Diss. Stockholm : Stockholms universitet, 2007.

Diss. Göteborg : University.

<p>Denna uppsats, vars första frö såddes vid ett studiebesök på Skokloster slott för två år sedan, behandlar barockens stoppningshistoria och en rekonstruktion av Skoklosterstolens stoppning. Målet med uppsatsen är att skapa ett intresse för historiska stoppningar och dess tekniker för både privatpersoner och yrkesmän.</p><p>Undersökningar av litteratur, inventarielistor och Skoklosterstolarna själva ger anledning att tro att Skoklosterstolarna tillverkades 1708 till slottets dåvarande ägare Abraham Brahe. Som tidigare publicerats av Johan Knutsson finns det skäl att tro att stolarna tillverkats lokalt. Nya analyser presenteras i uppsatsen som styrker denna hypotes. Vidare redovisas vilka material som använts i originalstoppningen, identifierade bland annat med mikroskopering. I största möjliga mån har dessa material använts vid rekonstruktionen.</p> / <p>This article came out of a visit to Skokloster castle two years ago. It comprises of a written part on 17th century upholstery and a reconstruction of the Skokloster chairs' upholstery. The aim of this article is to awaken an interest for historical upholstery and the techniques that were used.</p><p>The investigation of literature, possessions lists and the Skokloster chairs themselves give me the reason to believe that the chair was made in 1708 for the current owner Skokloster castle, Abraham Brahe. As has formerly been published there is reason to believe that a local joiner made the chair. New analyses introduced in this article support this hypothesis. Furthermore, the article shows on the upholstery material used in the chairs, identified in part by microscopy. Whenever possible these materials have been used in the reconstruction.</p><p>It is important that readers of this and any other article on the subject matter read with a critical eye. The history is full of exceptions and universally accurate conclusions are difficult to make.</p>

Denna uppsats, vars första frö såddes vid ett studiebesök på Skokloster slott för två år sedan, behandlar barockens stoppningshistoria och en rekonstruktion av Skoklosterstolens stoppning. Målet med uppsatsen är att skapa ett intresse för historiska stoppningar och dess tekniker för både privatpersoner och yrkesmän. Undersökningar av litteratur, inventarielistor och Skoklosterstolarna själva ger anledning att tro att Skoklosterstolarna tillverkades 1708 till slottets dåvarande ägare Abraham Brahe. Som tidigare publicerats av Johan Knutsson finns det skäl att tro att stolarna tillverkats lokalt. Nya analyser presenteras i uppsatsen som styrker denna hypotes. Vidare redovisas vilka material som använts i originalstoppningen, identifierade bland annat med mikroskopering. I största möjliga mån har dessa material använts vid rekonstruktionen. / This article came out of a visit to Skokloster castle two years ago. It comprises of a written part on 17th century upholstery and a reconstruction of the Skokloster chairs' upholstery. The aim of this article is to awaken an interest for historical upholstery and the techniques that were used. The investigation of literature, possessions lists and the Skokloster chairs themselves give me the reason to believe that the chair was made in 1708 for the current owner Skokloster castle, Abraham Brahe. As has formerly been published there is reason to believe that a local joiner made the chair. New analyses introduced in this article support this hypothesis. Furthermore, the article shows on the upholstery material used in the chairs, identified in part by microscopy. Whenever possible these materials have been used in the reconstruction. It is important that readers of this and any other article on the subject matter read with a critical eye. The history is full of exceptions and universally accurate conclusions are difficult to make.

This essay deals with a harbor near Swedish castles called sea courtyards in the 17th century. It also deals with an old work made by Erik Dahlbergh called Suecia antiqua et hodierna as a source material in order to find these sea courtyards that does not exist in present day.

