1 Polyoptric Portrait
Twelve volumes of diaries covering nearly the whole of his life; a vast corpus of private and official correspondence concerning personal, artistic, and political matters; highly detailed documentation of his activities as a collector, including letters, bills of sale, and notes; several weighty tomes devoted to art and his familyâs history; an impressive collection of his own watercolours and drawings: from these thousands of pages of material, a detailed self-portrait of Athanasius RaczyÅski emerges, one produced at times consciously but more often inadvertently. It is that of a wealthy aristocrat; a Pole in the Prussian diplomatic service; an active participant in and observer and critical commentator of political life; a connoisseur and collector of art of European renown; in short, a distinguished yet complicated nineteenth-century figure. At first glance, this portrait appears to be clearly and carefully drawn. After all, RaczyÅskiâs texts do contain many strong declarations, clearly expressed views, and repeated confessions of faith. And while RaczyÅskiâs personality did indeed evolve, from his youth he embraced a set of core beliefs that provided the raw material from which he developed his identity and the principles guiding his activities throughout his life. These principles can be grouped around a few key words: aristocracy, loyalty, monarchism, anti-democratism, and continuance of the social and legal order. Yet a more careful look at RaczyÅskiâs self-portrait reveals both flaws and inconsistencies in its construction. In various situations, some quite surprising and seemingly trivial, the pressure of the moment caused the armour which RaczyÅski had forged over the years out of his principles, ideals, and beliefs to begin to buckle and crack. Realizing this Athanasius, who was undoubtedly a keen observer of both the world and himself, would on occasion express his irritation and anger but usually responded with self-deprecating humor.
It is precisely these cracks that make Athanasius RaczyÅski an attractive figure for the biographer, allowing him to be viewed as a protagonist enmeshed in conflict â both internally and with the world around him. This conflict sometimes takes the form of minor struggles, and at other times, truly dramatic battles. It manifested itself in his endeavours to achieve the social position to which he aspired, his efforts to be recognized by Berlinâs and Europeâs political and intellectual elites, his striving to fulfil the duties he believed rested upon him as the heir to an aristocratic family name. But it also resulted from internal conflicts, struggles within him, conflicting feelings about ideas that attracted him but at the same time repelled him because they made it difficult for him to inscribe himself into the worldview he professed. The critical view of RaczynÌski expressed by his contemporary, the writer and historian Julian Ursyn Niemcewicz, who was generally hostile towards Athanasius (âa bad citizen, a worse husbandâ) reveals an essential aspect of our protagonistâs personality: he was indeed âfull of unpleasant and incomprehensible rages.â1
In a sense, RaczyÅski was â at least at times â a prisoner of his own strong beliefs, principles, ideals, and clearly defined goals. He demanded exact definitions and adopted those that best suited his needs. His aspirations in life, regardless of whether they concerned professional or private matters, were defined with great precision, and at times, quite bluntly expressed. His diplomatic career, and his efforts to enlarge his estate, establish an entail, enter into a favourable marriage, and achieve a high social standing and recognition in the Kingâs court and among the intelligentsia â for Athanasius, these were not abstract goals, but tasks to be carried out, and he devoted himself to doing just that, showing great persistence and tenacity in his efforts and ultimately, in some cases, achieving success, though success that sometimes proved illusory.
Count Adhémar dâAntioche, the publisher of RaczyÅskiâs correspondence and author of an excellent psychological portrait of our protagonist, wrote of him â perhaps drawing on the recollections of his father, Alphonse dâAntioche, one of the Polish aristocratâs closest friends later in life â as follows:
This goal came to his mind in the most precise form: as a nobleman, he wanted to help provide for his familyâs success, add to its wealth, and ensure its continued prosperity. Feeling deeply attached to his country and his King, he was determined to use his zeal, devotion, and talents to attain an important position in the Polish state. While still a young man, he drew up for himself a lifetime programme. He defined in advance all the stages that needed to be completed, anticipated all the means required to advance from one stage to another, and then, having staked out his path, he set off at once on his journey, full of unflagging perseverance and energy.2
DâAntioche adds that RaczyÅskiâs intellect was cool but lively, keen, perceptive, and analytical, considering everything in the smallest detail. Indeed, his constant need to analyse, and his ability to maintain control over both his own psyche and his external reality were essential features of the Countâs character.
