[English version [here](https://skfb.ly/LsnA).]

Im Juli 2015 wurden in Risch-Rotkreuz ZG ein Stosszahn und verschiedene weitere Knochenfragmente (rot markiert) eines adulten Mammutbullen entdeckt. Ausweislich zweier Radiokarbondatierungen gehören die Knochen an das Ende der letzten Eiszeit bzw. in die Zeit um 15‘000 v. Chr.<br>
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Markierung der in Rotkreuz gefundenen Knochen durch Eva Kläui, ADA ZG, auf einem lasergescannten Mammutskelett aus der Sammlung der Smithsonian Institution in Washington D.C., siehe hier [https://skfb.ly/6QS7F](https://skfb.ly/6QS7F).<br>
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**Literatur**

“Das letzte Zuger Mammut?” (2016). [http://dx.doi.org/10.5169/seals-632509](http://dx.doi.org/10.5169/seals-632509).

“Durchleuchtet und analysiert. Ein Update zur Genetik, Isotopie und Radiografie...” (2018). [http://dx.doi.org/10.5169/seals-787150](http://dx.doi.org/10.5169/seals-787150).

“CT-based Age Estimation of a Mammoth Tusk” (2022). [https://doi.org/10.1148/radiol.220265](https://doi.org/10.1148/radiol.220265).

Risch-Rotkreuz, Mammutstosszahn und -knochen

Die Klause Kastel ist ein Landesdenkmal in Rheinland-Pfalz und wurde von Mönchen in die Felswand aus Sandstein geschlagen. Die Ursprünge der Klause gehen auf das 13. Jh. und die Kreuzzüge zurück. Die Klause, die bis heute erhalten geblieben ist, ist dem preußischen König Friedrich Wilhelm IV zu verdanken, der durch den preußischen Baumeister Karl-Friedrich von Schinkel ein Grabmal für den blinden Böhmenkönig Johann errichten ließ.

The Kastel hermitage is a state monument in Rhineland-Palatinate and was carved into the sandstone rock face by monks. The origins of the Klause date back to the 13th century and the Crusades. The hermitage, which has been preserved until today, is owed to the Prussian King Frederick William IV, who had the Prussian master builder Karl-Friedrich von Schinkel build a tomb for the blind Bohemian King John. 

Infos: Kulturdatenbank der Region Trier [1](https://kulturdb.de/einobjekt.php?id=1109)  [2](https://kulturdb.de/einobjekt.php?id=46666)

Klause Kastel-Staadt

Gateway to the University of Applied Arts Vienna as part of the Heiligenkreuzerhof. The Heiligenkreuzerhof is a courtyard ensemble in the center of Vienna. It is located between Schönlaterngasse and Grashofgasse and is today surrounded by a complex of the monastery courtyard, prelature, chapel and apartment building. The Heiligenkreuzerhof is often referred to as the oldest apartment house in Vienna. It was built in the 12th/13th century and has belonged to the Cistercian monastery of Heiligenkreuz since that time. The medieval cellar vaults still date from this time. In 1587 stonemasonry work was carried out by Italian masters. However, a large part of the courtyard, the chapel and the prelate's courtyard were demolished in the Baroque period and rebuilt by order of the abbots of Heiligenkreuz Monastery from 1659 to 1676. The courtyard got its present appearance only after further reconstructions in 1769-1771, from which time the facades also date.

Heiligenkreuzerhof

Another bad Roblox low-poly vehicle but this time its a Tank!

Made by: Me

Uploaded by: Me

Landkreuzer P. 1000 Ratte

The chapel on Kreuzberg in Falkenstein is part of a small religious complex centered around the so-called Calvary Hill above the village. This area was designed as a place of worship and symbolically represents Christ’s path of suffering to Golgotha. Along the path are stone figures and stations that depict the Stations of the Cross, making the site particularly suited for quiet reflection and religious walks.

The complex also includes a simple chapel, often referred to as the Communion Chapel, which forms the spiritual center of this Kreuzberg area. It blends into the rocky landscape and is closely connected to other religious elements, such as a nearby Marian grotto. Overall, Kreuzberg and its chapel convey a sense of popular piety and religious tradition, as has been cultivated in the Weinviertel region for centuries.

Abendmahlkapelle

On the Kreuzberg in Falkenstein stands an impressive group of statues depicting a scene from the Passion narrative. The stone sculptures portray the “Mocking of Christ” and are part of the religious imagery that lines the path up to the Kreuzberg.

At the center of the group sits Jesus, exhausted and humiliated, with a crown of thorns on his head. His posture appears resigned, almost introverted, while his gaze is directed downward. The figure radiates a deep calm and, at the same time, great vulnerability. To his left and right stand two men whose postures and gestures heighten the contrast: while one makes a threatening or mocking gesture with his arm raised, the other appears to remain in a defiant pose. 

The scene depicts a passage from the Passion in which Jesus is mocked by the soldiers after his arrest.

Verspottung Christi

The Pietà at Kreuzberg near Falkenstein depicts Mary holding the lifeless body of Jesus in her lap, in a calm and dignified pose. Jesus’ body sags heavily downward, while Mary supports him with both arms and gazes quietly at him. The stone figure shows clear signs of weathering and stands on a massive pedestal in the open countryside, creating a simple yet striking effect.

