cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.5281/zenodo.10284678
title: Nuweiba at Night – Gulf of Aqaba, Red Sea, Egypt

description: Nuweiba Beach at Night on the Gulf of Aqaba, Red Sea, Egypt 

Believed by some to be the crossing location of the Hebrew people during Exodus, Nuweiba Beach and the canyon approach is featured in this free model.  This location is on the Red Sea, or biblical Yam Suph, meaning Sea of Reeds or Sea of Weeds.  If the Exodus sea crossing was on the Gulf of Aqaba, that would place Mount Sinai somwhere in Arabia, possibly Jabel al-Lawz or Jabal Maqla.

Despite many claims of things like chariot wheels on the sea floor and pillars commemorating the crossing, no conclusive evidence in archaeology has been proven thus far, and all claims remain unfounded and unsubstantiated.  

While I do favor a Sinai in Arabia location, my personal viewpoint does not favor a crossing here, but rather on the Suez branch as more fitting to the actual biblical narrative and timing of events laid out in both Exodus and Numbers 33.  -Nate Loper

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284680
title: Geometric model

description: * *(метка 36)*

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284679
title: Geometric model

description: * *(метка 36)*

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284684
title: Combs Wood forge?

description: This structures has at least two phases and was undoubtedly used for ironworking. Initially thought to be a blacksmith forge, now archaeologists are not so sure. A blacksmith would have been needed to shoe horses and repair tool and mine tubs. However, no hammer scale (usual by-product of blacksmithing) was identified and surprisingly a high amount of slag was identified. Slag is a waste product of ironmaking, usually associated with bloomeries and blast furnaces. A hearth for heating (with slot of doors) and storage can be seen; as can a smooth work surface.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284683
title: Combs Wood forge?

description: This structures has at least two phases and was undoubtedly used for ironworking. Initially thought to be a blacksmith forge, now archaeologists are not so sure. A blacksmith would have been needed to shoe horses and repair tool and mine tubs. However, no hammer scale (usual by-product of blacksmithing) was identified and surprisingly a high amount of slag was identified. Slag is a waste product of ironmaking, usually associated with bloomeries and blast furnaces. A hearth for heating (with slot of doors) and storage can be seen; as can a smooth work surface.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284686
title: XCB-003-928 Biface Fragment

description: Biface  XCB-003-928.

XCB-003, or IZM-003, is a site tested by A.P. McCartney in 1971. It is the type-site for the Izembek Phase. A small village with a unique whalebone house and many artifacts similar to those in the Bristol Bay region. It dates approximately 1200-1350 CE.

The Alaska Peninsula artifacts are presented as a result of the research conducted under grants NSF 9630072, NSF 9814086, NSF 9996372, NSF 9996415, NSF 1139266, NSF 1321411. H. Maschner, Principal Investigator. These artifacts were scanned with either a Faro Edge Arm or a Minolta Vivid 9i. Processed in Geomagic or Polyworks. 2-8 photos were used for texture in Geomagic Wrap. Original digitizing work done at the IVL at Id. St. Univ. Subsequent processing and publication completed at Global Digital Heritage.

1. McCartney, A.P. 1974 Prehistoric Cultural Integration along the Alaska Peninsula. APUA 16(1):59-84. 2. Maschner: doi: 10.1353/arc.2011.0007 Arctic Anthro. January 1, 2004 vol. 41 no. 2 98-111.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284685
title: XCB-003-928 Biface Fragment

description: Biface  XCB-003-928.

XCB-003, or IZM-003, is a site tested by A.P. McCartney in 1971. It is the type-site for the Izembek Phase. A small village with a unique whalebone house and many artifacts similar to those in the Bristol Bay region. It dates approximately 1200-1350 CE.

The Alaska Peninsula artifacts are presented as a result of the research conducted under grants NSF 9630072, NSF 9814086, NSF 9996372, NSF 9996415, NSF 1139266, NSF 1321411. H. Maschner, Principal Investigator. These artifacts were scanned with either a Faro Edge Arm or a Minolta Vivid 9i. Processed in Geomagic or Polyworks. 2-8 photos were used for texture in Geomagic Wrap. Original digitizing work done at the IVL at Id. St. Univ. Subsequent processing and publication completed at Global Digital Heritage.