This does not mean, however, that RaczyÅski was not inclined to spontaneous behaviour. On the contrary, he experienced moments of great excitement, unrestrained enthusiasm, and profound emotions, as noted by himself and those around him. These feelings were provoked, above all, by his contact with art. Although he was often analytical and rational in his reactions to art, it also brought him feelings of utter joy and delight, at times even in response to works that went beyond his clearly defined aesthetic horizons. He was also not free from tendencies toward melancholy or of doubt of his capabilities and the value of the work he carried out with such great determination. This was a source of numerous self-deprecating statements made during his youth, but which also expressed his maturity and his sophisticated sense of self-irony. These ultimately led him to develop a strong sensitivity to criticism of his competence and achievements.
The conflict mentioned above was largely a product of RaczyÅskiâs personality and part of his nature, but it was also fuelled by external circumstances. Raised in the spirit of the Enlightenment and loyal to its ideals, he followed new intellectual currents and expressed a fascination with some of them. He also took part in heated discussions about the Polish nation and struggled with his Polishness, treating it as both a burden and a challenge. While he was a firm believer in a specific social and political order, he also noted the inevitability of its collapse. If one sentence were to explain the purpose of the present book, it would read as follows: it is an attempt to describe a complicated, wealthy, multi-faceted, creative personality and intellect caught up in âhistory broken from its chainsâ to borrow Jerzy Stempowskiâs expression.
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Athanasius RaczyÅski (Fig. 1) was born on 2 May 1788 in PoznaÅ, in Wielkopolska region in Poland, which at that time still enjoyed independence.3 He was the second son of General Philip RaczyÅski and Michalina née RaczyÅska, daughter of a highly influential Crown Court Marshal, Kazimierz RaczyÅski, who secured the familyâs economic and political position. Thoroughly educated, first in his home in Rogalin near PoznaÅ, and then at the university in Frankfurt (Oder) and by private tutors in Berlin and Dresden, he was prepared for public service from an early age. Being very wealthy and a man of outstanding intellect and character, he devoted his adult life to two passions: politics and art.4 Both of these passions were realized mainly in Berlin, where he lived permanently from the mid-1830s until his death on 21 August 1874. Despite residing in the Prussian capital, he maintained solid but complicated ties with his native Wielkopolska where his brother Edward lived until 1845, where he himself owned vast estates, and where he held political office. At the same time, he participated freely in the life of the European elite.
Federico Madrazo y Kunz, Portrait of Athanasius RaczyÅski, 1850
RaczyÅski Foundation at the National Museum in PoznaÅ, inv. no. MNP FR 528
He engaged in politics both professionally as an active practitioner, namely as a Saxon (1813â1815) and later Prussian (1830â1852) diplomat, as a delegate to the Provincial Sejm (parliament) in PoznaÅ, as a hereditary member (from 1854) of the Prussian Chamber of Lords (Herrenhaus), and as a theorist who developed sophisticated and coherent doctrines for his own use in the spirit of his categorical conservatism, and who laid these out in detail in his diary and correspondence. His position as an envoy extraordinary and plenipotentiary minister of the Kingdom of Prussia, which he held for several years in the Danish (1830â1834), Portuguese (1842â1848), and Spanish (1848â1852) courts, guaranteed RaczyÅski a prominent position in the circles of the Prussian state administration and among the European diplomatic elite. His extensive contacts in political spheres, excellent orientation in European affairs, sharp eye and analytical skills, and finally, his attractive, somewhat aphoristic writing style gave RaczyÅskiâs political concepts value and made him a prominent representative of European conservative thought. Although Juliusz Falkowskiâs statement that Athanasius RaczyÅski âestablished around himself a school for politicians and diplomatsâ is exaggerated,5 all that has been said above allows us to see him as an active participant in and commentator on contemporary political life who, though perhaps not especially influential, was gifted with a keen critical sense. Or, more broadly, we can see him as a public figure who deserves to be considered one of the outstanding and indeed most interesting Polish political figures of the nineteenth century.
