Women, once celebrated as an essential half of spiritual enlightenment, had been banished from the temples of the world.
Even so, embarrassed officials at Florence’s Uffizi Gallery immediately banished the painting to a warehouse across the street.
Langdon quickly told her about works by Da Vinci, Botticelli, Poussin, Bernini, Mozart, and Victor Hugo that all whispered of the quest to restore the banished sacred feminine.
The sacred feminine… the chalice… the Rose… the banished Mary Magdalene… the decline of the goddess… the Holy Grail.
When Langdon had first seen The Little Mermaid, he had actually gasped aloud when he noticed that the painting in Ariel’s underwater home was none other than seventeenth-century artist Georges de la Tour’s The Penitent Magdalene—a famous homage to the banished Mary Magdalene—fitting decor considering the movie turned out to be a ninety-minute collage of blatant symbolic references to the lost sanctity of Isis, Eve, Pisces the fish goddess, and, repeatedly, Mary Magdalene.
Knights who claimed to be "searching for the chalice" were speaking in code as a way to protect themselves from a Church that had subjugated women, banished the Goddess, burned nonbelievers, and forbidden the pagan reverence for the sacred feminine."
After a moment of stunned silence, Rémy skulked out like a banished dog.