The most famous of the Govan stones, the sarcophagus represents a rare monument type in early medieval Scotland prior to the 12th century AD. It was rediscovered in the churchyard by a gravedigger in 1856 and was moved into the church in 1908. It is decorated with a hunting scene, different arrangements of interlaced beasts, and six panels of interlace, some of which appear to be interlaced snakes. It is not known what the lid might have looked like, but two complete drainage holes in the base of the monument (and the worn surfaces surrounding them) suggest that the sarcophagus originally acted as a coffin for the remains of a royal saint, but later functioned as a reliquary. 

This was created as part of Dr Megan Kasten’s PhD, made available here: http://theses.gla.ac.uk/74266/. Created with Agisoft Metashape, edited in Zbrush.
While the download of this 3D model is free, if you are able please consider supporting the Govan Stones by donating to the [Govan Stones Appeal.](https://tghts.enthuse.com/profile)

The Govan Sarcophagus - Govan 1

Chess-piece; walrus ivory; king: bearded wearing floriated crown, mantle, brooch, tunic, seated upon high-backed chair; holding sheathed sword across knees; chair: back ornamented in two compartments with double floral scroll and dragon with floriated tail: interlaced designs on sides.

Date: circa 1150 - 1200 AD

COL: [MCM3280](http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?partId=1&objectId=398)


Height: 98.31 millimetres Width: 53.67 millimetres Depth: 34.27 millimetres Weight: 215.4 grains

Made by Daniel Pett and Lucy Ellis from 133 photographs taken with a Nikon D5100.

A king from the Lewis chessmen

Model of a large (68cm or 27 inches wide) bronze shengding food vessel from southern China, now in the collection of the Minneapolis Institute of Art.

From the object's description on artsmia.org:

*Around the cauldron body are six kui (single horn) dragons in high relief climbing upward toward the lid. Supporting the vessel are three stout legs with stylized dragon masks cast into their shoulders. The surface is ornamented with interlaced dragons, incised scale patterns, and overlapping feather-like motifs. While most of the ornament was made by traditional piece-mold bronze-casting technology, the six dragons, with their complex, perforated shapes, were made separately with the lost-wax method.*

More information about the model here:

https://collections.artsmia.org/art/98381/shengding-food-vessel-china

Shengding Food Vessel, around 575 BCE

One of the three wooden domes (*zaojing* 藻井, lit. "water-weed wells") originally from the Longfusi (Monastery of Grand Blessings, dated 1452, now lost) in Beijing. The dome features miniature bracket sets and interlaced squares, diamonds, and octagons. It is now exhibited in the Museum of Ancient Architecture (古代建築博物館) at the Temple of Agriculture (Xiannongtan 先農壇) in Beijing.

Wooden dome from Longfusi

Anthropomorphic whistle representing a seated woman with long hair, which she styles into a braid that appears to be wrapped with a ribbon extending over her legs. She wears ear ornaments and a beaded necklace. Although her bust is exposed, she is covered by a mantle whose edge is decorated in a net-like pattern with interlaced fringes. From Alta Verapaz region of the Guatemalan Highlands.

 IDAEH Cultural Property No. 16.2.5.0285
 
www.fundacionrutamaya.org

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

3D model made using Artec Space Spider

Whistle figurine

This object is a one-stroke dense knot domain extruded into a closed 3D tube mesh, using the PAPP-OSG route from constrained path to validated woven geometry.
Generated, not hand-modeled: the Dara Knot begins as a gate-constrained one-stroke path on a 32-grid dense circular domain, then is materialized as a Catmull–Rom ribbon and a 10-sided tube with parallel-transport framing and z-lift weaving. Its signature is maximum crossing density packed into a single closed oak-root knot field.
Dara Knot is the most compact and crossing-rich of the set: a filled circular Celtic field built to maximize interlace density, so the eye reads not a single emblem but a continuous root-like network. Inspired by the oak-root 
Dara tradition, it behaves like a woven infrastructure inside a disc boundary, with compressed over/under rhythm, layered continuity, and strong visual depth.

Generated by PAPP Framework

Dara Knot OSG | PAPP

**Description**: font, c1140, red sandstone, chalice shaped bowl with base formed by three crouching figures, decorated
with three stranded plaiting along rim and irregular interlace to stem, carved representations of the Baptism of Christ, the four symbols of the evangelists, and the hand of God and two doves on the bowl. The font is one of the outstanding works of the Herefordshire school of sculpture with a mixture of local and
French and Italian elements.