When we leave the realm of politics and enter the realm of art, RaczyÅskiâs position becomes unequivocal. In terms of his comprehensive and widely acclaimed patronage, his critical and authorial activities, his refined and at times original artistic reflections, his ambitious and sophisticated approach to his role as a collector â RaczyÅski simply had no rivals in these areas among Poles in the middle decades of the nineteenth century. Even if we view his activities from a supra-local, European perspective, his prominent rank remains undisputed. The author of the entry devoted to RaczyÅski in the thirteenth volume of Larousseâs Grand dictionnaire universel du XIXe siècle, published in Paris one year after the Countâs death, had no doubt that he had âcarried out quite exceptional research on the fine arts and quickly acquired a great certainty in his tastes.â6
In short, in the case of Athanasius RaczyÅski, we are dealing with an aristocrat who was aware of the privileges and obligations of his estate and who participated freely in the cultural and social life of Europeâs elites; a Pole who was engaged in a difficult, dramatic and critical dialogue with Polishness throughout his life; a high-ranking Prussian diplomat who did not play a significant political role, but who occupied a prestigious position in the administration of the Kingdom of Prussia; a penetrating observer of and brilliant commentator on political events, who only occasionally spoke in public, but who expressed extremely insightful opinions in his private notes and abundant correspondence;7 a conservative political thinker in the fullest sense of the word, a correspondent of one of the most interesting and important anti- revolutionary thinkers in Europe in the mid-nineteenth century, the Spanish politician and writer Juan Donoso Cortés; a collector of Old Masters and contemporary paintings and founder of a publicly accessible art gallery of European renown; a patron, connoisseur, researcher and promoter of art; an active participant in artistic life and author of widely acclaimed, pioneering books on German and Portuguese; and finally, a man of great erudition and culture, with a rich personality and a penetrating mind.
RaczyÅskiâs biography, fascinating in its own right, assumes added dimensions when analyzed in its broader context. It should be seen against the background of the profound changes taking place in the nineteenth century in Europeâs political, social, economic, communicative, moral, and mental spheres as a result of, among other things, a âdual revolutionâ: the French revolution of 1789 and the British industrial revolution.8 For these reasons, RaczyÅskiâs biography transcends the borders of a single (Polish) cultural and national tradition and carries with it multiple identities. Described in todayâs terms, it can be considered an example of a multicultural and multinational biography.9 For these reasons, RaczyÅskiâs biography can contribute to research on many important nineteenth-century phenomena: the winding paths of the careers of Poles in the administration of the partitioning states, assimilation and acculturation processes, the history of European conservative thought, the history of collections and art patronage, etc. In preparing the present book, I have tried to draw useful conclusions in each of these spheres.
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Among the entertainments available to members of the Paris salons in the latter half of the seventeenth century was a peculiar form of painting that depicted images of various people arranged in a disjointed order. However, when one looked at the picture through a special lens, a single image was formed from this multitude of faces â a faithful portrait of the ruler. These were called polyoptric images.
This book is somewhat similar in character. It contains a collection of studies presenting the various faces of Athanasius RaczyÅski, that is, selected parts and aspects of his personality and activities. Will a coherent and credible overall picture emerge from this collection of images as well? This will be up to the reader to judge.
The book consists of three parts. The first one, entitled Formation, aims to describe RaczyÅskiâs personality and to indicate the essential features of his character, allowing us to better understand his political activity and his activities as a collector and patron. In this chapter, I examine the possible sources of Athanasiusâ character and indicate the people who had the most significant influence on its formation (his grandfather Kazimierz RaczyÅski and his brother Edward). Next, I follow RaczyÅskiâs educational path and his first professional experience, that is the rather sluggish beginnings of his diplomatic career. Finally, I dedicate a large section of the chapter to the young RaczyÅskiâs self-stylisation as a Wertherean hero.
The second part is devoted, first of all, to RaczyÅskiâs activities in the field of politics and, secondly, to his political theories and worldview. I look here for the consequences for Athanasiusâ biography of his position as a wealthy aristocrat, analyse his attitude to property and family, and â based on the example of the portrait gallery founded by RaczyÅski at his estate in Gaj MaÅy in Wielkopolska â examine how he managed his aristocratic symbolic capital. I then follow the formative years of RaczynÌski in Berlin and the complicated, and sometimes dramatic, course of his diplomatic career. I also present in detail his political convictions as a proponent of categorical conservatism and his difficult relationship with Polishness, an issue with which he struggled throughout his adult life.
The third part concerns artistic matters, including RaczyÅskiâs activities as a writer, collector, and patron of art. It opens with an analysis of Athanasiusâ own paintings and drawings, which provide an introduction to his artistic sensibilities and aesthetic preferences. I then reconstruct his beliefs regarding the essence and goals of art, and finally analyze RaczyÅskiâs activities as an author, patron, and collector of works of art.
