El Vecino Curioso

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El Vecino Curioso (The Curious Neighbor) by Salvador Fernández Oliva, 1999
Calle de la Almudena
Madrid, September 2025

“Madrid has almost 2,000 sculptures, some of which are predictably dedicated to former monarchs, military heroes, and other prominent public figures. Yet some of the more interesting statues are compelling precisely because of how ordinary they are. Look carefully and you'll find life-size depictions or anonymous Madrileños going about their business. ‘El Vecino Curioso’, or ‘The Curious Neighbor’, is a bronze of a middle-aged gentleman created by sculptor Salvador Fernández Oliva in 1999. He appears to be leaning on a railing and looking down at the archeological remains of Santa María de la Almudena, the first church to be built in Madrid. The statue is anchored directly to the sidewalk, without a base. Unfortunately, only a few remnants of the original church survived after it fell victim to the construction work on Calle de Bailén in 1868. What's left is visible through a protective glass case, into which this curious neighbor peers. The statue's underside is polished from the many times it has been touched. Some say this is out of habit, others think it brings good luck. The statue has spent several decades in the same place, practicing the national sport of pensioners: ‘watching the works’.” (The Curious Neighbor, Atlas Obscura)

Basilica di Santa Anastasia

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Basilica di Santa Anastasia
Piazza Santa Anastasia
Verona, May 2025

“The church of San Pietro da Verona in Santa Anastasia, better known as the basilica of Santa Anastasia, is an important Catholic place of worship that stands in the heart of the historic center of Verona; it is located at the end of the decumanus maximus of the city in Roman times, near the point where the wide meander of the Adige river is crossed by the Ponte Pietra, where the two main traffic routes of the city, road and river, gravitate. It is the largest, most solemn and representative church in Verona, a reflection of a lively moment in the city's life, when the expansion and consolidation of political and economic institutions allowed the community, in synergy with the Scaliger rule, the Dominican clergy and the Castelbarco family, to make a considerable financial effort to build this important temple, a symbol of their power. The church represented the most important Gothic period for Verona. In the years immediately following its construction, it became a point of reference on which the designs of several other religious buildings were based, especially thanks to some innovations that St. Anastasia introduced into the plan, with the development of a wide transept and the articulation of the apsidal area into four chapels on either side of the presbytery, where the high altar is located, to the wall structure entirely in brick and to the new type of bell tower. The façade is unfinished, except for a majestic Gothic mullioned doorway that leads to a large interior divided into three naves by monumental cylindrical columns. On either side of the two naves are a series of chapels and numerous altars, the most famous of which is the Fregoso altar by Danese Cattaneo, praised by Giorgio Vasari. In addition, it is possible to admire paintings and frescoes by famous masters of Veronese painting and beyond, such as Pisanello, Altichiero, Liberale da Verona, Stefano da Zevio, Nicolò Giolfino, Giovan Francesco Caroto, Felice Brusasorzi, Francesco Morone, Michele da Verona and Lorenzo Veneziano.” (Sant'Anastasia, Wikipedia)

Torre de Arias Dávila

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Torre de Arias Dávila
Plaza los Huertos
Segovia, September 2025

“On the corner of Calle Colón and Plaza de los Huertos. It is in perfect condition. Tower of an old palace. Belonging to the powerful Diego Arias Dávila, father of Bishop Juan. This family, years later, became Counts of Puñoenrostro. Its construction style is very characteristic: mixed walls alternating between sections of masonry partially bonded with lime, brick courses, and adobe covered with smooth plaster or decorated with light sgraffito. Of particular note is a magnificent crenellated continuous balcony with various loopholes and coats of arms. The geometric sgraffito of its exterior decoration shows the multitude of designs that this typically Segovian plaster can display. In addition to the impressive main tower, there was a smaller one on the west facade, built with brick and adobe, now truncated and blended into the modern facade. Its image survives in an 1850 painting by Valentín Carderera.” (Torre de Arias Dávila, Fortificaciones de España)

