In the world of art, Michelangelo Buonarroti stands as a towering figure, renowned for his unmatched talent in sculpting, painting, and architecture. Among his many masterpieces, the “Allegories of Dusk and Dawn” sculptures, located in the Medici Chapels of Florence, Italy, are often overshadowed by his more famous works like the David or the Sistine Chapel ceiling. However, these sculptures deserve their own spotlight for their remarkable beauty and allegorical depth.

Created between 1520 and 1534, the Allegories of Dusk and Dawn were commissioned by Giuliano di Lorenzo de’ Medici, Duke of Nemours, to adorn the tomb of his uncle, Lorenzo de’ Medici, Duke of Urbino. These sculptures are carved from marble and depict two reclining figures, one male and one female, in poses that evoke the transition between night and day.

Dawn: The Awakening of New Beginnings

The sculpture of Dawn captures the essence of awakening. The female figure is portrayed with exquisite detail, as her lithe body stretches and her eyes gently open, symbolizing the beginning of a new day. Michelangelo’s incredible skill is evident in the lifelike representation of her form, the flowing drapery, and the nuanced expression on her face, reflecting the delicate and ephemeral moments of daybreak.

Dusk: The Melancholy of Farewell

In stark contrast, Dusk embodies the melancholy of day’s end. The male figure reclines with a weary, contemplative expression, his eyes heavy with the weight of twilight. His muscular form, expertly carved by Michelangelo, portrays a sense of fatigue and longing for the rest that night will bring. Dusk represents the fleeting moments of fading light, a time for reflection and preparation for the night ahead.

These sculptures, like many works of Renaissance art, carry deeper allegorical meanings. Dawn and Dusk can be seen as metaphors for the cycle of life. Dawn represents birth, renewal, and the promise of a new beginning, while Dusk symbolizes the inevitability of aging, the passage of time, and the eventual embrace of the unknown.

Michelangelo’s Allegories of Dusk and Dawn remain a testament to his artistic genius and his ability to infuse marble with life and emotion. These sculptures are not only a feast for the eyes but also an invitation to contemplate the human experience. They continue to inspire artists and art enthusiasts, reminding us of the timeless beauty and enduring relevance of Michelangelo’s work.

The two sculptures were 3D scanned as part of a longterm collaboration between The Statens Museum for Kunst and Scan the World, the intention in digitising the museum’s collection and releasing the data openly (CC0) for anyone to engage with.

Download links:
Allegory of Dusk — https://www.myminifactory.com/object/3d-print-allegory-of-dusk-270949
Allegory of Dawn — https://www.myminifactory.com/object/3d-print-allegory-of-dawn-271178

Michelangelo’s Allegories of Dusk and Dawn was originally published in scantheworld on Medium, where people are continuing the conversation by highlighting and responding to this story.

In the world of art and archaeology, some masterpieces transcend time, offering glimpses into the distant past that are as mesmerizing today as they were centuries ago. One such marvel is the Augustus of Prima Porta, an iconic statue that has captivated art enthusiasts for generations. Now, thanks to cutting-edge technology, a new chapter in its history has begun. The copy of this legendary sculpture at The Statens Museum for Kunst has been meticulously 3D scanned by Scan the World, using the advanced Artec Eva structured light scanner, opening doors to a new era of preservation and accessibility.

The Augustus of Prima Porta is an ancient Roman marble sculpture that dates back to 20 BCE. It stands as a testament to the artistry and craftsmanship of the Roman Empire during the reign of Emperor Augustus. The statue depicts the Emperor himself in the guise of a heroic figure, wearing armor and a flowing cape. His raised arm and extended hand suggest an orator addressing his troops, emphasizing Augustus’s role as both a military leader and a statesman.

But what truly sets this sculpture apart is the intricate detailing and symbolism woven into its design. From the depiction of Roman gods and mythological scenes on the breastplate to the delicate rendering of Augustus’s youthful face, every aspect of the statue tells a story of power, politics, and propaganda in ancient Rome.

Preserving the Past with 3D Scanning

While the original Augustus of Prima Porta remains housed in the Vatican Museums, a few copies of this masterpiece are scattered throughout the world’s museums. The Statens Museum for Kunst in Copenhagen is one of the fortunate institutions to house such a plaster cast. Recently, this replica underwent a groundbreaking transformation.

Scan the World, a pioneering project dedicated to digitally preserving the world’s cultural heritage, utilized the state-of-the-art Artec Eva structured light scanner to create a stunningly detailed 3D replica of the Augustus of Prima Porta.

