The Kaiserliche Schatzkammer or the Imperial Treasury of Vienna! Where we are hoping to see all the things that we have seen copies of so far! lol For people into medieval embroidery or early medieval gold work, this place really is a treasure trove. I was super excited to be here, before we even entered the building.
Tabard of the Herald of the Princely County of Tyrol -Johann Fritz (embroider)
Vienna, 1838, Silver lamé, velvet, gold, silver and silk embroidery, silver fringing braid.
From the Left: 1) Staff of the Grand Controllers – Southern German, 1600-1610. 2) Staff of the Grand Steward of the County of Gorlzia – Southern German, c.1660. 3) Staff of the Hungarian Grand Equerry – Vienna, 1700-1725. 4) Staff of the Grand Comptroller – Vienna, 1835. 5) Cane of the Grand Equerry – Vienna, 1790-1800. 6) Staff of a Master of Ceremonies – Vienna, 1800-1850. 7) Staff of a Junior Master of the Table – Vienna, 1800-1810. Staff of the Grand Master of the Table – Vienna, 1835. 8) Staff of a Master of Ceremonies – Vienna, 1800-1835. 9) Staff of a Grand Master of Ceremonies – Vienna, 1850-1900…. Wood or cane, bronze, gilded, and silver mounts.
The Hereditary Banner of Austria. Austria, c.1705.
Silk, damask, embroidered with metal and silk threads.
Keys of the Imperial Chamberlain, from 1711 to 1918.
As a sign of their privileged status chamberlains at the Habsburg court wore a key that symbolized their access to the ruler’s chambers. The office of chamberlain was reserved to members of the high nobility. The holders of this office belonged to the “first society” and were part of the emperor’s retinue at official ceremonies. The falconer’s gear as well as the tabards and staffs on view here are similarly the insignia of various officials or families in the hereditary lands and indicate their rank and status.
Dog Collar, Insignia of the Grand Master of the Hunt, Vienna, 1838.
Velvet, leather gold embroidery. Mounts silver mounted.
Austrian Archducal Coronet of Joseph II, c.1764. Silver glided, diamonds, semi-precious stones removed.
As early as the reign of Duke Rudolf IV (1339-65) the Habsburgs pursued the goal of being raised to the dignity of archduke. Their claim was finally recognized in 1453, and the archducal coronet, an insignia resembling a crown became the official symbol of Habsburg rule in the hereditary lands. Such an insignia was created for Archduke Joseph in 1764 based on medieval models.
The coronet’s gold foil frame, or “carcass”, is exhibited in this room. The jewels were soon removed from the coronet to be used for other purposes.
Insignia for the Hereditary Grand Master Falconer, Vienna, 1835. Leather, velvet, gold braid, gold embroidery and feathers. Falconers pouch and two falcon’s hoods.
Tabard for the Herald of the Roman King, Vienna, 1600-1650; gold lamé, satin, gold embroidery, finger border, glass beading.
Tabard for the Herald of the Roman Emperor, Vienna, 1613 and 1719.
Gold lamé, silk and glass.
Tabard for the Herald of Emperor Francis I Stephen, Vienna, 1775-1750.
Velvet, satin, gold and silver lamé, gold silver and silk embroidery, gold and fringe border.
Tabard for the Herald of the King of Bohemia, Vienna, 1600-1700.
Velvet, gold and silver embroidery, fringing braid, glass beading.
Tabard for the Herald of the King of Hungary, Vienna, 1600-1700.
Silver lamé, gold, silver and silk embroidery, fringing braid.
Crown of Emperor Rudolf II, later crown of the Austrian Empire
Jan Vermeyen goldsmith, Prague, 1602.
Gold, enamel, diamonds, rubies, spinels, sapphires, pearls, velvet
Imperial orb for the crown Rudolf II.
Andreas Osenbruck goldsmith, Prague, 1612-1615.
Gold, enamel, diamonds, rubies, sapphire, pearls.
Sceptre for Emperor Matthias for the crown of Rudolf II.
Andreas Osenbruck Goldsmith, Prague, 1615.
Ainkhürn (narwhal tooth), gold, enamel, diamonds, rubies, sapphire, pearls.
Ceremonial robes of a Knight of the Hungarian Order of St Stephen, Vienna, c.1764.
Velvet, fake ermine, gold and silver embroidery, gimped embroidery in gold.
Robes of a Knight of the Austrian Order of Leopold, Joseph Fisher (1769-1822), Vienna, c.1808.
