The landmark book series Slott och herresaten i Sverige (transl. Castles and Manor Houses in Sweden), published in 1966-1971 by Allhems forlag, is still today considered the most important art historical reference work on Swedish manor buildings and country houses. The 18 volumes seem to present a near complete picture of the nation's rich heritage of manor buildings, combining the comprehensive and topographically organized guide book with the thoroughness of the architectural monograph. This paper will address the more problematic aspects of the book series, its critical role in the writing of a Swedish architectural history and in shaping a national country house narrative. While each volume provides an authoritative and concise overview of the history, ownership and stylistic development of the most significant manor buildings in the province - their architecture, interiors, gardens and collections - the presentation with its general descriptions, formal analysis and neutral tone omits a more in-depth analysis of these complex environments as well as underlying social, political and economic aspects. The descriptions have, in a sense, been working against the depth of historical understanding and the identification of more complex networks. As a consequence, the Swedish manor house is presented as a continuous and self-contained "treasure house", with the critical perspectives and broader European context very seldom present in the characterizations.

This thesis is about the Swedish landscape painter Elias Martin (1739-1818). The main interest is in his depictions of nature, landscape images and topographical views. Chronologically, it covers the period 1760 to 1810. The first part puts Martin's artistic achievement in a historiographic perspective and presents an overview of his artistic career - from his birthplace Stockholm to Paris and from there to London, where he successfully established himself on the English art scene in the 1770s. Returning to his native Sweden in 1780, he soon emerged as the country's leading landscapist of the period.

In the second part of the thesis, a study is presented of Martin's relationship to the art markets of England and Sweden, and in the third an attempt is made, through the medium of a specific genre of Swedish eighteenth-century literature - travel writings - to gain a deeper insight into the attitudes and values of the period. Here, the focus of interest is on different ways of viewing nature and landscape art in Sweden in the late eighteenth century. On the basis of this discussion, an attempt is made to reconstruct a Swedish 'period eye', specific to the upper-class culture of the Gustavian age.

These discussions of the importance of the market and of a Swedish period eye form the basis for an answer to the overarching question of this thesis, concerning the relationship between Martin's images and contemporary perceptions of nature. From the conclusions drawn, it becomes clear that different ways of relating to landscape existed side by side. The attitudes discernible in the artist's pictures, as in the travel writings of the period, are diverse and contradictory, complicating an understanding of the eighteenth century's view of nature as something uniform. Elias Martin's art thus illuminates the many vantage points and variations in the Gustavian era's feeling for nature.

Indoor climate and user satisfaction were analysed by field measurement and a questionnaire in 67 traditional rural houses in Estonia, Finland and Sweden. Our findings showed that the indoor climate in all the investigated historic rural houses needs improvement. The room temperature was mainly too low during winter. Leaky houses had also a larger vertical temperature difference. The relative humidity in the unheated and periodically heated houses was high during winter and caused risk for mould growth in 17% of all houses and 33% of unheated houses. Significant differences of indoor humidity loads in different houses were revealed depending on the living density and usage profile. During the winter period, the design value of moisture excess was 4-5g/m(3) and the average moisture load was 2-3.5g/m(3). The indoor humidity load in historic houses was similar to that in modern houses. The results of the questionnaire showed that main problems were related to unstable or too low temperatures. At the same time, inhabitants rated the overall indoor climate as healthy and no statistically important relations were found between average indoor temperature and complaints about too cold or too warm indoor temperatures.

This paper analyses renovation alternatives to improve energy performance of historic rural houses in three countries (Estonia, Finland, Sweden) in the Baltic Sea region (cold climate). The study was conducted by a combination of field measurements and simulations. Indoor climate, typical houses and structures as well as the current condition and need for renovation were determined by field measurements. Based on field measurements, indoor climate and energy simulation models were validated and used to calculate energy use for different renovation measures. Energy renovation packages were calculated for different scenarios (minimal influence on the appearance of the house, improvement of thermal comfort, improvement of building service systems) for different energy saving levels. The analysis showed that the improvement of building service systems and the energy source holds the largest energy saving potential. The building envelope of old rural houses needs improvement also due to high thermal transmittance and air leakage. The insulation of the external wall has the largest single energy saving potential of the building's envelope. The results show how energy savings depend on energy saving targets, typology of the building, thermal transmittance of original structures, and building service systems. (C) 2014 Elsevier B.V. All rights reserved.

