This magnificent armour made [King Erik XIV](https://bit.ly/2XHLbZ0) of Sweden look imposingly triumphant. In true renaissance spirit, the motifs on the armour were borrowed from ancient myths, the characteristics of which lent themselves perfectly to the Swedish history and national symbols of that time.

The armour was probably made in [Arboga](https://bit.ly/2FQKrGy), Sweden, around 1562, from where it was sent to Antwerp in Belgium to be decorated by the goldsmith Elisaeus Libaerts. The opaque gilt ornamentation has been [repousséd](https://bit.ly/2xuxmy0) from the back and chased from the front. 

Perhaps the armour was worn by King Erik XIV on 2 October 1564 when, following a military campaign in [Blekinge](https://bit.ly/2KUVNNQ) in the South of Swedan, he returned to Stockholm with his military entourage. Whilst winding its way through the streets of Stockholm, the procession was showcasing chained prisoners of war from Denmark, a motif that can also be found on the armour.

The Parade Armour of King Erik XIV of Sweden

The helmet was fashioned in southern Germany circa [1540](https://bit.ly/2kdFNLr), and is unusual because it is one of the few surviving helmets adorned with a crown.

It was purchased in [Augsburg](https://bit.ly/2MwwuQc) on the King's behalf by his agent, the merchant Claus Heijder. The helmet was likely used in [Gustav Vasa's](https://bit.ly/2k10R7K) funeral procession in 1560, because a helmet adorned with a gilded crown is mentioned by a contemporary who witnessed the ceremony. The gilded crown is medieval in style – a suitable symbol of Gustav Vasa, who had one foot in the old union and one in the newly minted [hereditary monarchy](https://bit.ly/2kdG7tD).

King Gustav Vasa's Helmet with a Gilt Crown

The lion of Goddess Ishtar, Nye Carlsberg Glyptotek (Copenhagen, Denmark). Made with Memento Beta.

1-3 The lshtar Gate in Babylon Nebuchadnezar (604-562 BC), the King of Babylon, started a series of ambitious building projects including the richly decorated lshtar Gate. A long processional avenue linked the sacred gate to the temple of the city god Marduk and his famous temple tower, known from the Bible as the Tower of  Babel. The facades of the lshtar Gate were decorated with reliefs in glazed tile, representing a dragon, Marduk's emblem, and a bull symbolising the weather god Adad. The processional route away
from the city was decorated with lions, the animals of Ishtar, goddess of love and war, They were to guard against advancing enemies, as is indicated by
the name ofthe gateway: Ishtar conquers its enemy.

The lion of Goddess Ishtar

The classical Nepali masks always represent deities or demons and never the dead or the ancestors. Besides, masks are more often used in processions and in rituals rather than in theatrical performances.

Nepalese tribal mask

Traditional representation of a cow, powerfully linked to Sugawara no Michizane, japanese poet and politician from the 9th century (Heian Period of Japan). If you want to learn more about this character, I found an interesting japanese blog that wrote [about him](http://kansai-odyssey.com/sugawara-no-michizane-japans-famous-scholar/) .

At the Michizane funerals, the cow pulled the coffin of Michizane. Possessed by his spirit, the cow then layed down during the procession, at the place where he wanted his soul to rest.

Created in reality capture. 

- LOD0 IS 50K tris and 8k textures diffuse/normal/metalness/roughness
- LOD1 is 5k tris and 4k textures diffuse/normal
- LOD2 is 998 tris and 2k textures diffuse/normal

[link to my 50+ collection of sculptures scans](https://sketchfab.com/Dystopia/collections/my-statuomania-photogrammetry)

4K render of LOD2 (left) and LOD1 (right) :

![](https://i.imgur.com/pEmCmQr.jpeg)

100th model : Goshingyu - Japan Heritage

Bronze Indian Somaskanda, 14th or 15th C CE, now in the collection of the Minneapolis Instutute of Art. 

About 60cm x 70cm x 30cm (23 x 26 x 13 inches)

From its description on artsmia.org:

*'Shiva and his wife Uma sit next to each other on double lotus pedestals, between them a residual remnant of their small child, Skanda, now missing from the magnificent bronze. The standard format—known as Somaskanda—arose as early as the 6th century in temples from Tamil Nadu, and remains Shiva’s main manifest form today. In south Indian temples, bronze images play a huge role in devotional practice, where they are treated as living embodiments of the gods. The holes in the base indicate that this particular bronze would have been carried in processions outside the temple grounds.'*

More information:
https://collections.artsmia.org/art/6224/somaskanda-india

Somaskanda, 14th or 15th C CE

Stone/marble sarcophagus showing Dionysian or Bacchic procession located in the Sale Dei Fasti Moderni, Capitoline Museums, Rome.

132 photos taken in February 2026 with a Sony a7R V and processed in RealityScan.

Bacchic Procession Sarcophagus

Polychrome drum of the type known as Pax, classified as an “arm drum.” The surface is decorated with ten figures identified as musicians and dancers.  Within the latter group, a principal dancing figure is depicted performing with two sticks tipped with pompons, wearing a knotted maxtatl and a feathered headdress. Behind him, three seated figures appear to observe him with open mouths, as if singing; one of them holds a turtle shell. In front of the dancer, a procession of three figures advances toward him, wearing textile headdresses and jaguar-skin skirts, and carrying what appear to be rattles in their hands. Probably from the Alta and Baja Verapaz region. The piece has been restored.
 IDAEH Cultural Property No. 1.2.179.0155
www.fundacionrutamaya.org

Special thanks to the staff of La Ruta Maya Foundation for their hard work on this project.

