Home screen
This tour will take you through the historic centre of Stockholm, the Old Town, followed by a visit and guided tour inside the Vasa Museum. Please note that the entrance ticket fee for the Vasa Museum is not included in this tour; likewise, the public transport to the museum is not included in the tour fee.Links to the Vasa museum for ticket purchases can be found on this page. We highly recommend that you purchase your ticket before arriving at the Vasa Museum. Please also take note of the restrictions regarding personal baggage size when entering the museumYou can also use the public transport app SL to pre-book or buy tickets for transport. The tour will take you on a ferry to the island of Djurgården, where the Vasa Museum is located. The station you need to put in your search for your journey planner isDjurgården Ferry Number 8from Slussen (Stockholm) to Allmänna gränd (Djurgården) (Stockholm)
Djurgården ferry Journey
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.TicketsIf 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.
Historical background of the Vasa
History background of the Vasa ShipIn the 1600s, the Baltic waterways constituted some of the most active maritime routes globally, facilitating the delivery of lumber, grain, and fish to developing cities along the Baltic coast. Imports traversing the straits of Denmark from the North Sea encompassed salt, wine, and manufactured products, including woollen garments. This vibrant trade network not only supported local economies but also fostered cultural exchanges between the regions involved. As a result, the Baltic Sea became a crucial hub for commerce and interaction during this period.These commodities were conveyed on thousands of vessels, and the Baltic trade emerged as the most profitable commerce in Northern Europe, surpassing even that of the Far East.By the 16th century, the Hanseatic League had been overshadowed by Dutch merchants, marking the onset of the Dutch Golden Age. However, the Dutch possessed superior expertise in shipbuilding throughout this period. This advantage in shipbuilding allowed the Dutch to dominate maritime trade, facilitating their expansion and economic prosperity. Consequently, their innovative techniques and advanced vessels contributed significantly to the transformation of European commerce during this era.The competition for the Baltic Sea was apparent to the east. Russia sought improved access to the Baltic and the West, while Denmark engaged in a continual struggle for supremacy over Baltic Sea trade. Since the 16th century, Sweden has engaged in periodic conflicts with its Baltic Sea neighbours over territorial disputes and control of maritime trade. Sweden's policy was expanding its borders eastward and southward. This occurred at the expense of both Russian and Polish areas, which not only increased the Swedish empire but also granted Sweden access to the rich commodities traded in the Baltic Sea. This expansionist policy allowed Sweden to enhance its economic power by tapping into the lucrative trade routes and resources of the region. Consequently, it positioned Sweden as a dominant force in Baltic Sea commerce, impacting the geopolitical landscape of Northern Europe.In 1611, Gustav Adolf ascended to the throne of Sweden at the age of 11, inheriting three wars: one with Denmark, one with Poland, and one with Russia. The conflict with Denmark resulted in significant losses, compelling Sweden to pay a substantial sum to regain some territory. Conversely, the war with Russia proved more favourable, as Gustav Adolf succeeded in negotiating a treaty that effectively excluded Russia from trading in the Baltic Sea for nearly a century. This strategic victory not only bolstered Sweden's economic position in the region but also enhanced Gustav Adolf's reputation as a capable leader. By limiting Russian influence, he secured a more stable environment for Sweden's trade and expansion efforts.The conflict with Poland was a protracted concern for Gustav Adolf. His first cousin Sigismund III married Anne of Austria, the Polish princess who became the queen of both Sweden and Poland.Sigismund was a devout Catholic, and Poland remained unaffected by the Protestant Reformation. Gustav, a fervent Christian and Lutheran, was resolute in preventing his first cousin Sigismund from introducing a counter-reformation in Sweden. Sigismund was deposed from the Swedish throne in 1599, which subsequently passed to Charles XI in 1604, the son of Gustav I, whereas Gustav II Adolf was the son of Charles XI. This shift in power marked a significant moment in the religious and political landscape of both nations, as it solidified Lutheranism's dominance in Sweden. The deposition of Sigismund not only ended his reign but also reinforced the division between Catholic and Protestant influences in the region.Gustavus Adolphus II was renowned as the Lion of the North, and his reputation for bravery and tactical skill during the Thirty Years' War extended throughout Europe; he regarded himself as a significant figure of the Renaissance. As the natural leader of the Baltic Territories, the Prince of Sweden endeavoured to achieve political stability and religious liberty. However, some historians argue that Gustavus Adolphus' ambition for territorial expansion often came at the cost of peace in the region, leading to prolonged conflict rather than stability. Additionally, despite his advocacy for religious liberty, his campaigns occasionally led to devastating consequences for local populations caught in the midst of war.Gustavus Adolphus II perished in combat at Lützen in 1632.His legacy, ambitions, and vision for a formidable Swedish empire are evident in every detail of the Vasa ship. This ship serves as a symbol of his aspirations and the military prowess he sought to establish for Sweden. Ultimately, it reflects both his achievements and the tumultuous history that accompanied his quest for power.In the autumn of 1626, a catastrophic storm obliterated numerous Swedish navy boats in the Baltic Sea. This devastating event significantly weakened Sweden's naval power during a critical period, impacting their maritime dominance in the region. The loss of these vessels not only hindered military operations but also affected trade and supply routes.This established the foundation for constructing a new fleet of vessels for the Swedish Navy, as a formidable navy was a precondition for asserting dominance over the Baltic Sea. The need for a new fleet arose from the recognition that a strong naval presence was essential for Sweden to regain its influence and control in the strategically important Baltic Sea. This initiative marked a pivotal shift in Sweden's maritime