Méri Edina: A Pápai Kluge-kékfestőműhely mintakönyvei (Textilmúzeum alapítvány 2003)

through, which proves this process. On the upper border of one side the year 1888 is written (Picture 114). The products made by oil printing were mainly used for kerchiefs and hand kerchiefs. As evidence, I have found tools in Sellyén, in the County of Baranya as well as in the workshops of Békéscsaba and Szarvas. In the collection of the City Museum-Textile Museum there are records from the Czech Dvur Králové and its surroundings showing the usage of the above mentioned. We know of oil printing pattern books from Szarvas, handkerchief from Esztergom, Sellye and Bonyhárd. It was easy to pattern by oil printing on blue base or on linens for white kerchiefs, even with two-colour print. The inconvenience of the technology was that the oil from the printing paste left oil stains on the contour of the pattern. Therefore we think that this product was in the group of the less expensive goods. The more ambitious and chemically more skilled masters mixed the mushy dye with copal lacquer which ensured faster drying and glittery, shiny surface and did not leave an oil stain. Oil printing was also used on excellently starched, shiny and clouded (Picture 59, 60) materials. Usually these fabrics were not washable. The shiny and frothy textile pieces were placed into separate books and were made for skirts, aprons as dry goods. The next enlargement of the factory was built over the brook on the turn of the 19-20th century. The 23-horsepower steam engine, the mangle which was operated by it, the starching machines, the drying machine, the steam heated rolls, on which the light material was prepared were located in the long one-floor building. They had a separate room for polishing. Mainly the kerchiefs were groomed this way. In the "küpa" room, on a smaller table they also polished with a flint stick, and using the breaks between soaking and pulling, the metal bands' fabrics were aerated. The steam machine's test run was in 1903 in the 120th year of the foundation of the factory. It was running at full capacity up until World War I. At this time, a group photo of the employees was taken, with 22 men, 3 servants, 24 sales persons and Károly Kluge with his family (1912). Some of the pieces from the pattern books are significant which were made to support the domestic industry. The first ones are the patterns of the HOMELAND (Picture 43), the NATIONAL, the Hungarian arms, material, the kerchief and table-cloth from 1840s. The competition with the foreign goods, the underdevelopment of the textile industry built a movement in the Age of Reform. The movement lead by Lajos Kossuth was formed into a union in 1844 under the name Országos Ve'degyesiilet [National Society of Promotion]. The members of the committee of the central management were renowned people of the national progress and independency movement such as Count Lajos Batthyány, Ferenc Deák, Gábor Klauzál, Bertalan Szemere, Ferenc Pulszky, Mihály Vörösmarty, Elek Fényes and Baron Miklós Wesselényi, and furthermore the deputy of the County, factory owners and masters. The signatories were obliged "...to employ only masters from the homeland until the 1st day of October, 1850 and if there is a domestic product available, will not buy, will not use and will not wear foreign goods regardless of any kind; and his children or dependents and his servants, whom he is buying uniforms for, will not wear foreign goods." Aside from the people of Pápa we know of many other factories' patterns. The Society of Promotion had 145 branches on the countryside in 1846, five in the County of Veszprém, one of them in Pápa.