Gros de tours, fake ermine, gold embroidery, metal foil, ostrich feather, silk
Mantle of the Austrian Emperor, designed by Philipp von Stubenraüch (1784-1848), Vienna, c.1830.
Velvet, gimped embroidery in gold, Paulette’s, gold braid, ermine and silk.
Robes of a Knight of the Austrian Order of the Cross, designer Philipp von Stubenraüch (1784-1948), Vienna 1815/16. Velvet, silver embroidery, leather silver embroidery.
Conronation vestments of the Kingdom of Lombardy and Venetia,
Designer Philipp von Stubenraüch (1784-1848), Vienna, 1838.
Velvet, gimped embroidery, gold, ermine, moiré, gold and silver embroidery.
The Robes worn by King of Bohemia as Elector, Vienna or Prague, c. 1625-1650…
Mantle, gloves and matching ermine hat.
Jewellery Box of Empress Marie Louise, Paris, 1870, silver gilded velvet.
Martin Guillaume Biennais (1764-1843) and Augustin Dupré (1748-1833).
Marie Louse, Empress of the French (1791-1847).
Francois Pascal Simon Gerard, Paris, 1812, oil on canvas.
Cradle of the King of Rome, Paris, 1811. Silver gilded, gold, mother of pearl, velvet, silk, tuile, gold and silk embroidery. Designers and craftsmen: Pierre-Paul Prud’hon (1758-1823), Henri-Victor Roget (1758-1830), Jean-Baprise-Claude Odiot (1733-1850), Pierre-Philippe Thomire (1751-1843).
Ewer and Basin used for Imperial Baptisms, Spanish Master, 1571, gold and partly enamelled.
Diamond Sabre, Turkish, 1650-1700, Vienna, c.1712.
Damascened steel, gold, silver, partly gilded, diamonds, wood, leather.
Two Chains of the Order of the Golden Fleece, court jeweller A.E. Kochert, Vienna, c.1873.
Gold, partly enamelled, diamonds, rubies.
Two Bouquets of Flowers, Florence, c.1680-1700. Gold, partly enamelled, silver gilded, precious stones.
LEFT: Hair Amethyst, Spain, c.1665-1700. Amethyst, gold and emeralds.
RIGHT: Fire Opal, Origin Hungarian, c.1650. Opal, gold and enamelled.
Hyacinth, “La Bella”, Vienna, c.1687. Garnet, gold, silver gilded, enamelled.
Egg Cup form the estate of King Louis XVI of France (1754-1793), Paris, c.1774/80. Silver gilded.
Family Tree showing Kings and Emperors from the House of Habsburg. Gold and chalcedonies.
Tree: Vienna, 1725-30. Intaglios: Christoph Dorsch (1675-1732), Nuremberg, 1725/30/
Cameo showing the Portrait fo Emperor Franz I – Giovanni Beltrami (1777-1854).
Made before 1840. Onyx, and enamelled gold.
Set of Jewels from the estate of Archduchess Sophie (1805-1872), Paris, 1809/19.
Gold, silver, diamonds, emeralds, topazes.
Emerald Unguentarium, Dionysius Miseroni, Prague, c.1641. Emerald 2860 carat, enamelled gold.
‘As early as the 17th century the 2,680-carat emerald vessel was regarded as one of the most famous objects in the Imperial Treasury. The tremendous value of this unique showpiece, whose lid was cut out of the jewel’s interior, is illustrated by the story that Genoese jewellers declined to value it as security for a loan which Emperor Ferdinand III (1608-57) sought, avowing that they were not accustomed to dealing with such large pieces.’
Sadly the light in here is so bad, that I had to pluck an image off the internet.
Crown of Stefan Bocskay, Turkish, c.1605. Gold, precious stones, pearls and silk.
Case for the Crown of Stefan Bocskay, Turkish, c.1605. Fabric: Persian, c.1600, wood and silk.
Hungarian Opal Jewellery Set, Egger Bros, Budapest, c.1881.
Gold, enamelled, Hungarian opals, diamonds, rubies.
The “Two Considerable Treasures” – Emperor Ferdinand I (1503-64) bequeathed to his successor, Emperor Maximilian II, two treasures of special importance: an enormous agate bowl (about 50cm across), and the “Ainkhürn” or unicorn horn. It was laid down that these two pieces would forever remain in the possession of the eldest male member of the family in perpetuity as ‘inalienable heirlooms’ and could not be sold or given as gifts.