Har vi alla ett eget Pompeji att relatera till? Vi omger oss dagligen med metaforer som länkar till Pompejis öde, trots att katastrofen ägde rum för nästan 2000 år sedan. Denna uppsats undersöker hur Pompejikatastrofen tar sig i uttryck i visuell gestaltning, med fokus på skulpturala verk av Gerhard Nordströms, Emma Göranssons och Antony Gormley, och ger en bild av varför Pompeji fortsätter att fascinera idag.

When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.

In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.

Uppsatsens syfte är att analysera olika egyptiska och romerska konstverk för att avgöra skillnaden mellan de två olika stilarna och avgöra gudinnans symboliska och estetiska syfte.  Den huvudsakliga metoden som har använts är Panofskys ikonografiska analys som är uppdelad i tre steg.  Den ytliga analysen, konstverkets bakgrund och i det sista steget används de två tidigare stegen för att utföra en analys av konstverkets betydelse och syfte. Dessa tre steg kallas även för det pre-ikoniska, det ikonografiska och det ikonologiska steget

 Egyptisk och romersk konst är olika beroende på vilken form de var skapade i. Skulpturer användes i både tempel och hem men de egyptiska skulpturerna skapades av präster vid templen. Romerska skulpturer var oftast större och i tyngre material som marmor vilket tyder på en mer offentlig användning av

i tempel eller/och av rikare sponsorer som senatorer och kejsare.

 Romerska skulpturer skiljer sig från de egyptiska skulpturerna genom att ha ett estetiskt syfte utöver ett religiöst syfte. De hade inte bara ett mer dekorativt utseende, till skillnad från de strikta egyptiska skulpturerna, utan var också placerade i villor och tempel för estetiskt bruk istället för tillbedjan.

Isis var sällan huvudpersonen i egyptiska eller romerska målningarna utan var oftast en stödjande karaktär till huvudpersonen. De romerska målningarna fanns i allmänna rum som tempel och hem medan egyptiska målningar, trots att de också fanns i tempel, ofta användes i gravkammaren. De var inte avsedda att betraktas av allmänheten och många forskare argumenterar att de inte kan ses som konstverk på grund av detta. Egyptiska målningar med Isis användes dessutom ofta som propaganda för att förstärka en faraos rykte. Detta var ett syfte som romerska målningar oftast saknade.

The aim of this dissertation is to investigate the Swedish painter and infantry soldier AndersÄdel (1809-1888), who has hitherto only been known from oral tradition. He lived in a preindustrial, rural society. He practised and developed an old and distinctive interior-decoration tradition in the farmsteads of the province of Hälsingland, in the north of Sweden. Contemporary descriptions convey a picture of a wealthy rural population, where the dominating social class were the owners of large farms, impressive in size, neatness, and the quality of the carpentry. So-called Ädel-paintings, though concentrated to the parish of Ljusdal, are also found in neighbouring parishes, and are a Gustaviann-style floral decoration painted on walls, furniture, and artefacts in especially light-blue, white, and red hues.

Anders Ädel's biography can be reconstructed from parish records and military archives.Socially, he belonged to the landless rural labourers, who had a more independent positionin northern Sweden than in the south. They embraced the norms and aesthetics of the free-holding farmers, whose farms were the cultural centres of the countryside. The farmers andthe craftsmen of the parish were the style setters of domestic interior design and building. Astyle adopted in one parish confirmed an identity in relation to other parishes and social classes. The integrity and self-awareness which is expressed in the architecture can also be seen in the decorated farmstead interiors.

Det kan förefalla omöjligt att tillfoga något nytt om konstnärer som Leonardo da Vinci, Michelangelo, Rafael och Caravaggio som det skrivits så oändligt mycket om. Men än finns det förbisedda verk och verk att återupptäcka. Ett sådant är den ganska okända takmålning från omkring 1599 av Caravaggio, i ett litet sidorum, en studerkammare, i Casino Ludovisi i Rom. Målningen återupptäcktes 2010 då 400-års- minnet av Caravaggios död uppmärksammades med utställningar och visningar av hans verk i kyrkor, museer och privat ägo. Den visas nu efter tidsbokning och mot en större avgift. ”Estremamente potente”, ex- tremt kraftfull, brukar besökare utbrista om målningen med molnig himmel och en sfär med zodiaken, omgiven av tre nakna män. Männen har identifierats som ett trippelsjälvporträtt av Caravaggio som gudarna Jupiter, Neptunus och Pluto (bild 1) i ett komplext kultur- och naturve- tenskapligt program som handlar om alkemi. Med queert läckage, ska det här tilläggas. I det följande kommer jag att redogöra för hur detta program också involverar ett dåtida normsystem kring sexualitet.

