“The laguna, he thought, had indeed been unkind to her. Now she lay on a tray of cold metal in the Venice municipal morgue, alone and in darkness. A woman without a name. A woman without a face.”

Gabriel has just encountered Penny Radcliff for the first time. The events that lead to her identity’s discovery emphasize the novel’s preoccupation with questions of identity. This highlights the theme of The Deceptive Nature of Appearances.

“At the risk of sounding like His Holiness Pope Obvious, Catholicism cannot thrive without a dedicated, energetic clergy to preach the Gospels and administer the sacraments. Something has to change. But if I push too far or move too quickly, the world’s oldest institution could tear itself to pieces.”

Luigi makes this comment to Gabriel as a way of venting his frustration with the current state of the Catholic Church. Entrenched interests benefit from corruption and have no wish to see the new pope make radical changes. To some degree, Luigi must uphold the status quo or risk losing any chance of being a force for good in the future. This quandary highlights the theme of Preserving Reputation at All Costs.

“It is essential that you play no role in this matter whatsoever, Luigi. Otherwise you will expose yourself to criticism if there are credible allegations of wrongdoing by someone associated with the Vatican.”

Gabriel offers this advice when Luigi wants to mount an investigation into the disappearance of the painting. He is trying to prevent his friend from becoming implicated in the scandal. Bertoli also recognizes the pope’s vulnerability to lost reputation and tries to use the threat of exposure to his own advantage. Such comments emphasize the high value of a good reputation within the Vatican.

“His most revolutionary achievement, though, was sfumato, the hazy blurring of edges and transitions in color that would become the defining trait of his art. ‘Your shadows and light should be blended,’ he would later write, ‘in the manner of smoke losing itself on the air.’”

This statement describes the principle behind sfumato as an artistic technique perfected by da Vinci. The term is the title of Part 1 of the novel because it relates to objects that appear and then vanish. At several other points in the story, Gabriel uses the word to describe the method by which he plans to make the lost Leonardo disappear.

“‘If it wasn’t for you, he would be teaching history at a Jesuit high school somewhere in America.’ ‘What would be wrong with that?’ ‘For a cleric like Father Keegan, it would be intolerable. He wears his ambition on the sleeve of his black cassock, just like the rest of the Roman Curia.’”

Veronica makes this remark to Gabriel about the papal secretary. Although she isn’t a member of the clergy, her close relationship with Luigi allows her to observe the machinations going on in his orbit. Her statement is meant to warn Gabriel of the political maneuvering that is a constant feature of life inside the Vatican. The Curia is just as tempted by wealth and power as the laity.

“‘It was an inside job.’ ‘They always are,’ said Veronica. ‘But an inside job at the Vatican, well, that could be quite messy indeed.’”

At multiple points in the story, one or more characters make reference to something being an “inside job.” As this quote indicates, the Vatican is nearly impenetrable to outsiders, making Gabriel’s mission particularly difficult. His long history of spy work and his friendship with Luigi equip him with the tools to break through the Vatican’s wall of silence.

“‘Father Spada was never a threat to me. In fact, he was quite charming.’ ‘Most thieves are.’”

Luigi is telling Gabriel about his impression of the man who stole the Leonardo. Because the thief posed as a priest, his credibility was ensured. This highlights the theme of The Deceptive Nature of Appearances, as no one involved in the case—including Gabriel—is who they seem to be.

“His Holiness Luigi Donati departed for America. He dazzled at the United Nations and ruffled a few conservative feathers in Washington, but otherwise his first visit to the New World as pope was undiminished by any hint of Vatican scandal. It was, thought Gabriel, the only bright spot in the entire sordid affair.”

This quote emphasizes the importance of public image and the high stakes of maintaining a good reputation. The pope is well received in America, but Gabriel fears the shadow of scandal might taint the world’s perception of Luigi if he is in any way connected to the theft of the Leonardo. In the world of the novel, real virtue matters far less than having a virtuous image.