Agate Bowl, Constantinople, 300-400AD. Carved from a single piece of agate.
“Ainkhürn”or Unicorn Horn.
Ferdinand I received the “Ainkhürn” as a gift from King Sigismund II of Poland in 1540. During this age the mythical unicorn was thought to be an actual animal, which might only be captured in a virgin’s lap. The unicorn was thus regarded as an allegory of Christ, and its horn a symbol of divine power, from which secular dominion was derived. The horn, which was also thought to be an antidote to poison, was traded in Europe at tremendous prices. Only in the 17th century was it recognized that what had been believed to be unicorn’s horn was in fact the twisting tusk of the narwhal (Monodon monoceros).
I WANT ONE!
Amber Altar, Northern Germany, c.1640/45. Amber, partly painted, metal foil, wax, wood.
The Adoration of the Shepherds, Central Italy, Florence?, Early 17thC.
Oil on alabaster, wood, copper, silver.
The Bag of King Stephen of Hungary, Russia, c. 1080-1120.
Gold and silk embroidery on silk, smokey quartz.
Ivory Reliquary Box, Sicily, 12thC. Ivory on wooden core, brass fittings.
Christophorus Relief, Upper Rhine, c.1475-1500, cast copper, gold-plated, glass stones.
Chalice from the Propety of Emperor Maximilian of Mexico.
Circle of the Rondino Di Guerrino, Sienna, c.1375. Silver, gold plated copper, pit enamelled.
Late Gothic Chalice, Hungary, c.1500. Gold plated silver, gemstones.
Chalice with the Motto of Emperor Friedrich II, Southern Germany likely Nuremberg, 1438.
Gold plated silver.
Holy Blood Monstance, Transylvania, c.1475 contains older spoils.
Gold plated silver, rock crystal, precious stones, semi-precious stones, pearls.
Relicquay Oast Tensorium – Matthias Waltbaum (1554-1632), Augsburg, c.1600.
ebony, silver, partially gold plated.
Reliquary Casket, Venice late 1500s. Wood, sardonyx, lapis lazuli.
Emperor Ferdinand’s Prayer Book, Augsburg, 1590. Approx 5cm tall.
Gold, enamelled, parchment.
Devotional Book of Empress Claudia Felitcitas, Constance, Augsburg, c.1674. Silver and paper
Madonna with the Child and the Boy John – Adam Lenckhardt (1610-1661).
Wurzburg, c.1630. Ivory.
The Flagging of Christ, Rome, c.1635-40. Gold-plated bronze, lapis lazuli, ebony.
Christ: Alessandro Algardi (1598-1654).
Henchmen: Francois Duquesnoy (1597-1643)
Three Kings Reliquary, Paulus Baumann (1567-1634), Augsburg, 1630-35. Silver, gold plated, lapis lazuli.
The Carrying of the Cross – Johann Caspar Schenck (1630-1674), Vienna, c.1664-65. Ivory.
Chalice with Coat of Arms of Emperor Charles VI – Ludwig Schneider (1640-1729), Augsburg, c. 1710/15.
Silver gilded, enamel painting, glass
Christ as Judge of the World
Johann Baptist Känischbauer von Hohenried (1668-1739), Vienna, 1726.
Gold, partially enamelled, rock crystal.
Gloves, Palmero, before 1220.
Samite (silk), gold embroidery, enamel, niello plaques, pearls, precious stones.
Shoes, Sandalia – German, 1600-1625, Palermo, 1100-1300.
Silk, pearls, precious stones, tablet weave, lampas braid.
Blue Tunicella (Dalmatia), Palermo, Royal Court Workshop, 1125-1150.
Silk, gold embroidery, small gold tubes, gold with cloisonné enamel, pearls, tablet weave.
The semi-circular Coronation Mantle of red silk was produced in Palermo in the 12th and early 13th centuries; with its depiction of a lion subduing a camel, the long, richly embroidered outer garments-blue tunicella and white alba-as well as shoes, stockings and gloves together with the belt reflect, (in part based on their inscriptions in part on other evidence), a connection with the Norman kings of Sicily. The overall design and elements of the decoration are derived from the court attire of Byzantine emperors. The older textiles probably came to the Empire through the Hohenstaufen emperor Henry VI. He married the Norman princess Constance in 1186 and became king of Sicily in 1194. In the empire they were apparently thought to be priestly vestments, used for coronations and complemented by additional textiles.