A New Era of Accessibility

The digitization of the Augustus of Prima Porta holds immense significance. It offers scholars, students, and art lovers a unique opportunity to explore and study this remarkable piece of history from the comfort of their own screens. The 3D scan allows for detailed analysis and research, shedding new light on the techniques employed by ancient Roman artisans and the socio-political context in which the statue was created.

Furthermore, this digital replica opens doors to immersive experiences, enabling virtual tours, 3D-printed reproductions, and interactive educational resources. It bridges the gap between art and technology, making cultural heritage more accessible and engaging than ever before.

In conclusion, the 3D scanning of the Augustus of Prima Porta at The Statens Museum for Kunst is a remarkable fusion of art and technology. It preserves a piece of ancient Rome’s rich history while ushering it into the digital age. As this technology continues to advance, we can only imagine the countless other treasures of the past that will be brought to life, allowing us to connect with our shared human history in new and profound ways.

The 3D printable model is available to download for free under an open CC0 license from the Statens Museum for Kunst’s profile on Scan the World.

https://www.myminifactory.com/object/3d-print-augustus-of-prima-porta-264761

Augustus of Prima Porta - A Timeless Icon of Roman Power was originally published in scantheworld on Medium, where people are continuing the conversation by highlighting and responding to this story.

In the world of art and history, few things are as captivating as ancient sculptures that have stood the test of time. One such masterpiece is the Seated Hermes sculpture, a renowned depiction of the Greek god known for his roles as the messenger of the gods, the protector of travelers, and the guide to the Underworld. Thanks to the efforts of Scan the World and MyMiniFactory, this extraordinary sculpture can now be freely downloaded and enjoyed by art enthusiasts worldwide.

The Seated Hermes sculpture, originally housed at the National Archaeological Museum of Naples, has been brought to life once again through the wonders of technology. Scan the World, an ambitious initiative, is dedicated to digitally preserving historical artifacts and making them accessible to everyone. In collaboration with Cambridge University’s Faculty of Classics, they meticulously scanned a plaster copy of the Seated Hermes sculpture, capturing every intricate detail.

The Seated Hermes sculpture portrays the god in a calm and dignified posture. Hermes is depicted sitting on a rock, his left arm resting on his knee, while his right arm extends forward, as if ready to offer guidance or receive a message. The sculpture exhibits a level of artistry that beautifully conveys the deity’s grace and power. From the careful rendering of Hermes’ flowing robes to the delicate features of his face, the craftsmanship is truly remarkable.

Hermes, an important figure in Greek mythology, played various roles that reflected the diverse nature of his character. As the messenger of the gods, he possessed swift and cunning qualities, which earned him the reputation of being the god of travelers and boundaries. Hermes also served as the guide to the Underworld, leading souls to their final resting place. This multifaceted deity embodies the complexities and contradictions that make Greek mythology so fascinating.

Free Download from MyMiniFactory

The digital scan of the Seated Hermes sculpture is freely available for download. MyMiniFactory, a leading online platform for 3D-printable models, provides an opportunity for art enthusiasts, historians, and students alike to access this magnificent sculpture from the comfort of their homes. By offering the model at no cost, they aim to promote the democratization of art and knowledge.

Education and Accessibility

The availability of the Seated Hermes sculpture as a downloadable 3D model brings a host of benefits to the realm of education. Students studying Greek mythology, art history, or classical civilizations can now explore this masterpiece in great detail, enabling them to examine its intricate features and gain a deeper understanding of the ancient world. Moreover, this initiative fosters accessibility by making the sculpture available to those who may not have the opportunity to visit museums or historical sites in person.

The Seated Hermes sculpture is a testament to the artistic brilliance of the ancient Greeks and the enduring power of their mythology. Through the collaborative efforts of Scan the World and MyMiniFactory, this remarkable sculpture has been faithfully reproduced and made freely accessible for download. By bridging the gap between history, technology, and art, this initiative allows individuals from around the globe to appreciate and engage with the beauty of this timeless masterpiece. The Seated Hermes sculpture serves as a reminder of the rich cultural heritage that continues to inspire and captivate us today.

Exploring the Beauty of the Seated Hermes: A Free Downloadable Masterpiece was originally published in scantheworld on Medium, where people are continuing the conversation by highlighting and responding to this story.

When did you first develop an interest in 3D design and why?

