The maze motif in Andre Gide's 1914 Les Caves du Vatican is too obvious in a work of such subtlety. A carefully-crafted story that intertwines a farcical swindle with the psychological study of an apparently motiveless murder – the famous acte gratuit – all the while satirizing the bourgeois family and questioning organized religion, Les Caves du Vatican takes its characters through a confusing physical and emotional journey as it deconstructs the traditional novel. Freemason scientist Anthime Armand-Dubois's experiments with rats in a maze are described in detail only four pages into the work, and announce the author's intentions to experiment in similar fashion with his nineteenth-century characters, as he puts them into a bewildering twentieth-century mental architecture. But maze and labyrinth are technically two different concepts (although the lexical distinction is not made in French, which uses labyrinthe for both): the maze is designed to puzzle, while the labyrinth is a spiritual pathway. Gide has hidden a labyrinth in the mazes that mock the scientism of the Naturalists all the while evoking classical mythology. He intertwines the physical and the spiritual in many of his works, and Les Caves du Vatican is no exception; in the opening lines, the rheumatic Anthime announces his departure for Rome to seek medical help, to which his Catholic brother-in-law Julius replies that in Rome he should be seeking a remedy for his soul, not his body. The presence of a physical maze as well as a spiritual labyrinth metaphor in Les Caves du Vatican should hardly be surprising, given Gide's lifelong attempts to reconcile his physical and spiritual selves. Indeed, it is argued in this article that the spiritual labyrinth of French cathedrals, particularly that of Chartres, offers both the key to the novel's composition and a better reading of the spatial and emotional journeys of the characters than the obvious physical mazes of the work. The title of Les Caves du Vatican is where allusions to labyrinths and mazes begin. Caves has several possible interpretations; ut its principal meaning and the one that would first occur to the reader beginning the novel is 'cellars'. When associated with the Vatican, it suggests a catacomb-like network of ancient tunnels, but no action takes place therein. The misleading, empty title – cave also means 'hollow' – may be read as a hint that the underlying labyrinth motif is not merely physical. The Vatican cellars in the Les Caves du Vatican are mentioned only in a swindler's story, and the reader is forced to look for other meanings of cave and, perhaps, of labyrinth. By calling the work a sotie, Gide draws attention not only to the satirical intention of Les Caves du Vatican, but also associates it