Due to my firm belief in the persuasive power of images, I included in the present book numerous diverse visual messages, which are intended not only to illustrate the text but also to provide a secondary narrative, making it at once more accurate and more poetic.
2 Sources
The source materials used in the writing of this book, many of which concern Athanasius RaczyÅski directly, are extensive and wide-ranging. However, they also posed several problems. Most are unpublished documents, including some which have been previously used only to a limited extent or not at all. In order to facilitate the navigation through this vast body of materials, it can be divided into six groups: 1) the manuscript of RaczyÅskiâs diary, covering most of his long life; 2) RaczyÅskiâs private correspondence with his grandfather Kazimierz, his brother Edward and his brotherâs wife Konstancja, his own wife Anna RadziwiÅÅ, his children, a few close friends, and a large number of friends, associates, and business partners; 3) documentation of Athanasiusâ diplomatic activities, consisting of letters, reports, and instructions; 4) legal documents concerning property and inheritance matters; 5) the so-called Libri veritatis, or volumes documenting RaczyÅskiâs activities as a collector; 6) and finally, iconographic sources in the form of dozens of drawings and watercolours made by the Count himself. An exact list of these materials can be found at the end of this book. Here, I would like to give a general description of the most important of these sources.
The key source is Athanasius RaczyÅskiâs monumental personal diary â several thousand pages of notes he made on an ongoing basis, albeit with varying intensity, for over half a century. Due to the volume of information contained alone, it could be considered a rarity. But there are also other reasons for such a designation. These are its thematic diversity, the insights contained in its entries, and the vast amount of information it provides on various aspects of nineteenth-century life.
The diary is not a homogeneous work, neither in form nor substance. It opens with childhood memories (Souvenirs dâenfance, 1788â1808), written in the first decade of the nineteenth century and then repeatedly amended (Fig. 2). The diary itself, which covers current events and large sections of which are written systematically, begins in late autumn of 1808, with the last entries dating to 1866.10 The diary evolved over the years. Initially, it was quite intimate in character and perceived by RaczyÅski as a tool for self-knowledge and self-improvement. âOn the advice of my grandmother,â he confessed, âI start this diary with a strong resolution never to show it to anyone. I intend to include all the various impressions that affect my soul, all the events that cause them, and finally anything that can help me to get to know myself. It is said that this is a sure means to remedy my deficiencies.â11 Initially, Athanasius essentially tried to look into himself and, with an often harshly critical eye, sketch out a psychological self-portrait. The diaryâs main protagonist is therefore himself and his dilemmas, loves, doubts, and ambitions. He also writes about events in which he was a participant or witness and sketches portraits (though usually superficial ones) of the people he comes into contact with, often including a scandalous anecdote or two. Extensive sections of the diary, thus initially, take the form of a social chronicle with a decidedly gossipy profile. However, in this early period, we already encounter notes of a different kind. Monuments, works of art, and the beauty of nature become the subjects of entries made during his travels, while war-related events dominate in entries made during military campaigns. As the years go by â and particularly after 1812 â Athanasius himself slowly recedes into the background, becoming a recorder of and commentator on events. This is also the direction in which RaczyÅskiâs writing evolved: it gradually came to be more of a critical report on political and social events, assuming a chroniclerâs distance from the reality. Of course, Athanasius never disappears from its pages, not even momentarily; this simply wasnât possible. Instead, he chose to alter his presence in it. He was no longer the object of the narration but a conscious subject within it. He never strove to objectify his entries, not even for a moment, but instead always clearly expressed his position and expounded his worldview.
Title page of volume one of Athanasius RaczyÅskiâs Diary
The nineteenth century was a grand epoch for diary writing and journalism. Anyone who could wield a pen and had grandchildren, in whom they could hope to find readers of their work, started to write âmemoirs.â In fact, memoirs and diaries were among the most popular books of that era. Athanasius also reached for such works and assumed â who knows how consciously â the conventions, narrative strategies and rhetorical figures that were found in them. RaczyÅskiâs diaries are therefore a literary work, not only because of their artistic merits, though these are indeed significant, but also due to the fact that they were formally conventionalized. Should one thus expect âsincerityâ from them? Yes, but only understood in a particular way, in quotation marks, according to the principle expressed by Gustaw Herling-GrudziÅski, a writer and author of the phenomenal Diary Written at Night, that âutmost honesty is imaginable in literature as long as it is licensed by a third party or an implied first person narrator. In a diary, it allows for prompters or for the sincerity of actors.â12
At this point, I will stop discussing the diary as a text in more detail because the quotations and references contained in this book will give a much better picture of its content and poetics. Instead, I would like to devote some attention to the characteristics and fate of the copy at our disposal.
