Old Town Tour & Vasa Museum Preview

An ideal beginning point for a visit is the historical center of Stockholm, which
served as the true heart of the city during medieval times.

The Old Town walking tour encompasses:

• An introduction to Stockholm's history
• On Palace Hill, the Royal Palace and statues are located.
• The Stockholm Cathedral
• Stortorget The market square commemorates historical events and showcases architectural features.
• Viking Rune Stone
• Priest Street, Prästgatan
• The German Church, St. Gertrudes
• Västerlånggatan (Western Long Street)
• Martin Trotszig takes his steps.
• Österlånggatan 4 points of interest (Eastern Long Street)
• The statue and historical background of St. George with the Dragon are worth exploring.
• The old commercial thoroughfare is home to the oldest painting in Stockholm.
• "The Iron Boy" is the name of the sculpture.
• The Finish Church
• Conclude the tour by returning to Palace Hill.
• Additional information about medieval Stockholm

Vasa Musuem

Take a short ferry ride to the island Djurgården where the Vasa Museum is located. The tour will narrate some interesting points on the way followed by a guided aduio tour inside the Museum of all the main points of interest

* Please note that the Museum entrance fee and ferry fee are not included in the tour price , we higely recommend that you purchase the tickets before arrival at the Museum

Stop 1 — Palace Hill

Walk to the middle of Palace Hill, near the Royal Palace and Stockholm Cathedral, and face outward toward the water.

You're standing on Palace Hill, and already the city is showing off. From up here you can see that Gamla Stan — which simply means "Old Town" in Swedish — is actually an island. To your east lies the Baltic Sea, stretching out toward the archipelago. To your west, there is a broad shimmering expanse of water called Lake Mälaren, Sweden's third-largest lake. The city of Stockholm grew precisely here because this island controlled the narrow passage between the two bodies of water. Whoever held this island held the trade routes. And whoever held the trade routes held the power.

People figured that out surprisingly early. After the Viking Age wound down — around the 1100s — settlers began putting down roots here. The first official written record of the settlement dates to the late 1200s. That makes this place nearly eight hundred years old, and on a clear morning, standing up here with the water glittering on both sides and those medieval rooftops tumbling away below you, it genuinely feels it. [pause and take it in]

This is where your story of Stockholm begins.

Stop 5 — Gustav III

Look at the obelisk at the top of the hill.

and then

Look down to the waterfront to the statue of Gustav Iat the bottom of the hill.

The obelisk standing here was erected by King Gustav III , who reigned from 1771 to 1792. He put it up to honour the citizens of Stockholm who supported him during the Russo-Swedish War of the late 1700s. The original obelisk was replaced by this one in the 1800s, but the gesture remains.

Gustav III was a genuinely fascinating character — cultured, charismatic, and convinced that absolute power was simply more efficient. He centralised government, reformed the legal system, and had a deep passion for the arts. He brought the first opera and theatre to Sweden. He was, essentially, the man who decided that Swedes deserved culture and was going to make sure they got it whether they asked for it or not.

He was assassinated in 1792 at a masquerade ball at the Royal Opera House — shot in the back by someone who rather strongly disagreed with his governing style. He survived the shooting but died two weeks later from blood poisoning. It later inspired a Verdi opera, which means Gustav III is one of the few Swedish kings to be remembered in the Italian operatic tradition. He might have appreciated that.

Stop 6 — Stockholm Cathedral

Walk up to the Stockholm Cathedral — Storkyrkan.

You're standing outside Storkyrkan — which translates simply as "the Great Church" —though it was originally dedicated to St Nicholas. This is the oldest church in Stockholm, founded in the 13th century on what is still the highest point of the Old Town island. That original church was a modest wooden structure. Over the centuries, fires and ambition transformed it into what you see today: a soaring Baroque exterior with a Gothic interior full of arches, vaulted ceilings, and several hundred years of Swedish history pressed into every wall.

The cathedral was recently restored to its original Baroque colour — a warm, confident hue that suits its elevated position. The wrought iron gates at the western entrance were made in 1675 by Peter Schultz and feature allegorical figures: on the south pillar, Reason; on the north pillar, Divine Love. Make of that ordering what you will.

The history inside these walls is astonishing. The first Swedish royal coronation here took place in 1336 —Magnus VI and Blanche of Namur. The last was King Oscar II in 1873. On 4 November 1521, Christian II of Denmark was crowned King of Sweden within these walls — and within days, the square you'll be visiting shortly became the scene of one of medieval Europe's most notorious massacres. We'll get to that.

More recently, Crown Princess Victoria married her personl trainer Daniel Westling here in 2010. And in 1994, the Swedish Prime Minister and the Royal Family gathered here in the wake of the Estonia ferry disaster, in which over 850 people lost their lives. This church has held joy and grief with equal steadiness for seven centuries.

Outside the entrance, look for the statue of Olof Petri — the man who brought the Lutheran Reformation to Sweden in the 1500s and, with his brother, translated the Bible from Latin into Swedish for the first time. He'll come up again before the tour is done.

If you'd like to step inside — and we really do recommend it — there's a small entrance fee. You'll find St George and the Dragon, Europe's oldest wooden equestrian statue. A breathtaking silver altarpiece from 1652. The oldest votive ship model in Europe hanging from the ceiling. And a painting of Stockholm from the 1500s that carries more political intrigue than most spy novels. We'll tell you about that painting a little later on.

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Stop 7 — Stortorget

Walk to Stortorget — the large cobblestone square at the heart of Gamla Stan.

Welcome to Stortorget — the Old Market Square — the oldest plaza in Stockholm, dating back to the

mid-1200s. [pause and look around the square]

For centuries this was the heartbeat of the city: a bustling market where merchants sold everything from herring to hardware, where festivals were held, proclamations were made, and where the political life of Sweden was conducted in full public view. Today it's lined with restaurants and cafes in those iconic colourful townhouses —deep red, ochre yellow, powder blue — and on a sunny day it's frankly one of the most beautiful small squares in Europe.

But before you settle in for a coffee and decide the whole thing is just charming, we should tell you what happened here in November 1520. Because this square has a very dark story to tell, and you really should hear it.

Stop 11 The Viking Rune Stone

Walk to the crossroads of Prästgatan and Kåkbrinken. Look at the lower section of the wall.

