Fyrkat might be the oldest of Denmark's former Viking ring castles. It is built on a narrow piece of land with a river on one side and swampy area on the others. It could have controlled the traffic on the main land route between Alborg and Aarhus. Like the other forts at Aggersborg or Trelleborg near Slagelse it is designed as exact circle with four gates opposite to each other and connected by two wooden roads that cross in a right angle in the exact middle of the fort. A circle road gave access to the wall. In each of the four quarters stood four longhouses of the same design arranged in a square with a smaller house in the middle.
The inner diameter of the ramparts was 120 meters and the width at the base 12–13 meters. They were constructed of three rows of vertical wooden poles. Each pole connected to the next ring by beams. The innermost row was the lowest and the gaps filled horizontal with planks forming a wall to the inside of the fort. The middle row was as high as the earthwork and carried the inner side of the walkway. The earth fill sloped to the inside so the ramparts could be easily accessed from every point of the circle road. The outer row of poles was strengthened on the inside and outside with slanted beams at the base. They probably were higher than the middle row and supported a parapet. The gaps between the posts were again filled horizontally with planks but on the outside there was also a wall of vertical trunks slightly leaning to the wall. The space in between the post rows was stacked with some 10000 cubic meters of turf. On the wall there was a walkway made of planks. The outer wall is presumed to have stood some four meters high. The northeast quarter was protected by a ditch with pointed bottom about 7 to 8 meters wide and under 2 meters deep. The ditch on the west and southwest side was never finished. The other sides were protected by a river and rather swampy area. A structure in front of the west gate my have been a gatehouse of some sort.
The roads inside the fort were founded on three to five rows of short poles rammed into the ground and supporting strong beams running lengthwise along the rows. These were then topped by strong planks spanning the width of the road. The circle road along the inside of the ramparts rested on two rows of beams.
The 16 identical longhouses were arranged in a square with the corners almost touching. They were 28.5 meters long (96 roman feet of 29.6 cm), 5 meters wide at the ends and 7.5 meters in the middle, the long walls slightly curved to the outside. The walls consisted of double rows of posts with planks wedged horizontal between them to make a wall. Along the outside ran a row of posts slanted to the wall either to support it at the top like buttresses or maybe even in some sort of cruck like construction being the rafters of the roof. On how the roof was built exactly the opinions differ. It might have been coated with reeds or maybe wood shingles or even a construction of planks similar to the ships. Inside the houses, each end was walled off to make a small room, maybe a pantry or storeroom. The two small rooms had doors to the outside on the short end and could be accessed from the large middle room in the inside. Near the ends of the 18 meters long great middle room each long wall had a door set diagonal to the door on the other side that led into a small porch with a door to the outside. On the inside the great room had a large hearth in the middle and a raised wide bank alongside the outer walls for sleeping. Of the longhouses in Fyrkat at least two contained smithies and gold was worked with in two others. About a quarter of the excavated houses seem to have been warehouses of some sort.
The site was excavated between 1950 and 1958 by the Architect and Museum Inspector C.G.Schultz. The ramparts, that had almost been ploughed level through the ages were piled up again and the postholes of the roads and buildings were filled with concrete.
The museum at Hobro houses most of the things found at Fyrkat. Most was found in the graveyard to the northwest of the fort that had a wooden planked road lead to it. The most precious find was a piece of gold jewelry with nice birds head. In the about 30 graves of men, women and children some were buried in wagon crates such as found in Osebergothers in coffins. The poor were randomly mixed with the rich.
The very similar castle Trelleborg near Slagelse has been dated precisely to the spring of 981 by tree ring dating, Fyrkat might be a year or two older, Aggersborg could be slightly younger. Not enough was found at Nonnebakken to make an exact enough dating possible. Yet the forts are so extremely similar that it seems most probable that they were conceived by a single mind. Fyrkat seems to have been inhabited only for a rather short period of time, maybe not much more than a decade, maybe even less. By the year 1000 the fort seems to have been deserted and shortly after had simply burned to the ground without any evidence of fighting.
Besides the ramparts that rather represent just the volume of the original than the construction, a longhouse was reconstructed in 1985 just outside of the fort. It claims to be somewhat more accurate than the first one reconstructed in 1948 at Trelleborg near Slagelse.
In recent years a 'Viking Center' has been built about one kilometre from the fort. It resembles a large farm with a big longhouse finished in 1993, a smithy, a barn and some smaller buildings along with a visitors center. Its main aim seems to be educational and thus presenting a complete Viking age environment here on the model of a supplier for the fort. None such farm was ever found near Fyrkat though, the buildings being reconstructed after examples excavated in Vorbasse, a small town in southern Jutland.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.