“‘The first thing I’ll need is access to SBL’s balance sheet, along with all its underlying assets, liabilities, loans, and the accounts of its major clients.’ ‘Why?’ ‘Art is money, Gabriel. Never forget that.’”

Martin and Gabriel are having a conversation about the Camorra bank. As a financier, Martin might be expected to focus on the bank’s balance sheet. However, he makes an important point about the real value of art: A masterpiece like the Leonardo confers prestige and social status on the possessor. This scene foreshadows a similar statement made by the oligarch who acquires the Leonardo. It hints that he love of art for its own sake is never the motivation for art collectors obsessed with power and status.

“‘It will take years to get that painting back.’ ‘What’s the alternative?’ ‘We put the painting in play. And then, when the opportunity presents itself, we acquire it.’ ‘Steal it, you mean?’ ‘Think of it as an extrajudicial seizure.’”

General Ferrari discusses pursuing the return of the stolen painting through legal means. As Gabriel rightly points out, the Swiss government might take years to investigate the case. His solution cuts through the red tape and returns the painting to its rightful owners by using illegal tactics. This conversation underscores The Limits of the Law.

“There were only scarcely perceptible transitions, the technique he called sfumato. This, Gabriel explained to Ingrid one afternoon, was how they were going to steal the painting. They would make it disappear in the manner of smoke losing itself on the air.”

At this and many other points, Gabriel draws an analogy between Leonardo’s art techniques and the technique that the ex-spy will use to recover his lost work. Gabriel is an art restorer by profession, but his covert investigations also carry overtones of artistry. He enjoys the dramatic flourish of a well-laid plan that takes his enemies by surprise.

“But who among them would be the first to dip his toe into the water? It would have to be someone possessed of immense charm and charisma and yet utterly devoid of morals or scruples. They were all in agreement that there was only one man for the job.”

Gabriel is conferring with his group of London art dealers to have them pose as potential buyers for the lost Leonardo. The quote is a tongue-in-cheek commentary on the type of personality best suited to thrive as an art gallery owner. While the group unanimously elects Oliver Dimbleby to step into the bidding arena, the description could fit any one of them.

“Look at the way she’s posed. She’s turned to the right but looking to the left, as though she’s been taken by surprise. That’s the essence of contrapposto. Never a static pose, always opposing directions. We’re going to create the same effect.”

Gabriel is explaining the next stage of his plan to Jacques. Once again, he refers to a Renaissance art technique to explain his strategy. The pose of the model in the painting is a visual misdirection. Gabriel intends to misdirect Tedeschi’s attention while the painting is switched at the airport terminal by the police. This highlights the novel’s theme of The Deceptive Nature of Appearances.

“What Alexander Prokhorov craved most was respect. He wanted to be known not as a man who had made his fortune manufacturing industrial pipe but as a modern-day Medici.”

This quote reveals the Russian oligarch’s mindset in acquiring the lost Leonardo. This highlights the theme of Preserving Reputation at All Costs. Art confers status on economic upstarts like Prokhorov, who made his fortunes in trade but wants to be viewed as part of the cultural elite, like the great patrons of the arts, the Medicis.

“All his many sins would soon be forgotten, absolved by the sfumato brushwork of a long-dead painter from the tiny Tuscan hamlet of Vinci.”

This statement is an elaboration of the oligarch’s motivation for acquiring the painting. While he wants respect, he is also aware that possessing the lost Leonardo will open doors that were previously closed to him because of his corrupt business practices. Those open doors offer valuable business contacts that might translate into wealth-building opportunities down the road. Once again, this quote reinforces the symbolic value of the painting in the narrative.

“You know what it’s like inside the Curia, Gabriel. The Apostolic Palace is a gilded cage filled with ruthless, sexually repressed men who know little of the world beyond the walls. I was the only person Luigi could trust. Other than you, of course.”

Veronica is making a telling observation that the only two people Luigi can trust are both outside the church. However, private contact with either Veronica or Gabriel would be viewed in the Vatican as scandalous. To shield himself from gossip, Luigi must resort to clandestine meetings to communicate with them. Once again, this highlights the importance of preserving one’s reputation.

