Rocca Calascio is a mountaintop fortress or rocca in the Province of L'Aquila in Abruzzo, Italy.
Built of stone and masonry exclusively for military purposes and intended only to accommodate troops and never as residence for nobles, the fortress overlooks the Plain of Navelli at one of the highest points in the ancient Barony of Carapelle.
Santa Maria della Pietà and Rocca Calascio.
Construction of the fortress started in the tenth century as a single watchtower. A walled courtyard with four cylindrical towers at the corners around a taller inner tower was added in the thirteenth century. The lower half of the fortress is built with distinctively larger stones than its upper half. It is believed that this feature was to make its base impenetrable to invaders. The fortress was never tested in battle. However, it was badly damaged in November 1461 by an earthquake with an estimated magnitude of 7 to 8 on the Richter Scale.
wikipedia

coordinates: 42.328889, 13.688944

photogrammetry from  video

Rocca Calascio - RAWscan

Pre-concert video Fly

The Pula Arena (Croatian: Pulska Arena; Italian: Arena di Pola) is a Roman amphitheatre located in Pula, Croatia. It is the only remaining Roman amphitheatre to have four side towers entirely preserved. It was constructed between 27 BC and AD 68, and is among the world’s six largest surviving Roman arenas. The Arena was built between 27 BC and 68 AD, as the city of Pula became a regional centre of Roman rule, called Pietas Julia. The building is named after the sand (Latin harena) that once covered the inner, performance area. It was built outside the town walls along the Via Flavia, the road from Pula to Aquileia and Rome. The amphitheatre was first built in timber during the reign of Augustus (2–14 AD). It was replaced by a small stone amphitheatre during the reign of emperor Claudius. In 79 AD it was enlarged to accommodate gladiator fights by Vespasian and to be completed in 81 AD under emperor Titus. This was confirmed by the discovery of a Vespasian coin in the malting.

Anphitheatre Pula | Pula Arena | CROATIA

The De Tomaso P72 is an upcoming sports car manufactured by Chinese IdealVentures automobile manufacturer, current propietary of De Tomaso. Based on the underpinnings of the Apollo Intensa Emozione, the car is meant to be a homage to the De Tomaso P70 prototype racing car.

The De Tomaso brand was acquired by Hong Kong based IdealVentures in 2014, the same company who had acquired German automobile manufacturer Gumpert. Under the new management, work was started to revive the brand after a failed attempt in 2009. After an advertising campaign based on the company's history and some teaser videos of the new car in development under the code name "Project P", the company introduced the new sports car at the 2019 Goodwood Festival of Speed. The new car, called the P72 uses a carbon fibre monocoque chassis constructed to LMP1 standards and is based on the Apollo Intensa Emozione. Unlike the Intensa Emozione, the car is meant to be a grand tourer.

Low Poly Car - De Tomaso P72 2020

**CAT** Escultura de terracota policromada realitzada per l’escultor renaixentista Juan de Juni (Joigny [?], cap al 1507 – Valladolid, 1577). Es tracta d’una imatge d’oratori de petit format.

**ES** Escultura de terracota policromada realizada por el escultor renacentista Juan de Juni (Joigny [?], hacia 1507 - Valladolid, 1577). Se trata de una imagen de oratorio de pequeño formato.

**EN** Polychromed terracotta sculpture by Renaissance sculptor Juan de Juni (Joigny [?], 1507 approx. - Valladolid, 1577). This is a small piece for use during prayer.

