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In French colonial Algeria (1830–1962), a European settler community was made from both displacement and the encounter with Indigenous Algerian collectives. After Algeria's independence from France in 1962, this community was remade by a second displacement and the encounter in France with the metropolitan community. Known as Pieds-Noirs, this community has organized associative life, books, and newsletter publications, and sometimes return visits to Algeria. This article looks at Pieds-Noir settler associations devoted to Algeria's colonial agricultural schools, model farms, and nurseries, and how they reconstitute metropole-colony and colony-metropole through memory and a memorial book. This case study of the agricultural school in the town of Sidi-Bel-Abbès, former headquarters of the French Foreign Legion, discusses post-independent Algerian responses to return visits, claims, and writings by settlers. [ABSTRACT FROM AUTHOR]

The Centro di Documentazione del Mondo Agricolo Ferrarese (MAF) (Documentation Center of the Ferrarese Agricultural World) is an ethnographic-museum institution founded in the early 1980s to scientifically disclose the history of national and local agriculture and, more generally, the culture of rurality. Thanks to an agreement between public and private, it has been part of the museum network of the Municipality of Ferrara since 1982. This article illustrates some aspects of its activity, with particular reference to didactic and projects to enhance the museum's heritage.

The article presents a report on workshop discussion titled, "The future of agricultural museums" during February 17-18, 2020 at the open-air museum on the Kiekeberg, Rosengarten-Ehestorf in Germany. It mentions the impacts of the socio-economic change on the agricultural economy. It discusses the increasing rationalization, mechanization and mechanization in agriculture.

The empire style chateau Kačina near Kutná Hora is being used as a museum of agriculture and thus is not a very attractive tourist destination. The manager of the estate approached the students of Architecture and engineering, from the civil engineering Faculty at VŠBTU in Ostrava, to create conceptual designs of intervention into the ornamental estate, or Ferme ornée which preserve the significant historical context of the premises. The paper presents the process of approaching a solution to the assignment and attaches relevant outputs. [ABSTRACT FROM AUTHOR]

The primary aim of the paper is to retrospectively examine the school competion “The Agriculture of Hungary through Pupils’ Eyes”, launched by the Museum of Hungarian Agriculture in the 1970s, by presenting the works of schoolchildren kept in the museum’s collection. The objective of the study will also examine, apart from the competitive essays, by also reviewing press reports, articles and promotional materials, the extent of the representation of conservation issues in the 1970s and how youthoriented periodicals attempted to gain the attention of the demographic with this topic and whether the theme was an actualized social activity in the period. The paper will attempt to show the dichotomy of the politics of the Kádár era, with the often suppressed effects of enironmental damage on the one hand and the appearance of the first legally protected areas and national parks (eg. Mártély Protected Area, 1971, Hortobágy National Park, 1973) on the other in the same period. The research of the essays will aim at the display of the separation of national and macro level environmental and conservation issues and problems in the context of urban vs rural backgrounds, considering that the dwelling places of the schoolchildren who sent in their works had affected their environment on various levels. [ABSTRACT FROM AUTHOR]

In July 2020 the scientific legacy of Péter Szentiványi, an outstanding improver of walnut and chestnut of Europe-wide renown, who died in 2018 at the age of 92, was donated to the Musem and Library of Hungarian Agriculture. The donor was Gábor Szentiványi, one of the sons of the scientist. The legacy, amounting to 0.3 m of papers, primarily contains his research documents, as well as university lectures, conference posters, photographs, positive slides, films, produce samples of the walnut breeds he improved and a number of personal objects, totalling more than 90 items. The aim of this paper, based on a preliminary catalogue, is to present the material of the legacy and to evaluate it from the point of view of agricultural museum studies without aiming for completeness. Before the description of the more outstanding items of the legacy in terms of the history of scholarship or agricultural museum work, a presentation of walnut and chestnut as a crop is given together with an outline of the history and major periods (folk selection and deliberate scientific breeding) of Hungarian walnut and chestnut improvement, and an overview of the academic activities of Péter Szentiványi. [ABSTRACT FROM AUTHOR]