Here, embedded into the base of the wall at the corner, is something truly ancient — a Viking rune stone, more than a thousand years old. [crouch down and look closely] It's broken and weathered, but if you look carefully you can still make out the runic inscription. It was made by two people named Torsten and Frögunn in memory of their son. A small, heartbreaking monument to grief.

The stone originally came from the Uppland region north of Stockholm — it's not native to this island. Somewhere along the way, it ended up being used as building material, which tells you quite a lot about how the medieval builders felt about the Viking past. Recycling, essentially, but with considerably more history than your average kerbstone.

Now, look at the runic pattern on the stone. Do you see a shape that looks a little like the Bluetooth symbol on your phone? That's not a coincidence. The Bluetooth wireless standard was named after Harald Bluetooth the Great — the Viking king who united the Scandinavian tribes. His nickname reportedly came from his fondness for blueberries, which stained his teeth a distinctive blue. So every time you connect your headphones, you are in some small way honouring a Viking with purple teeth. Technology is marvellous.

Runic memorial stones like this one have been found across Scandinavia and as far away as what is now Tehran, which gives you a sense of just how far the Viking world extended.

[look at the corner of the wall] Notice the cannon barrel at the street corner — positioned horizontally at ground level. It's not a weapon; it's a traffic management device. In the days of horse-drawn carts navigating these tight medieval corners, wheels and axles would constantly chip away at the building corners. The cannon barrels were set into the ground to absorb the impact. Quite practical, and also rather stylish.

[look up Prästgatan] See those wooden arms projecting from the rooftops? Those are winch arms. With pulleys, blocks and rope, heavy goods were hoisted up into attic storehouses — the upper floors of these buildings were essentially warehouses. Many of those attics are now living spaces, and the loading hatches at ground level have become windows. Old Town apartments with a fascinating origin story.

Prästgatan, by the way, means Priest Street. Swedish clergy lived to the north; German clergy to the south. Order was maintained in the city, at least spiritually, by postcode.

Stop 12 Prästgatan.

Walk a short distance away from the rune stone along Prästgatan and pause near number 48.

You're walking along one of the best-preserved medieval streets in Stockholm, and it's worth taking a moment to actually look at the buildings around you. [slow down and look at the facades]

The medieval gateway entrance to the walled city was located on this very street. Up ahead at number 48, you'll see three shorter buildings — a classic example of medieval construction style. Under the cream hues of the facade are large, deep burnt-red bricks, and bigger than anything you'd find in a modern building. Every third brick is laid upright rather than flat — a structural technique that gives these walls their extraordinary strength and longevity.

[look at the horizontal iron rods crossing the facades] Those exterior iron rods are supporting the floor joists and outer walls, holding centuries-old buildings together with admirable stubbornness. But look more closely at the decorative tips the blacksmiths forged onto each rod — curls, points, elaborate flourishes. Different shapes were fashionable in different periods, which means you can read the approximate age of a building simply by the shape of its ironwork. It's like a very niche, very Swedish form of archaeology. And also, genuinely quite beautiful.

Continue down toward Tyskabrinken — German Hill. In medieval Stockholm, roughly half the city's population was Dutch or German — merchants and traders who arrived through the Hanseatic trade network and stayed. Their influence is visible in the architecture of nearly every street you walk.

Stop 13 ... The German Church

Walk to the German Church — Tyska Kyrkan — also known as St Gertrud's.

Look up. [look up at the spire] That spire reaching 96 metres into the Stockholm sky belongs to the German Church — Tyska Kyrkan, or St Gertrud's — and it is taller than Storkyrkan, the cathedral. Which is why, every single day, tourists confidently point at it and say "ah, the cathedral!" It is not the cathedral. But it is magnificent.

German merchants dominated this neighborhood throughout the Middle Ages, driven here by the enormous commercial power of the Hanseatic League , which essentially ran Baltic Sea trade for several centuries. The land here was occupied by the German Guild of St Gertrud long before the church was consecrated in 1842. At its peak, this was the social, spiritual, and commercial center of the German-speaking community in Stockholm.

[look at the four corners of the tower.] At each corner of the tower, carved dragon heads serve as water spouts. Even the guttering is dramatic in this neighborhood.

The interior is genuinely beautiful — vaulted ceilings, stunning stained glass, a magnificent 17th-century apostle altar, and the Düben organ on the south side, which is a replica of the original — the original having been sold to a church in northern Sweden, a decision that presumably seemed reasonable at the time. Sunday services are still held at 11am in German. The church is open Friday through Saturday, 11am to 3pm, and Sunday 12:30 to 4pm, with a small entrance fee. Unless, of course, you speak German and want to attend a service. !!

Stop 14 — Västerlånggatan.......

Walk to Västerlånggatan — the main shopping street running through the heart of Gamla Stan.

You've arrived on Västerlånggatan — the Western Long Street — which is today the main shopping artery of Gamla Stan, and quite a lively one. [look up and down the street] Restaurants, cafés, amber jewellery, traditional crafts, a Viking-themed shop with helmets that may or may not be historically accurate, and yes — somewhere down there, a Viking-themed restaurant in a basement. Stockholm has fully committed to the Viking tourism economy and we respect that enormously.

The buildings nearest to the water were traditionally where the sellers and traders set up business. Their foundations sit on wooden beams — the same wooden stilts that have underpinned this island for centuries.

You may notice some of the architecture looks slightly different here — stockier, with smaller windows and thick walls. That's Romanesque architecture, which arrived in Scandinavia around 1200 to 1300. It's sturdy, solid, and quite different from the pointed arches of Gothic that came later. These buildings were built to last, and they have.

In the 1970s, Västerlånggatan was actually Stockholm's main high street shopping destination — before the modern city centre developed further north. It's now more curated and considerably more charming.

Coming up on your left: the city's narrowest street.

Stop 15 — Mårten Trotzigs Gränd

Turn left into Mårten Trotzigs Gränd — the narrow alley with steps. The entrance is slighty hidden behind wrought iron doors so keep your eys peeled

Officially, this is the narrowest alley in Stockholm, measuring just 90 centimetres — about 35 inches — at its tightest point. [try to walk through] It connects the two main long streets via a small stone staircase lit by a handful of old lanterns. Look how close they are positioned next to the ajacent building. At certain hours, in certain light, it is possibly the most atmospheric lane in all of Scandinavia. At peak tourist season, it is a slow-moving queue of people trying to take the same photograph. Both things are true simultaneously.