RaczyÅskiâs diary is contained in twelve large, leather-bound volumes. The work as a whole has over seven thousand pages, written in an even, careful hand, which, apart from the excellent state of the documentâs preservation, guarantees the entries will be clearly legible. The manuscript has been very carefully prepared: with attention having been paid to the graphic design and organisation of the text, as indicated by footnotes explaining the more enigmatic passages and a detailed table of contents at the end of each volume. The language used in the diary is for the most part French, although long passages are written in German, and in rare cases, short passages appear in Polish, Portuguese, or English.
This is not an editio princeps, but a copy, most of which was made on RaczyÅskiâs orders by his secretaries, most probably in the late 1840s or early 1850s. The only parts produced by Athanasiusâ hand are the drawings and watercolours (Fig. 3) found among the entries, ornamental vignettes placed on the pages opening the entries made during a given year (Fig. 4), and finally some additions and short commentaries.
Athanasius RaczyÅski, Street in Königsberg, watercolour from volume five of RaczyÅskiâs Diary, 9 September 1840
Decorative vignettes made by RaczyÅski, page from Diary preceding entries from 1816 and 1843
The diary is in possession of Ms Catherine RaczyÅska in London, though it was not part of her familyâs legacy. It was instead purchased by Edward Bernard RaczyÅski, Athanasiusâ great great nephew, in the 1930s, from the estate of Athanasiusâ closest friend during his adult life, the Savoy diplomat, Count Alphonse de Brotty dâAntioche. In one of the codicils to his will, dated 15 September 1869, RaczyÅski left Antioche two chests containing âbound manuscripts and autographs.â13 It is certain that after Athanasiusâ death they did indeed reach their addressee and that the documents included the diary and most likely a collection of letters from the 1840s and 1850s. These documents were used by Adhémar, the son and heir of Alphonse dâAntioche, who in 1880 prepared an excellent edition of RaczyÅskiâs correspondence with the Spanish politician Juan Donoso Cortés, and in 1893 published excerpts from the diary devoted to the situation in Paris in 1824.14 Adhémar dâAntioche, born in 1849 in Brussels and educated in Paris, spent most of his mature life in the family castle in Nernier in the east of France. Until his death in 1918, the documents left by RaczyÅski were kept there. Adhémarâs daughter Simone inherited them along with other family heirlooms. They remained in the family castle after Simoneâs early death in 1922 and passed into the hands of her husband, Baron Louis François Robert Chaulin, who, taking advantage of Edward Bernard RaczyÅskiâs presence as a delegate of the Polish government to the League of Nations in Geneva, less than thirty kilometres from Nernier, offered to sell him the diary in 1933. Edward Bernard RaczyÅski bought the document and eventually took it to London. Unfortunately, it has not been possible to establish what happened to the other documents left by Athanasius with the Count dâAntioche.15
The fact that we have at our disposal a copy of the diary, and not the original, has obvious consequences for its interpretation, as it raises questions about the fidelity of the copy to the original. This is a highly problematic issue because it remains unresolved. The London copy does not show any apparent gaps or inconsistencies in the narrative that would indicate that some sections found in the original had been removed or changed. Moreover, it contains some potentially uncomfortable entries for RaczyÅski, including passages that could have been regarded by him in retrospect as compromising but were nevertheless copied. Both of these circumstances allow us to believe that the diary was not subjected to strong self-censorship during its transcription and that the copy faithfully reflects the original. However, only a comparison of the two documents would provide certainty in this respect.