Drum

Polychrome cylindrical vase with a flat base, painted in orange, red, and black on a cream background. It is decorated with a procession of three figures attired in feline skins and masks. All display protruding abdomens and wear a red sacrificial scarf. Two of the figures have their masks raised, revealing human faces.

 IDAEH Cultural Property No. 1.2.144.0443
 
www.fundacionrutamaya.org

Special thanks to the staff of La Ruta Maya Foundation for their hard work on this project.

3D model made in RealityScan; Total # of images: 357

Vase with characters in Feline Disguise

For full functionality, we recommend downloading the source format.The Converted version is intended only for use in the web viewer. In the Original format, the following are fully preserved:✔ native scene structure✔ complete materials without reduction✔ correct PBR texture maps✔ correct object namesIf you are going to integrate the model into a project, choose the source file.Print by Antonio Joli Procession in the Courtyard of the Ducal Palace Venice 1742 or after . Public Domain canvas painting with CC0 license for interior decoration.

Painting

Polychrome vase with vertical walls and a flat base. It is decorated with a horizontal red band above and below the rim, followed by a hieroglyphic band. The remainder of the surface depicts a military scene, featuring a procession of figures carrying shields and standards.

 IDAEH Cultural Property No. 1.2.179.0146
 
www.fundacionrutamaya.org

Special thanks to the staff of La Ruta Maya Foundation for their hard work on this project.

3D model made in RealityScan; Total # of images: 483

Vase with Military Procession

Small polychrome vessel (orange, black, red) decorated with a procession of three supernatural figures in animal forms. All three wear a red scarf, which identifies them as way or wahyis (supernatural alter egos).
Two of them wear jaguar masks with open eyes, flat noses, and open jaws displaying teeth. The third figure wears a tapir mask with open eyes and an open, tilted snout. Stylistically, the vessel correlates with Tikal; however, NAA of the paste indicates Motul de San José as the place of origin or manufacture.
 IDAEH Cultural Property No. 1.2.144.0342
www.fundacionrutamaya.org

Special thanks to the staff of La Ruta Maya Foundation for their hard work on this project.

3D model made in RealityScan; Total # of images: 217

Vase Depicting a Procession Scene

For proper use, we recommend downloading the Original format.The viewer version is intended for web viewing only. In the original file, the following are fully preserved:✔ native scene structure✔ complete materials without reduction✔ correct PBR texture maps✔ proper object namingIf you are going to integrate the model into a project, download the Original format.Print by Antonio Joli Procession of Gondolas in the Bacino di San Marco Venice 1742 or after . Public Domain canvas painting with CC0 license for interior decoration.

This is a reconstruction in plaster of the face of a Neolithic woman made by Caroline Wilkinson of the University of Manchester. This Neolithic woman must have been very special to her community because she was buried in the ring ditch of a henge near to the entrance. To add to the mystery, she was also buried with two wolves or extremely large dogs. The skeleton suggests she was 30 to 40 years old when she died, so an old lady 5,000 years ago. Also found at the henge was a processional way leading to the River Ash, a boiling pit for cooking, animal bones and antler pick tools for digging. Add to that the entrance to the henge is aligned to sunrise on midsummers day and we have a very special lady buried in a very special place, Staines Road Farm in Shepperton. Sadly, the site has long been lost to gravel working.

Neolithic Woman

Rock 12, the is the largest area of exposed bedrock at Seradina and, with its hundreds of carvings, constitutes an exceptional window on the world of the Iron Age Valcamonica tribes.

The wide surface is one of the most important and well-known in the whole of Valcamonica rock art and is marked by themes which make it unique in the context of the local Iron Age.

The central part of the rock is occupied by the imposing scene of a procession of spear-holding horsemen hunting deer and followed by dogs.  The dogs are unusually represented with their jaws wide open and tongue clearly visible.  The hunting horsement theme is not uncommon in the rock art areas of middle Valcamonica and may probably underline the aristocratic status of the carved figures.  Their high social status and wealth is illustrated by their possession of a horse, which constituted a rare and precious commodity in prehistoric times.

Valcamonica, Seradina 1 - Rock 12 (4)

Vase with a procession of 9 characters. The main character is carried in a hammock or palanquin on the shoulders of 2 porters. Under the hammock walks a dog. None of them is armed and all wear wide-brimmed hats, which could identify them as merchants. The rest of the 6 companions are probably his assistants. Whoever follows the rear-guard porter walks with the help of a cane carrying a bundle lined with jaguar skin on his back. The one behind him carries what appears to be a long trumpet decorated with ribbons and a round fan. The remaining 4 characters carry what could be banners. They all wear hipcloths painted red and only the main carácter -and the one with the body painted black- wear hats with an animal head on top.

 IDAEH Cultural Property No. 1.2.159.0051
 
www.fundacionrutamaya.org

Special thanks to the staff of La Ruta Maya Foundation for their hard work on this project.

3D model made in RealityScan; Total # of images: 463

Procession of merchants carrying a man

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

Chamá style polychrome vase with a composite silhouette, decorated with a procession of four warriors in left profile and painted black. All of them dressed with feathers and carrying spears. Each character is associated with a vertical secondary text, with glyphs painted white and outlined in black. Paste analysis by NAA indicates a possible place of manufacture in the areas around Chamá, Chixoy, and highlands of the  Motagua River Valley. Stylistically it is related to the Alta Verapaz region, between Chamá and Nebaj, Quiché.

IDAEH Cultural Property No.1.2.144.0448

www.fundacionrutamaya.org

Special thanks to the staff of La Ruta Maya Foundation for their hard work on this project.

3D model made in RealityScan; Total # of images: 252

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