Coronation Mantle, Palermo, Royal Court Workshop, 1133/34.
Samite silk, gold and silk embroidery, pearls, enamel, filigree, precious stones, tablet weave.
OMG… finally a chance to see this! I’ve been looking at pictures of these objects in books for nearly three decades. I can’t believe I get to see them in person.
The Eagle Dalmatic, South German, c.1330/40.
Red silk twill damask, embroidery in silk, gold, small axinites.
The Stola (below) imitates a ‘loros’ an older type of textile of Byzantine or Norman origin. The six metre-long sash of yellow silk was decorated with black imperial eagles in medallions, only one of which has been preserved. Differently than the original manner of wearing the “loros”, in the medieval Holy Roman Empire the long sash was worn as a priest’s stola, that is forming a cross across the breast. This can be seen in Albrecht Dürer’s famous portrayal of Charlemagne (Room 11). The purple Dalmatic is embroidered with eagles and crowned heads. In this way the wearer of the garment is associated both with the heraldic beast of the Holy Roman Empire and his predecessors as king.
Alba, Palermo, Royal Court Workshop, c.1181 with later additions.
Taffeta silk, Samite silk, fold wire embroidery, pearls, precious stones and tablet weave.
Stole, Italy, before 1328. Louise silk, gold threads, pearls, silver gilded appliqués with graduation, champlevé enamel and glass stones.
Imperial Cross, Western German, c.1030. Body: oak, precious stones, pearls, niello.
Base: Prague, later additions c.1352, silver gilded enamel.
The Burse of St. Stephen, Carolingian, 800-833. Wooden body, gold, precious, stones, pearls.
Imperial Crown, Western German, c.960-980. Cross: 1020. Arch: 1024-1039.
Gold, cloisonné enamel, precious stones, pearls.
Idealised portrait of Emporer Charlemagne (742-812).
Copy after Albrecht Dürer (1471-1528), German c.1600. Oil on canvas.
Idealised portrai of Emperor Sigmund (1361-1437).
Copy after Albrecht Dürer (1471-1528), German, c.1600. Oil on canvas.
Vestments worn by Emperor Francis Stephen I of Lorraine (Baroque copies of the Coronation Vestments of the Holy Roman Empire). Vienna 1763/64.
Stole, Vienna 1763/64. Gold lamé, silk embroidery, gold, partly enamelled.
Gloves, Vienna 1763/64. Atlas silk, gold embroidery, gold enamel, precious stones.
Dalmatic, Vienna 1763/64. Altas silk, gold, partly enamelled.
Mantle, Vienna 1763/64. Atlas silk, gold and silk embroidery, gold braid, enamel, precious stones.
Alba, Vienna 1763/64. Atlas silk, gol, silver and silk embroidery, precious stones.
Room full of extant herald’s tabards! Mostly 1700s, but just gorgeous.
Herald for the King-At-Arms and Herald of the Archduchy of Brabant, Brussels, c.1717.
Embroiderer: Louis Almé. Velvet, gold lamé, appliqué, gold embroidery and fringing braid.
Herald’s Tabard for the King-At-Arms and Herald of the Duchy of Burgundy, Brussels, c.1600-1700.
Velvet, silver lamê, fringing braid.
Tabard for a Herald of Maria Theresia (First King at Arms), Brussels, c.1742.
Embroiderer: Eldens. Velvet, gold and silver lamé, appliqué, gold, silver and silk embroidery, gold braid.
Tabard for the First King-At-Arms of Archduke Albrecht, Sovereign of the Netherlands.
Brussels, c.1599-1621. Velvet, gold and silver lamé, appliqué, gold silver and silk embroidery, fringing braid.
Emperor Maximilian I (1459-1519) – Bernhard Strigel (1460-1519), German, c.1500. Oil on Limewood.
Charles the Bold, Duke of Burgundy hoped to succeed Emperor Frederick Ill on the throne of the Holy Roman Empire. To achieve his aim, he assented to the marriage of his only daughter Mary to Archduke Maximilian, the emperor’s son and heir. The wedding, however, only took place after the duke’s death in 1477. Mary and Maximilian’s son Philip was born on 19 April 1478, ensuring the “Burgundian heritage” would ultimately remain with the House of Habsburg.
Mary, Duchess of Burgundy (1457-1482) – Francesco Terzio, Southern Germany, c. 1600 terracotta.
