History of Sweden between 12000 BC - 4001 BC
The Pleistocene glaciations scoured the landscape clean and covered much of it in deep quaternary sediments. Therefore no undisputed Early or Middle Palaeolithic sites or finds are known from Sweden. As far as it is currently known, the country's prehistory begins in the Allerød interstadial c. 12,000 BC with Late Palaeolithic hunting camps of the Bromme culture at the edge of the ice in what is now the country's southernmost province. Shortly before the close of the Younger Dryas (c. 9,600 BC), the west coast of Sweden (Bohuslän) was visited by hunter-gatherers from northern Germany. This cultural group is commonly referred to as the Ahrensburgian and were engaged in fishing and sealing along the coast of western Sweden during seasonal rounds from the Continent. Currently, we refer to this group as the Hensbacka culture and, in Norway, as the Fosna culture group. During the late Preboreal period, colonization continued as people move towards the north-east as the ice receded. Archaeological, linguistic and genetic evidence suggests that they arrived first from the south-west and, in time, also from the north-east and met half-way.
An important consequence of de-glaciation was a continual land uplift as the Earth's crust rebounded from the pressure exerted by the ice. This process, which was originally very rapid, continues to this day. It has had the consequence that originally shore-bound sites along much of Sweden's coast are sorted chronologically by elevation. Around the country's capital, for instance, the earliest seal-hunter sites are now on inland mountain tops, and they grow progressively later as one moves downhill toward the sea.
The Late Palaeolithic gave way to the first phase of the Mesolithic in c. 9600 BC. This age, divided into the Maglemosian, Kongemosian and Ertebølle Periods, was characterised by small bands of hunter-gatherer-fishers with a microlithic flint technology. Where flint was not readily available, quartz and slate were used. In the later Ertebølle, semi-permanent fishing settlements with pottery and large inhumation cemeteries appeared.
Kroměříž stands on the site of an earlier ford across the River Morava. The gardens and castle of Kroměříž are an exceptionally complete and well-preserved example of a European Baroque princely residence and its gardens and described as a UNESCO World Heritage Site.
The first residence on the site was founded by bishop Stanislas Thurzo in 1497. The building was in a Late Gothic style, with a modicum of Renaissance detail. During the Thirty Years' War, the castle was sacked by the Swedish army (1643).
It was not until 1664 that a bishop from the powerful Liechtenstein family charged architect Filiberto Lucchese with renovating the palace in a Baroque style. The chief monument of Lucchese's work in Kroměříž is the Pleasure Garden in front of the castle. Upon Lucchese's death in 1666, Giovanni Pietro Tencalla completed his work on the formal garden and had the palace rebuilt in a style reminiscent of the Turinese school to which he belonged.
After the castle was gutted by a major fire in March 1752, Bishop Hamilton commissioned two leading imperial artists, Franz Anton Maulbertsch and Josef Stern, arrived at the residence in order to decorate the halls of the palace with their works. In addition to their paintings, the palace still houses an art collection, generally considered the second finest in the country, which includes Titian's last mythological painting, The Flaying of Marsyas. The largest part of the collection was acquired by Bishop Karel in Cologne in 1673. The palace also contains an outstanding musical archive and a library of 33,000 volumes.
UNESCO lists the palace and garden among the World Heritage Sites. As the nomination dossier explains, 'the castle is a good but not outstanding example of a type of aristocratic or princely residence that has survived widely in Europe. The Pleasure Garden, by contrast, is a very rare and largely intact example of a Baroque garden'. Apart from the formal parterres there is also a less formal nineteenth-century English garden, which sustained damage during floods in 1997.
Interiors of the palace were extensively used by Miloš Forman as a stand-in for Vienna's Hofburg Imperial Palace during filming of Amadeus (1984), based on the life of Wolfgang Amadeus Mozart, who actually never visited Kroměříž. The main audience chamber was also used in the film Immortal Beloved (1994), in the piano concerto scene.