Golub-Dobrzyñ Castle was built by Teutonic Knights at the turn of the 13th and 14th centuries, later rebuilt and extended in the 15th century. Between 1616 and 1623 it was a residence of Anna of Finland; during this period a Renaissance attic was added. The castle was destroyed during the The Deluge. In the 19th century, it was neglected and a gale caused the collapse of its attic. After 1945 the castle was rebuilt and renovated.
The chapel is the only room in the castle with original medieval interior decoration not changed during the Renaissance reconstruction. Therefore there is still typical monumental Gothic architecture like high ogival window with traceries and rising up at the height of the second floor three-bay starlike vault. Walls of the chapel were beautifully decorated with polichromies, however, for our times there are only fragments of 16th-century paintings on the front wall.
Just next to the chapel there is a smaller room used as the Teutonic infirmary, or hospital room. Later princess Anna Vasa practiced phytotherapy here. The refectory is located on the first floor of the east wing, where the Teutonic knights once ate meals and were doing banquets. Entering this room unusual for a Gothic-style windows and ceiling entablature can be noticed. The shape of the window has changed when in the 17th century castle has been rebuilt in accordance with the spirit of the new era - the Renaissance. However Gothic cross vaults hadn"t been reconstructed then and had retained its original shape until 1842, when - because of the hurricane - the eastern attica collapsed destroying the ceilings from the top as down as to the basements. Currently in the refectory one can see an exhibition of replicas of old weapons and artillery, as well as the specimens of medieval weapons.
In the days of the Teutonic knights the meeting and deliberations took place in the chapter room. As the remnants of the medieval equipment of the room there are openings in the floor, which then formed part of the heating system bringing the hot air. Later on the room was converted into Renaissance style in which it has remained until today.
In one of the rooms on the ground floor one can see the iron hooks on the ceiling. According to oral transmission they are the dismal testimony to the former premises of the room, which, if necessary, served as torture chambers.References:
The Jelling stones are massive carved runestones from the 10th century, found at the town of Jelling in Denmark. The older of the two Jelling stones was raised by King Gorm the Old in memory of his wife Thyra. The larger of the two stones was raised by King Gorm's son, Harald Bluetooth in memory of his parents, celebrating his conquest of Denmark and Norway, and his conversion of the Danes to Christianity. The runic inscriptions on these stones are considered the most well known in Denmark.
The Jelling stones stand in the churchyard of Jelling church between two large mounds. The stones represent the transitional period between the indigenous Norse paganism and the process of Christianization in Denmark; the larger stone is often cited as Denmark's baptismal certificate (dåbsattest), containing a depiction of Christ. They are strongly identified with the creation of Denmark as a nation state and both stones feature one of the earliest records of the name 'Danmark'.
After having been exposed to all kinds of weather for a thousand years cracks are beginning to show. On the 15th of November 2008 experts from UNESCO examined the stones to determine their condition. Experts requested that the stones be moved to an indoor exhibition hall, or in some other way protected in situ, to prevent further damage from the weather.
Heritage Agency of Denmark decided to keep the stones in their current location and selected a protective casing design from 157 projects submitted through a competition. The winner of the competition was Nobel Architects. The glass casing creates a climate system that keeps the stones at a fixed temperature and humidity and protects them from weathering. The design features rectangular glass casings strengthened by two solid bronze sides mounted on a supporting steel skeleton. The glass is coated with an anti-reflective material that gives the exhibit a greenish hue. Additionally, the bronze patina gives off a rusty, greenish colour, highlighting the runestones' gray and reddish tones and emphasising their monumental character and significance.