Tapestry Showing the arms of Emperor Charles V – weaver: Willem de Pannemaker, Brussels, c.1540.
Wool, silk, gold and silver thread.
Tabard for the Stattholder First King-at-Arms, called Towson d’Or (Golden Fleece), Brussels c.1580.
Velvet, gold and silver lamé, gold, silver and silk embroidery.
Order of the Golden Fleece Knight’s Chain, Burgundian-Netherlands, c.1435-1465. Gold and enamel.
Potence Chain of Arms of the Herald of the Order of the Golden Fleece, Netherlandish, c.1517.
Gold and enamel.
This is one of the most beautiful heraldic objects I’ve never seen. I’ve admired it for years… never thought I’d be able o see it.
I am completely unapologetic for the amount photographs that I took and have added here!
Just when you think the Schatzkammer has delivered up all it’s treasures – the next room contains only some of *the* most famous embroidered objects ever created. I like did a double take when walking in… it was like the first time I saw the Cluny Tapestries all over again. They are so amazing and so beautifully preserved! Just fucking spectacular!
Liturgical Vestments of the Order of the Golden Fleece.
Cope of the Virgin, Burgundian, c.1425-1440.
Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet.
Hood depicting the virgin.
Liturgical Vestments of the Order of the Golden Fleece.
Dalmatic, Burgundian, c.1425-1440.
Embroidery on linen, metal and silk threads, pearls and velvet.
Liturgical Vestments of the Order of the Golden Fleece.
Cope of Christ (Pluvial), Burgundian, c.1425-1440.
Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet.
Hood depicting the Almighty.
Liturgical Vestments of the Order of the Golden Fleece.
Casula, Burgundian, c.1425-1440.
Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet.
Liturgical Vestments of the Order of the Golden Fleece.
Cope of John the Baptist, Burgundian, c.1425-1440.
Embroidery on linen, metal and silk threads, pearls, pastes (glass), velvet.
Hood depicting John the Baptist.
Liturgical Vestments of the Order of the Golden Fleece.
ABOVE: Antependium (rear panel), Burgundian, c.1425-1440; the Trinity, prophets and apostles.
BELOW: Antependium (front panel), Burgundian, c.1425-1440; Mythical marriage of St Catherine
Embroidery on linen, metal and silk threads, pearls, pastes (glass).
Phew! Man, I haven’t been a smoker since May 17th 1997… but damn, after that I need a cigarette and a good lie down. Back out in the Real World, I had to make do with some bratwurst and a Coke Zero!
What an amazing visit! I think this has now officially out paced the Museé de Moyen Age as my favourite museum.
Now I am really wishing I had gotten to Dubrovnik years ago… Game of Thrones references everywhere are really disappointing in an ancient city that has so much history. Feels like the shops and restaurants even are totally catering to popular culture hounds instead of people who used to come here for the history of this medieval walled city. :/ 
Shops lining the Main Street, mostly selling either gelato or souvenirs. I’m just not sure I need a Peter Dinklage “I drink and I know things” t-shirt as a souvenir of Dubrovnik, you know? It’s kinda weird how they’ve co-op’d the franchise so hard. The city is still beautiful though and the worn smooth cobbles are incredible. The whole inner city is pedestrians only which makes for a nice change to dodging Vespers and cabbies. 
I love European women – they’re unapologetically themselves. <3 
Some of the dross in the shops that wasn’t GoT. 
And I walked into this candy store, but mostly out of curiosity – the entire shop had bees buzzing around it – and many of the piles of confectionery had actually bees on the lollies. As far as I know, bees don’t carry germs around with them, but I’m not sure I want a bag of sweets that has had bees climbing all over it? I’m assuming they’re not a problem as the shop owners were making zero efforts to keep them out or shoo them off. 
Decided to stop for some lunch at a lovely cafe with a view… could have been the alcohol, or might have been the scenery and the company, but I think this was one of the nicest meals we’ve had since we started this trip.
Marinara pasta and a huge mojito! Just what you need in the middle of an intense few days of walking. It was delicious even if I couldn’t finish it. Angus of course ordered a hamburger. 🙂 
After lunch, we met back up with the group and head down to the Marina to get a boat cruise over to one of the islands. I fear the term ‘boat cruise’ means something different in Croatian to Australian as I was expecting us to be pottering about on the boat for a few hours, lazily taking in the beautiful blues of the Adriatic… whereas in reality, it was a quick ferry ride to a nearby island that has 1) a simple taverna, 2) a fancy over the top exclusive resort and 3) a famous nudist beach. 
