..You should always keep your eyes open at "the Fallen Pigeon"! Oh no, it's not about inhospitality at all! I assure you, if you're lucky enough to find shelter somewhere during your grueling journey to the Peak of the Winds, it's there. A fallen pigeon will shelter all the suffering under its wing, yes, yes! But the "sufferers" in those parts are all rascals and adventurers, so you'll have to live among a very diverse, and I must say deeply unpolished public ..

– Just imagine, - the old bard continued with a hitch. - Under one roof, the scum from the very bottom of society are bizarrely intertwined with local princes, pilgrims and troubadours – not every Mass on All Saints' Day can boast of such a unity of souls, right?

– And the representatives of the local city guards do not disdain to throw dice with cheaters, because in any case they win: they either take the bet for themselves or throw you to freeze your ass for the night in the punishment cell for cheating..

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The tavern "Under the Falling Pigeon"

Entry to Church of Saints Cyril and Methodius, Karlin, Prague (Czech: Kostel svatého Cyrila a Metoděje, Karlín, Praha).

Originaly i wanted to scan whole church, but weather was too nice and sunny and i didn't wanted to have a sharp shadows on the model, so scanned only entry, which was in shade. Will come back and scan whole church later, so consider it only as a teaser ;).

[VR3D - We are 3D | 3D scanning | vr3d.cz](http://vr3d.cz)

Entry to Church of Saints Cyril and Methodius

Angel Crown : Generically, the golden or light behind the figures of heavenly beings (Trinity, Mary, angels, other saints) is called a halo , despite there being several distinct forms. The solid disc behind the head, sometimes punctuated with a red cross behind Christ, is called a nimbus. 
Angel Crown Designed By Wael Tsar

Angel Crown - Wael Tsar

Catholic church in Petit-Rocher, New Brunswick, Canada
GPS: 47.781634938573404, -65.71822623402743
https://diocesebathurst.com/paroisse-saints-coeurs-de-jesusmarie


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Église catholique Saint-Polycarpe

Chiesa San Pietro - Backside Facade  (Tuscania - VT)
San Pietro is a Romanesque and Gothic-style, Roman Catholic church just outside Tuscania, province of Viterbo, region of Lazio, Italy.
Facade of the church
The façade has a large rose window, decked with mosaics, hedged at the corners by the symbols of the four evangelists, and flanked by reliefs with elaborate carvings of plants, menagerie of animals, and a complex iconography of saints and figures of the old testament.
Below is a loggietta and on the ground is a sculpted main portal with a large rounded arch. The nave is flanked by rounded Romanesque arches and leads to a presbytery with a Ciborium for main altar. The presbytery has a geometric mosaic floor. The crypt has gothic tracery.
wikipedia

coordinates: 42.412855, 11.878552

photogrammetry: 55 photos

Chiesa San Pietro - Backside  (Tuscania) RAWscan

Custom low-poly asset made with Blender and Gimp for the Cities: Skylines video game. Available on the Steam Workshop here: https://steamcommunity.com/sharedfiles/filedetails/?id=2057131986

The foundation of this convent dates back to the 12th century, and its gothic church was built in the 16th century. The rest of the complex ranges from the 17th to the 18th century. In 1815, the monastery served as a hospital for French soldiers after the Battle of Waterloo. It became a school around 1845, then was restored in the 60s to become a parish church to replace another church destroyed during WWII, becoming the Église Saints-Jean-et-Nicolas (Saints-John-and-Nicholas Church).

Couvent des Récollets, Nivelles [Belgium]

***Homo neanderthalensis***

Location: La Chapelle-aux-Saints, France.

Age: 56,000 - 47,000 years B.P.

Material: plaster cast.

Dimensions: length, 243 mm; width, 159 mm; height, 143 mm.

Notes: RLA catalog no. 1979rp15 (cast).  Cranium, from an almost complete skeleton known as La Chapelle-aux-Saints 1 or “The Old Man,” was discovered in 1908 by A. and J. Bouyssonie and L. Bardon.  The remains were first reported by Marcellin Boule in 1913.  Cast made by the University Museum of the University of Pennsylvania.  From the teaching collection of the Research Laboratories of Archaeology, University of North Carolina at Chapel Hill.  Model by Madelaine Azar.

Homo neanderthalensis (1979rp15-1) - cranium

The church of Piovà Massaia, attributed to Benedetto Alfieri, is dedicated to Saints Peter and George and was built between 1749 and 1774 on the initiative of Count Ricci, on the site of the ancient church of San Michele in Monte Cornigliano.
The building has the typical baroque plan of an elongated Greek cross and an imposing octagonal dome covering the intersection of the arms of the cross.
The two-bay presbytery has a barrel vault and dome with an elliptical base and ends with a semicircular apse with a ribbed semi-vaulted vault.
The galleries have barrel vaults and have carved and painted wooden balustrades.
The façade has two superimposed orders and three bodies with three entrances a large circular window and a tympanum at the top.
The imposing bell tower, whose construction began in 1779, recalls the Juvarra examples of Superga and the Alfierian one of San Gaudenzio in Novara.
At the top of the bell tower is the lantern delimited by angular volutes and surmounted by a metal spire.