The alley is named after Mårten Trotzig, a German merchant who arrived in Stockholm in the 16th century, built a fortune trading iron and copper, and became one of the wealthiest men in the city. He purchased the buildings on both sides of this lane and set up his business here. The alley had no official name— people simply called it his, and eventually that stuck.

As you climb the steps, it's traditional to make a wish. We're not making any promises, but the success rate appears to be sufficient to keep the tradition alive.

At the top, turn right and head back down the slope.

Stop 16 — The Golden Peace.........

At the foot of the slope on Österlånggatan...... Eastern Long Street, look for the restaurant Gyllene Freden.

The building in front of you has been a restaurant since 1722. [look at the sign above the door] That makes Gyllene Freden — the Golden Peace — one of the oldest continuously operating restaurants in Europe. The sign outside is original to the 1700s: a maternal figure holding a palm leaf and a scroll inscribed "Golden Peace," surrounded by vine leaves and golden grapes. The name refers to Sweden's relief at reaching a period of relative peace after years of exhausting warfare.

In 1919, the restaurant was in danger of closing. Swedish artist Anders Zorn stepped in and donated it outright to the Swedish Academy — ensuring its survival and giving the Nobel Prize committee a permanent lunch venue. The Swedish Academy regularly dines here. One imagines the Nobel Literature Prize has been debated, disputed and decided over many a glass of aquavit in this very dining room.

To put the drinking culture of 18th-century Stockholm in context: the city had at least 700 taverns and inns —roughly one for every hundred residents. On this street alone there were ten. Life expectancy was short — three out of every ten children didn't survive their first year — and in that context, a warm tavern and a glass of something strong was one of life's more reliable comforts.

We highly recommend a meal or a drink here. Continue along the winding Österlånggatan — Eastern Long Street.

Stop 17 — Österlånggatan: The Mansion at Number 37

Walk along Österlånggatan and pause outside number 37.

This is one of the finest surviving examples of 17th-century middle-class Stockholm. [look at the façade] Built in 1662, the building retains its original walls, beams and truss construction — including the entrance gateway and staircase. That plastered façade you're looking at is centuries old, which in a city that has suffered as many fires as Stockholm makes it something of a miracle. The interior features woodwork from the early 1800s and original tiled stoves, which in a Swedish winter is not merely decorative. The Stockholm City Museum has classified this building "blue" — the highest level of cultural and historic protection available in the city.

[look above the entrance] Above the doorway at number 37, there's a Dutch inscription that translates as:

"When things go well, we have many friends." A sentiment so universally human that someone thought it worth carving in stone in the 17th century — and here it still is, waiting for someone to read it.

Now look higher — at the very top of the doorway. [look up] A phoenix rising from the ashes. This was the official emblem of the Stockholm fire brigade, established in 1746 following a series of devastating city fires. A new fire insurance law required residents to pay an annual fee in exchange for guaranteed protection. A building without the phoenix plaque? In the event of a fire, the brigade would prioritise neighbours who had paid up. Insurance, it turns out, is a very old idea.

Fire alarms in the Old Town were communicated via church bells — different sequences indicating different locations in the city. Everyone knew the code. You had to.

Stop 18 — Storhoppagränd

Look right for the narrow alley marked with number 6 above the entrance — Storhoppagränd

Storhoppagränd — Large Hop Alley — is one of the less-visited corners of the Old Town, which means it has retained a wonderful sense of quiet authenticity. [look up at the stair gable above the entrance] That stepped gable design is medieval in origin, and this is one of the very last surviving examples in the city. The main building was constructed between 1585 and 1602, with updates in 1640 and 1747 — each era adding a layer to the story.

From 1818 to 1930, the building further down the alley to the left was home to Sweden's last active guild: the Draymen. There is a sign hanging from the outside wall in front of the entrance. The Draymen managed the transport, bottling and distribution of wine and spirits across the city — a guild with a very important job, as any Stockholmer would agree. Their emblem is still above the door: a log knife and a suction straw, used to pierce barrels and sample the contents. Quality control, one presumes.

From the Middle Ages through to the 19th century, every craftsman in Stockholm was required by law to belong to a guild. The guilds set standards, protected trades, and managed training. The Draymen outlasted them all, surviving as Sweden's very last official guild until the 1930s. Raise a glass to them next time you open a bottle.

Stop 19 — Österlånggatan 29

Continue along Österlånggatan and pause outside number 29.

From the 18th century to 1850, this building housed a lively tavern and wine cellar — exactly the kind of establishment that made Eastern Long Street such a sociable address in old Stockholm.

In 1782, a young American traveller passed through Stockholm and lodged here for two weeks. He was seventeen years old, travelling from Russia to Holland, and his name was John Quincy Adams. He would later become the 6th President of the United States.

One likes to imagine young John Quincy sitting in the tavern downstairs, trying Swedish food for the first time, perhaps attempting a few words of the language, and writing long, serious letters home to his father. He was that kind of young man. Stockholm, it seems, was just a stop on the itinerary — but it's a pleasing thought that one of America's founding political figures once spent a fortnight in a Inn and wine cellar on this very street.

Stop 19 ... St George and the Dragon

Head up the hill to the statue of St George and the Dragon.

[look at the statue] This dramatic outdoor statue depicts a knight on horseback driving his lance into a writhing dragon at his feet. It looks like pure chivalric legend. But in Stockholm, it's also pure politics.

The knight represents Sten Sture — a 15th-century Swedish regent who defeated a Danish king. The dragon symbolises Denmark. The princess being rescued symbolises Sweden. The sculptor was making a very clear statement about who was the villain in Swedish political history, and was not being remotely subtle about it.

There are two St Georges in the historical record: one a legendary hero of folklore who slew a dragon; the other a real person from the Middle East around 275 AD, persecuted for his Christian faith and executed. Both are celebrated for extraordinary courage in the face of overwhelming force, which is presumably why the name felt right for a Swedish resistance hero.

[look at the knight's face] Notice that the knight is not looking at the dragon. His eyes are on the princess. He has defeated the monster almost as an afterthought. It's either very cool or incredibly smug, depending on your perspective.

The outdoor statue you see here was cast in the early 1900s. The original — inside Storkyrkan — is Europe's oldest wooden equestrian statue. It contains relics of St George sent directly from Rome, which means it is simultaneously a piece of medieval art and a religious artefact of remarkable provenance.

