Szilágyi András (szerk.): Ars Decorativa 28. (Budapest, 2012)
Ildikó PANDUR: Links between the Oeuvres of Ödön Lechner and Gyula Jungfer
8. Corridor of the Collection of Ceramics in the Museum of Applied Arts, Budapest necessary, for which only a few viewpoints are suggested here. After the phase of planning buildings specifically for museum purposes, the next step was to realize that art works required special treatment and protection. (The conservation and restoration of objects included in a museum and thus promoted to the rank of public treasure were done by skilful artisans of the given trades so far.) 4 5 Most probably one of the earliest examples of the unified planning of a building and its furnishing was the National Museum. 4 4 In 1844 the architect Mihály Pollack delivered various plans for the furnishing of the library. 4 5 The view-point of the choice among them was the best suitability for usage. 4 6 In the following decades, however, a number of constrained solutions happened, even in the first museum of the country. 47 For financial motives or for other reasons several showcases of former exhibitions were re-used, for example in the Numismatic Collection of the National Museum. It is not earlier than in the last years of the 19th century that suitable cases and cabinets were installed there. 4 8 The so-called "English showcases" executed by Endre Thék were put to use at about the same time in the new building of the Museum of Applied Arts, opened in 1896. 4' The special locks of these cases were delivered by the firm Chubb & Son's from London. 5 0 Very similar showcases are illustrated in the catalogue of the South Kensington (today Victoria & Albert) Museum, published in 1877. 5' (fig. 8-9) There is a summary 5 2 of signal importance for Hungarian museology by the director of the National Museum between 1894 and 1916 and chief inspector of national museums and libraries, Imre Szalay 100
