(1) Fresco “The Crucifixion,” circa 1350 A.D. In the altar of Visoki Decani Monastery, Yugoslavia. (2) “Annales Laurissenses,” manuscript from the 12th century. (3) “The Glorification of the Eucharist” by Ventura Salimbeni (between 1568 and 1613) in Montalcino, Church of San Pietro. (4) The Baptism of Christ (1710) by the Flemish painter Arent De Gelder, Cambridge Museum Fitzwilliam. Here we refer more to details that are themselves fully figurative than to symbolism. Sacred scriptures are filled with references to lights, angels, doves, stars, and other signs of heavenly origin. All this has led painters, especially in the Middle Ages, to depict them in their works, though sometimes, as we see in this sample, there are interpretations that escape symbolism and enter a fully figurative context. (1) “The Crucifixion” — we would have some difficulty interpreting as stars what is described here as flying objects with figures inside and with an attitude of manipulating something. (2) It refers to an event in the year 776 during a Saxon siege at the castle of Sigiburg, France, which could be defined as a comet, though chronicles mention several luminous objects. Four centuries later, the illustrator drew only one. (3) “The Glorification of the Eucharist,” we observe the Father and the Son, and above them the Holy Spirit represented by a dove. What is not so easy for us to interpret is the sphere they hold with two rods like antennae and the protrusion that projects from this sphere. (4) “The Baptism of Christ,” an object in the shape of a disk appears shining with rays of light on John the Baptist and Jesus, where it would be more logical to have painted the Holy Spirit in the form of a dove, as other artists have done, based on the belief at the time that only birds had been seen flying.