The portrait genre has been one of the most significant in royal and aristocratic homes since the Renaissance. This thesis concerns the portrait collection in the Baroque castle Skokloster, built by the successful count and field marshal Carl Gustaf Wrangel in the 1600s with its unique architecture. The castle houses a significant collection of portrait paintings, some of which date back to the time of its construction, and which constitute a majority of the total number of artworks in the collection. The Swedish noble family, as part of Early Modern court culture, saw their creation of an art collection as vital for fashioning a sense of lineage, respectability, and exercise of power. The thesis asks questions like how the portraits can be understood in relation to the architecture and decorum of the rooms, and how the Swedish Baroque culture and aesthetics are staged in the portraits in relation to court culture and the art collection as a whole. The portrait as a medium is a way for us to remember a deceased historical person but at the same time a way for the sitter to idealize and flatter themselves into an image they desire. Hence a portrait is a union between realism and ideal, documentation and fiction. The portrait has a performative power and acts on behalf of the real person which it depicts. Furthermore, the portrait can give us glimpses of a bygone era of court culture, art patrons, artists, Baroque fashion, court ballets, and festivities.

Denna uppsats gör med hjälp av Erwin Panofskys ikonologiska metod en analys av en serie på nitton porträtt av kända 1600-tals män. Dessa porträtt, vilka idag är placerade i biblioteket på Skoklosters slott utreds i sin ikonografi och sätts in i ett större ikonografiskt sammanhang. Porträtten har ett unikt utseende då de är målade på furupannå och sedan kontursågade kring den porträtterades huvud. Avsikten med uppsatsen är att förstå deras syfte och ursprung. Uppsatsen behandlar frågor som varför man har valt att göra dessa porträtt och om det finns en koppling mellan dessa och bibliotekskonst i stort. Likväl vilka som är avporträtterade, varför just dessa personer är det och vem som låtit göra porträtten undersöks. Det är en uppsats som till stora delar handlar om det adliga idealet på 1600-talet och hur det gav sitt uttryck i konsten. / This essay does, with the help of Erwin Panofsky’s iconological method, provide an analysis of a series of nineteen portraits of famous men of the 17th century. These portraits, which today are placed in the library of Skokloster castle, are analysed in their iconography, and placed in a larger iconographic context. The portraits all have unique appearances, since they are painted on pine panel and then sawed after the contour of the head of the portrayed. The aim with the essay is to understand purpose and origin of the portraits. The essay deals with questions such as why these portraits were chosen to be made, and if a connection exists between these works and library art in a bigger context. Who is being portrayed, why these people in particular, and who has taken the initiative of making the portraits are questions that are investigated as well. It is an essay that to a large extent treats the noble ideal of the 17th century, and how it gave its expression to art.

Skokloster castle, Sweden, houses a group of more than fifty objects in serpentine stone, acquired during the 17th century. The group is generally called Wrangels fältservis [Wrangel’s field service], referring to field marshall Carl Gustaf Wrangel (1613-1676). The, in many aspects, unresearched material is here approached through the field of material culture studies. The thesis is based on a three-partite approach towards the material, in which the first is the result of actual handling and examination of the objects, paired with a comparative analysis of similar objects regarding dating and influences. The second is a theoretical study of form and serpentine matter, and why the serpentine objects share so many form elements with metal artifacts. The third is based on inventory research and aspects of value, both monetary and cultural. The ascribed value of the group varied over time, from being used as kitchen utensils in the 17th and 18th century, to be regarded as private museum pieces in the 19th and 20th century. The various attitudes have left marks on the objects, both physical (as in level of attention given to repairs etc.) and in inventory matter (as in location and descriptive detail), which can be studied and reveal information otherwise unaccessible.