There is, of course, the question of the original diary. The original seventeen- volume set, bound in red leather, was mentioned by the heir of Athanasiusâ estate, Joseph RaczyÅski. He became interested in his ancestral legacy shortly before the outbreak of the Second World War. In the summer of 1936, he looked through a collection of handwritten journal entries entitled Souvenirs et Bêtises, stored in a mahogany box in Berlinâs Brandenburg-PreuÃisches Hausarchiv. Unfortunately, as he writes, his professional obligations, and later the outbreak of war and subsequent emigration, did not allow him to deal with these entries in more detail.16 The fate of the Berlin copy and where it might be stored today are unknown. It very well may have been lost â burned along with the archive building and most of the documents stored in it in 1943.17
In the late 1970s, Joseph RaczyÅski began once again to study his ancestorâs diary. This time, he used not the originals, to which he no longer had access (and which may have been destroyed), but a copy made available to him in the form of microfilm by Edward Bernard RaczyÅski, that is a reproduction of the copy that had been in his possession since 1933.18 Thanks to Joseph, parts of Athanasiusâ diary have been made available to readers. He translated it into German and edited significant parts of the text. He later published some of these under the title Noch ist Polen nicht verloren: aus den Tagebüchern des Athanasius RaczyÅski 1788 bis 1818,19 while the rest remained in the form of a typescript stored today in the RaczyÅski Library in PoznaÅ.20 The edition produced by Joseph possesses some advantageous features. It is preceded by a short introduction and contains footnotes explaining some of the textâs more cryptic passages. However, it also has disadvantages, the most serious of which are omissions introduced by the publisher that are not always signalled. References to the diary in the present book always refer to the manuscript version.
The diary, especially during the later period, contains a large number of copies of letters written by and to RaczyÅski, including many where neither the originals nor other copies have been found. Among them are key documents, such as correspondence between the Count and his wife and children, as well as with his closest friends, most of whom are colleagues in the field of diplomacy, including Juan Donoso Cortés, Alphonse dâAntioche, Georg Esterházy, and many others. RaczyÅskiâs letters to his family are personal, and some are quite intimate, while his correspondence with friends is often about public matters or a commentary on current political events. Together they provide insights into the different spheres of Athanasiusâ life.
The most important collection of private letters, apart from the copies in the diary, is a large corpus of correspondence with his brother Edward preserved in the State Archive in PoznaÅ, in the National Museum in PoznaÅ, and the RaczyÅski Library in PoznaÅ. It includes letters written from the brothersâ early youth up until Edwardâs death in 1845.21 Another sender and addressee of part of the correspondence contained in the collection is Edwardâs wife, Konstancja née Potocka.22 Also noteworthy is the collection of letters from Kazimierz RaczyÅski stored in the RaczyÅski Library, written to his young grandson and charge,23 and a set of much later letters addressed by Athanasius to (or about) his nephew Roger.24 The letters exchanged in the 1840s between RaczyÅski and the diplomat, co-worker, and friend, Karl Friedrich von Savigny, come from outside the family circle and are kept in the Geheimes Staatsarchiv PreuÃischer Kulturbesitz in Berlin.25 At the same time, his correspondence with various persons is held at the University Library in Amsterdam.26 Small batches of correspondence or single letters to different addressees can also be found in the collections of many Polish, European and American institutions.27
A part of RaczyÅskiâs epistolary legacy was published in the nineteenth century and the first half of the twentieth century. In 1880, Count Adhémar dâAntioche published in Paris the previously mentioned extensive volume containing letters exchanged by Athanasius between 1848 and 1852 with several figures from European politics, including, in particular, the Spanish politician, writer, and philosopher Juan Donoso Cortés.28 RaczyÅskiâs correspondence with the Parisian scholar and expert on Portuguese affairs Ferdinand Denis was published in Lisbon in 1932.29 Several letters written by RaczyÅski to the painter Wilhelm Kaulbach, contained in the memoirs of the artistâs daughter, Josepha, and the first monograph devoted to him by Hans Müller, have also been published.30
DâAntiocheâs book has a special place among these publications. The importance of the book is based on both the reputation of the correspondents â Donoso Cortés was one of the most important European conservative political authors of the mid-nineteenth century â and the quality of the publication. It opens with an introduction of more than thirty pages, presenting the profiles of the bookâs two protagonists. The main part of the book, which includes commentary by the publisher, is comprised of linguistically edited excerpts from RaczyÅskiâs diary as well as letters written by him and to him, in part taken from his diary and in part taken directly from the original correspondence in Adhémar dâAntiocheâs possession. As the Savoy historian Louis-Ãtienne Piccard wrote shortly after dâAntiocheâs death in 1918, âCount dâAntioche sketched with finesse and certainty an engaging psychological portrait of these two personalities [Donoso and RaczyÅski]. Thanks to his profound knowledge of the history of diplomacy, he was able to tie together all these documents, so adeptly selected, with a silken thread that leads the reader through the historical maze of these four years in the history of Europe. He thus made the documents handed down by his father a source of unique and extremely interesting knowledge.â31 Adhémar dâAntioche combined outstanding erudition and excellent knowledge of Spanish and European politics with phenomenal sensitivity and intuition. The letters owe their meticulous editing, the characters they portray and the analysis of the relations between them, their brilliance and accuracy to these traits. DâAntioche is the source of the most insightful and accurate interpretation of RaczyÅskiâs psychological and intellectual profile produced to date.
