Part of grey and pink granodiorite stela bearing priestly decree concerning Ptolemy V in three blocks of text: Hieroglyphic (14 lines), Demotic (32 lines) and Greek (54 lines). The inscription is a decree passed by a council of priests, one of a series that affirm the royal cult of the 13 year-old Ptolemy V on the first anniversary of his coronation.

© The Trustees of the British Museum. Shared under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence.

The Rosetta Stone

The coffin ensemble of Taditjaina consists of an outer coffin (inventory no. 150a; approx. 76 x 193 x 73 cm) and an inner one (inventory no. 150b; approx. 43 x 173 x 48 cm). They are possibly from the Theban necropolis, and date back to the beginning of the 26th Dynasty (approx. 664–525 B.C.). Both coffins perfectly fit into one another. The two coffins and the mummy of lady Taditjaina were a gift to the Württembergian royal house from the German consul to Alexandria, Mr. von Dumreicher, between 1820 and 1830. They were later given to the University of Tübingen in 1911. The wooden coffins are white stuccoed, and have polychrome scenes, painted red, black, blue, dark green and yellow. The inscriptions of the coffins contain various scenes and texts from the ancient Egyptian Book of the Dead—a guide for the afterlife. The texts should guarantee the continued existence and provision of Taditjaina, the lady of the house, the noble one, in the Netherworld.

(inventory no. 150a–b)

Coffin Ensemble of Taditjaina

Limestone statue of attendant god dedicated to Nabu by Adad-Nirari III and Sammuramat; carved from inferior limestone, standing in the attitude of submission, wearing the single-horned crown proper to minor deities. There is a cuneiform inscription around the skirt.

© The Trustees of the British Museum. Shared under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence.

See: https://www.britishmuseum.org/collection/object/W_1856-0909-65

Statue, Neo-Assyrian, Temple of Nabu

Antatt spillebrikke av kleberstein med runeinnskrift, funnet i middelalderkontekst (ca 1100-tallet) under veien ved Erling Skakkes gate 9 i Trondheim.

Runolog Karen Langsholt Holmqvist har lest innskriften som **s i g g s i f r**, og tolker den som et navn, sannsynligvis navnet på den som eide brikka eller den som ristet runene. En alternativ tolkning kan være at navnet, som direkte oversatt kan bety "Stridsbror", var kallenavnet på selve spillebrikka.

A presumed gaming piece of soap stone with a runic inscription, found in medieval context (12th century) under the road in Trondheim, Norway. Runologist Karen Langsholt Holmqvist has interpreted the inscription as a hitherto unknown name, Sigsífr. A direct translation of the name could be "Warriorbrother", which could alternatively be seen as a name of the gaming piece itself.

Created by Dag-Øyvind Solem in RealityCapture by Capturing Reality from 159 images in 00h:01m:57s.

Spillebrikke med runer / Gaming piece with runes

"Turquoise, brown and dark manganese faience mosaic was common in monumental Seljuq prayer niches. This impressive niche with Qur’anic inscriptions and arabesque and geometric patterns, once belonged to the Bey Hakim Mosque in Konya, Turkey. It was assembled from fragments and restored parts." ~ http://www.discoverislamicart.org/database_item.php?id=object;ISL;de;Mus01;19;en&cp

Name of Object:
Prayer niche (mihrab)

Location:
Berlin, Germany

Holding Museum:
Museum of Islamic Art at the Pergamon Museum

Date of Object:
About Hegira 669 / AD 1270

Museum Inventory Number:
I. 7193

Material(s) / Technique(s):
Glazed ceramic, faience mosaic.

Dimensions:
Height 395 cm, width 280 cm

Period / Dynasty
Seljuqs of Rum (Anatolian Seljuq)

Provenance:
Bey Hakim Mosque, Konya, Turkey.

![](https://i.imgur.com/Uq7BfcQ.jpg)

Prayer niche (mihrab)

Sculpture of a Roman gladiator

**A 3D model of an eighteenth-century bronze sculpture created by Pius Weloński (1849–1931).**

This figurative, whole-body sculpture depicts a Roman gladiator with an upraised arm. The pedestal bears the following inscription: Ave Caesar! Morituri, salutant [Long live Caesar! Those who are going to die greet you]. The gladiator is – judging by his props – most likely a retiarius [net-fighter]. He fought with a trident or harpoon made of tuna bones, a dagger, and a net that he threw at his opponent’s head.

