As a result of the gradual process of bourgeois development reaching Zalaegerszeg, the intelligentsia emerged as a decisive social force during the Dual Monarchy period.
In 1885, the town succeeded in becoming a municipality with a regulated council. These figures became the driving force of development. Among them was the town’s first mayor, Károly Kovács, a lawyer, whose large-scale urban development programme gave significant momentum to the growth of Zalaegerszeg.
The Driving Forces of Community Building
Architect Tamás Morandini played a significant role in shaping the urban landscape, while the educated and dynamic teaching staff of the new grammar school contributed to the renewal of social life and the revitalization of cultural activities.
They were responsible for the publication of the first two local newspapers: Zalamegye, associated with Ignác Udvardy, and Magyar Paizs, edited by teacher György Borbély. These publications not only informed the public but also mobilized them in support of important civic causes.
Their social life unfolded through numerous professional, cultural, and charitable associations. They organized local sports life, establishing skating and cycling clubs as well as sports associations. This period of development was interrupted by the First World War, during which much of the town’s intelligentsia served as commissioned officers responsible for their units in the trenches.
Interesting Objects
Serving Dish, c. 1890
In the dining room of our interior evoking a house party held in honour of Ilona Kaszter, a footed serving dish made around 1890 is displayed on the table. It was used to serve pastries and fruit. The piece is decorated with brown tulip and floral motifs on an ivory background, glazed and fired.
On the underside of the base is a glaze-under mark: a vertically striped shield divided diagonally, containing a bird with an elongated body, and above the shield a lion’s head sticking out its tongue. (Object description: Anna Megyeri)
Charity Porcelain
Inscription around the base: FISCHER J. BUDAPEST / JOHANNA. The daughter of the owner of the Herend porcelain manufactory commissioned more affordable pieces for charitable purposes, which explains this mark.
Tea Set, c. 1900
On the salon table, a May-inspired blue-and-white floral English faience tea set is displayed. The base of the vessels bears the mark MAY. Alongside vines and flowers, a dense, honeycomb-like pattern appears, evoking the structure of a beehive created by bees.
The base of the plates bears the Copeland Late Spode mark, indicating that these pieces were manufactured in England between 1894 and 1910. (Object description: Anna Megyeri)
Yarn Bag, c. 1900
In the display case presenting the life of women, there is a peculiar cylindrical bag woven from corn husk. Based on a historical photograph, it was identified as a tool used by women engaged in needlework, used for storing materials, tools, and yarn for embroidery, knitting, and crocheting.
It is a handcrafted object, reinforced at both ends with circular wooden rims. The opening has a leather handle attached with a small metal fastener. (Object description: Anna Megyeri)
Velocipede, 1879 – Early Bicycle
This British-made velocipede was produced by the Hillman and Cooper factory. In the 1880s, a few enthusiastic sportsmen in Zala also acquired this unusual “iron horse”. Riding it required great skill.
A similar high-wheeled bicycle was used by teacher and journalist György Borbély in the summer of 1889 on his journey from Torda to the Paris World Exhibition.
Cyclists’ Association
Members of the town’s cycling association included the eccentric landowner Zsigmond Königmayer of Neszela, who was known for cycling all the way to Hamburg for leisure.
The exhibited piece was found in the basement of the museum building and restored by our colleague András Varju. (Object description: Anna Megyeri)
Our Curator’s Favourite: Sewing Machine, c. 1910
Among the functional sewing machines known to me, the smallest is this Singer sewing machine from the 1910s, measuring only 18 cm in length, 9 cm in width, and 17.5 cm in height. It was manufactured in Germany.
It was preserved in its original colour-printed cardboard box by the granddaughter of its first owner, Zsuzsa Oláh. The inscription on the box reads: “Genuine Singer for girls, not a toy, practical and instructive.”
The black-painted cast-iron device, fitted with chrome-plated parts, stands on an oval base. It can be operated with a turned handle and perforated wheel and could be fixed in place with a small vice.
It was given to Emília Rauch, born in 1903, by her parents, perhaps for her 10th birthday or Christmas, and later used by her daughter as well. The small machine introduced girls to the art of sewing, allowing them to make handkerchiefs and doll clothes. (Anna Megyeri)