RaczyÅskiâs official correspondence relates to his work in the Prussian diplomatic service. It includes a large number of reports (drafts and final versions) sent by Athanasius from consular offices in Copenhagen, Lisbon, and Madrid. It is accompanied by other documents concerning his diplomatic service: instructions, regulations, petitions, and, finally, extensive correspondence with officials in the Ministry of Foreign Affairs or persons occupying other high positions in the state administration. The largest and most important collection of these diplomatic documents is archived in the Geheimes Staatsarchiv PreuÃischer Kulturbesitz32 and the Politisches Archiv des Auswärtigen Amtes in Berlin, in which RaczyÅskiâs extensive personnel file is housed.33 Numerous, but to the purposes of the present book less relevant documents are also kept in the RaczyÅski Library in PoznaÅ, which houses the remains â several volumes in total â of the archive of the RaczyÅski family, most of which was destroyed in Warsaw at the end of the Second World War.34 Some letters are also kept in libraries and archives in the cities where Athanasius spent time during his diplomatic career, namely in Copenhagen, Lisbon, and Madrid.35
RaczyÅskiâs property matters are also well documented in source documents. Extensive materials relating to the entail RaczyÅski established in Wielkopolska can be found in the Geheimes Staatsarchiv PreuÃischer Kulturbesitz in Berlin36 and the RaczyÅski Library in PoznaÅ.37 Source materials relating to inheritance issues are housed in the State Archives in PoznaÅ and the Landesarchiv Berlin.38
An exceptional collection of archival materials, labelled by Athanasius RaczyÅski himself with the telling title Libri veritatis (âbooks of truthâ), is kept in the National Museum in PoznaÅ.39 In simple terms, it is a detailed documentation of the Countâs activity as a collector, begun in 1816 and consisting of more than 2500 pages of letters, contracts, invoices, receipts, notes, source extracts, press clippings, catalogues of collections, drawings, etc. It would be difficult to find source materials anywhere on the continent comparable to this unique treasure trove of documents concerning nineteenth-century art collecting. Conceived as an integral part of his art collection and intended to be stored in a gallery space, it is much more than just a testimony to RaczyÅskiâs exceptional solidity and meticulousness. It was both a cognitive tool and an ideological declaration, an instrument for authenticating the Countâs activities as a collector and revealing their essential meaning.
These documents are collected into 50 folders, 46 of which were ordered and personally described by Athanasius. Each of them (except two) is dedicated to a specific painting or group of paintings (in relation to Old Masters) or a specific artist (in relation to contemporary art). Initially, they were arranged in alphabetical order, but after reorganization by Anna Dobrzycka, a long-term employee of the National Museum in PoznaÅ, this original system was altered. The folders were divided by Dobrzycka into two groups, Old Masters and contemporary painting, and were arranged alphabetically only within each of these groups. The two folders differ quite distinctly in character. The first contains âDocuments relating to my purchases of paintings,â that is invoices, receipts, and letters not included in RaczyÅskiâs monographic documentation. The second relates to âStatues at my Home;â it contains documentation pertaining to works of sculpture found at the Countâs Palace in Berlin. This group of 46 folders is complemented by four folders of a decisively mosaic character, arranged in 1932 by Joseph RaczyÅski.