Chiesa dei S.S. Pietro e Giorgio a Piovà Massaia

Main portal of the Votive Church in Vienna's 9th district. Main portal with rich figural decoration by Johannes Benk (statue of Christ the King in the midst of the apostles, surrounded by models from the Old Covenant (Abel, Noe, Melchizedech, Isaac, Samson, Aaron, Moses); in the gable above the Holy Trinity (by Josef Gasser), on the sides four evangelists and Austro-Hungarian patron saints (Koloman (Lower Austria), Vigilius (South Tyrol), Ägydius (Carinthia), Josef (Styria), Leopold (Lower Austria), Wenzel (Bohemia), Spiridion (Dalmatia), Michael (Galicia), George (Carniola), Rochus (Croatia), Nicholas of Bari (Veneto), Ladislaus (Transylvania), Justus (Trieste), Hedwig (Silesia), Ruprecht (Salzburg), John Nepomuk (Bohemia)) by Franz Melnitzky and Peter Kastlunger), above the rose window “Coronation of Mary” by Gasser.

The construction of the church was initiated by Archduke Ferdinand Maximilian after the rescue of his brother Franz Joseph I (assassination attempt by Johann Libenyi on February 18, 1853).

Portal Votivkirche

Miss them? They are The Saints from Hitman Absolution. Enjoy!

Nuns with Guns

The statue of Saint Roch of Montpellier stands in front of the parish church in Falkenstein at the entrance to the church and is part of a Baroque group of figures lining the steps. Together with other statues of saints, it flanks the entrance to the sacred space, thereby serving a symbolic protective function. Art-historically, the figure is dated to the late 17th century and was thus created at a time when religious sculptures were frequently erected as expressions of piety and in response to crises such as epidemics. Stylistically, it displays the dynamic depiction typical of the Baroque period and simultaneously serves as a visible sign of faith in the public space.

Hl. Rochus

All Saints Church, South Merstham, is an inclusive and active Anglican parish church in Redhill, Surrey (RH1 3LH), known for its friendly, all-age community. Built in 1951, it serves the local community with Sunday services, a "Sunday Club" for children, and a midweek toddler group, Sparklers. It is part of a local ministry team (MGTM) with St Katharine's and St Andrew's.

All Saints Church South Merstham

15th-century stone corbel decorated with a vine-leaf motif in the south wall of the sacristy to the north of the chancel in Portumna Dominican Friary, Co. Galway. In architecture, a corbel is a structural piece of stone, wood or metal keyed into and projecting from a wall to carry a bearing weight, a type of bracket.  The word "corbel" originates from the Old French corbel (a raven) and the Medieval Latin corbellus or corvellus, which is a diminutive of the Latin corvus (raven or crow). It refers to the beak-like or bird-like projection of these stone brackets from a wall, a term appearing in English around the mid-14th century.  The underside of this stone corbel is decorated with a three-leaf motif carved in relief. The friary, National Monument No. 461, was built in the 13th-century as a Cistercian chapel dedicated to Saints Peter & Paul. In 1414 the O’Madden family granted the church to the Dominican Order. Archaeological Survey of Ireland description of Friary at: https://tinyurl.com/42u7wrep

Portumna Abbey (GA127-019----) Corbel

15th-century quatrefoil window in the east wall of the sacristy to the north of the chancel in Portumna Dominican Friary (GA127-019----), Co. Galway. The term quatrefoile refers to an ornamental design of four lobes or leaves as used in architectural tracery, resembling a flower or clover leaf. Quatrefoil originates from the Old French word quatrefoil, meaning "four-leaf," which combines quatre ("four") and foil ("leaf"), derived from the Latin quattuor and folium.  The friary, National Monument No. 461, was built in the 13th-century as a Cistercian chapel dedicated to Saints Peter and Paul. In 1414 the O’Madden family granted the church to the Dominican Order when the church was converted into a friary with the addition of a crossing tower and cloister with claustral buildings to the north of the church. Archaeological Survey of Ireland description of Friary at: https://tinyurl.com/42u7wrep

Portumna Abbey (GA127-019----) Quatrefoil Window

Triptych of the Virgin and Child with Saints

Church of Saints Peter and Paul [Mělník, Czech Republic] - southern entrance portal, part 1. Dimples and grooves on sacred buildings.

Church of Saints Peter and Paul - part 1.

Día de los Muertos has roots in pre‑Hispanic rituals that honored the dead long before Spanish colonization. Aztec communities held month‑long ceremonies for ancestors, guided by deities of death and rebirth. Over time, these traditions blended with Catholic observances of All Saints’ and All Souls’ Days, creating the modern festival of altars, marigolds, and candlelit vigils. Within this cultural fusion emerged El Catrín, the elegant male skeleton inspired by early 20th‑century satirical art. Originally a critique of elites who imitated European fashion, he evolved into a symbol of Mexico’s unique relationship with death—stylish, unafraid, and self‑aware. Today, El Catrín stands as a reminder that history, identity, and mortality are all part of the same vibrant story.

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