Número de registre: MFM 1383. [Adreça web >](https://cataleg.museumares.bcn.cat/fitxa/seccio_escultura/H304034/?resultsetnav=615584eb92d54)

Model: Jaime Salguero. Text: Museu Frederic Marès

Pietat, Museu Frederic Marès

www.cosmowenman.com
Follow me @ www.twitter.com/CosmoWenman

Michelangelo's Pietà, detail of Mary

Discover my evolving interpretation of Michelangelo's timeless 'Pieta' in 3D, capturing the nuanced interplay of grace and sorrow. This project, initiated as a ZBrush sculpt, represents my pursuit to grasp the intricacies of anatomy, form, weight, emotions, and drapery. While still a work in progress, it reflects my relentless dedication to mastering the essence of this masterpiece. Feel free to download and utilize this simplified real-time version for your creative endeavors.
For further inquiries, reach me at sujeshnair8984@gmail.com. You can also explore more of my work at https://www.artstation.com/sujesh.

Pieta A 3D Tribute to Michelangelo's Masterpiece

**Pietà / Jagnjenica, Radeče, Slovenija**

**Pietà** (italijanska izgovorjava: [pjeˈta]; 'pomilovanje', 'sočutje') je v krščanski umetnosti predmet, ki prikazuje Devico Marijo, ki ziblje mrtvo Jezusovo telo, najpogosteje ga najdemo v kiparstvu.

Restavriranje lesenega kipa Matjaž Učakar, 3D sken INTRI d.o.o., Ljubljana

**Pietà** (Italian pronunciation: [pjeˈta]; 'pity', 'compassion') is a subject in Christian art depicting the Virgin Mary cradling the dead body of Jesus, most commonly found in sculpture.

Restoration of wooden statue Matjaž Učakar, 3D scan INTRI Ltd, Ljubljana

Pietà, Jagnjenica - Slovenija

The war memorial on the south facade of St. Margaret’s Parish Church in Horitschon is an impressive memorial to those who fell and the victims of both world wars. At its center is a large commemorative plaque bearing inscriptions and the names of the deceased, flanked by several smaller plaques dedicated to those who fell in World War I and World War II, as well as to civilian victims. At the bottom, a wreath with ribbons symbolizes enduring remembrance, while a small lantern represents the eternal light.

Particularly striking is the sculpture in the upper section: a Pietà. It depicts Mary holding the lifeless Jesus Christ in her lap. This depiction is of great emotional depth—Mary gazes calmly and composedly at her dead son, whose body lies limp in her arms. The scene symbolizes grief, pain, and at the same time hope for redemption.

Pietà

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.

The Herzogenburg Column is a Baroque wayside shrine in Pöchlarn and is listed as a protected small monument in the region. It is located on Wiener Straße and was erected in the second half of the 17th century. There is evidence of it at its current location dating back to at least the late 18th century, underscoring its long-standing presence in the townscape.

The column stands on a polygonal base adorned with relief depictions of saints. Among the figures depicted is St. John of Nepomuk, who is frequently found on such monuments in Central Europe. The structure corresponds to the typical appearance of Baroque wayside shrines, which served both artistic and religious functions.

The upper end of the column is crowned by an impressive group of figures. It depicts a crowned figure of the Virgin Mary holding the body of Christ in her lap—a so-called Pietà.

Herzogenburgersäule

GöttwAIg – Posthumane Pietà

"Ein gläsern-zerbrechlicher Körperapparat trägt und zerfällt zugleich – als AR-Reliquie über Fürsorge, Gewalt und die fragile Autorität von Bildern."

Das Projekt transformiert die fragmentarisch überlieferte Wunderkammer des Stifts Göttweig mithilfe von KI in eine zeitgenössische digitale Form. Initiiert von Markus Wintersberger (USTP St. Pölten) und Viola Rühse (UWK) entstehen digitale Neukreationen ausgewählter Objekte. Die von Abt Gottfried Bessel im 18. Jahrhundert geschaffene Sammlung wird nicht restauriert, sondern als Raum des Staunens neu interpretiert und als aktuelles Experiment bedeutet. 