The iron Boy

The small iron sculpture, crafted by renowned Swedish sculptor Liss Eriksson, stands at a height of 15 centimetres. This artwork holds the distinction of being Sweden's smallest public monument. It portrays a young boy, possibly the artist himself, gazing skyward at the moon during nighttime. Illuminated by a spotlight, the sculpture serves as a focal point for visitors who leave tokens, small coins, and gently stroke its head while making wishes for a return to Stockholm.

Stop 23 — The Finnish Church

Walk to the Orange Finnish Church at the edge of the courtyard.

Before it was a church, this charming building had a rather more theatrical life. It served as a ballroom and popular venue for travelling German theatre companies — a lively, secular space in the middle of a religious neighbourhood. And it was right here, in this very building, that the very first opera ever performed in Sweden was staged, presented by King Gustav III himself — the same arts-loving monarch you met at the obelisk. He would have been pleased to know you've come full circle.

The building became the Finnish Church in 1725. Designed by architect Göran Adelcrantz , it served the Finnish-speaking community of Stockholm — services were traditionally held in both Finnish and Swedish, though today Finnish is the primary language. The Finnish congregation has maintained a continuous presence in Gamla Stan for three hundred years.

Inside, the remarkable organ by Olof Schwan , built in 1790, is constructed in twelve unique sections — an extraordinary piece of instrument-making history. Also housed here: one of the first translations of the Bible from Latin into Swedish, making this small church far more significant than its modest exterior suggests.

On certain days the doors are open and you're welcome to step inside to see the glorious interior.

Walk around the corner.

You are now standing back on Palace Hill — exactly where we started, with the water on both sides and eight centuries of Stockholm spread out before you.

As you leave the Palace Hill and head down towards the water, cross the road and make a right turn at the water's edge. For about 10 minutes, the path will run next to the water. The small ferry port is where you're going. The ferry will take you to the island of Djurgården, where the Vasa ship museum is located.

On the island of Skeppsholmen, you can see the Chapman, a tall white ship, moored across the water. The Chapman was originally built in Whitehaven in the UK. It was commissioned by the Swedish navy to train cadets on tall ships in the 1960s. The East India Company had previously used it to transport products. In the 1600s, the island of Skeppsholmen served as a naval shipyard, and this is where the Vasa ship was built in 1628. The excursion to the Vasa Museum includes a ferry ride to the island of Djurgården.

Djurgården is the 3rd largest island in Stockholm and is known for its recreation and culture and is visited by over 16 million people a year.

As you reach the end of the quay, there are ticket booths and electric gates that lead to the ferryboat terminal. The ferryboats are white and blue. Each ferry trip lasts eight minutes and departs every fifteen minutes.

You don't have to wait in queue for a ticket; just tap your credit or debit card at the electric gates. Each ticket is valid for 75 minutes at the beginning of your first journey. The ticket can be used on all Stockholm public transport, even trains, trams, boats, and buses.

Tickets

If you have a large group or a variety of ages, you can purchase a group ticket in advance on the SL website (check out the link at the bottom of this page). To get a ticket, simply fill in the correct information. Once you purchase your ticket, you'll receive a QR code that you can easily scan at the gate.

When you hop on the ferry, you have the choice to relax outside or find a cosy spot inside. If you glance to your right and ahead, you'll spot Södermalm on the hill. Södermalm is a part of Stockholm and is the largest island. There are a total of 14 islands that make up Stockholm, and their connectivity to one another is made possible via 58 bridges.

Södermalm was initially the overflow island as the old town island began to experience overpopulation due to the influx of various industries: tanneries, blacksmiths, weaving and silk factories, tobacco plantations, and grazing land for livestock.

Today, Södermalm is recognised for its Soho vibe, relaxed atmosphere, and eclectic shops, cafes, and restaurants. There is an increasing trend for vintage and second-hand clothing, with many stores located on this island.

As you travel forward, look to the left for the edge of Skeppsholms island. Today, the island is a recreational and cultural hotspot, with the Modern Museum of Art and the Museum of Asian Artefacts. Additionally, you will find ABBA's Benny Andersson recording studio on the water's edge. Following a comprehensive restoration, the studio has upgraded to a Dolby Atmos room for immersive audio work using Pro Tools in 2024. This upgrade will enhance the studio's capabilities, allowing for more advanced sound design and production techniques. The introduction of Dolby Atmos technology represents a significant step forward in audio quality and creativity for music and film projects. One of Sweden's biggest exports per capita is music.

As the ferry takes a left turn around the island up in the heights, you will see a small red citadel. Swedish officer and architect Fredrik Blom designed Kastellholmen between 1846 and 1848. This historic structure, known as Kastellholmen, was built as a defensive fortification and reflects the architectural style of its time. Its strategic location and design highlight the importance of maritime defense in Sweden's naval history

As you approach the island of Djurgården, you will be up close to the Tivoli, called Gronalund. The Tivoli is open during the summer months and also has a concert stage. Various renowned international artists from all around the world have played here, including Jimi Hendrix in 1967, Kiss, T. Rex, Bob Marley and the Wailers in 1978 and 1980, ABBA in 1973, Europe, The Cardigans in 1997, and Caesars in 2002. Every summer at least 50 artists perform in the park. This vibrant venue not only hosts a diverse lineup of performers but also creates a unique atmosphere for fans to enjoy live music in a picturesque setting. The rich history of past performances adds to its allure, making each summer season a highly anticipated event for music lovers.

When you have disembarked the ferry, walk straight with the Tivoli on your right and then take a first left at the red brick building.

When you have disembarked the ferry, walk straight with the Tivoli on your right and then take a first left at the red brick building.

You will pass the Museum of Art called Liljevalchs, which houses contemporary art collections and exhibits. They hold at least three major art and design exhibitions each year. These exhibitions showcase a variety of artistic styles and themes, attracting both local and international art

Visitors can expect to see innovative works that reflect current trends in the art world.

To the left is the tram depot. Trams operate from the island of Djurgården back to the city. The nr 7 tram is a restored tram from the 1950s and is a delight to ride if you are fortunate enough to catch it. The trams can be caught from the main road and depart on a regular timetable.