1. McCartney, A.P. 1974 Prehistoric Cultural Integration along the Alaska Peninsula. APUA 16(1):59-84. 2. Maschner: doi: 10.1353/arc.2011.0007 Arctic Anthro. January 1, 2004 vol. 41 no. 2 98-111.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284687
title: San Gennaro Catacomb Fresco, Napoli (19B)

description: The arched niche (arcosolium) for 2 burials is located in a hypogeum (a subsurface burial ground of greater size) in the upper level of the Catacombs of San Gennaro (Naples). The niche is currently dated in the 3rd century AD and belongs to the oldest part of that level. The Catacombs itself were used for burials from the 2nd century AD to the middle ages.

The paintings are in a poor conservation status: A red-yellow orange frame system divides the surface in geometrical motives, in which different objects were placed. Relics of flowers adorn the background.

Processed from 152 photos and 2 laser scans. The result of a joint project of GDH, the Zamani Project,  Università degli Studi di Napoli "L'Orientale", and the Administration of the Catacombe di Napoli. Processed in Reality Capture. The descriptions were provided by Seniorprofessor Dr. Dieter Korol, Westfälische Wilhelms-Universität Münster. Project # Fresco 19b.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284688
title: San Gennaro Catacomb Fresco, Napoli (19B)

description: The arched niche (arcosolium) for 2 burials is located in a hypogeum (a subsurface burial ground of greater size) in the upper level of the Catacombs of San Gennaro (Naples). The niche is currently dated in the 3rd century AD and belongs to the oldest part of that level. The Catacombs itself were used for burials from the 2nd century AD to the middle ages.

The paintings are in a poor conservation status: A red-yellow orange frame system divides the surface in geometrical motives, in which different objects were placed. Relics of flowers adorn the background.

Processed from 152 photos and 2 laser scans. The result of a joint project of GDH, the Zamani Project,  Università degli Studi di Napoli "L'Orientale", and the Administration of the Catacombe di Napoli. Processed in Reality Capture. The descriptions were provided by Seniorprofessor Dr. Dieter Korol, Westfälische Wilhelms-Universität Münster. Project # Fresco 19b.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284689
title: AMM2

description: **Details**
Inventarisnummer: AMM 2
Afdeling: Klassieke oudheid
Objectnaam: reliëf
Materiaal: marmer
Afmetingen: 53,5 x 55 x 10 cm, gew. 80 kg
Periode: Grieks-Romeinse Periode ; Romeinse keizertijd ; Hadrianus 100-200 n.Chr.
Vindplaats: Italië
Verwerving: overdracht 1844 mei

**Literatuur**
Cat. Pleyte-Jesse 1897, no. I-520, pl. V ; Bastet, F.L., Brunsting, H. 1982, Corpus signorum classicorum (CSC), nr. 197 ; R. Halbertsma & L. Mol 1995, Beeldhouwkunst uit Hellas en Rome, p. 73 ; Topstukken van het RMO, Leiden 2020, p. 82-83

https://hdl.handle.net/21.12126/60387

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284690
title: AMM2

description: **Details**
Inventarisnummer: AMM 2
Afdeling: Klassieke oudheid
Objectnaam: reliëf
Materiaal: marmer
Afmetingen: 53,5 x 55 x 10 cm, gew. 80 kg
Periode: Grieks-Romeinse Periode ; Romeinse keizertijd ; Hadrianus 100-200 n.Chr.
Vindplaats: Italië
Verwerving: overdracht 1844 mei

**Literatuur**
Cat. Pleyte-Jesse 1897, no. I-520, pl. V ; Bastet, F.L., Brunsting, H. 1982, Corpus signorum classicorum (CSC), nr. 197 ; R. Halbertsma & L. Mol 1995, Beeldhouwkunst uit Hellas en Rome, p. 73 ; Topstukken van het RMO, Leiden 2020, p. 82-83

https://hdl.handle.net/21.12126/60387

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284692
title: Fragmento_005

description: Fragmento cerámico recogido en Berlanga de Duero, Soria.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284691
title: Fragmento_005

description: Fragmento cerámico recogido en Berlanga de Duero, Soria.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284693
title: Fontaine Chateau de Malmaison

description: Très beau fontaine dans le Chateau de Malmaison.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284694
title: Fontaine Chateau de Malmaison

description: Très beau fontaine dans le Chateau de Malmaison.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284695
title: Roman vase

description: Roman vase  of dark blue glass decorated with white figures, the finest surviving Roman example of cameo glass. Originally owned by the Barberini family (and sometimes called the Barberini Vase), it came into the possession of the duchess of Portland in the 18th century. The vase has been extensively copied, particularly during the Victorian period. The most accurate copies, however, were those made by Josiah Wedgwood, who, in 1790, copied it in jasperware with white figures in relief, and by John Northwood of Stourbridge, Eng., who copied it in glass (completed 1876). In 1845, while in the British Museum (where it is now), the original vase was smashed, necessitating skillful and painstaking restoration.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284696
title: Roman vase