**For more images and further information, visit**: https://muzea.malopolska.pl/en/objects-list/21

Inventory number: MNK II-rz-340

Location of the physical object: National Museum in Kraków, Poland

**Digitalisation: Regional Digitalisation Lab, Małopolska Institute of Culture in Kraków, Poland; “Virtual Museums of Małopolska” project.**

Project Visualization (3D model + textures): Marcin Solarz

Sculpture of a Roman gladiator

The Dome of the Rock (Arabic: قبة الصخرة, romanized: Qubbat aṣ-Ṣakhra) is an Islamic shrine at the center of the Al-Aqsa mosque compound on the Temple Mount in the Old City of Jerusalem. It is the world's oldest surviving work of Islamic architecture, the earliest archaeologically attested religious structure to be built by a Muslim ruler and its inscriptions contain the earliest epigraphic proclamations of Islam and of the Islamic prophet Muhammad (pbuh).


This can be used for films, game prototypes, augmented reality (AR), virtual reality (VR).

Masjid Al-Aqsa || Dome of the Rock 3D Model

In the build up to D-Day, American servicemen inscribed their names and home towns on a brick wall of the then mortuary building prior to embarkation from Southampton heading to the beaches of Normandy on June 6th 1944.

The project commemorates the 75th anniversary of D-Day through recording of the wall and  its inscriptions using a range of photographic techniques, as well as research into the surviving names to try to identify individuals and find out more about their stories. The ongoing reserach and database is now available through an interactive viewer.

Explore the Sketchfab powered experience [here](https://d-day.maritimearchaeologytrust.org)

The D-Day Wall, Southampton - Historic Graffiti

A big point cloud of the Humility Brings Prosperity gate, now installed in Gallery 200 at Mia.

*The gate comes from Shanxi province, which, because of its dry climate, contains the largest concentration of surviving historic wooden structures in China. An inscription on the main beam dates the gate to 1858, during the Qing dynasty (1644–1912).*

[More info](https://collections.artsmia.org/art/127331/humility-brings-prosperity-gate-china)

*This imposing gate once formed the entrance to the main courtyard of an urban middle-class family compound. The four-character panel over the doorway reads, Humility Brings Prosperity (Lüqian Jianfeng 履謙漸豐). The gate demonstrates the hallmarks of traditional Chinese architecture: a post-and-lintel structure that supports a graceful gable roof and intricate rafters, as well as brackets that extend the eaves and provide decoration. Like other works of traditional Chinese architecture, no glue or nails were used, and the gate was assembled using only joinery and wooden pins.*

Humility Brings Prosperity gate - point cloud

An inscribed oracle bone (jia gu 甲骨) from the Couling-Chalfant collection at the British Library.


Oracle bones were animal bones, usually ox shoulder bones or the underside of turtle shells, used for divination rituals in ancient China. Dating to the Shang dynasty (c. 1600 – 1050 BC), they bear the earliest extant form of Chinese writing and are the oldest items held in the British Library.


The inscription on the reverse of this particular bone records a lunar eclipse, which can be precisely dated to the night of 27 December 1192 BC.

This model was created for a British Library project on oracle bones that formed part of the UK-China Cultural Exchange 2015, supported by the Department for Culture, Media and Sport.


For more information see:

* http://www.bl.uk/collection-items/chinese-oracle-bone#sthash.8cDMmsmE.dpuf

* http://britishlibrary.typepad.co.uk/asian-and-african/


Photography: Neil McCowlen

Modelling: [Adi Keinan-Schoonbaert](https://sketchfab.com/adiks)

Oracle Bone, Or 7694/1595

The horse is part of the Cossack monument in Vienna's Türkenschanzpark from 2003. The multi-part monument, consisting of a seated figure with a pipe, an inscription stone (not shown in the 3D model) and a horse, was created by the artists Oleksi Chepelyk, Volodymyr Chepelyk and Volodymyr Skulsky and is intended to commemorate the efforts of the Ukrainian Cossacks in the co-liberation of Vienna in 1683.