“When I began my journey at university, pursuing a foundation art and design degree, my initial focus was on painting. While I had experience working with oil, my primary medium was acrylic (you can view some of my previous paintings here: Painting and Drawing — Dorian Wilshere). During this degree, I had the opportunity to explore various artistic disciplines, and I discovered that my previous experience as a welder lent itself well to craftsmanship. This realization led me towards sculpture, and I subsequently pursued a degree in that field, which involved extensive work with bronze and iron casting.

It was during my second year of study that I was introduced to Zbrush. I immediately acquired the software and began immersing myself in it. From the very first lesson, I could sense the immense potential of this software. Something about it resonated with me, akin to working with digital clay. My passion for video games had already familiarized me with virtual environments, making me comfortable working within them. Since then, Zbrush has become an integral part of my sculpting process, with every sculpture I create incorporating at least some aspect designed using this powerful tool.”

How do you find inspiration for your work, and what concept underlies your creations?

“At its core, my work is all about bringing physicality to the digital. Theres an ethereal quality to the digital for me, with 3D digital design able to create things seemingly beyond that which can be made and designed by hand. Firstly I explored 3d printing but I wanted to work bigger. I found that 3D could get very expensive and even with a couple of friends owning or building they’re own 3D printers, the time they could take to print coupled with the possibilities of print fails didn’t work great for me. So I then got into subtractive manufacturing techniques with some software called SlicerforFusion360. This meant that I could make digital models by hand, and that aspect would become a feature of the concepts within my work

#handmakingthedigital

So through this I’ve made figures, characters, animals and abstract sculptures that are routed in the idea of making the digital physical in as many ways as possible.”

Do you follow a particular routine in your creative process?

“I am constanty having ideas about what to make. An idea is usually written down or sketched, I usually develop an idea with some drawing. Drawing for me is a fundemental aspect of making sculpture. I like to work from some initial reference so that the whole making process is rooted in my visualisation of an idea. Then I go to Zbrush and start creating, much like someone using clay or paper to create maquettes, except with Zbrush there is no material waste and variations on a design can be easily created. Finished designs can then have the flexability of being made at any size. Prototypes can be 3D printed to show a client before the larger work takes place. Including Zbrush in my creative process of making sculptures gives me a kind of versatility that can be difficult to achieve for someone working with traditional techniques alone.”

Could you elaborate on the actual creative process you follow?

“Drawing initiates the visualisation of an idea, but during designing with Zbrush there can be a lot of variations that can arc into different ideas. Once something has been 3D modelled I often play around with it using deformation tools and alphas to create glitched effects on the design that will look interesting when made in a physical medium. Objects are then made with either 3d printing or CNC cut from sheet materials which will then produce objects made by layering or interlocking slices. These objects look great as they are but I will often work over them with different materials, using the manufactured object as an armature. This whole idea of CNC cut armatures is a big thing in itself for me as I believe this technique could be very useful for other artists who would like to work on a detailed armature.”

Which of your artworks holds a special place in your heart?

“Looking back I would say that the ‘Madonna and Child’ sculpture for the Whitland abbey is my favourite. This sculpture resulted in lots of interesting things. It is made of over 200 layers of hand carved Welsh slate, using templates derived from a photogrammerty scan of a small statue owned by the nuns of the abbey. The slate was from the buildings original roof that had to be replaced. The sculpture introduced digital processes like photogrammerty and 3D modelling to a group of nuns that would otherwise have not seen what it could do. The sculpture itself is of a religious icon of the Cistercian order and it was set in the middle of some beautiful gardens where the ashes of nuns who had passed away were scattered. This piece was just wonderfully site specific and full of meaning. And it beautifully mixed digital and traditional techniques and materials.”

Among the artifacts we digitized, which one is your favorite?

“I love the scans of Michelangelo’s David as its such an icon sculpture. The favourite one I have made however is of Hebe, Goddess of youth. I made this lifesize in bathstone Jesmonite and learnt a lot through doing it. The story to the pose is really interesting and I’ve always been fascinated by both sculpting and painting folds in clothes. I’m also very interested in how the body is sculpted underneath the clothes and how the suggestion of the body can bring more life to a figure.”

How do you perceive the significance of digitizing cultural heritage as a contemporary artist?

