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

The poem was born from two drinking songs which were well known around the middle of the 19th century by the partying citizens. The first two verses are connected, while the third one is separated from them, even its structure looks different. Both poems can be found in the first edition of the Magyar népköltési gyűjtemény [Collection of the Hungarian Folk Poetry] by János Erdélyi in 1846. They are also known from other sides of the country. The fabrics with large patterns were popular in the costumes ofpeasants. The white patterns were showing from between the wrinkles of the loose skirts. The kerchiefs and handkerchiefs were varied by the border patterns. Several times not only blue and white but double blue - middle blue patterns on blue — appeared, for example in the group of older people or the Germans. The wood carving printing blocks (Picture 7) served the printing of larger spots. To give down the covering printing paste they used printing hammer (Picture 6) which was a pattern dumb with a handle stick holding the stick of the hammer and beating the back of the pattern block. The hammer was increasing the weight of the tool. To work on the smaller patterns the wood block was beaten by the edge of the hand in the rhythm of "ta-ta-tam", therefore due to the continuous work the hands of the lads became callous. The well printing journeymen's salary was always higher than the dyers', for example (Picture 8). The already mentioned block carving specialists drew the required pattern on pear wood plates or copied the required pattern and they prepared the patterns using wood carving chisels. Several masters made printing blocks, but they couldn't increase the variety by themselves, so they employed journeymen on a temporary basis, to do the job. The surrounding specialist centres of Austria, Czechland and Moravia were working by orders, too. Usually, the master sent a favorite piece of textile to one of the workshops of the centres asking for its design and preparation for size, helping the continuance of the repetition. The patterns of the textile printers, the indigo resist printers and even the factories did not have copyrights against others, who could show up with the stolen, copied patterned fabrics at the spring fairs to make life harder for the competitors. A "Stech-Zeug" chisel set is also contained in the inventory of the Kluge Company (1806) which was probably used for smaller repairs only in the fast developing workshop. Around the time of the 75th anniversary more pattern books were made on pages cut out from blue wrapping paper and which later on were bound. Naturally, the popular old patterns also showed up in these books but were developed by new ones as well (Pictures 24-58). With the growing of the goods the patterns were changing, too. There were less printing blocks made. The wooden blocks that were already used earlier, but only as an additional part made by copper nails and plates, took over. To do this kind of job, the "zeccers", planter metal bars were necessary (Picture 5). The most various wire-profiles were stretched by the "stickers" — wire puller clichés. Remains of these were also found among the tools of the company. These were absolutely necessary for repairing the patterns and at smaller replacements. The workshop became stronger and stronger. Instead of the apartment and store on the ground floor with an arch, a majestically appearing, multi-store house was built in romantic style in 1869. This also expressed the arising of the family towards the group of the town's leading citizens.