[Model of the Cossack](https://skfb.ly/6VEHB)

Pferd

This monument is located in Athens, Greece, southwest of the acropolis (37.970189, 23.732006). It was erected around 131 AD. I am not sure about the translation of the inscriptions. (They will be updated) Currently there are two interpretations regarding the inscriptions. 

* They stated the seperation between two parts of the city, the older and the roman.
* They were a form of boast claiming all of the city belongs now to Hadrian

https://en.wikipedia.org/wiki/Arch_of_Hadrian_(Athens)

<a href="https://ibb.co/c5hFMS"><img src="https://preview.ibb.co/jXE6T7/DJI_0149lr.jpg" alt="DJI_0149lr" border="0"></a>

Hadrian's Gate (Athens)

Figure of an angel of peace at the entrance to the Lourdes Grotto in Maria Ellend. On the pedestal the inscription GATE TO PEACE.

End the war in the Ukraine!

Angel Of Peace for Ukraine

Though there are inscriptions dating to the 1160s, the main church was built in 1215 under the auspices of the brothers Zakare and Ivane (of the Zakarid-Mkhargrzeli family), the generals of Queen Tamar of Georgia, who took back most of Armenia from the Turks. The southern facade of the Katoghike has a portal with fine carvings. The tympanum is decorated with a representation of trees with pomegranates hanging from their branches, and of leaves intertwining with grapes. The pictures of doves are placed between the arch and the outside frame; the doves’ heads are turned to the axis of the portal. Above the portal is carved a lion attacking an ox, symbolizing the prince's power. - https://en.wikipedia.org/wiki/Geghard

Images captured with a Sony A7rii and reconstructed with RealityCapture. Model is scaled 1:1.

Geghard Monastery - Portal of Katoghike Church

A low-res version of the Humility Brings Prosperity gate, now installed in Gallery 200 at Mia. 
The gate comes from Shanxi province, which, because of its dry climate, contains the largest concentration of surviving historic wooden structures in China. An inscription on the main beam dates the gate to 1858, during the Qing dynasty (1644–1912).

[More info](https://collections.artsmia.org/art/127331/humility-brings-prosperity-gate-china)

*This imposing gate once formed the entrance to the main courtyard of an urban middle-class family compound. The four-character panel over the doorway reads, Humility Brings Prosperity (Lüqian Jianfeng 履謙漸豐). The gate demonstrates the hallmarks of traditional Chinese architecture: a post-and-lintel structure that supports a graceful gable roof and intricate rafters, as well as brackets that extend the eaves and provide decoration. Like other works of traditional Chinese architecture, no glue or nails were used, and the gate was assembled using only joinery and wooden pins.*

Humility Brings Prosperity gate - low-resolution

"Anschluss" Monument in Oberschützen. The monument was erected in Oberschützen (Burgenland) after Austria's "Anschluss" to the National Socialism German Reich in 1938/39. Construction according to plans by architect Rudolf Hofer began in October 1938 and was completed in May 1939. It is considered the largest such National Socialism building in Austria. Originally, there were eight pylons with fire bowls in the colonnaded courtyard, and in the centre a gilded eagle was enthroned on a pedestal with the inscription "Ein Volk! Ein Reich! Ein Führer!". After the collapse of Nazi rule, parts of the monument were removed and destroyed. Again and again, a discussion germinated about the further use of the building. It was to be demolished or the history of its creation made taboo. In 1997, the municipality reinterpreted the monument as a "memorial against violence and racism". In 2016, the building was listed as a historical monument. In 2018, a renovation took place.

Anschlussdenkmal

The Frithstool at St. Mary’s Church, Sprotborough, would give sanctuary in the church if one sat on it. Of three extant frith stools, the one in Beverley Minster had the inscription: Haec sedes lapidea Freedstoll dicitur, i.e. Pacis Cathedra, ad quam reus fugiendo perveniens, omnimodam habet securitatem. The English translation reads: This stone seat is called the Freedstoll, i.e. the Chair of Peace, to which a criminal, arriving by flight, has complete security. 

Free download.