The paper gives a detailed description of those photographs kept by the Original Photograph Collection of the Museum and Library of Hungarian Agriculture that relate to either private estates (Ignác Darányi, Sclossberger family, Móric Eszterházy, Sándor Apponyi, Gyula Károlyi) or church demesnes (Mernye Teaching Order, custodian and the Archbishopric of Eger). It also mentions the photographs taken at the four state stud farms (Mezőhegyes, Kisbér, Bábolna, Fogaras). The survey is based on nine sets of photos starting from the late 1880s to the 1930s. The photos in question depict the estates of well-known characters of contemporary politics and social life. The topics appearing on the photos include: animal husbandry, farm buildings, agricultural tasks and other work on the estates, as well as their way of life and within this category especially the most important social event in the life of these estates, hunting. Related to this topic the atmospheric photos showing the hunting activities in the Archducal domains in the Drava valley are also mentioned. The examination of the photos give a faithful sense of the high standards of contemporary agriculture pursued on these estates. Through the themes of the photographs and by concentrating on a particular topic the collection’s acquisition strategies become more apparent. In connection to this it is important to note that while the former found-in-museum material of the Museum and Library of Hungarian Agriculture was in line with contemporary accessioning methods, the standards of the current record keeping regulations reveal a significant lack of data. Consequently the creation of a digital database can only be the result of a retrospective accessioning process. This cannot be realized without the parallel use of all historical source types and fields of academia, together with the comparative analysis of research results. [ABSTRACT FROM AUTHOR]

This paper deals with the analysis of risks which threaten the future sustainability and operations of agricultural museums in the Czech Republic. In the section on methodology, an applicable risk model has been proposed regarding the condition of museums in the Czech Republic. Using this model, the directors of agricultural museums can assess the most significant risks which may jeopardize the sustainability of museum operations over a three-year period. The greatest risks, according to museum directors, are a lack money for investment, the inability to retain high-quality staff, and issues with technical support for exhibitions. Assessing the importance of risk is positively associated with previous experiences of a particular type of risk, whereas the association of the importance of risk with previous managerial practice is rather inconclusive. [ABSTRACT FROM AUTHOR]

Copyright of Magyar Mezőgazdasági Múzeum Közleményei is the property of Magyar Mezogazdasagi Muzeum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Magyar Mezőgazdasági Múzeum Közleményei is the property of Magyar Mezogazdasagi Muzeum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Magyar Mezőgazdasági Múzeum Közleményei is the property of Magyar Mezogazdasagi Muzeum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Magyar Mezőgazdasági Múzeum Közleményei is the property of Magyar Mezogazdasagi Muzeum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Magyar Mezőgazdasági Múzeum Közleményei is the property of Magyar Mezogazdasagi Muzeum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Magyar Mezőgazdasági Múzeum Közleményei is the property of Magyar Mezogazdasagi Muzeum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Magyar Mezőgazdasági Múzeum Közleményei is the property of Magyar Mezogazdasagi Muzeum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Annual Conference of General Union of Archaeologists is the property of General Union of Arab Archaeologists and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

With the opening of the BARNIM PANORAMA Nature Park Centre * Wandlitz Agricultural Museum, a new chapter of the Wandlitz museum tradition began in September 2013. In a newly constructed ensemble of buildings, an agricultural museum and a national natural landscape were united under one roof for the first time. New ground is being explored in Wandlitz with the joint and integrated exhibition entitled "Shaped and Used Landscapes", which highlights the thematic link between agricultural history and nature conservation. At the same time, this has provided a unique opportunity to preserve the extensive agricultural and historical and cultural museum collection at the Wandlitz site and to integrate it into an attractive exhibition with experience-oriented forms of communication. This article describes the history of the Wandlitz Agricultural Museum's fundamental reorganisation from idea to exhibition opening in the new BARNIM PANORAMA. With the slogan "More Than a Museum," it simultaneously connects the aspiration to become a regional competence centre for sustainable development and a platform for encounters and exchanges between agriculture and nature conservation. [ABSTRACT FROM AUTHOR]

A Late Period gazelle mummy housed in the Agricultural Museum in Cairo, Egypt was selected for this study. The mummy showed different signs of deterioration, such as white spots, missing tissue, gaps in the linen bandages, and accumulated dust. This study aims to describe the signs of deterioration; to explain the mechanisms of deterioration, and to apply appropriate conservation techniques to the mummy. To achieve these goals, the mummy was first examined by means of visual assessment, AutoCAD, light microscope, microbiological investigation, scanning electron microscope (SEM), Fourier transform infrared spectroscopy (FTIR), amino acid analysis and x-ray diffraction (XRD). The conservation techniques used were mechanical and chemical cleaning, consolidation of wrappings and bandages, completion processes and reconnecting loss part of the gazelle's leg. The results of investigation revealed that the mummy suffered from a loss of amides in the bone which increased their crystallinity, as well as oxidation and hydrolysis mechanisms. The wrappings were identified as Cyperus papyrus L. The mechanical and chemical cleaning used removed the surface dust and dirt without damage to the components of the mummy. The wrappings and bandages became strong after using Klucel G as a consolidant material. The paste used in the completion process gave significant results in filling cracks and missing parts of the mummy's back. In general, all the conservation processes of the mummy revealed its aesthetic value. [ABSTRACT FROM AUTHOR]