Follow the path past the Baltic Sea shipwreck museum, Vrak. There are thought to be at least 11,000 shipwrecks in the Baltic Sea. This staggering number highlights the region's rich maritime history and the numerous vessels that have met their fate in these waters over centuries. Exploring the museum offers a glimpse into some of these lost stories and the challenges faced by sailors in this area.

You will pass the Viking Museum and the Spirit Museum. These two museums further enrich your journey by offering insights into the region's maritime history and cultural heritage. The Viking Museum explores the legacy of the Norse seafarers, while the Spirit Museum delves into the world of alcoholic beverages and their significance in local traditions.

The three masts adorning her roof identify the Vasa Museum. Despite not being the original masts, the masts are the same size and show the Vasa's sail height. These masts serve as a striking visual representation of the Vasa's grandeur and maritime significance, drawing visitors' attention to the museum's focus on this iconic ship. Their presence not only enhances the building's architecture but also symbolises the rich naval history that the Vasa Museum aims to preserve and share.

Follow the path to the right just before reaching the museum.

The Vasa battleship was brought into dry dock in the 1960s, and the museum was built around her.

The Vasa Ship A story of Ambition , power and the sea

The Baltic, Europe's most coveted waterway

In the 1600s, the Baltic Sea was the beating heart of European trade. Timber, grain, and fish flowed outward to growing cities along its shores. Salt, wine, and fine woollen cloth poured in from the North Sea. Thousands of ships worked these waters, and Baltic trade was, by every measure, the most profitable commerce in all of Northern Europe. It outpaced even the legendary riches of the Far East.

But where there is wealth, there is competition. And the Baltic was anything but peaceful.

The Rise of Sweden and the man who shaped it

By the 16th century, the Dutch had seized control of Baltic trade—master shipbuilders entering their Golden Age. Meanwhile, Russia pushed westward, Denmark fought to control the straits, and Poland expanded its ambitions. Every great power wanted a piece of the Baltic.

Sweden was no exception. Since the 1500s, it had been pushing its borders east and south, absorbing territories and, with them, access to the Baltic's lucrative trade routes. Sweden wasn't just defending itself. It was building an empire.

Then, in 1611, an eleven-year-old boy inherited that empire — along with three simultaneous wars. His name was Gustav II Adolf. And he would change everything.

Gustav Adolf, the Lion of the North

Gustav inherited wars with Denmark, Russia, and Poland all at once. Against Russia, he proved his brilliance—negotiating a treaty that shut Russia out of Baltic trade for nearly a century. Poland was a more personal struggle. His first cousin Sigismund III had once held the Swedish throne, but as a devout Catholic in a Protestant kingdom, he was deposed in 1599. The religious divide between Sweden and Poland wasn't just political—it was a matter of identity, faith, and survival.

Across Europe, Gustav earned the title. The Lion of the North — celebrated for his courage, tactical genius, and vision of a powerful Protestant Swedish empire. He fought in the Thirty Years' War and was regarded, even by enemies, as one of the great military leaders of his age.

Gustav II Adolf fell in battle at Lützen in 1632. But his ambitions didn't die with him. They were built into a ship.

The Birth Of the Vasa

In autumn 1626, a catastrophic storm destroyed a significant portion of the Swedish navy in a single blow. Sweden's grip on the sea — the foundation of its empire — was suddenly vulnerable.

The response was swift: Sweden would build a new fleet. By 1624, Gustav Adolf had already authorized two new warships at the Stockholm Navy Yard—both with two full decks of guns, an ambitious leap in naval firepower. One of those ships was the Vasa.

BUilding the Impossible

The construction contract went to two Dutch brothers—Henrik and Arendt Hybertsson. Henrik was a master shipwright with twenty years of Swedish experience. Arendt was a well-connected merchant who handled supplies and finances. Together, they ran the project like a family enterprise.

It should have worked. By 1627, everything began to unravel. Sweden's copper currency collapsed, sending costs soaring on a fixed-price contract. Dutch carpenters went on strike, demanding silver instead of devalued copper. The crown couldn't pay. Desperate, Arendt began selling stockpiled timber just to keep the project alive. Then Henrik died — and his widow inherited half the contract, with no knowledge of shipbuilding whatsoever.

A Ship Built from a forest

Despite the chaos, the scale of what was being built was extraordinary. Over 300 workers were recruited from across Europe. A forest master traveled through Sweden's oak forests, identifying perfectly curved timber for the hull. Iron was smelted in forges burning through vast quantities of charcoal. The Vasa likely consumed over a thousand trees for its frames and planking—and another thousand for its bolts, anchors, and nails.

A ship on this scale wasn't just a feat of engineering. It was a feat of logistics, politics, finance, and sheer human will.

And yet, despite everything—the ambition, the craftsmanship, the sacrifice—the Vasa's story was far from over.

The Museum

Once you reach the museum's entrance, make your way into the foyer.

In the entrance foyer, you will find the ticket entrance and automatic ticket machines. The entrance foyer also houses the museum's shops and washrooms. This is also where you will exit the museum.

Join a line to enter the museum.

Once inside the museum, stand at the front of the ship.

Housekeeping

Seven floors make up the museum. The floor you entered the museum on is level 4; it is also the floor you will exit the museum from.

On Floor 4, you will find an information desk. The museum's cinematic points of interest, washrooms A dedicated space for children and adults alike to and a restaurant cafe

Check the times for the film showing in the theaters they are scheduled at different times for different language. Ask at the information desk for the correct times or check the billboards outside the theater. There are 2 theaters.

The film is a fun and informative journey through the salvage operation of the Vasas

There are elevators or stairs servicing all floors.

The museum has low lighting and a consistent temperature of 18 degrees to maintain the preservation of the ship.

On the fifth floor are the Life on Board exhibits.

On the 6th floor is the restored Sail and other interesting battle ship information

The 7th floor offers a panoramic view over the ship's deck.

On the lower floors are the remains of those who perished on board, along with an intriguing collection of personal artefacts that tell the stories of their lives. Visitors can explore these poignant displays, which serve as a powerful reminder of the human experiences intertwined with the ship's history.

Welcome to the Vasa

Kindly be aware that this experience does not utilise GPS activation inside the museum. You will need to manually navigate through the points of interest in the museum and pause or resume the experience at your own pace via your device.

Welcome to the worlds largest archeological find. The majestic and breath taking Vasa ship. Take a moment to admire her splendor and when you are ready start the tour.

