Page 98 of The Lost Symbol

“The number 1514,” Langdon said as they hurried up the stairs, “is pointing us to a very specific piece of Dürer’s work.” They came into a huge corridor. Langdon glanced around and then pointed left. “This way.” They moved quickly again. “Albrecht Dürer actually hid the number 1514 in his most mysterious piece of art—Melencolia I—which he completed in the year 1514. It’s considered the seminal work of the Northern European Renaissance.”

Peter had once shown Katherine Melencolia I in an old book on ancient mysticism, but she didn’t recall any hidden number 1514.

“As you may know,” Langdon said, sounding excited, “Melencolia I depicts mankind’s struggle to comprehend the Ancient Mysteries. The symbolism in Melencolia I is so complex it makes Leonardo da Vinci look overt.”

Katherine stopped abruptly and looked at Langdon. “Robert, Melencolia I is here in Washington. It hangs in the National Gallery.”

“Yes,” he said with a smile, “and something tells me that’s not a coincidence. The gallery is closed at this hour, but I know the curator and—”

“Forget it, Robert, I know what happens when you go to museums.” Katherine headed off into a nearby alcove, where she saw a desk with a computer.

Langdon followed, looking unhappy.

“Let’s do this the easier way.” It seemed Professor Langdon, the art connoisseur, was having an ethical dilemma about using the Internet when an original was so nearby. Katherine stepped behind the desk and powered up the computer. When the machine finally came to life, she realized she had another problem. “There’s no icon for a browser.”

“It’s an internal library network.” Langdon pointed to an icon on the desktop. “Try that.”

Katherine clicked on the icon marked DIGITAL COLLECTIONS. The computer accessed a new screen, and Langdon pointed again. Katherine clicked on his choice of icon: FINE PRINTS COLLECTION. The screen refreshed. FINE PRINTS: SEARCH.

“Type in ‘Albrecht Dürer.’ ”

Katherine entered the name and then clicked the search key. Within seconds, the screen began displaying a series of thumbnail images. All of the images looked to be similar in style—intricate black-and-white engravings. Dürer had apparently done dozens of similar engravings.

Katherine scanned the alphabetical list of his artwork.

Adam and Eve

Betrayal of Christ

Four Horsemen of the Apocalypse

Great Passion

Last Supper

Seeing all the biblical titles, Katherine recalled that Dürer practiced something called Mystic Christianity—a fusion of early Christianity, alchemy, astrology, and science.

Science . . .

The image of her lab in flames rushed through her mind. She could barely process the long-term ramifications, but for the moment, her thoughts turned to her assistant, Trish. I hope she made it out.

Langdon was saying something about Dürer’s version of the Last Supper, but Katherine was barely listening. She had just seen the link for Melencolia I.

She clicked the mouse, and the page refreshed with general information.

Melencolia I, 1514

Albrecht Dürer

(engraving on laid paper)

Rosenwald Collection

National Gallery of Art

Washington, D.C.

When she scrolled down, a high-res digital image of Dürer’s masterpiece appeared in all its glory.