It is time to consider how and to what audience will the museum open its gates, how it can find its place in the ever-changing world of cultural transmission. This new approach only makes sense if it can provide extra content to visitors and if it can effectively contribute to and enrich the reception history of the work in question, which in turn can help to form and modulate our own questions. The live interpretation in the museum is a novel and interesting concept, as it transcends the former framework of possibilities and steps out of our well-known and somewhat languid comfort zone. The main goal of the interpretation is the transformation of the visit into an experience, which centres on the the main object, the historic event, its narrative and the contemporary costumes. The form is the essence of an historic event, from tradition to cult. The historical era we would like to reconstruct is obviously gone but has not disappeared. It would be interesting to consider the traditions and current status of the national interpretation of ideological history. The secret of the discourse based on real historical fact-finding is to re-enact and make actual the events or their fragments we concentrate on. Is the literal interpretation of text really of strategic importance? The main question is whether museum visitors can be provoked in relation to a historical event. Can the points of contact between the historical event and our modern lives, its everyday and special occasions and sense of reality be established? Historical culture cannot be separated from our modern thinking and way of life. It is with the aid of oral history that we can reach from personal histories of the past to the realities of our present day. Even though humans have become increasingly separated from nature, their talent for creating symbols has not diminished, but rather has begun to cover the elements created by modern civilisation. The most important message is that the time has come for us to make live interpretation in the museum a promising, accessible and relatable experience. What was our journey? What road led from role plays to historical presentations? An important element of development is the application of live interpretation to a museum environment. From Peter Brook's elemental theatre we reached live interpretation or living history, the methods used by Kate Mechedou and Mark Wallis (Past Pleasures Ltd, UK). In Hungary, the method has been first applied by the Hungarian National Museum and the Museum of Hungarian Agriculture in Budapest, the István Dobó Fortress Museum in Eger, the Open-Air Museum of Ethnography in Szentendre and the Matrica Museum and Archaeology Park in Százhalombatta. Listen to the message, consider possibilities, take the chance and dare to change the ingrained bad habits of our museums. [ABSTRACT FROM AUTHOR]

Prior to World War I Fuad, Prince of Egypt, made a visit to the Museum of Agriculture in Budapest and expressed a wish to establish a similar institution in his own country. In 1929 King Fuad I initiated a request to the Ministry of Agriculture in which Egypt applied to Hungary to oversee the planning and execution of an agricultural museum in Cairo. Alajos Paikert junior, having legal and agricultural training, a broad outlook and a keen interest in foreign affairs, planned the museum during his first trip to Egypt in 1930, and started its organisation on his return to Cairo in 1931. However, before the expiration of his three-year contract he returned to Hungary in 1932. The museum was officially opened only in 1938. The current study presents the circumstances of the museum's foundation in Cairo in the period 1929-1932, partly by publishing relevant sections of Paikert's autobiography and partly by examining museum and archival sources as well as data found in contemporary Hungarian and Egyptian press releases and reports. Paikert wrote his autobiography is several versions. The three sources published here differ in some points, and there are passages that only appear in one of the versions. In retrospect there were some instances that appear more pronounced in the different versions. What the autobiographies lack is the description of the actual, practical, organising work that took place in Cairo. A much greater stress is laid on previous events and the mental struggle triggered by outside factors. The sources depict an expert of great knowledge and organising skills but also a man of an unstable, inconsistent and slighly narcissistic character, desperate for recognition. Paikert frequently describes himself in these sources as 'naïve'. He often refers to his task in Egypt as a 'mission', which would bring fame and merit to Hungary. He is quite capable of extreme feelings towards his fellow human beings (with the exception of King Fuad). The subject of this study has a great source material and the history of the Cairo museum foundation requires and deserves further exploration, in order to gain further knowledge concerning this peculiar historical connection between Hungary and Egypt. [ABSTRACT FROM AUTHOR]