“For me personally, it is about learning how to sculpt the human body by studying the work of masters. It took a while for me to get the confidence to approach the subject of the human body as for me the standard is that set by classical works of the masters. The 3D scans done by ScanTheWorld allow me to get closer to these works than I could otherwise, and thus are an amazing resource for me. And I am sure this applies to many artists and makers around the world. The resources that ScanTheWorld have created allow people to have an intimate connection to cultural objects and sculpture. I call the body of work that I have made using these scans ‘Digital Echoes’, as whilst I am not working with these objects directly, ScanTheWorld is providing me with a tangible trace of these objects for me to make and learn from.”

STW conversations: Dorian Wilshere was originally published in scantheworld on Medium, where people are continuing the conversation by highlighting and responding to this story.

This relief realised by Bertel Thorvaldsens in 1812, perfectly depicts Alexander’s the Great’s entry to Babylon. The 35-meter long relief, has been sculpted for the papal Palazzo del Quirinale in Rome on the occasion of the Emperor Napoleon’s planned visit to the city. The subject was chosen to remark the paralel between Napoleon entering Rome and Alexander’s entry into Babylon.

Historical context

As Alexander the Great, a skilled military tactician and visionary leader, expanded his empire, Babylon stood as a highly coveted city and a symbol of power in the ancient world. In 331 BCE, after a series of decisive victories, Alexander’s forces reached the gates of Babylon. The city’s residents, aware of the conqueror’s approaching triumph, eagerly awaited his arrival.

As the conqueror rode through the city, he was accompanied by a multitude of soldiers, heralds, and prominent figures, all adorned in order to showcase his power. The procession featured chariots, resplendent with gold and precious gems, pulled by majestic horses.

To honor the gods of Babylon and pay tribute to the city’s rich heritage and traditions, Alexander made a stop at the renowned Ishtar Gate. This monumental entrance, adorned with vibrant glazed tiles depicting mythical creatures, served as a testament to the city’s architectural brilliance.

The arrival of Alexander the Great in Babylon signaled a new era for the city and its inhabitants. With his presence, he brought the promise of stability, prosperity, and cultural fusion. Recognizing the city’s strategic importance, Alexander initiated ambitious plans for its development, which included the construction of new buildings and the establishment of administrative systems that would solidify his reign.

The full 3D scanned relief can be found and downloaded here.

Object on focus: Alexander the Great’s Entry into Babylon was originally published in scantheworld on Medium, where people are continuing the conversation by highlighting and responding to this story.

Today we had a chat with Jamie Rochford, a passionate sculptor. Jamie’s captivating work centers around the art of creature design, drawing inspiration from the human body itself as a reference and starting point for his extraordinary creations.

When did you first become interested in 3D sculpting and what inspired you? Could you tell us a bit about your background?

“During my foundation year at college when I was 19, I discovered my passion for sculpting. Although I had primarily focused on drawing until then, I found working with clay addictive and engaging. The ability of an object to convey different stories from different angles fascinated me, and I developed a natural inclination for the sculpting process. Spending 40–50 hours on a clay piece without ever feeling tired or wanting it to end made it feel more like a passion than work.”

Where do you find inspiration for your work, and what concept drives your creations?

“Much of my recent work revolves around sculpting for film and television, usually based on specific briefs. In my personal projects, I enjoy exploring human anatomy and drawing inspiration from body horror themes found in movies like The Thing (1982) and video games like Dead Space. The common thread in my work is creature design, where I use the human body as a starting point. I’m fascinated by the horror of encountering contorted and sinister versions of oneself.”

Do you follow a specific routine in your creative process?

“When working on digital pieces, I typically start with a human body, sculpting symmetrically and defining key anatomical points. I then experiment with different ideas in the software. For compositions and visual intrigue, I often do a lot of drawing. When working with clay, which is usually for professional projects, I start with a block-out and refine the forms until I achieve a highly detailed and resolved piece.
The pace of sculpting for work is quite different from personal projects, as you often reach resolutions quickly, and over time, you develop the ability to create intricate pieces within short timeframes.”

How do you incorporate 3D scans and prints as a reference in your work?

“I believe it’s best to develop ideas through active creation. Inspiration isn’t purely a thought process but emerges naturally as you sketch or sculpt basic ideas. I frequently use 3D prints as references in my work. I’ve printed full-size skulls and a human ecorche, which I refer to while sculpting. In film projects, I use 3D prints as maquettes for larger pieces. The speed and convenience of working with digital models in comparison to real-life objects allow for rapid progress at this stage. Having 3D objects as references, rather than just images, is incredibly valuable.”

What materials do you primarily use, and how do you choose them?

