Direct historical parallel to those works are the seventeenth-century pictures by Dutch, “perspective painters”, among them Pieter Saenredama mainly, whose small, muted paintings of deserted church interiors strikes with its narrow colour and the mood of absence and transcendence. Most of these pictures were victims of subsequent interventions. Saenredam painted them mainly for documentation, but later buyers are often commissioned by other painters to overpaint people to spice up a narrativity. During renovations overcoats and anecdotes are usually removing, and the temples regain their monumentality and almost abstract minimalism. The absence of a man makes that action lose its meaning, and the issue is highlighting the spatial extent, the relationship between the objects, and the space in which they are placed. I try to focus an attention of the viewer on the visual contemplation, not dispersing it to the effort to read and define the content.