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Some of these items have - safely - gone on display in a Leeds museum. Here's a quick guide to the domestic dangers of yesteryear. Household horrors This glass table centrepiece contains uranium oxide, a radioactive compound that was added to some glassware in the 19th Century to give it a fashionable green tinge and help it stand out in the home. Similarly, the streaky glass jug might look stylish but it too contains uranium oxide. And this fire extinguisher, made in about 1910, might have been intended to make the home safer but early fire extinguishers such as this actually contained toxic chemicals that could be very harmful in confined spaces. The feathered fan above contains a small stuffed bird. It might have been intended to beautify the fan but as Victorian taxidermists used arsenic or mercury as a preservative, this bird was dangerous to touch. And this dapper-looking top hat from 1840 contains mercuric nitrate, which was used to treat felt. The substance could cause heavy metal poisoning, which in turn could lead to aggression - hence the phrase "mad as a hatter". Curator from Leeds Museums Kitty Ross says: "There were also whole ranks of toys that would not meet current regulations; choking hazards and sharp points were commonplace and many were covered in paint that contained lead, or indeed were made of lead." Sweets, treats and smokes These potassium chlorate pastilles were used in the 1880s to soothe sore throats - although as potassium chlorate could spontaneously combust, there was the danger that whoever took them might end up with a considerably sorer throat than before. And this tin of lemonade powder, sold by Home & Colonial Stores, looks like it would mix with water rather nicely in the billy can next to it. Bad idea. Enamel objects such the billy can often contained antimony, which could be dissolved by the acid in lemonade powder to create a toxic drink. And sweets themselves could be deadly, as a mix-up in 1858 demonstrates. A druggist's apprentice in Bradford accidentally supplied arsenic, instead of a sugar alternative, to a sweet-maker, who used the poison in the manufacture of a batch of humbugs. About 20 people died and hundreds more suffered from arsenic poisoning. And we might all now be aware of the dangers of smoking, but this 1920s cigarette case bears the jaunty message: "When things are getting beyond a joke light a cigarette and have a smoke." Potentially deadly advice, as science would later prove. Powders and potions As part of the exhibition, Stella Baraklianou is to deliver a talk entitled Potions and Powders: Beauty and Medications to Die For. "You wouldn't believe it when you see some of the crazy concoctions that came from Victorian pharmacists, and after the medical industry began to patent and advertise products," she says. One concoction, Mrs Wilmslow's Soothing Syrup, contained morphine and yet was given to babies. "It was meant to send them to sleep but some would never wake up," says Dr Baraklianou. And laudanum, another staple of Victorian medicine, was tincture of opium containing morphine and codeine. Sherlock Holmes, the famous fictional detective, was a user but so were many people in the real world, again including children. What's more, many Victorian face powders contained arsenic, so a fashionable white complexion could be a killer. "The powder would often cause facial scars... and so the user would use more powder to cover the scars," said Dr Baraklianou. Prolonged use of such a product could prove fatal. And in the early 1900s, hair restorer - a liquid that was used on faded or grey hair - often contained both poisonous lead and combustible kerosene. The home is now clearly a safer place, although as Ashley Martin from the Royal Society for the Prevention of Accidents points out, there's no room for complacency. "Over the last 100 years there have been huge developments in public and environmental health and trading standards," he says. "It is a constantly evolving progress but I'm sure there will be something today that at the moment doesn't seem to be a problem that could turn out to be a hazard." Of course, it's not possible to make the home entirely safe - after all, one of the most dangerous things any of us does on a daily basis is to come down the stairs. About 6,000 people die in Britain every year in an accident in the home, Mr Martin says. "There will be always something in the house that we need that is hazardous, like cleaning chemicals, but it is about how we store and use safely - it is not always the product itself." Danger Zone opens on Saturday at Abbey House Museum in Kirkstall and runs for the rest of 2019.
Exploding sweets, radioactive ornaments and poisonous medicine were just some of the potentially deadly dangers lurking in Victorian and Edwardian homes. These health hazards were often found in everyday, apparently innocuous objects.