description: Roman vase  of dark blue glass decorated with white figures, the finest surviving Roman example of cameo glass. Originally owned by the Barberini family (and sometimes called the Barberini Vase), it came into the possession of the duchess of Portland in the 18th century. The vase has been extensively copied, particularly during the Victorian period. The most accurate copies, however, were those made by Josiah Wedgwood, who, in 1790, copied it in jasperware with white figures in relief, and by John Northwood of Stourbridge, Eng., who copied it in glass (completed 1876). In 1845, while in the British Museum (where it is now), the original vase was smashed, necessitating skillful and painstaking restoration.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284697
title: Emlagh High Cross RO027-034006 to 034011

description: Fragments of a High Cross on NW-SE drumlin ridge at Emlagh church site 006 Limestone cross-fragments (dims 0.35m x 0.24m; H 0.93m) with interlace in relief on the E face and incised on the other sides. 
007 Cross-fragment (dims 0.35m x 0.25m; H 0.8m) with a poor interlace. It is set in a cross-base (RO027-034005-).
008 Granite cross-fragment (dims 0.35m x 0.2m; H 0.95m). Two panels of interlace in relief on the S face and spiral is on the N face. The other faces are plain, and the cross-head
034009 Limestone cross-fragment (dims 0.32m x 0.17m; H 0.45m) expanding slightly at top. It has interlace in relief on the E face and lighter interlace on the W face, but the other are plain.
010 Granite cross-fragment (dims 0.23m x 0.1m; H 0.42m) with moulded edges and a badly worn interlace on its only exposed face. It was not recorded by Harbison
011 The granite head of a cross (H 0.45m; Wth 0.65m; T 0.15m) with spandrels but no ring, and with a central boss on each face. 
(Harbison 1992, vol. 1, 87, No. 95)

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284698
title: Emlagh High Cross RO027-034006 to 034011

description: Fragments of a High Cross on NW-SE drumlin ridge at Emlagh church site 006 Limestone cross-fragments (dims 0.35m x 0.24m; H 0.93m) with interlace in relief on the E face and incised on the other sides. 
007 Cross-fragment (dims 0.35m x 0.25m; H 0.8m) with a poor interlace. It is set in a cross-base (RO027-034005-).
008 Granite cross-fragment (dims 0.35m x 0.2m; H 0.95m). Two panels of interlace in relief on the S face and spiral is on the N face. The other faces are plain, and the cross-head
034009 Limestone cross-fragment (dims 0.32m x 0.17m; H 0.45m) expanding slightly at top. It has interlace in relief on the E face and lighter interlace on the W face, but the other are plain.
010 Granite cross-fragment (dims 0.23m x 0.1m; H 0.42m) with moulded edges and a badly worn interlace on its only exposed face. It was not recorded by Harbison
011 The granite head of a cross (H 0.45m; Wth 0.65m; T 0.15m) with spandrels but no ring, and with a central boss on each face. 
(Harbison 1992, vol. 1, 87, No. 95)

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284699
title: Misshapen Flower Pot - 19th Century

description: This flower pot was found during excavations of a privy/outhouse for Saints' Rest, MSU's first dormitory which burned down in 1876.

Since privies are places where you can easily dispose of trash, it is likely this wheel-thrown flower pot was discarded either due to it possibly being broken (but was fully reconstructed) or due to its overall apperance. It is clear that it was not made by a master potter. Bulges near the base and indents from it being picked up while the clay was still wet and maleable indicate it was a vessel made by an amateur or hobbyist. Additionally, the potter touched the sides of the flower pot with wet and clay covered hands before its final firing, resulting in smudges and marks on the body.

Despite this pot being less than perfect, this artifact may have more "personality". The mistakes on the vessel highlight its connection to its maker who could have been frustrated, proud, or both with how it turned out.

Model created by Jack A. Biggs using Agisoft Metashape.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284700
title: Misshapen Flower Pot - 19th Century

description: This flower pot was found during excavations of a privy/outhouse for Saints' Rest, MSU's first dormitory which burned down in 1876.