Copyright of Magyar Mezőgazdasági Múzeum Közleményei is the property of Magyar Mezogazdasagi Muzeum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 2012 the Museum of Hungarian Agriculture managed to purchase over fifty sketches from the legacy of the sculptor György Vastagh, junior. These included a measurement sketch taken of a Kladrubi stallion called Hanák. This horse showed a strong resemblance to the horse of the Rákóczi equestrian statue at Szeged, both in terms of its stature and the character of its head. This was the starting point for our research. According to the sculptor's autobiography, this sketch indeed had been based on the model of the equestrain statue. The measurement sketch acquired by the museum provides a unique opportunity to examine if the artist remained true to the original proportions of the horse or whether he altered them. The sketch contains over 40 size data, but only 37 can be deciphered. Out of these 37 those 22 were compared to the dimensions of the statue that could be measured on the statue itself. Móra Ferenc Museum owns a 1:3 size plaster cast version of the statue, the dimensions of which (34 data) were also compared to the measurements featured on the sketch. The examination concluded that the artist had made extremely detailed and thourough preliminary studies before modelling the horse. Even when taking measurements he already had clear ideas of the future statue and noted dimensions accordingly. He regarded the size data featured on the sketch only as a general direction but not to be strictly adhered to. The most likely cause of the dimensional changes is probably the fact that the statue was placed on a 3 metre tall pedestal, which obviously changed the viewers' perspective as opposed to a statue placed on ground level. The study also gives details of the creation of the statue and the Kladrubi breed itself as well. [ABSTRACT FROM AUTHOR]

The article presents the summary of an International Council of Museums (ICOM) conference that focused on museum depots, storage and museum development. It was held from March 4-5, 2011 in Innsbruck, Austria. Topics under discussion at the conference included the central depot for the "Tiroler Landesmuseum" agricultural museum, the developments of the alpine museum in Innsbruck, Austria, as well as the natural history collection depot at the Natural History Museum in London, England.

Abstract: Ancient Egyptians had —by the New Kingdom— developed many basket making and matting techniques. These techniques were not only used for making all types and sizes of baskets and mats, but were also adopted for making other accessories such as bags, fans and different types of footwear, that seem to have been heavily used. Materials and techniques of nine objects consisting of 2 sandals, 2 shoes, 2 bags, 2 fans and a model of a mat at the Agricultural Museum in Giza were carefully studied. In some cases the object was made of one plant, but in other cases more than one plant were identified. The materials used for making the different objects were identified using light microscope. Four plant materials were identified in the studied objects; Hyphaene thebaica Mart., Phoenix dactylifera L., Cyperus papyrus L. and Desmostachya bipinnata (L.) Stapf., in addition to a gypsum layer in one of the sandals. Five different techniques were used in making the different objects; both bags were made using the twining technique. The soles of the sandals were made using either a plaiting or sewing technique. Cordage was used in the manufacture in some of the objects. The fans were made using the binding and sewing technique. [Copyright &y& Elsevier]

The article discusses the highlights of the 3-day Santa Cruz conference organized by Marlea Graham, to celebrate the foundation of the California Garden & Landscape History Society (CGLHS) in 1995. The attendees spent their days visiting sites which include the Agricultural Museum, the Bockius-Orr house and garden, and the Rancho San Andres Castro Adobe. Speeches are also given from known speakers such as Manager Brett Hall, retired neurologist Judith Taylor, and Pam-Anela Messenger.

The paper discusses the partnership forged between Women on Farms Gathering and the Museum Victoria in Australia. The intent of their participatory-action research project is to challenge the mainstream discourse of Australian rural life and women through collecting oral histories and other memorabilia representing women farmers. The author discusses the role of museums in shaping cultural history and the empowering effects of reclaiming personal histories. The museum collection also serves to bring issues of rurality back into public discourse.

Explains that minimal attention was paid to the restoration and revival of the numerous archaeological collections and exhibits that had been assembled in the course of the first half of the twentieth century under the auspices of King Fuad. Museums are under the jurisdiction of the various ministries concerned; Geological Museum; Railway Museum; Postal Museum; Agriculture Museum.

Features the New Mexico Farm and Ranch Heritage Museum. Historical background; Description of the museum's gallery which represents the stories of individuals, groups, practices and experiences told through art, audio and visual media; Goals of the museum.