Standing in front of the ship

The Vasa was built between the years 1626 and 1628, she was the flag ship of a fleet of ships commissioned by the King Gustav Adolphus II.

She was built in Stockholm on the island of Skeppsholm

She started her maiden voyage from the quay outside where the Royal palace is situated today It was August 10th 1628. A tragic event quickly unfolded only 20minutes into her voyage and she sank to the bottom of the seabed.

The Vasa was destined for the Polish coast to contend with the Kings cousin Sigismund the third. Sigismund was a devoted Catholic having married the Polish Queen; this had raised concerns about his potential to reinstate Catholic doctrine in Sweden. Which by the 1600s was strongly Lutheran.

The Vasa had encountered many challenges during the two years she was built, delays, Cannons lack of materials, the Shipwright had died a year before her compliction the final part of the build and the King was Egar to get her into action. additionally, Vasas was to be built with two full cannon decks, an innovative design for 17th-century warships, which also contributed to the delay. The king had ordered a total of 72 cannons but only loaded 64 on the maiden voyage. the foundry could not handle such a large order and struggled to supply the cannons and guns in time This delay in cannon production not only impacted the ship's readiness for battle but also reflected the challenges of advancing military technology during that era. As a result, the ship's operational capabilities were compromised, necessitating a cautious approach to its deployment.

The Gunports

The ship exhibits all gunport doors open as we see her today; under normal sailing conditions, these openings would remain shut, with their deployment occurring exclusively during conflict. The Vasa ship was the largest and most intricate vessel of its era, not only in Sweden but across Europe. She embodied the might of the Swedish Empire, and her inaugural journey was a significant occasion for both the king and the citizens of Stockholm. Characterised by magnificence and festivity. The gun ports were opened, and a salute was fired from the cannons as she left the harbour in Stockholm. This grand send-off symbolized the power and ambition of Sweden during its imperial height, as well as the unity and pride felt by the people. The celebratory atmosphere highlighted the importance of maritime strength in establishing and maintaining the empire's dominance.

Onlookers gathered along the quayside on the morning of August 10th, 1628. On a serene day, a soft breeze floated through the air, accompanied by the resonant sounds of drums and trumpets as the impressive Vasa set sail, she carried around 150 to 200 adult sailors and mariners. and two admirals along with their families.

As she moved into the waters of Stockholm's harbor, an air of unease persisted. Prior to her maiden voyage, the shipyard commander in charge of her construction detected a concerning problem that she was unstable; he worried she was not ready to leave the quay. A few days prior to her departure, he had ordered 20 men to sprint back and forth across the upper deck; the circumstances were critical she was too top heavy even at quay side, the tension escalated as the King made his intention clear to reach the shores of Poland. As she left the harbor, a gentle breeze caught one of her sails, causing it to tilt to the port side. This shift resulted in an additional 17-degree lean to port, resulting in water rushing into the gunports and quickly accumulating inside. In the final moment, a powerful gust of wind caught the top sail with a sharp crack, and in an instant, she was completely submerged in the final stages, she sank to the bottom as the weight of the water overwhelmed her buoyancy. The ship's sudden horizontal position marked the point of no return, sealing her fate beneath the 40 m depth of the harbor.

Sailors and mariners who could swim to safety made it there. While some clung to the apparent wreckage, others received rescue; forty to fifty people, including an admiral, perished. And they she lay for 333 years resting on the sea floor, she was finally rediscovered in the late 1950s.

The Vasa ship is 98% completely original, with the exception of some lighter wood that was used to repair areas that could not be salvaged. It took twenty years to deem it suitable for public viewing, and the restoration process is still ongoing. This extensive restoration effort highlights the significance of the Vasa ship as a historical artefact. She is the largest artefact in the world, preserving her original craftsmanship for future generations. The ongoing work ensures that the vessel remains a vital part of maritime history and continues to educate the public about its storied past.

Looking towards the very front of the ship the beak head places a lion figurehead the symbol of Gustav Adolf was in good company with the Roman emperors the use of classical imagery was popular in the Renaissance and was a symbol of power, learning and culture. Looking below large lion carving we can see more emperors versus emperors on this side the starboard they are half classical and you can see they are dressed in Roman attire. On the port side the figures are dressed in 17th century armour we can also see fantastical creatures from the myth of Thetis and Peleus Chasing each other around the frieze under the beakhead.

The Vasa battleship is unique, not only in its grandeur and preservation but also in acting as a time capsule of 17th-century society. The ship was laden for life at sea; it was normal for ships to be at sea for weeks, even months, so preserved food, equipment, animals, and belongings were loaded onboard. This left a huge collection of artefacts.

Modern technologies. This provided significant insights about the health, food, and attire of that period and modern technologies have been able to build up a concise history glimpse into the daily lives of those who lived in the 17th century. By examining these preserved items, researchers can draw connections between historical practices and contemporary understandings of health and culture.

Let's now move to the model of the Vasa straight ahead to the right of the ship

The ten-sail rig was a defining feature of ships from that period. The sails played a vital role in steering the vessel, as shifting its centres of effort forward and backward enabled it to sustain equilibrium at different angles to the wind. If the balance was off, the helmsman had to turn the rudder sharply to one side to correct the imbalance, which demanded significant effort and led to a decrease in speed because of the added drag from the steep rudder angles. This manoeuvre required careful attention and skill, as a well-balanced sailboat could glide smoothly through the water, whereas an unbalanced one struggled against the forces of nature. Consequently, maintaining proper sail trim was essential for optimal sailing performance and efficiency.

The sails were made from flax and hemp, which were very expensive resources at that time. They likely brought the material from the Netherlands and France. On the day of her maiden voyage, Vasa had only four sails rigged, which was typical for calm weather and regular sailing conditions. In 1961, in one of the sail rooms on the lower deck, a whole sail was discovered carefully folded away. It took 12 challenging years to repair it from its deteriorated condition; it is now framed and shown on the sixth floor of the museum, completely intact. This meticulous restoration highlights the significance of preserving maritime history and the craftsmanship involved in sail-making. The display not only honours the ship's legacy but also educates visitors about its operational history and the challenges it faced over time. We could see men on the main deck walking around the capstan. The capstan was used for handling the rigging of the four masts; the other two capstans were used to handle the anchor line and rigging of the main mast. The rigging and sails were all made by separate contractors.

