Of course, passed through the lens of solid engineering and wise use of light for the representation, public presentation areas, which are right in the middle. As a bonus, you can see the Sagrada Familia through those trifora windows.

But the serenity in the face is probably the most telltale sign. He’s not mentally adding up how much it needs to meet wages this month, but counting the days left until he can afford a third chain. It’s a rosy, healthy faced; only the eyes reveal an extraordinary acumen. Hosted at the Gulbenkian

The painting is entitled “Self-portrait wearing beret and two chains”, we should assume that by Rembrandt with the help of the workshop, and it’s probably a good example of what Svetlana was trying to transmit. It represents a pretty successful business person who can afford not one, but two chains

The peacocks framing the lower-floor windows are specially beautiful, and the way how they are integrated with the brick wall.
The architect was Leon de Keyser, who probably should be better known; he built also other houses in the same street and in the city. I love the way they maximize light.

Built at the turn of the 20th century, it’s full of art deco houses designed mainly by local architects; no Hankar or Horta there, since he was busy in Brussels and elsewhere. But they are beautifully crafted with rounded windows and ceramic tiles

The panel #7 also includes the Victorious Sun, that looks East to the rising sun, sun beating darkness all over again, in a victory without any kind of shades: good vs evil, Constantine-with-God-as-sidekick vs. Magentius. His “basilica” was one of the first Christian namesakes, a symbolic victory

And it features in three panels Constantine’s arch, the triumphal arch just by the side of the Colosseum. It celebrates the victory of Constantine over Magentius in the Battle of the bridge Milvius, which is also famous in Christian history because it’s where cross-as-victory talisman made its intro

The dead giveaway, anyway, is that Saint Peter with the keys is at the other side of the Capilla Real door, in Granada. It’s a Baroque sculpture from the late 18th century by either Verdiguier or Cornejo, it’s not clear. The iconographic program and the whole cathedral are pretty nice anyway.

The issue with Saint Paul is that he died by the sword, so it’s not a thing you would brandish. So I thought it would be Elijah. But then Elijah comes with a crow.
No problem: the lore also says that, in the hands of Paul, the word of God was wielded like a sword.

What do we have here? A (missing) sword, a long beard, robes, humongous book. Who could that be? Well, a prophet or a gospel writer, and then someone who uses a sword or died by the sword. That would be either the prophet Elijah, who used a flaming sword, and… Saint Paul

You probably mean the ones at the floor. In boxes they are high stools. Not entirely uncomfortable, but not very comfortable either

By the side of the altar, a traditional representation of the saint, with the palm of martyrdom as well as the eyes in a plate, the usual attributes. This very fine Baroque sculpture pales by the side of Caravaggio, but then everything does.

It’s a wonderful painting, created by Caravaggion during his stay in Sicily, while fleeing away from murder accusations in Rome; she was beheaded, but Caravaggio barely suggests this with a cloth around the neck, that actually hides a “pentimento” where the head was actually severed.