Since privies are places where you can easily dispose of trash, it is likely this wheel-thrown flower pot was discarded either due to it possibly being broken (but was fully reconstructed) or due to its overall apperance. It is clear that it was not made by a master potter. Bulges near the base and indents from it being picked up while the clay was still wet and maleable indicate it was a vessel made by an amateur or hobbyist. Additionally, the potter touched the sides of the flower pot with wet and clay covered hands before its final firing, resulting in smudges and marks on the body.

Despite this pot being less than perfect, this artifact may have more "personality". The mistakes on the vessel highlight its connection to its maker who could have been frustrated, proud, or both with how it turned out.

Model created by Jack A. Biggs using Agisoft Metashape.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284702
title: Stone structure, Palmela castle

description: Stone structure on Palmela castle in Portugal

Scanned by iPhone 8+
Processed by RealityScan
https://www.capturingreality.com/

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284701
title: Stone structure, Palmela castle

description: Stone structure on Palmela castle in Portugal

Scanned by iPhone 8+
Processed by RealityScan
https://www.capturingreality.com/

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284705
title: 77-47-Q306 Biface Fragment, Hot Springs Village

description: Biface Fragment, Hot Springs Village, Port Moller, Alaska CAT# 77-47-Q306 Okada excavations HHQ, Level 4-8 Hot Springs 1C. 1300-1000 BCE

The Hot Springs site is a massive village on the shore of Port Moller, on the Alaska Peninsula side of the southern Bering Sea. It was excavated by several different teams over the last 100 years. The main occupations are from 2000 BCE-1000 BCE, and from 100 CE to 800 CE.

The Hot Springs artifacts are presented as a result of the research conducted under grants NSF 0137756, NSF 1204020, NSF 1139266, and NSF 1321411. H. Maschner, Principal Investigator. Original digitizing work done at the IVL at Id. St. Univ. Subsequent processing completed at Global Digital Heritage.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284706
title: 77-47-Q306 Biface Fragment, Hot Springs Village

description: Biface Fragment, Hot Springs Village, Port Moller, Alaska CAT# 77-47-Q306 Okada excavations HHQ, Level 4-8 Hot Springs 1C. 1300-1000 BCE

The Hot Springs site is a massive village on the shore of Port Moller, on the Alaska Peninsula side of the southern Bering Sea. It was excavated by several different teams over the last 100 years. The main occupations are from 2000 BCE-1000 BCE, and from 100 CE to 800 CE.

The Hot Springs artifacts are presented as a result of the research conducted under grants NSF 0137756, NSF 1204020, NSF 1139266, and NSF 1321411. H. Maschner, Principal Investigator. Original digitizing work done at the IVL at Id. St. Univ. Subsequent processing completed at Global Digital Heritage.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284707
title: Medieval Writing Desk

description: Free to everyone to use for anything. All I ask is that you consider me for your projects! 
You can contact me at artdmitriyk@gmail.com

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284708
title: Medieval Writing Desk

description: Free to everyone to use for anything. All I ask is that you consider me for your projects! 
You can contact me at artdmitriyk@gmail.com

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284709
title: Figure 7-3-20

description: Garden figure.
372 shots.
Some masking of source images with Photoshop.
Batch processed with Metashape (Align Images, Optimize Alignment, Generate Dense Cloud, Mesh, Texture).
Some clean up of final model.
Mesh decimated to 800,000 from 8,000,000+ faces.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284710
title: Figure 7-3-20

description: Garden figure.
372 shots.
Some masking of source images with Photoshop.
Batch processed with Metashape (Align Images, Optimize Alignment, Generate Dense Cloud, Mesh, Texture).
Some clean up of final model.
Mesh decimated to 800,000 from 8,000,000+ faces.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284713
title: FR029, Late Archaic, bell pestle

description: Bell Pestle

Late Archaic

Catalog #: P451

Uploaded by Carson Wright

Suggested Data Citation: Thompson, Christine, Erin Powers, Carson Wright, and Kevin C. Nolan, 2021. FRHS_FR029, 3D Model .ply file.  Digital Exhibit of Fort Recovery Historical Society's Precontact Collection, Fort Recovery Historical Society and Applied Anthropology Laboratories, Ball State University.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284714
title: FR029, Late Archaic, bell pestle

description: Bell Pestle

Late Archaic

Catalog #: P451

Uploaded by Carson Wright

Suggested Data Citation: Thompson, Christine, Erin Powers, Carson Wright, and Kevin C. Nolan, 2021. FRHS_FR029, 3D Model .ply file.  Digital Exhibit of Fort Recovery Historical Society's Precontact Collection, Fort Recovery Historical Society and Applied Anthropology Laboratories, Ball State University.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284715
title: Elevator

