Notre-Dame de Paris, detail from the Portal of the Last Judgment ("portail du Jugement Dernier" in French).
3D scanned using Agisoft Metashape.
2019 update : I reprocessed the same pictures with a more powerful computer : the model is now more precise.

Notre-Dame de Paris - Jesus Christ

Saint Peter (died between AD 64 and 68) was one of the Twelve Apostles of Jesus Christ, and one of the first leaders of the early Church.

According to Christian tradition, Peter was crucified in Rome under Emperor Nero. He is traditionally counted as the first bishop of Rome‍—or pope‍—and also by Eastern Christian tradition as the first patriarch of Antioch.

Based on a photogrammetry model made in reality capture and texture changed with blending of free textures from poly haven, using quixel mixer tool.

4k diffuse/normal/AO

San Pedro statue

Statue of the Mater Dolorosa at the Plague Chapel on Bruckerstraße in Parndorf. 

Mater Dolorosa, also called the Mother of Sorrows, is the usual name in Marian devotion for representations of Mary's sorrows, Mary's lifelong care for her Son Jesus Christ.

Mater Dolorosa

3D scan of Jesus statue 

(same building as this one : https://skfb.ly/6YF8X )

Jesus Christ Statue

Strade Dominican Friary, National Monument No. 172.  The abbey at Strade dates to the mid-13th century, when it first started as a Franciscan Friary, established by the Lord of Athlethan (Ballylahan), Jordan de Exeter. The Dominican friars moved into Strade in 1253. The priory was dedicated to the Holy Cross & was a daughter house of Sligo Dominican priory (SL014-068008-).  A papal indulgence granted in 1434  may have resulted in a rebuilding phase of the church.  The carving of the vulning pelican (from the Latin vulnerō, “to wound”) on the north wall of the crossing tower of the friary church dates from the 15th-century.  In Medieval Christianity, the pelican feeding its young with its own blood was a symbol for the sacrifice of Jesus Christ on the cross & the Eucharist.  Also known as the Pelican in Her Piety, the bird piercing it's breast to shed blood is an allegory of Christ on the Cross, a symbol of the Passion of Christ. Archaeological Survey of Ireland description at: https://tinyurl.com/mumyk56y

Strade Abbey -The Vulning Pelican

3D scan of French manuscript: Passion de nostre Seigneur Jésus Christ en figures... Prieres à la Vierge (Passion of Our Lord Jesus Christ)
14th -15th century manuscript on vellum
247 mm height
176 mm width

French MS 3: Passion of Our Lord Jesus Christ

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

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.

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