“‘But we’ll be able to prove he’s lying.’ ‘How?’ ‘Sprezzatura,’ replied Gabriel. ‘It’s a studied nonchalance that the great painters of the Renaissance like Leonardo and Raphael used to great effect. You’re going to use it too. If you think you can pull it off, that is.’”

Here, Gabriel explains his next strategy in terms of an art technique, maintaining narrative consistency and heightening suspense as the rising action intensifies. This critical moment can’t be ruined by heavy-handed tactics: Luigi must not appear too eager to arrest Bertoli. The Art Squad must not appear too hasty in rounding up the Camorra. This studied nonchalance will cause the thieves to implicate themselves rather than needing the law or the church to do it for them.

“Protocol dictated that he be at the Holy Father’s side, nodding approvingly at his every utterance, no matter how objectionable he found them. Such was his calling, to serve as cupbearer to His Holiness Pope Che Guevara.”

Cardinal Bertoli is bitterly contemplating the role he must play at Luigi’s side. He wants to maintain the status quo but finds himself saddled with a reformer pope. His comment indicates that he is painfully aware of the need to keep up appearances no matter what his private thoughts might be. He outwardly supports Luigi while secretly undermining him, illustrating the theme of The Deceptive Nature of Appearances.

“In truth, he had joined the priesthood because it seemed like an attractive alternative to a life of backbreaking physical labor in his hardscrabble village.”

This quote explains Bertoli’s motivation for becoming a cleric in the first place. It provides insight into Bertoli’s character by showing that he didn’t start out as a wealthy or greedy individual. Rather, he saw the church as a way to escape a life of poverty. Once those conditions were met, Bertoli became more ambitious—and his ambitions led him all the way to the Vatican. His backstory raises the age-old question of whether power corrupts or whether one has to be corrupt in order to gain power.

“They had little impact on the controversy swirling beneath the papal airplane. A dead museum guard, an absent Curial cardinal—surely there had to be a connection. It was now a race among the Vaticanisti to see who got the story first.”

This quote describes the way that the Vatican manipulates the news media. Luigi has just been asked to make a statement about Ottavio’s murder and Bertoli’s absence, but he offers nothing but pious sentiments. This emphasizes the theme of Preserving Reputation at All Costs. The press will speculate on these connections regardless of the pope’s comments, so he provides a neutral statement.

“He reserved his harshest criticism, though, for the politicians of the far right who pursued power by stoking anti-immigrant resentment among their followers. Roundups and mass deportations, he declared, were not only inhumane, they were unchristian. Jesus would not have remained silent in the face of such cruelty, and neither would his Church. It was, thought Gabriel, yet another declaration of war.”

Gabriel is listening to Luigi’s public address at Lampedusa, where hundreds of migrants died while trying to escape their war-torn countries for safe harbor in Europe. Such a strong statement against far-right politicians carries implications far beyond Italy since Europe and America also contain politicians eager to exploit the fear of outsiders. This is one of the ways the novel engages with current events within its fictional context.

“‘You are also the only hope in a world gone mad,’ said Gabriel. ‘Someone has to speak for the poorest among us. Someone has to tell those who call themselves Christians that they are behaving in ways that Jesus himself wouldn’t recognize.”

Gabriel sympathizes with Luigi’s desire for reform. In this quote, he urges Luigi to take an even stronger stand against corruption. However, both men realize that they must be strategic, as any accusation threatens the established power base and might prove fatal to them.

“You have to understand, the Curia and the powerful cardinals run the Catholic Church. They merely tolerate a pope. My only hope of bringing about lasting reform is to survive.”

This statement is Luigi’s response to Gabriel’s desire for more drastic church reform. Although Luigi is idealistic, he is also pragmatic enough to know that antagonizing members of the Curia might result in his demise. This tension between speaking the truth and Preserving Reputation at All Costs permeates almost every conversation between Gabriel and Luigi in the novel.