“Currently, I mainly use Monster Clay for traditional sculpting outside of digital sculpting. Monster Clay is an oil/wax modeling clay that offers exceptional fine detail capabilities. It can be melted down and reused multiple times. I find it unparalleled for creating realistic skin or creature textures. However, using Monster Clay requires skill with sculpting tools rather than relying heavily on manual thumb sculpting. Before using Monster Clay, I worked with wet clay during my time at university or for portrait sculpting. Different mediums have their own advantages.”

Which artwork are you most attached to?

“The first is a ZBrush sculpt I completed over a weekend with other digital sculptors from Instagram. It was a collaborative project based on a concept by Maxim Verehin, featuring a witch’s arm. I feel a fondness for this piece because working alongside other sculptors created a strong sense of community.

The second piece is my first large-scale costume sculpt for a film called “Walking Against the Rain.” It represents the creature design for the movie. I particularly cherish this piece because it marks my entry into professional work on a larger scale.”

What’s your favourite artefact we digitised?

“My favourite artefact of yours that I’ve printed is Ugolino and his sons, I think it’s the details on this classical piece that really draw me in and the anatomical representations of the starving body, the back of the main figure carries such realism of gravity as the skin feels thin across the skeleton, such a useful piece to be able to study.”

How do you see the digitisation of cultural heritage is important for you as a contemporary sculptor?

“I think ultimately for me it’s the access, you have such freedom to study these pieces. The ability to be able to interact with these classical works is so valuable for an artist.”

Your goals as an artist in the near future?

“I think going forward I’d like to continue in film special effects and keep building my sculptural portfolio that way. I am also keen to gain a stronger personal practice. Since I’m mostly using ZBrush for my personal works I’d like to branch back out and use clay again, I’d be interested in making silicone masks of people and creatures. I think in a general sense I just want to keep expanding my skills and become a better artist.”

STW Conversations: Jamie Rochford was originally published in scantheworld on Medium, where people are continuing the conversation by highlighting and responding to this story.

According to the myth, Medusa was a beautiful woman with long hair made of snakes. She was once a priestess in the temple of Athena, but was punished by the goddess for having a love affair with Poseidon in her temple. As a result of this transgression, Athena turned Medusa into a hideous creature with snakes for hair, whose gaze would turn any living being to stone.

Perseus, a demigod and son of Zeus, was sent on a quest by King Polydectes to bring back the head of Medusa as a gift. With the help of Athena and Hermes, Perseus managed to cut off Medusa’s head while looking at her reflection in his shield, thus avoiding her deadly gaze. He then used Medusa’s head as a weapon, turning his enemies to stone and fulfilling his mission.

The myth of Perseus and Medusa has been a popular subject in art throughout history, and has been depicted in many different ways. In particular, we want to focus on two notable sculptures that depict this myth: Perseus Slaying Medusa by Marqueste and Perseus with the Head of Medusa by Canova.

Perseus Slaying Medusa by Marqueste is a marble sculpture created between 1876 and 1903. It depicts Perseus in the act of severing Medusa’s head, while his right hand holds a sword. The sculpture is highly detailed, with intricate depictions of Medusa’s snake hair and Perseus’s muscles. It also conveys a sense of movement and action, with Perseus appearing about to complete his heroic feat.

On the other hand, Perseus with the Head of Medusa by Canova is a marble sculpture created in 1804. Unlike Marqueste’s sculpture, Canova’s work depicts Perseus holding Medusa’s head aloft in his right hand, while his left hand holds a draped cloth that covers his body. The sculpture is highly polished, with a smooth surface that highlights the beauty and elegance of the figures. It also conveys a sense of triumph and victory, with Perseus appearing calm and confident.

While Marqueste’s sculpture emphasizes action and movement, Canova’s work highlights beauty and elegance. Both sculptures are powerful and memorable depictions of this timeless myth.

Both 3D versions of the artefacts can be dowloaded freely on Scan the World.

Object on focus: Perseus and Medusa through Marqueste’s and Canova’s eyes was originally published in scantheworld on Medium, where people are continuing the conversation by highlighting and responding to this story.

Today we had a chat with Tiago Marinho, one of our favouirite designers who recently included some of the Gliptotek’s 3D scans in his work.

It is with great pleasure that we introduce you to the brilliant artist behind this inspiring work.

We’d love to know more about your creative process! Where do you draw inspiration from for your work? Are there any particular movies, music, or artists that have influenced your style?