Frithstool at St. Mary’s Church, Sprotborough

19th-century headstone of  Patrick Barron (born c. 1810) who died aged 19 in 1829 and was buried in Nenagh graveyard, Kenyon Street, Nenagh, Co. Tipperary. The headstone was erected by his father Daniel Barron.  Inscription framed within a lozenge border.  The top of the headstone has a central crucifixion flanked by the Instruments of the Passion aka Arma Christi (Weapons of Christ).  The base of the headstone has been signed by the stonecutter W. P. Birdhill.  These are the initials of William Philpot a stonecutter based around Cragg quarry near the village of Birdhill on the Limerick/Tipperary border. In 1938 P. Barron (born c. 1870) who was a blacksmith aged 68 lived in Sarsfield Street in the town of Nenagh. According to folklore collected from Mr Barron the Barron family in Nenagh were shoemaker's up to one hundred and 50 years ago (c. 1788).   In 1901 there was a record of the death of Daniel Barron (born c. 1801) of Francis Street, a shoemaker. Best viewed in Matcap render.

Patrick Barron Headstone Kenyon St. Nenagh

19th-century slate headstone of Patrick Madden (born c. 1829) who died aged 36 in 1865 & was buried in Nenagh graveyard, Kenyon Street, Co. Tipperary.  The inscription is framed within a border of semi-circles and double incised line running up along either side of the headstone.  The top of the headstone has a double-line inscised Latin Cross with expanded terminals, flanked on either site by an incised heart.  Above the hearts either side of the cross are lozenges framed within a decorative panel.  Two curvilinear lozenges are visible either side of the cross base.  Four leaf-cross withere side of the incised hearts.  Symbols on top of the headstone framed by border of semi-circles which may represent the folds of a a curtain pulled back to reveal the symbols.  Possible curvilinear sunburst quadrants in the corners of the border of the symbols and inscription panel. The horizontal lines visible on the inscription are ruling lines used by the stonecutter to set height, alignment, & spacing of the letters.

Pat Madden Headstone Kenyon Street Nenagh

Antique curiosity cabinet displaying a preserved skull inside a wooden and glass case.
Inspired by an image I randomly stumbled upon on Pinterest.
The Latin inscription suggests a philosophical reflection on the boundary between human reason and animal instinct.

The model was created as a game-ready asset with detailed wood, glass, and bone materials.

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Thanks for the support and 400 followers!

Antique curiosity skull cabinet

Recumbent graveslab (L. 1.89m x top Wth 0.71m/base Wth 0.71m x T 0.1m) with Latin cross and fleur-de-lis terminals, in the chancel of Portumna Dominican Friary Church (GA127-019----), Co. Galway. One of five recumbent graveslabs in the chancel of the Dominican Friary Church. Faint traces of an inscription either side of the shaft of the floriated -cross.

Portumna Abbey Graveslab

This portion of Rock 6 at Luine demonstates the huge timespan of the tradition of rock engraving in Valcamonica.  There are the faint lines of Epipaleolithic animal carvings; these heavily overlain by possibly Neolithic/Bronze Age cup marks & occasional rings, and 1st Century BC alphabetic inscriptions, Roman age numerals and finally, a possibly Christian era cross (refer to the annotations on the model).  This represents nearly 9000 years of human creative activity on and around this site.

Valcamonica, Luine - Rock 6 (4)

The relief depicts Ladislaus I of Hungary, known in Hungary as Szent László király. The medieval king is depicted as a fighting horseman: sitting on a horse, he holds a raised battle axe as if he were in the midst of combat. The dynamic form of the relief reinforces the impression of movement and battle. Above the scene stands an angel with outstretched wings, referring to the king's sainthood, as Ladislaus was later canonized by the Church. Below the relief is the inscription “Szent László király.”

The depiction refers to a well-known legend from his life. During a battle against the Cumans, Ladislaus pursued a warrior who had kidnapped a Hungarian woman. He caught up with him on horseback, defeated him in single combat, and rescued the captive. This scene became a popular motif in Hungarian art in the Middle Ages.

König Ladislaus I.

An inscription in the 'Camunian' or 'Sondrio' alphabet, an alpine variant of a northern Etruscan alphabet.  The inscription should be read from right to left - transcribed 'ZAZIAU.'  This  shows the typical tree-shaped 'Z' sign and the flipped 'A' sign.  The introduction of writing in Valcamonica can be placed around the fifth century BC.

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