strategy, aiming to restore its former power and secure vital trade routes.Two naval shipyards were established, with the principal one situated in Stockholm on the island of Skeppsholmen. This strategic decision not only facilitated the construction of advanced naval vessels, but it also underscored Sweden's commitment to enhancing its defence capabilities in the region. By establishing these shipyards, Sweden aimed to bolster its maritime strength and assert its dominance in the Baltic Sea.By 1620, the battleship still only possessed one complete deck of guns; developing technologies and designs necessitated the incorporation of new types of weapons. In 1624, Gustavus Adolphus II authorised the construction of two similar designs at the Stockholm Navy Yard. Both with 2 decks of guns.One being the Vasa battle shipThe contract for the construction of two new ships was signed in 1626 at Stockholm's shipyard and was expected to last four years. They hired two Dutch brothers, Henrick and Arendt Hybertsson, to complete the shipbuilding project. Henrik was a master shipwright with two decades of expertise in Sweden, focusing on ship construction. Arendt was a well-known merchant with broad ties in the Baltic Sea region. The brothers forged a strong partnership: Arendt sourced the raw materials for shipbuilding, while Henrick ran the shipyard with his wife, who handled the estate they acquired as part of their contract. Arendt also did the bookkeeping, making it a family business.In 1627, various difficulties arose during the shipbuilding contract. The demise of the Swedish copper currency resulted in heightened material expenses, while the fixed-price contract intensified the predicament. Furthermore, Dutch carpenters initiated a strike, rejecting compensation in devalued copper coins and insisting on silver instead. The crown could not fulfil these requests, leading to inadequate funding for acquiring supplies or paying labour. In a position of desperation, Arendt resorted to selling timber designated for future shipbuilding to finance the ongoing effort. Subsequent to the death of his brother Henry, the shipwright, his widow acquired half of the contract along with the responsibility to execute it. Despite her extensive experience in managing rural properties, she was uneducated about shipbuilding, resulting in frustration during the process.Substantial amounts of timber, iron, and charcoal were required at the shipyard, along with a workforce of no fewer than 300 men recruited from across Europe for construction in Stockholm.Identifying timber for shipbuilding presented a significant challenge because of the wood's curvature. The timber used for the stem frames and other elements that shape the hull's curvature was carefully sourced from Swedish trees, requiring a meticulous selection process to ensure that the natural curves matched the timber's final form closely. They enlisted the expertise of two master shipwrights for this task. A forest master journeyed through the oak forests of central and southern Sweden, seeking suitable timber. Meanwhile, master shipwright Henrick received measurements and patterns, which enabled him to select and roughly shape the appropriate trees on site. This method reduced waste and shipping expenses while guaranteeing optimal strength for the finished vessel. They also obtained oak trees from a variety of private forest owners. This approach not only ensured the timber's quality but also fostered local relationships with forest owners. By sourcing materials directly, they could maintain a sustainable and efficient supply chain.Iron was mined, especially north of Stockholm, where it was first processed into crude bars. Consequently, significant amounts of charcoal were necessary to power the forges for melting. Although shipbuilding is often seen as a major contributor to deforestation in post-mediaeval Europe, the iron and copper industries were, in reality, the predominant consumers of timber in Sweden. The construction of the frames and planking for the Vasa likely required more than 1,000 trees, with an additional thousand used for the fabrication of bolts, anchors, and nails. This extensive use of timber highlights the substantial environmental impact of the iron and copper industries, which, despite shipbuilding's notorious reputation, played a more significant role in the depletion of forest resources during that period. The demand for materials in shipbuilding further exacerbated these effects, leading to a greater strain on Sweden's woodlands.
Ferry ride
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 historyAs 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.
Walking to the Vasa Museum
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 artVisitors 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.
Entering the Vasa Museum
The MuseumOnce 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.HousekeepingSeven 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 discover Lego and a restaurant cafeCheck 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 VasasThere 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 informationThe 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.
Start the Vasa tour
Welcome to the VasaWelcome 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 shipThe 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 SkeppsholmShe 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 GunportsThe 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 ships model
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
The Salvage operation
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 FranzenAnders 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 ship
The Stern of the VasaWalk to the rear of the shipThe 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 peopleUnderneath 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.ColoursNorth 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 IllustrationsFor your information, the entrance restaurant is to the right of the shipWhen 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 ship
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 shipThe interior of the ship modelThe 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 ships cannons
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 copperThe 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% zincA 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 exibitIn 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 The skeletons
The lower floorOn 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.
The end of the Vasa tour
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 the old town 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.
