Church of St. Sophia, Ohrid
Made using the Open Heritage aerial dataset
https://openheritage3d.org/project.php?id=p14w-cd36 made by Cyark
Interior avaible here https://skfb.ly/6JOot
The church was built during the First Bulgarian Empire, after the official conversion to Christianity. Some sources date the building of the church during the rule of Knyaz Boris I (852 – 889).
Originally a synod church of the Bulgarian Orthodox Church, later of the Archbishopric of Ohrid, it was subsequently converted into a mosque during the rule of the Ottoman Empire.
https://en.wikipedia.org/wiki/Church_of_St._Sophia,_Ohrid

DOI
10.26301/p14w-cd36
https://doi.org/10.26301/p14w-cd36

Church of St. Sophia photogrammetry scan

The cope was sewn from red silk damask of the bizarre style (currently it is pale pink), brocaded with silk and gold threads. The fabric is decorated with plant motifs. On the right side of the belt, the Szembek coat of arms features an appliqué of flat multicoloured silk and silver thread embroidery. The coat of arms is placed inside a cartouche, under a princely mitre with the patriarchal cross on top.
The cope is the surviving part of a red liturgical vestment set. It was mentioned as a set with “Szembek coats of arms” in an inventory dated 1763. The founder of this set could have been Stanisław Szembek (1650–1721) – bishop of Włocławek, archbishop of Gniezno, the Primate of Poland, the abbot of Tyniec over the years 1709–1721 – or Krzysztof Antoni Szembek (1667–1748) – also a Primate and the abbot of Tyniec over the years 1739–1743.

early 18th century, France

Museum of the Benedictine Abbey in Tyniec

Inventory number: T/1/2012

Red cope

A carved wooden seating shelter on the west side of the playground in Archbishop's Park, Lambeth, London.

Carved by Arthur de Mowbray in 2013:
https://www.apctrust.co.uk/projects

814 photos taken in July 2023 with a Sony a7R III and processed in Reality Capture. Top could not be photographed so quickly repainted in Mudbox.

Archbishop's Park Shelter

15th century wall tomb in the north wall of the chancel of Strade Dominican Friary (MA070-067001-), Co. Mayo.  Described by archaeologist, John Hunt as; 'a gabled tomb niche, with an elaborate flamboyant traceried canopy. Below this, forming a tomb-front, are two panels boldly carved with decorated ogival niches beneath elaborate foliated crocketing and pinnacle work. In the first three of these are represented the Three Kings of the East, Caspar, Melchior & Balthazar, crowned & bearing their gifts of gold, frankincense & myrrh. In the fourth niche is Christ, King and Judge. In the second panel, the ogee heads are treated as a single canopy, the pinnacles being supported on corbels carved as worshipping angels issuant from clouds with wings displayed. Under this arcading are disposed four figures. The dexter, presumably the donor or commemorated man.   The other three figures, represent an archbishop with cross-staff in the act of blessing, St Peter with two keys & a book, & St Paul with a sword & a book'.

Strade Abbey Wall Tomb Front

The Zwergerlgarten [dwarf garden] dates from the reign of Archbishop Johann Ernst Graf Thun. Originally comprising 28 dwarfs of white Untersberg marble, it is the oldest dwarf garden in Europe. 17 of the original dwarfs are still preserved.

Dwarf with glasses

GöttwAIg – Wunderkammer(21). Barock digital | Violettes Zeugnis - Seraph im Nachbild

"Die violette Wächterfigur sitzt im Zwischenraum von Aura und Artefakt – stilles Interface zwischen Erinnerung und Projektion."

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 – Violettes Zeugnis

GöttwAIg – Wunderkammer(21). Barock digital | Afterimage of a Collection

"Die Sammlung erscheint als Nachbild: leuchtend, instabil, und radikal gegenwärtig."

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 – Afterimage of a Collection

The wayside shrine to St. John of Nepomuk in Vienna-Liesing (Kalksburg) is located at the corner of Gütenbachstraße and Breitenfurter Straße. The statue, created around 1900, is a cast-iron representation of the saint and stands on a neo-Gothic pedestal within a small enclosure. The saint is depicted holding a cross in his arms—one of his most important attributes—which he devoutly holds to his chest. The monument is one of the district's small sacred monuments and is a listed building.

John of Nepomuk lived in Bohemia in the 14th century and was a priest and vicar general of the Archbishop of Prague. According to tradition, he was thrown into the Vltava River in 1393 on the orders of King Wenceslaus IV because he refused to reveal the queen's confessional secret. He is therefore considered a martyr of the confessional secret and a patron saint of bridges. His statues are often found on or near bridges, and he is venerated as a patron saint against water hazards.

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