The Hybertsson brothers were contracted to build Vasa but not to rig her; they provided all the components of the rig, from the mast to the tops; the ropes and sails for the Navy were normally supplied under a separate contract of foreign entrepreneurs.

The Clerk family came to Sweden from Scotland in the early 17th century, originally to serve in the Navy; however, Richard Clerck rose to the rank of Admiral, whereupon he administered the fleet's material needs. He was finally preceded by his brother Hans, who agreed to take on the contract of maintaining the ship's materials in 1626 for a period of four years; he documented contracts and materials. In Hans's documentation was the first mention of the Vasa by name. Hans responsibility in the event of the sinking of a ship, which wasn't an uncommon event, was to recover as much rigging, rope and sails as possible, as these were valuable commodities. Spinning and laying up of rope were carried out in semi-mechanised ropewalks using machinery developed in the Middle Ages, which allowed very long yarns and long ropes to be made efficiently; the rigging contractor did not mount the rigging, as this was something the Navy carried out.

We can see that the colour of the vasa model is much lighter, and this reflects an authentic look. The Vasa we see today has darkened due to wood deterioration over the years.

At the stern and around the ship we can see the vibrant colours used in her creation.

We will now move to the salvage operation on the opposite side of the model, 4 th floor

Numerous efforts have been made to locate the sunken Vasa shipwreck. Divers deployed dive bells in the murky depths of the harbour in 1664 to recover expensive artillery cannons. Despite the extreme peril and cold, the crews managed to recover 61 out of the 64 cannons after a long year of diving. The successful recovery of the cannons sparked renewed interest in the Vasa, prompting further explorations in the following centuries. Eventually, in the 20th century, advanced technology made it possible to locate the Vasa shipwreck again in 1956. This discovery marked a significant milestone in maritime archaeology, leading to extensive excavation and preservation efforts that revealed a wealth of artefacts and provided insights into 17th-century naval history.

Anders Franzen

Anders Franzen lived next door to an inspiring man who had participated in shipwrecks; Franzen's fascination with maritime history and his neighbours' tales of adventure fuelled his determination to uncover the lost vessel. With meticulous research and unwavering dedication, he embarked on a journey that would ultimately lead to one of the most significant archaeological discoveries of the 20th century. Anders Franzen became interested in the prospect of locating the Vasa; in 1959, he borrowed some boats from the Navy and started to search in the harbour of Stockholm. Two years of dredging the bottom of the seabed did not bear any fruit; however, a discussion with a shipyard building company motivated Franzen to relocate his search to the opposite side of the harbour. The building company was originally there to build a bridge over the inlet of Stockholm, and during their investigation, they discovered a mound on the seabed but believed it was just debris from a prior build. In 1959, using an instrument that dropped straight to the bottom of the seabed and collected samples, finally a sample was brought up that indicated oak wood from a ship; it was the Vasa.

Looking at the model in the glass cases, we can see how the salvage operation took place. Four pontoons were positioned over the top of the shipwreck; divers in heavy equipment were given the arduous and delicate task of creating a cradle under the ship's hull. The divers worked tirelessly and could only work for an hour or two at a time; the conditions were difficult, the water was cold, dark, and dirty, and there was nearly 0 per cent visibility. Huge metal cables were threaded underneath the hull of the Vasa in 7 separate channels; each channel had to be created by blasting air under the hull of the ship, and a special device was created to facilitate this. It took two years of hard work in challenging conditions to successfully thread the large metal cables underneath the ship's hull. Amazingly, once the cables were secured and she was brought to the surface, the whole hull was intact.

The Vasa was brought into the harbour, and a casing was built around her; amazingly, she could float. After years of spraying her with water to stop deterioration, she was brought into dry dock, and 20 years of restoration followed. One of the reasons that she was in such good condition is that the Baltic Sea is brackish water, which means it has a very low salt content; the woodworm that eats away at shipwrecks does not survive in the brackish waters of the Baltic Sea.

The Stern of the Vasa

Walk to the rear of the ship

The breathtaking stern of the Vasa is actually the ship's face. It offered the largest canvas on which to tell the most important story about the ship and its owner.

We are now going to have a look at the different sections of the carvings.

At the highest point on the very top of the stern, originally a lantern was placed.

In the first set of carvings at the very top of the stern, we can see two Griffins crowning a young Gustav Adolf. Griffins are a mythical beast, half lion and half eagle.

Next in line under the Griffins are a row of five women and six men in common dress; they are people to whom Gustav Adolf was responsible for the common people

Underneath the row of the common people is the initials of the king, Gustav Adolph, king of Sweden.

The large coat of arms which is under the King's initials looks very much the same today; with the two lions and the coat of arms, it represents a nation and its sovereign.

The rows of grotesques make a break in the sculpture programme, but such faces were a popular Renaissance image.

Below the grotesques We can see Gideon, who is a symbol of the Old Testament.

Next in line is the symbol of the Vasa dynasty, which gave the ship its name and is presented by two floating cherubim holding olive branches symbolising divine support and is flanked by two Gothic warriors. With a stack of golden wheat, which translates to vassa.

The last row figures depict popular figures from the 17th century, such as Hercules on the far left.

Colours

North German and wood carvings of the late Renaissance were marked by the bright, almost vulgar colours; elites and churches used colours to mark their status, and red was a royal colour. During the restoration of the ship, small areas of colour were still visible, and samples were taken to determine the pigments of the colours.

Discover more about colours by following the back wall Illustrations

For your information, the entrance restaurant is to the right of the ship

When you finish admiring the stern of the Vasa, we will move to the 5 th floor To the life on board exhibit, you can either take the elevator or the steps.

Life on board.

The expansion of the military under Gustav Adolf strained both the army's and navy's recruiting systems. To meet the growing demand, a new system was devised for conscription. This meant one of every 10 adult males from each district was to be conscripted. By the late 1620s, when Vasa reviewed her crew, over 85% of the Navy seamen were conscripts.

As a result, it was not possible to be sure that the new seamen had much relevant sailing experience when they arrived in Stockholm; there were no central training facilities; the men simply had to learn the ropes on board.

No crew lists were found, but most likely the conscripts were made up of mainly Swedish and Finnish farmers and fishermen. There were also most likely Dutch, German, Danish, and Norwegian sailors that had entered the labour market on board.