UWK - Plattform für Nachhaltige Entwicklung
USTP - Experimentelle Medien / IC\M/T
Verein DruckKunst – Verein zur Förderung und Verbreitung der bildenden Künste
Kunstsammlungen, Archiv & Bibliothek Benediktinerstift Göttweig

Kunst und Kultur im digitalen Raum – Call 2025

https://research.ustp.at/projekte/goettwaig-wunderkammer-21-.-barock-digital

GöttwAIg – Posthumane Pietà

Modello 3D ottenuto tramite fotogrammetria di una statua raffigurante la Pietà, conservata presso il Museo Diocesano di Torino.

Il modello consente un’osservazione dettagliata dell’opera da ogni angolazione, valorizzandone la superficie scultorea e i principali elementi formali.

La fotogrammetria è stata realizzata con Agisoft Metashape e il modello è stato successivamente ottimizzato e pubblicato su Sketchfab, risultando fruibile anche in realtà virtuale (VR) come parte di una collezione virtuale dedicata al patrimonio museale.

Statua della Pietà - Museo Diocesano di Torino

A detailed 3D interpretation of Michelangelo’s Pietà, modeled to emphasize anatomical accuracy, compositional balance, and sculptural depth. Created as a study in form, proportion, and Renaissance surface treatment.

Michelangelo’s Pietà

Male kneeling donor figure to left of Pieta on front or altar reredos dating from the second half of the 15th century, standing up against the internal face of the eastern wall of the chancel of Strade Dominican Friary (MA070-067001-), Co. Mayo.  Described by archaeologist John Hunt as; 'The man has a similar costume to that worn by the bearded man on the tomb-front of the wall monument in the northern wall of the chancel.  The gole, however, is cut square below though the method of fashioning the garment is similar with the seams of the four sections of the front carefully indicated. The buttons closing the side placket of the gown and the belt with its pendant end are similar, and here also the rosary and the shuttle-like object hang from it'. See Archaeological of Ireland Description at: https://tinyurl.com/2u942udw

Strade Abbey Male Figure

Michelangelo s Rondanini Piet is a haunting departure from his earlier heroic renderings of the human form. In this piece the Christ figure and the Virgin Mary are almost spectral elongated fragile and abstracted. It is a meditation not on divine perfection but on human vulnerability and grief.

Rondanini Pieta

Carving of the Pietà (pity/compassion) on east wall of chancel of Strade Dominican Friary (MA070-067001-), Co. Mayo.  Most famously carved by Michelangelo c. 1498-9, depicting the Virgin Mary cradling the dead body of Jesus Christ after the Crucifixion, symbolizing immense grief, divine mercy, & unconditional love.  It highlights Mary as an intercessor between humanity & God, showcasing her strength & deep sorrow ("Sixth Sorrow").  Described by archaeologist John Hunt as dating from the second half of the 15th century it is 'an unusual frontal, (or reredos from an altar?). In the centre is a Pietà with feathered angels above. The Virgin is clothed in a long gown over a kirtle, whose lower borders fall in symmetrical folds over her feet and with a veil over her head and shoulders. She is seated in a thronelike chair and the body of the dead Christ lies across her lap. The angels support a double arched and crocketed canopy above her head. A man and a woman kneel on left and right, presumably the donors'.

Strade Abbey MA070-067001- Pietà

Female donor figure to the right of thePieta on front or altar reredos dating from the second half of the 15th century, standing up against the internal face of the eastern wall of the chancel of Strade Dominican Friary (MA070-067001-), Co. Mayo. Described by archaeologist John Hunt as; ‘The lady has a close-fitting tunic, with tight sleeves fastened under the forearms with many buttons. The dress has a high neck and a cross at the throat. She wears a brat or great mantle, thrown back from the upper part of the body, but covering her waist and knees. This is treated in a pocked technique to suggest a heavy rough texture. The treatment of the figure drapery is looser than Ossory types or than the Meath school—though the style has closer affinities with Ossory than with the Dublin Pale. The types are also more sophisticated. The carving shows extreme fineness of detail and is in remarkably good condition'. See Archaeological of Ireland Description at: https://tinyurl.com/2u942udw

Asset Library

About These Assets