Very little evidence of, Scandinavian settlement has been found in the eastern Baltic area, outside of the towns and trading places which grew up along the shores of the Baltic Sea in the pre-Viking and Viking periods. One such was Grobina in modern Latvia. Grobina seems to have been a centre of Scandinavian settlement on the Baltic Sea coast. It has a fort and at least three cemeteries containing grave goods of central Swedish and Gotlandic type. Recent investigations in the area have shown that one of the cemeteries contained no less than 3,000 burial mounds. The collection of objects recovered is very rich and some of the finds are unique in the Viking world.
In general, the different cemeteries at Grobina have been most thoroughly investigated, but other monuments are also known, for example hoards, pagan cult sites, settlements and fortifications. Six more or less definite hoards are known to have been found on or near the banks of the Alande river. The hoards of the 9th -12th century contained Cufic and Anglo-Saxon coins, silver ingots, silver and bronze ornaments (brooches, neckrings, bracelets) some of which where gilded.
A picture stone of 6th or 7th century date, for instance, clearly from Gotland or inspired by Gotlandic travellers, was found in one of the mounds and is the first object of this type to have been discovered on the eastern shores of the Baltic. A close connection with pre-Viking and Viking Gotlandic culture should not surprise us given that Grobina is only about thesatRe distance from Gotland as is Birka.
Grobina might be identified with the town of Seeburg, mentioned by the contemporary biographer, Rimbert, when describing its capture by the Svear in the mid-9th century.References:
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.