Will GompertzArts editor@WillGompertzBBCon Twitter The same could be said of all the power lists that are published, which are based on informed conjecture. They are a publishing construct, designed to draw attention to a publication and (typically) its specialism. Today sees the publication of Art Review's Power 100, now in its twelfth year. The spin it has given to this year's chart, which is topped by Sheikha Al-Mayassa bint Hamad bin Khalifa Al-Thani of Qatar, is that a power shift is taking place in the art world - away from publically-funded museums to the private wealth of individuals and collectors. I'm not sure that's quite right. Or, at least, new. Wealthy individuals have always been major players, from the Medici to Peggy Guggenheim; King George IV to Charles Saatchi. I don't think it's so much a power shift that's happening between public and private - more that the two worlds are converging. To take a recent example, the Qatari royal family sponsored the Tate's Damien Hirst retrospective. It's now moved to Doha, where Tate director Nicholas Serota attended the official launch. It's a symbiotic relationship based on mutual benefit, but one that has led to money being prized over art. It's telling that there are no artists in the top five of Art Review's list. The means has become the end. World cup gallery? Quite what Sheikha Al-Mayassa is planning to do with the trophy western art works she is buying is anyone's guess. The 30-year old sister of the new Emir has been head of the Qatar Museums Authority for several years now. She has overseen the completion of the excellent Museum of Islamic Art in Doha, the creation of a museum of modern Arab art, and is in overall charge of an exhibition programme that currently sees the Al Riwaq gallery space covered in Damien Hirst spots. All of this is in the public domain. Information about her acquisitions of modern and contemporary western art is not. There has been much (informed) speculation as to what she has bought. Major works by Warhol, Bacon, Rothko, Koons and Hirst are all thought to have made their way over to Qatar. As has, it is thought, Cezanne's Card Players (1895), the only one of this wonderful series not already in a museum collection, for which it is said, she paid a record-breaking $250 million. What will become of these paintings and sculptures? Are they for private enjoyment, or perhaps to form the basis of a collection for a new museum of modern art to open in time for the 2022 World Cup? And why are the Qataris spending so much on art (more than anyone else in the world according to the Art Newspaper and its art market expert Georgina Adam)? International status and influence would appear to be a factor, along with a desire to compete with Abu Dhabi and Sharjah for the role as the region's cultural centre. Becoming a destination for tourism - both local and global - is likely to be part of the business plan: An investment made with the riches gained from selling oil and gas to prepare Qatar's economy for the time when those natural resources are less plentiful. And, finally, to deliver on the Qatar National Vision 2030, as set out by her father, which aims to "build a bridge between the present and the future." The idea being to move the tiny state, in which there are only about 300,000 Qataris, from an oil and gas economy to a one that is knowledge-based.
"Facts are stubborn things, but statistics are pliable," said Mark Twain.

The foundation, set up by businessman Sir Ian Wood and his family, is making the money available for the construction of a multi-storey car park for patients and visitors. It would have at least 1,000 spaces. The aim of the pledge is to see the car park built without diverting funds from healthcare services. NHS Grampian welcomed the offer for the project, which would need health board and planning approval. Work could get under way next year. 'Distress felt' Sir Ian said: "We are very aware of the anxiety and frustration caused by inadequate car-parking at our hospital which will be even more acute with the new hospital facilities currently under development. "While public transport to the hospital is being improved, for many from across the north east the car is the only solution to get them to appointments or visits. "My wife Helen has championed this project within the Wood Foundation because she has, for some time, been concerned by the distress felt by friends and family when trying to park their cars while attending for treatment or visiting loved ones in what is already a stressful situation. "With every pound of public funding badly needed for the care of people in the city and Aberdeenshire, we are pleased to be able to support a project which will not take money away from front-line services but will greatly improve the access to facilities for those visiting the hospital." Prof Stephen Logan, chairman of NHS Grampian, said: "I am absolutely delighted to accept this very significant donation from The Wood Foundation. This will allow us to provide a facility that is much needed. "Coming to hospital for treatment or to visit a loved one is already an anxious time and I know the stress of trying to find a parking space adds to that unnecessarily."

Up to £10m to improve car parking at Aberdeen Royal Infirmary has been pledged to NHS Grampian by The Wood Foundation.