Inredningsmåleri av den indelte soldaten Anders Ädel (1809-1888) i Ljusdal

Målaren Duccio di Buoninsegna i Siena på 1200-talet och hans glasmålning i Sienas domkyrka. Duccio di Buoninsegna etablerade den sienesiska stilen i det medeltida måleriet i Toscana.

Arkitektur, inredningar, konst- och kulturhistoria samt berättelser

Fresken Madonna del Parto från 1400-talet av Piero della Francesca i nytt museum. Redogörelse för freskens historia och kontext. och restaurering.

Redogörelse för konstvetenskapliga teorier kring hälsingegårdarnas förstukvistar

Allmogemålaren Jonas Hertman (1755-1804) och hans avbildning av kejsar Augustus i en gård i Alfta socken, Hälsingland

Gården Kristofers i Järvsö med inredningar dekorerade av allmogemålaren Anders Ädel (1809-1888).

Sjukhuset Santa Maria della Scala från 1200-talet i Siena, Toscana, ombyggt och restaurerat.

Snickarna Jöns Månsson och Jonas Lust och deras verksamheti Forsa socken i Hälsingland under 1800-talets första hälft. Månsson kallas även "Rosenmålaren".

This study is focused on secondary buildings in urban backyards which belong to the multifaceted history of cities and of the selection of buildings for juridical protection of public cultural heritage care in Visby, Sweden.In Visby there are 269 settled properties, many of these contain secondary buildings, which were supplied with a long lasting juridical protection (3 kap. KML) between the 1990`s and the beginning of 21st century. The material in this study consists of documents of Beslut om byggnadsminne by the regional cultural heritage authority and interviews concerning the selection of protected buildings in Visby.Findings show that buildings from the early 20th century such as garages and laundry houses are underrepresented categories covered by protection. While most buildings from the 18th century and older were protected. More so, simple and small buildings such as woodsheds and privies were less likely to be protected than workshops, stables and warehouses. This selection differs from present authoritative principles. The results were analyzed by using Holmberg’s method concerning historization.The study highlights the valuation of secondary buildings in urban lots in the work of selection of lots and buildings for juridical protection and discusses causes behind the distribution of protection between different building categories. The study discusses possible motives for complementation of the selection for protected notable buildings. Finally it presents suggestions on efforts on different levels in the authoritative system, to strengthen the protection of secondary urban buildings.The suggestions are complementation of juridical protected buildings, categorization of backyard-buildings, decent practice of available laws and stimulate attitudes towards backyard-buildings as a cultural resource to bridge the gap between laws and exploitation.

This text discusses the use of extant objects and written documents as sources of information. It focuses on three questions: How does the information in objects differ from that given by written sources? What kind of knowledge may be gained by letting the information in objects and documentary sources interact? And is it possible to move from a micro-historical to a cultural perspective by combining objects and written sources? These questions are illustrated by examples from the Wardrobe of Robes at the Swedish Royal Court during the first half of the 17^th century. From this organization there are extant garments and written documents, covering the same space in time, which can be combined in various ways. Through these sources, and the surrounding context given by the western European cultural framework, it is possible to exemplify how different forms of interaction between textile objects and written documents may give various kinds of information and how this information can be made available.

Elsa Beata Brahe was the eldest daughter of the Lord High Chancellor of Sweden, Per Brahe the younger. She died when she was only 23 years old in the spring of 1653. She was interred in extremely costly clothing made of thick silk satin, covered in decorative embroidery of metal thread with lace metal edgings of gold and silver thread. During the seventeenth century, various types of burial costumes occurred. Elsa Beata’s burial clothing displays several signs of having been a fashionable dress of the period, reused for the interment. Such a costly and fashionable gown was an important part of the visual manifestation of power displayed by the nobility during the Swedish Era of Greatness, exhibiting the social standing of the bearer. Only the absolute top classes of society wore such an exclusive gown as Elsa Beata’s burial clothing. The gown is comparable to the costumes, entirely covered with embroidery, bought from France for the coronations of Queen Kristina and King Karl X Gustav in 1650 and 1654.

The burial clothing of Elsa Beata Brahe became known during the documentation work that was carried out when the coffins of Brahe Church were investigated in 1932. The dress was examined again during preservation work on the coffins, in the summer of 2011. In the present state, the clothes consist of a two-piece gown, shoes, shoe roses, stockings, a neckerchief and a cloth for tying around her hair, like a small cap. In the text of this article, the preserved costume is set into its cultural context of the seventeenth century society.