On board the ship.

There was division on board the ship, and this is reflected in the accommodation. Having reached the 5th floor, you will see a reconstructed cabin. This is called the great cabin, and it was to accommodate officers and captains. The accommodation given to the office and admirals was in stark contrast to the sailors and mariners. The officers lived in finely finished cabins in the stern; they sat in chairs – it had benches with tables – and slept on beds with mattresses. They could look out at the world through glass windows, which was a real luxury in the 17th century. The great cabin is fitted out like a room in a royal palace.

The crew was divided into two groups, mariners and soldiers. There were three commissioned officers, the captain and two lieutenants, on board the Vasa. Also onboard was the old captain Hans Jonson, a retired captain; he had previously held the rank of a senior captain and was a personal friend to the king. Unfortunately, he perished with the Vasa.

The sailing crew took turns on duty they would have 4 hours of standby watch followed by 4 hours off to sleep or eat this meant the sailors never got more than 4 hours sleep at any one time.

Moving away from the Great Cabin, take a left behind the cabin to enter the cannon deck; mind your step and mind your heads.

The whipstaff.

The whipstaff was operated from below deck and is at the entrance to the great cabin.

The reproduced cannon deck.

Entering the reproduced cannon deck, you can see how the cannons were secured. Between each area between the cannons was utilised as a sleeping area for the sailors; 4 sailors would be squeezed into each gap between the cannons. There were 30 cannons on the upper deck and 24 on the lower deck. You can also notice how low the ceiling of the deck was, as people from the 17th century were much smaller in height.

Moving from the cannon deck to the Life on board model of ship

The interior of the ship model

The ship was a floating community accommodating up to 400 men It included storage compartments for provisions, ammunition and personal possessions.

Food was prepared in the large cauldron in the brick-lined galley in the centre of the ship.

Vasa's crew have left only faint traces in historical records, but the possessions remained on board when the ship sank. It gave us an in-depth look into there lives. We do not know exactly how many people died on board, just that the soldiers were not on board yet. Only mariners and family members were present, noting that women and children were also on board. 15 skeletons were found around and on board the Vasa.

Remains from the sailors chests, which contained there personal possessions and barrels of food, clothing, shoes, games, and money, tell us much more about the people of Vasa. Including wool clothing, cooking instruments, and barrels for preserving food. As you walk through all the artefacts, you can discover many hidden treasures. See if you can find the only piece of jewellery discovered, believed to belong to the old captain Hans, who perished on board.

The cannons.

We can see 2 of the three remaining cannons that have been salvaged, the other 61 cannons that belong to the Vasa are believed to have been salvaged in the 1600s most likely were either melted down or used on other battleships.

the cannons are made of bronze 46 of them or a lighter design called the 24 pounders, they were long and heavy. Eight cannons were old style 3 pounders and there was 2 tiny 1 pounders. The omen may have been initive in concept but the tactics to use them effectively did not yet exist. The Swedish Navy still operated on an older tactical model dating to the Middle Ages and pre gunpowder weapons.

Looking at the two original guns displayed on the 5th floor we can see Gustav Adolf initials which appear above the coat of arms of Sweden. guns cast specifically for the vasa birth date 1626.

Notice the decorative leaves and sea monsters appear only on the guns cast for the Vasa.

Cannonballs usually weighed around 3.3 kilos or 8 lbs, they exited the muzzel which caused a shockwave the strenth of the muzzel kept the gun from splitting at the exit point.

The cannons were primiarly made of copper

The raw materials used consisted mostly of new copper from the copper company in Falun. old guns and bells were also melted down and added along with tin the gun metal was 93 to 95% copper 4 to 5% tin and 1 to 2% zinc

A replica of 1 of Vasas main guns was cast in 2013 and test fired the following year. A charge of 2.6 kilo of modern black gunpowder produced a muzzle velocity of 360 metres per second which is just over the speed of sound.

Different types of cannonballs were used to create different types of damage to a ship, those used to damage the wooden exterior of a ship also caused catastrophic injury to anyone close to the power of the explosion as it threw large wooden splinters into the air and caused injury to sailors, this was a tactic used in battle and when enough sailors were injured and weakened due to the wooden splinters the enemy could then board the ship and engage in battle.

You can see an example of the damage a cannonball does to the wooden exterior of a 16th century battleship to the left of the cannon exibit

In addition, axes, pikes and muskets were used for on board battles.

When you have finished discovering the arunment you can make you way to the 6th and 7th floors were you can view the 400-year-old preserved ships sail which are on the 6th floor and following up further to the 7th floor for an incredible view over the deck of the ship.

The lower floor

On the lower floor, you can visit the remains and skeletons of those that perished on board the ship. Modern DNA analysis and technology have allowed archaeologists to form a timeline of individuals' lives and have been able to analyse remains, accurately age them, and create a story around each person's life. Archaeologists have created 3D faces, providing us with an eerie, lifelike vision of a person from the 1600s. These reconstructions not only offer a glimpse into the past but also evoke a sense of connection with those who once walked the decks of the ship. Visitors often leave with a profound appreciation for the lives and stories that shaped maritime history. Through the meticulous ageing of archaeological remains, researchers weave intricate narratives that breathe life into maritime history, revealing the rich tapestry of our past. This evocative connection fosters not only an intellectual understanding but also an emotional resonance with those who once traversed the seas, inviting modern visitors to consider their own relationship with history. Ultimately, these endeavors cultivate a deeper appreciation for maritime heritage, reminding us that each wave and whisper of the ocean carries stories waiting to be uncovered and shared.

When you have finished the tour of the museum, you will exit the museum on the 4th floor. Please note that once you have left through the electronic gates, you will not be able to re-enter the museum.

In the exit foyer, to the left, are the museum's shops, and to the right are the restrooms.

On leaving the museum, you can either take the ferry back to skeppsholmen or old town slussen or take the tram or buses from Djurgårdvågen (the main road is a short walk straight ahead from the exit of the museum).The tram or bus will take you all back into the city. Again, use your card to simply tap to pay at the tram and bus station or buy a ticket via the SL app.

Alternatively, you can cross the bridge and walk the beautiful Strandvägen back into the city.

If you decide to stay on the island, you can visit the numerous other museums there. Alternatively, you could take the tram to the opposite end of the island and visit the stunning Rosendals gardens, which include a beautiful cafe.