Sarka - The Finnish Museum of Agriculture

Loimaa, Finland

Sarka brings the versatile history of farming to you through moving image, sound, scale models and genuine objects. As an introduction to its collections, the Museum has an impressive scale model, which takes you through the development of the imaginary village of Sarkajoki from the Bronze Age to present. The basic collection builds on farm work associated with each season. Another dimension of the exhibition is time. It covers two main periods: the time before the post-war mechanisation of farming and the period after that until 2004.

Reference: museot.fi

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Address

Vanhankirkontie 383, Loimaa, Finland
See all sites in Loimaa

Details

Founded: 2004
Category: Museums in Finland
Historical period: Independency (Finland)

More Information

www.sarka.fi
www.museot.fi

Rating

3.9/5 (based on Google user reviews)

Interesting Sites Nearby


Kanta-Loimaa Church (4,7 km)


Paimio Sanatorium (43,3 km)
Nuutajärvi Glass Factory (33,5 km)
Uskela Church (51,5 km)
Wiurila Manor (50,9 km)
Sauvo Church (56,9 km)
Church of St. Michael (45,2 km)
Piikkiö Church (52,1 km)
Pöytyä Church (20,4 km)
Automobile and Tractor Museum (53,2 km)

User Reviews

Jaffa Toivanen (3 years ago)
Nice place. Great experience.
Roope Pellinen (3 years ago)
Very good food and happy staff.
Gabriel Kout (4 years ago)
Pretty worth it! This museum is interesting and learns you many things about Loimaa's way of life. The only problem is that much things are only on Finish (not everything of course but some interesting things), so I was happy to go there with a Finish friend!
Antanas Bernikas (5 years ago)
Great place to visit with kids that we just discovered. We have been exploring smaller towns of Finland and discovered this museum of agriculture in Finland in a small town of Loimaa in Finland. The place is actually great for kids, offers really many interaction possibilities, you can actually sit at a drivers seat of a harvester with a video projecting the field and your operating the vehicle. Also many other similar small activities that were absolutely enjoyed by our two sons (2 and 5 year old). Also there is an outdoor exhibition of some old farm buildings which is nice to explore when the weather is good. I strongly recommend to visit this place, with or without children. Also it has some great lunch buffet, homemade food quality, at normal buffet prices.
Nikola Goleš (5 years ago)
Very interesting museum and a great learning experience
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From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

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The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

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The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.

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