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Across the Leitha 383 allein aufzubauen. Die Waare, die für den Weltverkehr berechnet wird, ist unempfind- lich für nationale Schrullen.”56 Most museums kept to this broad aim and maintained a collecting and acquisitions policy that was global in scope. Thus, from early on, the Museum of Art and Industry not only acquired textiles by the Viennese firm of Philip Haas, for example, but also pur- chased examples of contemporary Japanese, North African and Indian work.57 Similarly, while its glass collections had an understandable focus on work by manufacturers such as Lobmeyr or Salviati from Habsburg (or former Habsburg) territories, they included, in addition, Islamic glass, and an international network of agents ensured a supply of objects from across the globe.58 A similar pattern could be observed across the Empire. From Brünn (Brno) to Kolozsvár (Cluj Napoca), museums of design and industry, even those in regional cities and towns, amassed substantial collections of artefacts from Ja- pan, China and the Islamic world, alongside those from Europe.59 This was common practice across both halves of the Empire, and is important for how we view Austria-Hungary, since a distinction is commonly drawn between the cosmopolitanism of Austrian Cisleithania and the putatively nationalist orientation of Hungary. As this article argues, however, Austrian and Hungarian Liberals (and most members of the cultural elite would have regarded themselves as Liberal) had similar values when it came to the question of national and state identity. The administration in Budapest did, admittedly, seek to create a unitary Magyar identity for all its subjects, but this was a matter of some debate amongst Hungarian politicians. Thus, the prom- inent politician József Eötvös (1813–1871), minister of education and religion in the 1860s, who was instrumental in the emancipation of the Jews, argued tirelessly for the preservation of the cultural plurality of the Hungarian kingdom.60 Moreover, the policy 56 “In the same way it is a basic error to build up such museums solely on the basis of the nation. The commodity intended for world trade is immune to the quirks.” Ibid. 57 A. Völker, Die Sammlungspolitik der Textilsammlung des k. k. Österreichischen Museums für Kunst und Industrie in den Jahren 1864 bis 1910, in : Noever (ed.), Kunst und Industrie (cit. n.  3), pp.  114–129. 58 R. Strasser, Der Aufbau der Glassammlung des k. k. Österreichischen Museum für Kunst und Industrie, in :Noever (ed.), Kunst und Industrie (cit. n.  3), pp.  137–142. 59 See, for example, the accounts of Islamic and Asian art collecting at the museums of design in Brünn and Kolozsvár in : S. Dvořaková, Příběhy tisíce a jedné noci : islamské umění ve sbírkách Moravské galerie v Brně [Stories of a thousand and one nights : Islamic art in the collections of the Moravian Gallery in Brno], Brno 2011 ; M. Székely, János Vadona’s Collection of Japanese and Chinese Objects in the Museum of Industry in Kolozsvár, in : Z. Jékely (ed.), Ödön Lechner in Context, Budapest 2015, pp.  91–102. 60 P. Bödy, Joseph Eötvös and the modernization of Hungary, 1840–1870 : a study of ideas of individ- uality and social pluralism in modern politics, Boulder 1985.