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Considered
the
most
anatomically
correct
drawing
of
its
day
,
Da
Vinci
’
s
The
Vitruvian
Man
had
become
a
modern
-
day
icon
of
culture
,
appearing
on
posters
,
mouse
pads
,
and
T
-
shirts
around
the
world
.
The
celebrated
sketch
consisted
of
a
perfect
circle
in
which
was
inscribed
a
nude
male
…
his
arms
and
legs
outstretched
in
a
naked
spread
eagle
.
Da
Vinci
.
Langdon
felt
a
shiver
of
amazement
.
The
clarity
of
Saunière
’
s
intentions
could
not
be
denied
.
In
his
final
moments
of
life
,
the
curator
had
stripped
off
his
clothing
and
arranged
his
body
in
a
clear
image
of
Leonardo
Da
Vinci
’
s
VitruvianMan
.
The
circle
had
been
the
missing
critical
element
.
A
feminine
symbol
of
protection
,
the
circle
around
the
naked
man
’
s
body
completed
Da
Vinci
’
s
intended
message
–
male
and
female
harmony
.
The
question
now
,
though
,
was
why
Saunière
would
imitate
a
famous
drawing
.
«
Mr
.
Langdon
,
»
Fache
said
,
»
certainly
a
man
like
yourself
is
aware
that
Leonardo
Da
Vinci
had
a
tendency
toward
the
darker
arts
.
»
Langdon
was
surprised
by
Fache
’
s
knowledge
of
Da
Vinci
,
and
it
certainly
went
a
long
way
toward
explaining
the
captain
’
s
suspicions
about
devil
worship
.
Da
Vinci
had
always
been
an
awkward
subject
for
historians
,
especially
in
the
Christian
tradition
.
Despite
the
visionary
’
s
genius
,
he
was
a
flamboyant
homosexual
and
worshipper
of
Nature
’
s
divine
order
,
both
of
which
placed
him
in
a
perpetual
state
of
sin
against
God
.
Moreover
,
the
artist
’
s
eerie
eccentricities
projected
an
admittedly
demonic
aura
:
Da
Vinci
exhumed
corpses
to
study
human
anatomy
;
he
kept
mysterious
journals
in
illegible
reverse
handwriting
;
he
believed
he
possessed
the
alchemic
power
to
turn
lead
into
gold
and
even
cheat
God
by
creating
an
elixir
to
postpone
death
;
and
his
inventions
included
horrific
,
never
-
before
-
imagined
weapons
of
war
and
torture
.
Misunderstanding
breeds
distrust
,
Langdon
thought
.
Even
Da
Vinci
’
s
enormous
output
of
breathtaking
Christian
art
only
furthered
the
artist
’
s
reputation
for
spiritual
hypocrisy
.
Accepting
hundreds
of
lucrative
Vatican
commissions
,
Da
Vinci
painted
Christian
themes
not
as
an
expression
of
his
own
beliefs
but
rather
as
a
commercial
venture
–
a
means
of
funding
a
lavish
lifestyle
.
Unfortunately
,
Da
Vinci
was
a
prankster
who
often
amused
himself
by
quietly
gnawing
at
the
hand
that
fed
him
.
He
incorporated
in
many
of
his
Christian
paintings
hidden
symbolism
that
was
anything
but
Christian
–
tributes
to
his
own
beliefs
and
a
subtle
thumbing
of
his
nose
at
the
Church
.
Langdon
had
even
given
a
lecture
once
at
the
National
Gallery
in
London
entitled
:
»
The
Secret
Life
of
Leonardo
:
Pagan
Symbolism
in
Christian
Art
.
»
«
I
understand
your
concerns
,
»
Langdon
now
said
,
«
but
Da
Vinci
never
really
practiced
any
dark
arts
.
He
was
an
exceptionally
spiritual
man
,
albeit
one
in
constant
conflict
with
the
Church
.
»
As
Langdon
said
this
,
an
odd
thought
popped
into
his
mind
.
He
glanced
down
at
the
message
on
the
floor
again
.
O
,
Draconian
devil
!
Oh
,
lame
saint
!