So I think you can guess how I chose to spend my afternoon… ‘Another G&T please!’ 🙂
The guys from the boat found a spot to swim – was very glad I hung back with our Icelandic friend Ingie, as there was zero shade to be had over there and the rocks for a beach is not my idea of ‘beach’… Australians have always been kinda spoilt in the beach department. 
At least two sunburned peoples on the boat on the way back. 
The Long Market was established in about the 13th century as a merchant road that led to a large marketplace away from the river, and it became the city’s main thoroughfare. It also became known as the Royal Route in the 15th to 16th centuries because it served as the precessional road for visiting Polish royalty – the monarchs would visit the city and be entertained in the tenement houses along the road, and during the various feasts the city council have fireworks displays here. The most prominent and of course, wealthy, citizens of the Royal City of Gdańsk lived along this route.
After breakfast, we struck out to explore properly. Refreshingly most of the Old Town is laid out in a grid so instead of winding through confusing little streets, you could stroll down nice straight cobblestoned streets that would also allow you to (mostly) get far enough back to photograph the architectural gates that seemed to be at the end of most roads in the area.
All the drainage down pipes have these fantastical stone dragons and gargoyles spitting water into the street – and for a short arse like me, most of them are at shoulder or head height, so they seem like they’d be a bit hazardous in really wet weather!
The decorative details on all the buildings is just overwhelming, everywhere you look is something new and interesting whether it some stonework, wrought ironwork, frescos, tiles or sculpture… it’s a veritable feast for the eyes.
This is known to be the oldest surviving original building in Gdańsk, knowing as Gotyk House which was built in 1453.
The tennement houses are lovely…
… I want one! Red please. 🙂 
Inside the church is surprisingly stark (like the Frauenkirche in Munich), which was confusing when I first walked in and said to yale, ‘I thought this was a catholic church but it looks kinda Lutheran in here.’, and was again confused when I saw a confessional a bit later… but the dual denomination situation described above kinda explains that I guess.
The enormous baptismal font is unusually placed almost right inside the door – about 50m from the nave.
We saw this fancy commercial votive candle system – copyrighted in Ireland… sometimes I think we forget that big churches are more run as big business these days.
Anyway, St. Mary’s is a triple-aisled hall church with a triple-aisled transept – which basically means that the main nave and the two adjacent transepts are of roughly similar length, height and width. The building is an excellent example of late Gothic architecture. In the late 1500s to early 1600s the church was rebuilt and enlarged somewhat with the final footprint of the church not being achieved until over 150 years since the initial construction had started.
There are so many different donation boxes in this church – all different sizes, and marked to all different causes/saints/purposes.
Embroidered banner: ‘God, Honour and Homeland’. No idea what period, but I want to say, late 19th or 20th centuries, just because this place isn’t climate controlled and the goldwork isn’t that tarnished.
The central panel shows Jesus sitting in judgment, while St Michael is weighing souls and sending the damned to Hell, while the saved are being guided to heaven by St Peter and angels.
but here is your little bit o’ medieval weirdness for the day:
This rather incongruous memorial was to remember the 96 victims of a plane crash in Smolensk on 10th April 2011. Lech Kaczyński, the fourth President of the Republic of Poland, was on the Polish Air Force Tu-154 when it crashed outside of Smolensk, as was his wife, First Lady and Economic Minister for Poland at the time.
Directly opposite this very modern memorial is an enormous medieval astronomical clock. Standing 14m tall, it is said to have been constructed by Hans Düringer between 1464 and 1470. Like every other monumental medeival astronomical clock, it is said that Düringer had his eyes put out after he made it so he could not make another – which begs the question: why would a medieval master clockmaker accept such a commission if ultimately he was going to be blinded to stop him from replicating his work?! Dunno… urban myths alive and well in the middle ages.
The clock has some pretty complex dials that show time, date, phases of the moon, the position of the moon and sun in relation to the zodiac signs, and the calendar of saints. 
Another unlabelled, anonymous fresco/sculpture.
You can see the altar all pulled apart, and restorers were working on it while we were visiting.
From the altar looking back down the nave – it really is an enromous church.
I think this is a representation of the ten commandments from 1485… there is supposed to be a piece here of that nature, though the artist is unknown.
Organ – no real church is complete without one.
