher is shot on the spot by Chartrand after the Camerlengo accuses him of being an Illuminati member. Readers have been led to share this suspicion; it seems that Janus is Kohler, and Kohler was assisted by Rocher. This theory is bolstered by the Camerlengo’s accusation and the brand on the Camerlengo’s chest.

“He looked up at the sky, still nodding furiously. He shouted to the heavens, ‘Upon this rock I shall build my church!’”

The Camerlengo apparently received word from God about the location of the antimatter canister. This allows the Camerlengo to complete his ruse; he has set up religion and science in opposition to each other, and he demonstrates the apparent power of God by saving the Church through his instruction.

“The Camerlengo ran on, standing tall, calling out to the world to have faith, running toward the masses carrying this weapon of destruction. Langdon ran after him. What is he doing? He will kill them all! ‘Satan’s work,’ the Camerlengo screamed, ‘has no place in the House of God!’”

This scene constitutes the novel’s climax. The orchestrated nature of the scene is alluded to in the Camerlengo’s confident declarations and almost cinematic lines and actions; he plans to instill the world’s confidence in God by saving the Vatican from the antimatter canister.

“‘I’m sorry,’ the Camerlengo said. ‘It wasn’t supposed to happen this way.’ Then he opened his door and hurled himself into the night.”

The Camerlengo uses the one parachute to save himself despite his apparent selflessness in flying the helicopter with the antimatter into the sky. The callousness of leaving Langdon in the helicopter, which will explode imminently, seems out of character for the selfless Camerlengo. This is a clue to the true nature of the stunt. Camerlengo never intended to sacrifice himself for the greater good. The reader is positioned to suspect the Camerlengo’s true nature.

“It troubles me that Leonardo Vetra practically proved the existence of your God, and you had him murdered!”

The camcorder on Kohler’s wheelchair reveals the truth; in a major twist, the reader learns that the Camerlengo had Vetra murdered, stole the antimatter, and organized the murder of the four cardinals.

“Oh, this faithless world! Someone must deliver them. You. If not you, who? You have been saved for a reason. Show them the old demons. Remind them of their fear. Apathy is death. Without darkness, there is no light. Without evil, there is no good. Make them choose. Dark or light. Where is the fear? Where are the heroes? If not now, when?”

In an apparent message from God, the Camerlengo reveals his motivation. The theme of The Conflict Between Science and Religion is explored in the impassioned message that the Camerlengo remembers as he arrives at the College of Cardinals. He believes that to reaffirm the world’s faith in God and the Church, he needs to resurrect and then defeat ancient demons.

“‘Mr. Langdon?’ Chartrand repeated. ‘I was asking about the helicopter?’ Langdon gave a sad smile. ‘Yes, I know…’ He felt the words flow not from his mind but from his heart. ‘Perhaps it was the shock of the fall…but my memory…it seems…it’s all a blur.’”

Langdon and Vittoria ultimately decide to not expose the Camerlengo’s duplicity and deception because it would devastate the millions of faithful believers who were transfixed by the events. This characterizes Langdon as thoughtful. It also reveals an unexpected loyalty to the Church and the kindness of Mortati, the new Pope, who requested discretion.