This study examines the manufacturing of tailored men’s garments in the workshops at the Swedish royal court during the reigns of Charles IX and Gustavus Adolphus. The focus of the examination has been on the craft of tailoring and the organization of the court tailors. The study is built on both object-based and archival research. The sources used are the extant royal and livery garments from the Swedish court, produced between 1610 and 1635, and the documents from the royal wardrobe. The latter consist of accounts, warrants and inventories produced during the daily contact between the wardrobe staff and the court tailors. The extant garments, being the material evidence of the prevailing tailoring methods, show choices of materials, construction and tailoring techniques, while the documents show the width of the production to which the garments can be compared.

The study of the craft is concerned with what was produced, which materials were used, how these functioned in the garments, and what technical solutions were in use. The detailed studies have also brought about questions concerning the technical differences between tailors and seamstresses, the rationality with which the workshops were run, how different aspects of tailoring were valued at the time, and how the tailoring performed at the Swedish court corresponded with European work from the same period.

The study argues, seen through the craft, that the tailoring workshops at the Swedish court were run as a well organized and highly efficient business. In this standardized amounts and materials, as well as a uniform craftsmanship were used. The tailors running the workshops usually stayed in royal service for many years. They were responsible for the work produced in their workshops as well as for their staff. The study also suggests that the techniques in practice in the tailoring workshops at the Swedish court were not local but belonged to a western European tradition of the craft. Within this frame was a group of established technical solutions that appear to have been typical for the time.

Bidraget utgör en bilaga i rapporten Brahegravens tennkistor: Dokumentation och konservering av Brahekyrkans begravningskistor, Jönköpings läns museum, Byggnadsvårdsrapport 2012:28, huvudförfattare Robin Gullbrandsson och Cai Zetterström.

Bilaga: Undersökning av klädedräkter i Brahegraven (41 sidor)

Dokumentation i text och bild bygd på studier av begravningsdräkterna i Elsa Beata Brahes (1629-1653) och Margareta Brahe Sparres (1559-1638) kistor i Brahekyrkan på Visingsö 18-19 augusti 2011 utförda i samband med konserveringen av kistorna. Där till dokumentationer av Abraham Joachim Brahes begravningsdräkt (d. 1634, 5 månader gammal) och textilier från Christina Catharina Stenbocks (1608-1650) och Fredrik Brahes kistor tillhörande samlingarna på Skokloster slott, studerade 3 juli 2012.

Syftet med denna studie har varit att undersöka förhållandet mellan den svenska hembygdsrörelsen och länsmuseerna, för att ta reda på om det finns ett fungerande samarbete mellan dem, vad samarbetet innefattar, hur attityderna gentemot samarbete är och om länsmuseerna har något formellt ansvar för att bedriva samarbete med hembygdsrörelsen. Studien har genomförts huvudsakligen genom litteraturstudier samt två enkätundersökningar och presenterar resultat för varje län i Sverige. De genomförda undersökningarna har visat på att det i varje län generellt finns välfungerande samarbeten av någon omfattning mellan de båda parterna. Samarbetena kretsar kring ett antal olika områden såsom vanligtvis rådgivning, kursverksamhet, projekt, administration med mera. Attityderna till samarbete uppfattas från båda parter generellt vara goda, de anser att de kan komplettera varandra och gemensamt kan dra nytta av välfungerande samarbeten. Länsmuseerna har inget formellt ansvar för att samverka med hembygdsrörelsen men det finns ett antal dokument som uttrycker att samarbete är önskvärt och bör eftersträvas.

In Gothenburg many stone buildings of brickwork were built during the neo-Romanesque and neo-Gothic period in the late 19^th century. The masonry was solid with a wall of bricks often covered with facing bricks with a hard burned water repellent surface. At Örgryte new church the bricks were put in lime mortar but the surface of the joints was made with a thin cement mortar layer. Salt problems are known in this church since early 20^th century and the subsequent need of maintenance have led to several extensive restorations with replacement of external facing bricks and internal lime plaster during the years. In each restoration more low permeable facing bricks and more low permeable cement mortars have been chosen, followed by new problems inside the wall as the water transport properties in the wall has changed. Whereas salts have caused problems mainly on the surface, the restoration materials have caused problems with frost and salt damages in bricks and lime mortars in the wall core behind them.

