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

The pattern books of the Kluge indigo resist dyeing workshop in Pápa in the 18-19th century The founders of the workshop settled down in Hungary in the 70s of the 18th century from the Saxon Sorau (Zary, Poland) bringing the new technology of textile printing with them, which was the reserve style cold indigo vat dyeing. Up until the middle of the 19th century, this kind of textile dyeing was called "Schön- und Schwarz färb er". This also means that while the "Schönfärber" was doing "Beauty-dyeing", cloth and linen dyeing, the "Schwarzfärber" was usually practising black dyeing. From the Middle Ages the printing of the linens was done by specialists like "Leinwanddrucker, Wasserdrucker, Öldrucker" by mixing colours with mordant. The appearance of the multicolour printed linens imported from the East to the French royal court called "indienne" developed a huge popularity. The rapid distribution was supported by the extremely significant commercial trade of the Dutch Eastern shipping. The Eastern indigo resist style was also appearing in the above mentioned areas at the beginning of the 18th century featuring the dyeing material, the indigo, which was providing the blue colour. Printing paste was applied to the printing which was protecting the basic white colour of the textile from turning blue (Picture 8). After several dips in the dye vats (küpa) (Picture 2) and then after aeration due to the oxidation the reduced indigo began graduating the cotton and the linen clothes into blue. After dyeing the printing paste was taken off by a bath of hydro chloride-vitriolic acid and the basic white colour appeared. This blue and white colour was typical of the Eastern porcelains; therefore this new technology was called "Porcellandruck" by the dyers with the phrase "drucken auf Porcellan Art". At first the fashionable fabrics were spread amongst the wealthy citizens, but just as with everything else the less wealthy strata also followed this style. Therefore, the large demand forced the opening of new workshops faster and the old Schön- und Schwarzfärbers vindicated the practice of the handcraft for themselves. Naturally, the arguments with the masters who were doing the positiveprinting were escalating in other countries. They were referred to the century practice of printing while the other side was reasoning by the right of blue dyeing of the textile which the printers were not allowed to do. However, textile printing was not mentioned in any letters as the privilege of the Schön- und Schwarzfárbers, still the latter were succeeding all over Europe. To dye the blue colour woad (Waid, Isatis tinctoria) was applied since the Middle Ages. It was grown in sizes of field lands by the peasants and lords of the provinces Thuringia and the French Picardy. It was typical of the large trade of this dye that following the traders of the Hansen-towns (Junkers) the great dye traders were also called honorifically "Waidjunker" by the sources of the 17-18th century. At the beginning the more colour-proof indigo was used to repair woad, later the latter