In Christian temples, and especially in the oldest ones, but also in some more modern ones, they are a clear example of the symbolism and iconography of the so-called “Sacred Art.” Today, and not without some concern, we see how most newly built Christian temples are designed so that the personality the architect wants to give to the work is placed in the background or sometimes completely absent, this “Sacred Art,” which should always be above architectural creations. A church should not be a merely functional place to accommodate a certain number of people. Its purpose is to be a Temple, with an atmosphere that enables the faithful to elevate their consciousness and to have a deeper communion with God. We do not dismiss the images, far too frequently, with attitudes of suffering or mystical introspection, but symbolic imagery is also necessary, which, together with the liturgy, fosters a harmonious combination that leads the faithful toward contemplation and reflection. This is the case of the Glories and Presences, an iconography that is still observed today in some churches. The Glories are a radiant triangle or delta that contains the name of Yahweh in Hebrew letters. One of the most representative cases is found in Catalonia (Spain), in the town of Sant Llorenç de Morunys, in its ancient monastery dating from the 10th century, where the Baroque altar dedicated to the Virgen dels Colls of the 18th century, the work of Josep Pujol, is one of the jewels of Catalan Baroque. The Presences are also represented by a delta, sometimes a radiant triangle, where inside there is an eye, representing God’s Omniscient vision. Let us recall Psalm 33:18. “Behold, the eye of Yahweh is upon those who fear Him, upon those who hope for His mercy.”