This study aimed to evaluate the levels of formaldehyde and organic acids that can build up within enclosed spaces. Another goal was to compare two types of paints that can be used as coating barriers within showcases and in turn compare them to the modern, and by many highly recommended, material of Marveseal®. A low volatile waterborne alkyd/acrylate paint and a two component polyurethane paint was compared to Marveseal® in two series of experiments. One series measured the level of formaldehyde, and thus the effectiveness of the three chosen barriers, and the other series measured the level of volatile organic acids, both the acids emitted from the paint itself, and that of the wood. One box in each series were not treated at all and was used as a reference.The fact that different types of materials emit volatile organic compounds have long been known.

An inquiry into the post-war European aesthetic and political landscape should take the international organization Unesco?s colour reproductions and travelling exhibitions of paintings into consideration. In these, the organization implements André Malraux? idea of the ?imaginary museum? as a framework for a future cosmopolitical, aesthetic (and utopian) community. During the late 1940?s, the Swedish government also discusses the need for raising an ?aesthetic awareness? amongst their citizens as a consequence to a poor knowledge in the fine arts.

Sports facilities are a highly unexplored field, and as of the autumn 2008 no research is being conducted about sports fields at Swedish architecture universities. Very few people recognize the sports field as an area for the architecture profession, and to gain more information about sports fields I have discussed the subject with people with connections to architecture and/or sport. The sports field represents a type of sports facility, a permanent football and/or bandy field surrounded by running tracks with appropriate measurements. Like the city?s physical environment, the sports field is a public place, where outdoor activities take place.

My aim of this investigation has been to study Delacroix relation to the Orient, based on a number of key questions:What was specific for Delacroix oriental works?How did his oriental painting change and mature over time?How was Delacroix relation to the oriental discourse?The paper is divided into three parts: the time before his trip to Morocco in 1832, the trip to Morocco and the period after Morocco.Although many have wanted to see Delacroix as a revolutionary, he worked the whole time within, and dialogue with, the classical tradition. In Delacroix quest for renewal of history painting, the oriental works play an important role. In the period before his trip to Morocco the literary sources dominated. He constructed his own Orient in his studio.It is clear that Delacroix did not stood outside the oriental discourse.

This essay examines teaching in source criticism in upper secondary school history education. Two questions are to be answered: 1. What are the conditions like for teaching source criticism? 2. What opportunities for further development in teaching source criticism are there? In order to set a standard for what knowledge and skills in source criticism the students need, I design a four step model for good source criticism based on the historical science.