Den 24 februari 2012 rasade en del av världsarvet Visby ringmur till marken. Muren är norra Europas bäst bevarade medeltida stadsmur. Den har byggts i flera steg under framförallt 1200-1300-talen med vissa senare tillägg. Den första lägre delen av muren byggdes som en skalmur med lös kärna. Murskalen murades med kalksten i fett kalkbruk och kärnan fylldes med småsten och lerbruk. Den påbyggda muren byggdes ovanpå den gamla.

Under murens 700-åriga historia har den flera gånger rasat och oftast har den på något sätt återuppbyggts. Även efter kollapsen 2012 beslöt man att återuppbygga muren då raset skett på en av de bäst bevarade mursträckorna i Östergravar. För att kunna besluta om åtgärd för återuppbyggnad och säkerställa en trygg och säker arbetsplats, var det viktigt att fastställa murens statiska verkningssätt. Likaså var det viktigt att utreda vad som kan ha orsakat kollapsen, om inte annat för att förhindra nya ras. Murens konstruktion dokumenterades med hjälp av studier på plats vilka kompletterades av arkivstudier, byggnadsarkeologiska undersökningar, laser scanning och georadar. Med hjälp av laserscanningen kunde murens geometri fångas och en analys av murens statiska verkningssätt utföras.

Resultatet visade hur muren uppförts i två etapper. Analysen visar att det är en koncentrerad last i murens nedre yttre skal. Kollapsed triggades sannorlikt igång av frostsprängning i murverket. Kombinationen av koncentrerad last i yttre murskalet, murens komplexa konstruktion med lös kärna och tunna murskal utan bindstenar som förankrar murskalen samt förlorad bindande förmåga i kalkbruket där fuktbelastningen varit hög, har resulterat i en dominoeffekt som förklarar rasets omfattning. För att möjliggöra återuppbyggnaden var det nödvändigt att montera ner delar av det återstående murverket och för att säkra muren under nedplockningen konstruerades av temporär stålstruktur som band den samman.

De medeltida materialen och konstruktionen med skalmursprincip och kalkbruk har visat sig vara mycket hållbara, varför den nya muren byggts upp med skalmur innehållandes bindstenar och med en kärna som är väl murad.

Under 1900-talet har omfattande restaureringsarbete utförts och ca 60 % av murens fogar täcks av cementbruk vilket har till följd att fukt blir instängt i murverket vilket leder till urlakat kalkbruk i fuktigt murverket.

När muren nu har återuppbyggts har det funnits en stark ambition att så långt som möjligt använda autentiska material och metoder. På Gotland finns en helt unik kunskap bevarad och utvecklad sedan medeltiden. Det är kunskapen att bränna och släcka kalk utifrån lokala förutsättningar gällande val av råvara, bränningsteknik, släckning och lagring samt tillredning av bruk. Genom att kunskapen om såväl som tillgängligheten på den lokala kalken existerar har det varit möjligt att återuppbygga Visby ringmur med perspektivet att den skall kunna bevaras i ytterligare 700 år.

This study focuses on the local lime tradition in the region of Jämtland, in central Sweden. Local lime was used when building the medieval stone churches and since they are in a need of restoration there is subsequently a need for understanding the use of local lime. The geology of Jämtland contains several layers of limestone in the folded mountains. There is a broad spectrum ranging from pure Silurian limestone to clay containing Ordovician limestone, giving all kinds of lime from pure air lime to strong hydraulic lime. The preserved historic mortarshave mostly been made with the hydraulic lime. Several old field kilns have been preserved in the forest landscape as prehistoric monuments, showing the model of the local lime burning tradition. This paper discusses the process of identifying the historic lime kiln constructions and their burning technique. It also describes the process of slaking this hydraulic binder in order to produce a lime mortar with workability and compatibility required from a restoration mortar. Newly-produced samples of lime mortar have been compared with historic ones in thin section microscope for further understanding.

The City Wall in Visby was built in two periods in 13^th and 14^th century. The first wall was made as a lower three-leaf wall with two shells built of lime stone and fat lime mortar and a soft and porous rubble core of lime stone and clay mortar. The second wall was built higher on top of the old one. It was mostly built as a solid wall in lime stone and lime mortar. Due to its construction and form, a major part of the force is carried by the outer shell of the wall. As restorations have been made during 20^th century the joints of lime mortar has been partly repointed with strong cement mortar, followed by leached lime inside from the mortar in the wall. In February 2012 a part of the wall collapsed and fell down as the outer shell of the masonry collapsed. This paper presents an analysis of the wall structure and its materials as well as the increased risk of damage due to the restorations of the 20^th century.