Pietà

Visitors to Kreuzberg in Poysdorf arriving from the north are greeted by this angel. Standing calmly yet impressively at the start of the path, he lends the place an almost solemn atmosphere. With his right hand raised, he seems to be pointing the way—up to Kreuzberg, a place known for reflection and prayer.

Along the path, there are several stations that invite visitors to pause and reflect, underscoring the religious significance of the site. Upon reaching the summit, visitors are greeted not only by a sweeping view of the surrounding landscape but also by a place of tranquility, marked by sacred structures and quiet contemplation. The Kreuzberg uniquely combines nature, spirituality, and views—a destination that invites visitors both to linger and to continue on their way.

Engel

The 8th Station of the Cross in Donnerskirchen – Jesus Meets the Weeping Women.

The sculpture depicts Jesus under the weight of the cross at the moment of his encounter with the women of Jerusalem. Despite his exhaustion, he turns toward them. His body remains marked by the weight of the cross—leaning forward, tense, and heavily burdened. At the same time, his turning toward the women creates a new dynamic: not only suffering, but also compassion and comfort become visible.

Kreuzwegstation 8

Kreuz Meissen

Borne routière du XIXe siècle sur la route du col du Gotthard. 24 kilomètres depuis Altdorf. Le NF, la croix et le numéro 13 gravés sur le sommet forment un repère du nivellement fédéral de 1869.

Kilometersteine an der Gotthardpass-Straße. 24 Kilometer von Altdorf entfernt. Die Buchstaben „NF“, das Kreuz und die Zahl 13, die auf der Oberseite eingraviert sind, bilden einen Präzisionshöhenpunkt des eidgenössischen Nivellierens von 1869.

Inscription :  | | Kil. 24 | (NFx13 au sommet)

Référence : https://www.ivs.admin.ch/ ; Nivellement de précision de la Suisse - Hirschi & Platamour - 1867-1891 livraison 1 à 10, Imp. Ramboz & Schuchardt.

Website : https://umap.osm.ch/m/11134

📍 [Wassen, UR](https://scaniver.se/L46.70699,8.60382)

Milestone Gotthardpass Km 24 von Altdorf

Borne routière du XIXe siècle sur la route du col de l’Oberalp. 42 kilomètres depuis Altdorf. Le NF, la croix et le numéro 9 gravés sur le sommet forment un repère du nivellement fédéral de 1877.

Kilometersteine aus dem 19. Jahrhundert an der Straße zum Oberalppass. 42 Kilometer ab Altdorf. Die Buchstaben „NF“, das Kreuz und die Zahl 9, die auf der Oberseite eingraviert sind, bilden einen Präzisionshöhenpunkt des eidgenössischen Nivellierens von 1877.

Inscription :  | | Kil. 42 | (NFx9 au sommet)

Référence : https://www.ivs.admin.ch/ ; Nivellement de précision de la Suisse - Hirschi & Platamour - 1867-1891 livraison 1 à 10, Imp. Ramboz & Schuchardt.

Website : https://umap.osm.ch/m/11134

📍 [Andermatt, UR](https://scaniver.se/L46.64680,8.62729)

Milestone Oberalppass Km 42 von Altdorf

This model was generated using Meshy, an AI-powered 3D creation toolkit. Meshy helps creators turn ideas into high-quality 3D models with ease. View the original model and claim a free month of Pro on Meshy: [https://www.meshy.ai/s/mBAe3u](https://www.meshy.ai/s/mBAe3u)

Kreuzblumegotisch

**Description**:
Stumbled upon this lovely door while on a walk through the Kreuzberg district in Berlin. Mid-capture, a middle-aged woman came up to me, exclaiming, "It is so ugly what they have done! It is a shame! It is a shame!"

I'd always liked Berlin *because* of it the liberal amount of street art and graffiti you find on almost every building; it has give the city that grungey vibe that attracted me to it in the first place. 

But this woman had an interesting take. She had lived here for a long time, most likely born during or after WWII. She has seen Berlin go from a war torn city, to being rebuilt by the Allies and the Soviets, and as the Soviet regime came to an end, a place for political and artistic anarchy. 

One woman's trash is another's treasure

Big Door in Kreuzberg, Berlin - iPhone PG

Landkreuzer P1000 Ratte

Statue of St. Scholastica at the Baroque Way of the Cross in Heiligenkreuz. The sandstone figures located there were created starting in 1731.
	
St. Scholastica (c. 480–547) was the twin sister of Benedict of Nursia and, like him, lived her life entirely in the spirit of the Christian faith. She founded a community of women near Montecassino and is considered a pioneer of the Benedictine nuns. According to tradition, she met her brother once a year for spiritual discussions; at their last meeting, a sudden thunderstorm prevented him from leaving after Scholastica had prayed for a longer stay together. Shortly afterwards, she died, and Benedict saw in a vision her soul ascending to heaven like a dove. Her feast day is February 10.