More medieval paintings with no information or attribution 🙁 
Photographing these paintings in this evironment is worse than in a musuem under glass – the camera just can’t handle the brightness ration from the stark white walls and the glare forming from them on the surface of the canvasses is almost impossible to avoid.
This is me… looking at all these cool paintings and then not being able to find any information on them whatsoever.
Directly outside the armoury, the entire street is largely taken over by amber shops and by souvenir shops. You can face in any direction in this town and see amber for sale.
There are just too many very fancy and impressive buildings in the Long Market. I can’t describe them all, but have included many photographs to show how stunning this town is.
The older High Gate which is attached to the Golden Gate is a Renaissance city gate now at the main vehicular entrance to the Old Town. 
For over two centuries, from 1604 to 1858, this was the largest prison in Europe. Records show no known successful escape attempts, so we can guess it was a pretty effective one at that. Also located in the Prison Tower were Torture Chambers and the hangman’s headquarters which look like a small renaissance palace.
After this we went through the Golden Gate and back into the Long Market to marvel at the beautiful tennement buildings.
The Gdańsk Main Town Hall is a historic building located in the middle of the Long Market and it is considered to be one of the best the Gothic-Renaissance style historic buildings in the city. It is built at the intersection of the Long Lane and Long Market, and currently houses the History Museum of the City of Gdańsk and a weird modern art exhibition of Kazakhstani photographers?! 
So many of these beautiful tenement houses have a long and distinguished history all of their own – for example, this red building below is called, the Schumann House. It was designed and built for a man named, Hans Conert the Younger, by an unknown architect in around 1560. The building was known as the King’s House as the top of the house has a sculpture of Zeus. Now, it houses a Tourist Information Centre… but my point is, every one of these buildings has a history.
It’s nearly midday and the tourists are finally up and about – I am very glad I came out earlier and took some photos of the empty streets.
Neptune’s Fountain – is an iconic fountain of Gdańsk. It was constructed by a local Mayor, Bartłomiej Schachmann in 1549 and is located outside a building called Artus Court because there was a natural well here. The fountain was proposed and approved in 1549 but didn’t ‘open’ until 1633 due to a series of construction delays – the Artus Court building was being renovated, there were problems with the water system, and then the terribly inconvenient Thirty Years’ War. 
At the other end of the Long Market – the back of the Green Gate.
So many beautiful buildings! It’s simply overwhelming… so many beautiful facades to look at and so many wonderfully detailed frontages.
More tenement buildings lining the river to either side of the Green Gate.
Across the river is Granary Island – we popped over there very briefly, but it seemed full of modern hotels, a ferris wheel (called the Amber Sky of course) and several bars that appeared to largely cater to American tourists (Jack Lives Here).
So we made our way along the waterfront and back into the Old Town to meander through more back streets.
The seemingly modest, Royal Chapel.
The famous Gdansk treadwheel crane – originally built in 1366, the crane was operated by men in the treadwheel to hoist heavy weights onto ships.
This was marked – it’s a 10th century viking longboat most likely used for trading and not so much for the war and the pillaging bit.
The most noteable thing about the Gdansk Archeological Museum is how much of their collection was so completely lost during World War II. The Museum apparently had a remarkable collection of artefacts and now it is a hodge podge of what remains.
yale splashed out and ordered the Fried Foie Gras which was served with a beetroot sponge and truffle mousse – the sponge was light and fluffy as to be souffle-like, and the foie gras was rich and in a really meaty flavoursome sauce.
For a main, I ordered the Pork Tenderloin that came wrapped in bacon was served with pearl buckwheat and caramelised red onion jam. Fabulous!
And becaue yale is a bottomless pit, he ordered two mains, Greased “Russian” dumplings with curd cheese filling served with bacon sprinkles and sour cream (the Polish love their sour cream!). These were very tasty also but a bit stodgy for my liking.
And he also had the Guinea Fowl breast served with truffle potatoes and a vegetable ratatouille… which was also really really good.
After this, we had to decline dessert – as the portions were much larger than you normally encounter in high-end restaurants. But our waiter was having none of that, said we can’t end our meal there and he brought us some complimentary freezing cold, cherry vodka liqueurs to try.
This stuff is amazing -Lubelska Wisniowka Cherry Vodka – I’m not normally one for cherry flavoured anything, but served freezing cold, it certainly warmed the cockles quicker than anything I’ve ever tried. Only 30% alcohol, I could have had two more.