Chapel of Our Lady of the Rosary

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Chapel of Our Lady of the Rosary
Santa Corona
Contrà Santa Corona
Vicenza, May 2025

“As a thanksgiving for the victory at the Battle of Lepanto, to which Vicenza contributed two ships, the Confraternity of the Rosary erected this large chapel—the fourth on the right—completed in 1619, on the site previously occupied by two smaller 15th-century chapels of the Nievo and Monza families. To add height and integrate the chapel with the church, the right nave’s vault was demolished and replaced with a higher ceiling with a grand scenic effect; the imposing entrance arch to the nave is echoed inside. Ten years later, a majestic altar of light and gray marble was erected, featuring polychrome statues of Saint Thomas and Saint Catherine of Siena—the patrons of the two previous chapels—flanking the Virgin of the Rosario, from whose starry crown rays of light emanate throughout the niche. In the intrados of the niche, fifteen painted octagons depict the Mysteries of the Rosary. Above the archivolt, three cherubs symbolize the Virginity of Merciful Mary (with the attribute of a cedar), Divine Grace (with a cornucopia), and Prudence (with a mirror and serpent). The two statues on the entablature are allegories of Meekness (holding a lamb) and Temperance (flanked by a camel). Above the attic, three putti symbolize Purity (with a dove), the Holy Spirit (a dove resting with spread wings on its head), and Providence (with a rudder).” (Santa Corona, Wikipedia)

Convento de la Anunciación

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Convento de la Anunciación (Las Úrsulas)
Calle de las Úrsulas
Salamanca, September 2025

“The Convent of the Annunciation, better known as Las Úrsulas, is a Franciscan convent located in the city of Salamanca, on the Paseo de las Úrsulas. Located in the lower choir of the church is a small but interesting museum. The convent of Santa Úrsula was founded by Sancha Maldonado between 1460 and 1470, the erection of the monastery being confirmed by papal bull granted by Sixtus IV in 1480. The convent was intended for the Sisters of the Third Order of Saint Francis. The original building is not the one that has survived to this day, although it is known to have been small. Through the aforementioned papal bull, its name was changed from Saint Ursula to the Annunciation of Saint Mary. The need to expand the building soon arose, with the patronage of Alonso II de Fonseca , Archbishop of Santiago and later Patriarch of Alexandria, and nephew of the founder, who intended to establish his funeral chapel in the convent.” (Convento de la Anunciación, Wikipedia)

Ponte Sant'Agostino

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Ponte Sant'Agostino
Via San Tommaso
Padua, May 2025

“Ponte Sant'Agostino is one of the bridges that populate the city of Padua. This natural bridge, a continuation of Via San Tommaso, takes its name from the Church of Sant'Agostino, demolished in 1818. The ancient church had three naves. From the bridge you can enjoy a beautiful view of the Venetian city and admire one of its symbols: the Torre della Specola.” (Ponte Sant' Agostino, Italia Virtual Tour)

Iglesia-convento de Santa Teresa

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Iglesia-convento de Santa Teresa
Statue of Santa Teresa by Óscar Alvariño, 2016
Plaza de la Santa
Ávila, September 2025

“The Iglesia-convento de Santa Teresa is a church and convent located in Ávila, Spain. It was built by the Order of Discalced Carmelites, as outlined by friar Alonso de San José, in the Carmelite style in the first third of the 17th century, supposedly on the site where Saint Teresa of Ávila was born. The central rectangle is divided in four bodies with a triangular pediment with a circle in the middle. The lowest part contains a statue of Saint Teresa. The part below the pediment shows a large coat-of-arms. The entrance consists of three rounded arches, the middle one flanked by pilasters. The interior of the church was built in the style of the Valladolid classicism. It consists of a nave and two lateral aisles, with a transept and a cupola above the crossing. The Chapel of Birth, alongside the presbytery, coincides with place where Teresa was born.” (Iglesia-convento de Santa Teresa, Wikipedia)