This study is concerned with portraiture as a roleplay and a strategy to communicate the sitter´s identity to affect the viewer. Focusing on the sitter´s pose and the depiction of dress, the study examines three portraits between 1624 and the 1630s, representing Herman Wrangel (1584–1643), Field Marshal and Councilor of the Realm. The analysis is based on the concept, the fiction of the pose, developed by Harry Berger Jr. The idea of Theatricality discussed by Hanneke H Grootenboer´s is also used. The results show that dress, details of dress and the pose which are significant for the identity of the sitter are depicted with emphasis. Therefore, the dress and the pose have a key role in the depiction of the sitter acting his identity. The sitter acts before the artist and in the long run before the beholder. The portrait of the nobleman becomes a monologue for the beholder who can confirm the nobility´s role in society. / Uppsatsen handlar om hur porträttmåleri som ett rollspel och en strategi för förmedling av den avporträtterades identitet till betraktaren. Tre porträtt från perioden 1624–1630, föreställande Herman Wrangel (1584–1643) fältmarskalk och riksråd, har analyserats med fokus på den avporträtterades pose och dräktens avbildning med stöd i begreppet the fiction of the pose, baserat på Harry Berger Jr teori. Vidare används begreppet teatrikalitet, som det diskuteras av Hanneke H Grootenboer. Undersökningen visar att dräkt och dräktdetaljer samt poser som är betydelsefulla, för den avporträtterades identitet, framställs med emfas. Därmed spelar dräkten och posen en viktig roll i den avporträtterades framställan. Den avporträtterade agerar inför konstnären och i förlängningen inför betraktaren. Porträttet av adelsmannen blir en uppvisning, en monolog inför betraktaren som kan bekräfta adelsmannens roll i den sociala hierarkin.

Inneklimatet på Skoklosters slott är på vissa håll problematiskt. Mögelangrepp förekommer i somliga rum, främst sådana som är belägna i norrläge och därmed lite kallare än övriga rum. För att finna en lösning på mögelproblemen inleddes våren 2013 ett treårigt experiment vars syfte var att utröna om mögelproblemen skulle kunna undvikas med aktiv klimatstyrning, vilket inte funnits innan experimentet. Tre olika klimatstyrningsanläggningar installerades i tre rum på slottet, samtidigt som mätningar gjordes i referensrum utan aktiva åtgärder. De tre klimatstyrningsanläggningarna som valdes ut var avfuktning, skyddsvärme och fuktstyrd ventilation. I mars 2014 avslutades första året av experimentet.Ur mögelrisksynpunkt har inneklimatet i nästan alla rum, både försöks- och referensrum, varit relativt godartat. Sämst inneklimat uppmättes i skyddsvärmerummet, vilket förmodligen beror på rummets egna förutsättningar snarare än skyddsvärmen. Bäst inneklimat hade rummet med den fuktstyrda ventilationen, som gav ett oväntat bra resultat och dessutom var den av klimatstyrningsanläggningarna som var mest i bruk. Det är emellertid för tidigt att med säkerhet säga vilken av anläggningarna som vore bäst för slottet.Vid en diskussion om de antikvariska konsekvenserna av en genomgripande installation av en klimatstyrninganläggning blev slutsatsen att det för slottets kulturhistoriska värde vore gynnsamt att göra en genomgripande installation ifall detta skulle innebära att slottets samlingar kunde behållas på plats. Rummens olika fysiska och kulturhistoriska förutsättningar kräver dock att individuella utformningar undersöks, vilket innebär att det kan bli aktuellt med en kombination av olika klimatstyrningsanläggningar. / The indoor climate of Skokloster palace is not without problems. There have been mould growth in some rooms, mainly those who are facing north and therefore are colder than other rooms. To find a solution for the problems with mould growth, a three-year long experiment was initiated in the spring of 2013. Its purpose was to examine if mould growth could be avoided with active climate control, which had not been tested previously in the palace. Three different climate control systems were installed in three rooms, and meanwhile the indoor climate of three rooms without active climate control was logged. The three climate control systems chosen were dehumidification, conservation heating, and humidity controlled ventilation. The first year of the experiment ended in March 2014.The climate in nearly all rooms was acceptable in a mould risk perspective. The room with conservation heating had the least suitable climate, which probably is explained by the condition of the room itself rather than the effects of the conservation heating. The room with humidity controlled ventilation hade the best climate during the year, and the ventilation system had the most uptime of the climate control systems. It is however too early to tell which system might be the best after only one year.When discussing what consequences a thorough installation of a climate control system might have on the cultural heritage values of Skokloster palace, the conclusion was that it would be favourable to install active climate control – if that allowed the collections of Skokloster to remain in the building. Due to the different physical and cultural conditions of the palace’s rooms, it will be necessary to find tailored solutions for climate control systems. In order to do that, a combination of different climate control systems might be worth looking into. / Spara och bevara - Energimyndighetens forskningsprogram för energieffektivisering i kulturhistoriskt värdefulla byggnader