**Methodology**: Photogrammetry Process: High-resolution capture with a Sony RX100 IV (DNG). Controlled lighting via Zhiyun M40 & M20 LED panels. RAW processing in Adobe Camera Raw. Created in RealityScan by Epic Games from 97 images in 00h:09m:06s.


**License**: CC BY 4.0. Model created by Shiro Morturn - Sudbury Digital Imaging for documentation and educational purposes.

Please feel free to download and use this model. All we ask if that you like, leave a comment and give credit to the author Shiro Morturn.

Thanks

St Michaels & All Angels Font, Ledbury

Technically, this object is a one-stroke knot path materialized as a closed tubular mesh through the PAPP-OSG pipeline: discrete path construction, topologically verified, tube extrusion, and over/under weaving.
Generated, not hand-modeled: the Triquetra starts as a gate-constrained one-stroke path on a 28-grid trefoil domain, then becomes a Catmull–Rom ribbon and a 10-sided tube via parallel-transport framing and z-lift weaving. 
Result: 430+ controlled crossings in one watertight band.
It uses a trefoil / three-lobe Celtic domain arranged around 120° rotational balance, so the whole form reads as one continuous interlaced band rather than a flat emblem. 
In 3D, the classic triquetra becomes a compact woven sculpture with repeated crossings, rounded tubular volume, and a strong circular silhouette that preserves the symbolic threefold structure while giving it depth, weight, and architectural presence.

Generated by PAPP Framework.

Triquetra OSG |  PAPP

Large oversized rectangular mirror with interlaced scallop pattern.

Charles Mirror

A Celtic knotwork memorial tag for anyone honoring a beloved companion — designed for resin or FDM printing and finished as a hang-tag, pendant, or keepsake charm.

WHAT YOU GET
- STL and GLB files for a single oval tag, approximately 35–45 mm tall
- Front face features a raised continuous triquetra-style Celtic knotwork motif set within a clean recessed border frame
- Rear face carries a shallow debossed paw-print detail — understated and legible
- 3 mm bail hole at the top for cord, jump ring, or chain (not included)
- Minimum 2.5 mm wall thickness throughout; knot relief raised approximately 0.8–1.2 mm above the face
- A small central cartouche area on the front may be left flat for painted personalization or hand-stamped initials

PRINT SETTINGS
- Recommended layer height: 0.10 mm for fine knotwork detail
- Resin printing strongly recommended to capture interlace lines cleanly; FDM at 0.10 mm also supported
- Print flat on the front face — zero supports required
- No overhangs exceeding 45 degrees; water…

Celtic Triquetra Pet Memorial Tag STL |…

Polychrome vase (black, red, and orange on a cream background) with slightly convergent walls and flat base. It features the Primary Standard Sequence framed in red. On the exterior wall, inclined decorative bands with circular elements and volutes appear against a black background, along with interlaced elements outlined in red, which have been interpreted as representations of “bones” (Nicholas Hellmuth, pers. comm.). NAA indicates the western portion of the Belize River Valley (Buenavista area) as the place of origin or manufacture; however, this is a style frequently associated with Pusilhá, Belize (Barbara Kerr, pers. comm.).
 IDAEH Cultural Property No. 1.2.144.0490
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:

Vase with Primary Standard Sequence

11 — Tear of Kolam

Parametric teardrop revolution body. Single-stroke Kolam serpentine routing on a 6×8 dot lattice — one continuous path, never crossing itself. Celadon glaze pooling terrain accumulates color in routing valleys. Node bosses at dot centers. Interlaced ribbon crosshatch from MIT seed. Hopf fiber-recovery shimmer. Faience blue body with botanical green glaze and gold routing ridges. 72,002 vertices, 144,000 faces, χ=2, closed manifold. 

Generated by PAPP Framework.

Prototype 11/12 Tear Of Kolam | PAPP

This 3D model encapsulates a young man in a casual sitting position hands loosely interlaced in front of him. He sports a light smile on his face his eyes engaged forward suggesting he might be in a relaxed conversation. Dressed in a burgundy sweatshirt and grey trousers he represents a calm and inviting presence.

Easy Dialogue Seated Guy

05 — Ink Leaf

Actual leaf-shaped solid — not a flat texture on a rectangle. Asymmetric dendritic venation: midrib with primary veins at 24° right / 18° left, cross-reticulum at 68° right / 62° left. Gold node accents at vein junctions. Dune field terrain with interlaced ribbon crosshatch from MIT seed. Mean-beta PAPP shortcut. Ivory body, ink veins, gold highlights — Japanese botanical calligraphy. 80,004 vertices, 160,004 faces, χ=2, closed manifold.

Gneretad by PAPP Framework

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