Szilágyi András (szerk.): Ars Decorativa 24. (Budapest, 2006)

Magdolna LICHNER: The reception of electroplates in Hungary I. - Electroplates in the collection of the Museum of Applied Arts 1873-1884

keep and propagate contemporary and historical works of art and to improve popular taste. In the course of the 1862 London exhibition and then of the 1867 Paris world exhibition, Cole managed to make an agreement concerning reproduction rights. It was signed by almost every European ruling family, among others, by the Russian tsar, Nicholas II. Consequently, the collection was augmented with the electroplated reproductions of English goldsmiths' works that were housed in Russian museums. At the Paris world exhibition the South Kensington Museum displayed plaster reproductions and electroplates, which proved to be a huge success.

12 The reception of electroplates. Contemporary opinions The world exhibitions and the evolution of those institutions and museums whose aim was to promote industry via art are closely connected with the history of galvanization. Electroplates could serve educational purposes insofar that they were copies of the original pieces; yet, beyond that, how did contemporaries regard them? Artefacts that reflected a certain artistic intention? Surrogates, counterfeits or massproduced low-quality products? The answer was not explicit even in England, where the Elkington Company got famous all over the world with the industrial-level application of the technology. An article published in the London Daily Telegraph (26 October 1872, 'The Home of Electro') illustrates this point. During the 1873 Vienna world exhibition, the company published the article in its own catalogue: 'There was a Golden Age once upon a time, we are told - a Silver Age, an Age of Iron, and one of Bronze, to attach any importance to the flint hatchets found in the „drift," there was even an Age of Stone. Critics who wish to appear smartly cynical are even apt to qualify the present epoch as an „Electro-plated Age, and the philosophy of Mr. Carlyle with regard to shams may he diluted to infinity when we come to descant, with a complacent causticity, on the multitude of makebelieves and "perfect substitutes" for the precious metals which the discovery of electro-metallurgy has brought forth. I have no ambition to be satirical at the expense of the good people who may chose to wear lacquered guard chains or "imitation" jewellery, or at whose banquets plated side dishes or "electroed" spoons and forks make their appearance. I am not going to turn up the domestic teapot to seek for the Hall mark, or to inquire whether the many bracelets glistening on the arms of my neighbour's wife are genuine or spurious gold. I am merely desirous of recording some experiences I have recently gathered concerning the making of electro ware at Birmingham - experiences mainly acquired from visits to the workshops of the Messrs. Elkington.'" Then the unknown author puts aside his doubts and, having visited the Birmingham factory and London workshop of the Elkington Company, becomes enthusiastic of the new technology. He sees the collection of samples and his opinion changes; the once sceptical journalist turns into a staunch adherent of the electroware company. In his report, he uses increasingly enthusiastic words; in his opinion, electro-chemical reproduction procedure incorporates highquality art, industrial skills and practice alike. In 1865, the Viennese journalist of the Mitthe il un gen des Osterreichischen Museums für Kunst und Industrie praised electroplating: he defined it as a technology to produce threedimensional reproductions of works of art and attributed to it a crucial role in forming popular taste, that is, in a mission of museums. At the same time, he pointed out the fact that far few had realised the importance of the new technology. „ Frankly speaking, the application and spread of this artistic procedure is often hindered by the constricted outlook of our art lovers. They emphasize the rarity of a piece and the material values of the raw material; as for the artistic nature, the perfection of form, the concept and the charm of detailed working out, they regard them as desirable but secondary features."

14 The history of the Budapest Museum of Applied Arts, which was established on the model of institutes in London and Vienna, is also closely connected with the world exhibitions and (last but not least) with the purchase of electroplates. Therefore, it is worth considering their reception in Hungary, if only because