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Three colors, three planes, one diagonal — and the result is a composition so formally resolved it could have been designed rather than found. The pale yellow wall occupies the left half of the frame; the deep blue of the Atlantic sky takes the upper right; a white roofline cuts diagonally between them, its sharp edge the organizing line that holds the whole arrangement in place. Two small black fittings appear at the roofline, the only details in a frame otherwise committed to pure color and plane — they provide the scale that the composition would otherwise refuse to give you. Lisbon, in the right light, doesn't need to try very hard to be this beautiful.
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