Körmöczi Katalin szerk.: Historical Exhibition of the Hungarian National Museum 3 - From the End of the Turkish Wars to the Millennium - The history of Hungary in the 18th and 19th centuries (Budapest, 2001)

ROOM 15. Education, Science and Culture at the End of the 19th Century (Katalin Körmöczi - Eszter Aczél - Annamária T. Németh - Edit Haider)

69. Gold-and-citrine handcuff-shaped 70. Gold Art Nouveau-style brooch, bracelet, worn after the defeat with pearl and enamel ornamentation, of the independence war, 1849 G. Nauthr, Vienna, c. 1900 Pest, 1850 The female figure was given an important place in ornamentation. At the end of the 18th century, right across Europe faiance production gave way to Mghly-fired, lead-glazed chinaware, which had been developed in Britain and which proved more durable than faiance. The crockery of chinaware factories operating from the beginning of the 19th century until the 1860s at Körmöcbánya (Kremnica), Kassa (Kosice) and then Igló (Spisská Nova Ves) in Upper Hungary, at Pápa in Transdanubia, and at Batiz in Transylvania was mostly Classicist in form, with Empire-style moulded and pieced ornamentation, with a blue-green pattern taken over from Vienna. The special merit of the Pápa crockery is that it commemorated events and personalities in Hungary (Fig. 71). Hungarian porcelain production is linked to a number of places, first of all to Regéc (1829), which was followed by Herend, Tata, Kolozsvár (Cluj-Napoca) and Ungvár (Uzgorod). Of these, Herend achieved outstanding success. The manufactory, which had been founded by Vince Ferenc Stingl (1796-c. 1850), was purchased by Mór Fischer (1799-1880) in 1839 (Fig. 72). It scored its first big success at the industrial exhibition of 1842 with a fish platter. Glory came at the London exhibition of 1852 and at the Paris exhibition of 1855. The factory was awarded a silver medal, and Fischer was given the Legion of Honour; from Francis Joseph he received letters-patent of nobility. From 1849, the factory used the Kossuth coat of arms (the Hungarian coat of arms minus the Holy Crown) as its mark. By manufacturing the porcelain of Meissen, Sevres and Vienna, and later on oriental porcelain with characteristic use of oriental patterns (Fig. 73), Mór Fischer produced high-standard, competitive and