“I get inspiration from movies and music, mostly. It’s also impossible not to get inspired by other great artists on social media. Even if it’s not that obvious in my work, Art’s History is one of my biggest passions and inspirations.”

Could you walk us through your creative process? Do you have a specific routine that you follow, or does it vary depending on the project?

“I’ve always tried to be as intuitive as possible while creating my art. However, lately, I’ve been learning new techniques and software, while trying to be more methodical. My routine now is based around 3 softwares: Marvelous Designer, ZBrush and Cinema 4D.”

When did you start using 3D in your work? Has your experience with 3D changed your approach to creating art in any way?

“I started doing 3D in the last year of my degree, as an escape from the lack of purpose and motivation that I felt at the time.”

Looking ahead to the future, what are your goals as an artist? Do you have any particular skills or software that you’re hoping to master?

I want to keep improving and learning new software. I want to be able to reproduce my concepts with as much fidelity as possible. One of my immediate goals, as well, is to understand how I can effectively incorporate AI in my workflow. Long story short, I don’t want to fall behind.

STW Conversations: Tiago Marinho was originally published in scantheworld on Medium, where people are continuing the conversation by highlighting and responding to this story.

The Rochester Cathedral Library Doorway is a fascinating piece of architecture with a rich history.

The doorway was built in the late 14th century, around 1380, and is considered one of the finest examples of Gothic architecture in England. It is situated on the south side of the cathedral, leading to the cathedral library, which is one of the oldest and largest collections of books in England.

The doorway itself is a masterpiece of craftsmanship, with intricate carvings and details that make it truly stunning.

At the very top, Bishop Hamo himself is depicted as a small naked soul surrounded by clouds and rising to heaven. Angels on clouds surround the bishop’s representation on either side.

Following the arch we can see Saints Augustine, Pope Gregory I, Jerome and Ambrose. The arch is decorated with a series of quatrefoils, which are small four-petal flowers arranged in a square pattern. The spandrels, or the spaces between the arch and the door frame, are decorated with a variety of caricature heads, including saints, angels, and other religious symbols. The caricature heads nearest the bottom, and to purgatory, are shown suffering and in agony, whilst the figures closer to the top show joy and happiness.

In addition to its stunning decoration, the Rochester Cathedral Library Doorway is also significant for its historical importance. The cathedral library itself has a long and storied history, dating back to the 7th century when a collection of books was first established by St. Augustine of Canterbury. Over the centuries, the collection grew and was housed in various locations until the current library was built in the 14th century. The library contains a wide range of books, including some of the earliest printed works in England.

Explore the digitised collection here.

Artefact on focus: The Chapter Library Doorway was originally published in scantheworld on Medium, where people are continuing the conversation by highlighting and responding to this story.

In 1889, seeking a winter retreat from New Little Holland House, their London home, G F and Mary Watts stayed with friends in Compton. They quickly decided that this picturesque village nestled in the Surrey hills would make the ideal location for their own autumn/winter residence.

The ‘little house’, as they called Limnerslease, grew into a source of inspiration and a place of great productivity and tranquillity for them both.

Limnerslease was very much an artists’ home. Its name comes from ‘Limner’ — the Old English word for artist — and ‘lease’ — to glean hope for the future. Both Mary and George found new inspiration in Compton.

Mary designed and created many of the decorative elements of the house, including the distinctive ceiling panels that adorn the main rooms. These panels are made of gesso, a mixture of plaster and glue, which is applied in relief to a wooden base.

The panels depict symbolic figures and motifs drawn from various mythological, allegorical, and spiritual sources. The panels depict the four seasons, the elements of nature, and various virtues such as wisdom, courage, and compassion.

Mary Watts believed that art should have a moral purpose and sought to create works that would inspire and uplift people. The ceiling panels at Limnerslease were intended to convey a sense of unity and harmony between humanity and the natural world, as well as a vision of a higher spiritual reality.

In addition to the ceiling panels, Mary Watts created a range of other decorative elements for the house, including stained glass windows, furniture, and textiles. She also taught art to local villagers and founded the Compton Pottery, a workshop that produced ceramics in the Arts and Crafts style.

Scan the World had the privilege of scanning some of the ceiling panels created by Mary Watts at Limnerslease. We are delighted to announce that a total of 10 panels scanned at the Gallery are now available to view and download as part of our full collection.

Mary Watts‘ Legacy of Limnerslease: 3D Scanning the Decorative Ceiling Panels of Limnerslease was originally published in scantheworld on Medium, where people are continuing the conversation by highlighting and responding to this story.