of; symbols, signatures and styles. I understood how differently they related to life, and somehow couldn’t help but think, that they may have been much closer to the truth then we are. One depicted three noble figures dressed in their hunting clothes, accompanied (on the fresco) by two dancing skeletons. Life and death was combined, not feared.
There was also something quite obvious; every single person painted on those crumbling walls was blond or red headed; not a single one a brunette. It was not only the hair, but the facial features that seemed to be misplaced. They weren’t people of a southern Mediterranean origin; their faces were long and pointed, yet, they were a part of its territory; these were certainly a people from northern Europe—Normans?
A short passage to the church of San Biagio reflected a continued military-Templar presence. The odd part was that as much as theses places were similar, they possessed symbols that came from left field, as though thrown in on a whim. San Biagio church was odd in this way, not only, it was masked up (like many of the others)—(like the symbols and ancient expressions hidden in caves). Frescoes were plastered up behind false walls and cheap tasteless flooring covered the original in San Biagio Church. Maybe they never intended on having someone construct a puzzle from the pieces, and somehow I think they may have been excessively ignorant at the time.
San Biagio now has exposing holes in its cheap yellow plaster, and what did we find behind them? I saw the vague image of familiar colors; it then hit me; the colors, the style, the time period was the same—the same as the others we saw in Melfi. There was an entire wall placed over an obvious