Hl. Scholastika

Next to the parish church in Pinkafeld stands a stone crucifix commemorating the town's former cemetery. Until 1779, the cemetery was located directly around the church, as was customary in many places in the past. For hygienic and space reasons, the burial ground was later moved to a new location outside the immediate town center. The cross that stands today was erected in 1825 and symbolically marks the former cemetery area. Since then, it has served as a silent reminder of those who were once buried here and is an important testimony to the local history and historical townscape of Pinkafeld.

Kreuz

Borne routière du XIXe siècle sur la route du col du Gotthard. 14 kilomètres depuis Altdorf. Le NF, la croix et le numéro 21 gravés sur le sommet forment un repère du nivellement fédéral de 1869.

Kilometersteine an der Gotthardpass-Straße. 14 Kilometer von Altdorf entfernt. Die Buchstaben „NF“, das Kreuz und die Zahl 21, die auf der Oberseite eingraviert sind, bilden einen Präzisionshöhenpunkt des eidgenössischen Nivellierens von 1869.

Inscription :  | Kil. 14 von Altorf | | (NFx21 au sommet)

Référence : https://www.ivs.admin.ch/ ; Nivellement de précision de la Suisse - Hirschi & Platamour - 1867-1891 livraison 1 à 10, Imp. Ramboz & Schuchardt.

Website : https://umap.osm.ch/m/11134

📍 [Amsteg, UR](https://scaniver.se/L46.76829,8.67135)

Milestone Gotthardpass Km 14 von Altdorf

The relief depicted on the surrounding wall of the Calvary Church in Köszeg most likely represents a scene from Christ's Way of the Cross. At the center is Jesus Christ, recognizable by the halo around his head, in a posture of fatigue and quiet resignation. He is surrounded by several figures who can be interpreted as Roman soldiers or pursuers, driving him on or harassing him. The animated postures, the sometimes aggressive gestures, and the deeply cut folds of the garments lend the scene a strong dramatic tension and vividly illustrate the suffering of Christ. The richly curved Baroque frame with volutes and ornamental decoration highlights the depiction like a picture field and refers to its devotional function. In conjunction with the other reliefs arranged along the wall, the work is clearly to be understood as part of a closed-ended Way of the Cross on Calvary, which was intended for processions and personal meditation.

Kreuzwegrelief

Borne routière du XIXe siècle sur la route du col de l’Oberalp. 44 kilomètres depuis Altdorf. Le NF, la croix et le numéro 11 gravés sur le sommet forment un repère du nivellement fédéral de 1877.

Kilometersteine aus dem 19. Jahrhundert an der Straße zum Oberalppass. 44 Kilometer ab Altdorf. Die Buchstaben „NF“, das Kreuz und die Zahl 11, die auf der Oberseite eingraviert sind, bilden einen Präzisionshöhenpunkt des eidgenössischen Nivellierens von 1877.

Inscription :  Kil. 44 | ||  (NFx11 au sommet)

Référence : https://www.ivs.admin.ch/ ; Nivellement de précision de la Suisse - Hirschi & Platamour - 1867-1891 livraison 1 à 10, Imp. Ramboz & Schuchardt.

Website : https://umap.osm.ch/m/11134


📍 [Andermatt, UR](https://scaniver.se/L46.65736,8.64711)

Milestone Oberalppass Km 44 von Altdorf

* **Melber Kreuzspeiche (KBA 41795)** - Italian wheels that were installed by dealers on export versions of Lada cars (for example, on the 2108 and 2109 models) in the 1980s and 1990s. They are known for their distinctive spider web pattern and are considered classics among VAZ wheels.
* **!** - this is my first high-poly model, so it may be slightly curved.

![](https://a1.drive-data.ru/3e4c5as-960.jpg)
![](https://sun9-9.userapi.com/s/v1/ig1/AVANSqnWCFv-s-UV9qqQ9YKeq_0o1CrV44Mn8jArXvS--CAvLWbxIyWKY89QqofcZ0b05mKM.jpg?quality=96&as=32x24,48x36,72x54,108x81,160x120,240x180,360x270,480x360,540x405,640x480,720x540,1080x810,1280x960&from=bu&cs=1280x0)

I made in Blender (4.1)

Melber Kreuzspeiche (KBA 41795)

The cemetery cross in Breitenfurt near Vienna, also known as the “Giuliani Cross,” is a Baroque stone crucifix located in the cemetery of the former poorhouse at Stelzerbergstraße 15. The cross depicts Christ crucified in an expressive, dynamic pose typical of Baroque sculpture. The body is carefully modeled anatomically, the head with a crown of thorns tilted slightly to one side, and the loincloth falls in lively, softly worked folds. The sculptural design and emotional representation give the figure a powerful spiritual effect and make the work a high-quality example of Baroque religious art.

The crucifix was first mentioned in documents in 1736 and, based on its stylistic features, is attributed to the Venetian Baroque sculptor Giovanni Giuliani. Giuliani worked in Vienna and Lower Austria from the late 17th century onwards and had a significant influence on regional sculpture; he had particularly close ties to Heiligenkreuz Abbey, where he lived as a lay brother from 1711 and created numerous works.

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