description: Minecraft-styled elevator.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284716
title: Elevator

description: Minecraft-styled elevator.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284719
title: Muse

description: Statue of the Olympic muse Calliope in the garden of Belvedere Palace in Vienna. She is one of the nine daughters of Zeus and Mnemosyne and the muse of epic poetry, science and philosophy. Calliope is the oldest and wisest of the nine classical muses. Her attributes are a writing tablet and writing stylus.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284720
title: Muse

description: Statue of the Olympic muse Calliope in the garden of Belvedere Palace in Vienna. She is one of the nine daughters of Zeus and Mnemosyne and the muse of epic poetry, science and philosophy. Calliope is the oldest and wisest of the nine classical muses. Her attributes are a writing tablet and writing stylus.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284721
title: VR - Enniscorthy Carving Animated

description: Note: The VR aspect will only work with VR headsets or on a Mobile device with a VR app installed. 

The history of halberdier posed more questions than answers, and it was our intention to attempt to ascertain its origins, date, and best methods for conservation.
Following initial analysis, it became obvious that the wall art has considerably more detail than originally thought e.g. buttons on its 'tunic', cheeks and a mouth, and hachured clothing.  

 It is now obvious that he is more than a mural, his clothing is in fact engraved, and with some considerable skill, but again, further consideration will have to be given to comparing him to other sites both nationally and internationally.

 
Dr. Sherlock's report is available to download [here](https://docreader.reciteme.com/doc/url?q=http://enniscorthycastle.ie/wp-content/uploads/2022/02/Enniscorthy-Castle-Report-2012-R-Sherlock.pdf).

![]()

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284722
title: VR - Enniscorthy Carving Animated

description: Note: The VR aspect will only work with VR headsets or on a Mobile device with a VR app installed. 

The history of halberdier posed more questions than answers, and it was our intention to attempt to ascertain its origins, date, and best methods for conservation.
Following initial analysis, it became obvious that the wall art has considerably more detail than originally thought e.g. buttons on its 'tunic', cheeks and a mouth, and hachured clothing.  

 It is now obvious that he is more than a mural, his clothing is in fact engraved, and with some considerable skill, but again, further consideration will have to be given to comparing him to other sites both nationally and internationally.

 
Dr. Sherlock's report is available to download [here](https://docreader.reciteme.com/doc/url?q=http://enniscorthycastle.ie/wp-content/uploads/2022/02/Enniscorthy-Castle-Report-2012-R-Sherlock.pdf).

![]()

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284723
title: Sasukes Katana

description: This is a uncolored mesh that is a FBX file.

It would be very nice if you could give me a shout out for my blends.
My name is OfficialAstroYT!

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284724
title: Sasukes Katana

description: This is a uncolored mesh that is a FBX file.

It would be very nice if you could give me a shout out for my blends.
My name is OfficialAstroYT!

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284726
title: 110 years old wooden owl statue

description: This is a 110years old wooden OWL statue which is the legacy of my grandma's heritage.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284725
title: 110 years old wooden owl statue

description: This is a 110years old wooden OWL statue which is the legacy of my grandma's heritage.

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284729
title: Austrian Coin - 1912 (2 Kronen)

description: Silver coin from Austria-Hungary 1912

weight: 10 g

diameter: 27 mm

.

avers:      Emperor Franz Joseph I.,
                D G IMP AVSTR REX BOH GAL ILL ETC ET AP REX HVNG / FRANC IOS I 

revers:    2 COR / II CORONÆ

rim:         '+=ͻ * c=+ * V I R I B V S * +=ͻ * c=+ * V N I T I S *'

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284730
title: Austrian Coin - 1912 (2 Kronen)

description: Silver coin from Austria-Hungary 1912

weight: 10 g

diameter: 27 mm

.

avers:      Emperor Franz Joseph I.,
                D G IMP AVSTR REX BOH GAL ILL ETC ET AP REX HVNG / FRANC IOS I 

revers:    2 COR / II CORONÆ

rim:         '+=ͻ * c=+ * V I R I B V S * +=ͻ * c=+ * V N I T I S *'

Source: Objaverse 1.0 / Sketchfab
DOI: 10.5281/zenodo.10284731
title: 常陸太田市 正宗寺宝篋印塔

description: 📍 [佐々宗淳ノ墓, 常陸太田市, 茨城県](https://scaniver.se/L36.56109,140.51539)

Source: Objaverse 1.0 / Sketchfab