The Libri veritatis provide information about RaczyÅskiâs collecting activity. They allow us to reconstruct the chronology of his purchases and their circumstances, learn the terms of the contracts concluded and the prices paid for the paintings, etc. Their potential as source material is much greater, however, because they also speak of Athanasiusâ place among art lovers and experts; of his relations with artists, which in several cases (Wilhelm Kaulbach, Friedrich Overbeck, Peter Cornelius) were intense and complex; of his aesthetic preferences and expectations towards art; of his work as a patron and benefactor. Although generally concise, one could even say âtechnical,â the notes collected in the folders constitute a very rich source of (sometimes quite surprising) information. The collection has been acclaimed and utilised repeatedly by researchers over the last century. In addition, the larger or smaller groups of letters exchanged by RaczyÅski with various artists preserved in several other German and European institutions can be considered complementary to it.40
Apart from manuscript materials, I have also used numerous texts published in print, especially diaries, and editions of correspondence. RaczyÅskiâs person occupies a more prominent place in only a few of these sources, such as the memoirs of Wirydianna Fiszerowa,41 while much more often, he merely appears in the background. But even scant mentions of Athanasius â by Franciszek Gajewski, Marceli Motty, Józef ÅoÅ, Ksawery Prek, Josefa Dürck-Kaulbach, Ferdinand Denis, Karl Friedrich von Savigny, George Ticknor, Rahel Varnhagen and others42 â often provide us with very useful information, especially when compared with RaczyÅskiâs own notes. A final valuable source of information were relations in which RaczyÅski himself does not appear at all, but which provide information about the people with whom he was acquainted or the circumstances in which he lived and worked.
I have also made use of material from the German and European daily press, as well as specialised journals dealing with artistic issues (Museum, Kunstblatt, Allgemeines Organ für die Interessen des Kunst â und Landkartenhandels).
To sum up, the source materials used are quite extensive but also problematic. Their problematic character results mainly from the fact that the abundance of information from RaczyÅski himself can be juxtaposed against only a modest number of testimonies from other people. We thus have at our disposal a relatively one-sided base of materials whose full potential can only be realised in comparative readings with other sources â such material, however, is only available in rare cases.
â¦
Extracts from English-language sources have been slightly modernized in terms of spelling and punctuation. Sources in other languages are included in translation. Unless otherwise stated in the footnote, all translations are those of the translator. Not without some hesitation and regret, I decided not to include in the footnotes quotations from source texts in their original wording. Due to their number, they would have expanded the length of this volume to unacceptable proportions.
3 State of Research
The only biography of RaczyÅski written to date was published in 1875, a little over a year after the Countâs death. It is a small booklet, just over 50 pages long, entitled Conde de RaczyÅski (Athanasius). Esboço biographico. It was written in Portuguese and published in Porto, Portugal, in an edition of less than a hundred copies for private distribution. Even in todayâs era of databases and digital libraries, this work is hard to find and difficult to access outside Portugal. It was written by Joaquim António da Fonseca de Vasconcelos, who was only 25 years old when the book was published. He later came to occupy an important place among researchers of Portuguese cultural history and became Portugalâs pre-eminent art historian.43
Vasconcelosâ interest in RaczyÅski and his work developed quite naturally. He was born in 1849 in Porto, but at the age of ten left for Germany for six years to study first at a grammar school in Hamburg and then in the Faculty of Philosophy at the University of Berlin.44 From his early youth, he acted as a mediator between German and Portuguese culture. One of Vasconcelosâ early writings (from 1872) was a critical dissertation on António Feliciano de Castilhoâs translation of Goetheâs Faust into Portuguese. The dissertation was well received among literary scholars, bringing acclaim to the author and placing him among the most influential representatives of the young Portuguese intelligentsia. Vasconcelos was joined in his discussion of the translation of Faust by the young Berlin romance scholar Caroline Michaëlis. Vasconcelosâ acquaintance with Caroline brought him back to Berlin in the early 1870s. Vasconcelos then visited RaczyÅski at his palace, and it is from this visit that we get one of the last recorded reminiscences of the aristocrat. In 1876, Joaquim de Vasconcelos and Caroline Michaëlis married and moved to Portugal. They settled in Porto, where they both carried out intensive academic research: Joaquim on the history of Portuguese culture, Caroline on romance languages and literature. Joaquim de Vasconcelos was a passionate student of music, architecture, and the visual arts, to which he would devote many publications in later years. His studies on the history of art, especially his pioneering studies on Roman architecture, became fundamental texts for Portuguese art history. That Vasconcelos would develop an interest in RaczyÅski, a Berlin-based pioneering researcher of Portuguese art and a great proponent of Portugalâs artistic individuality, was almost inevitable. As he wrote himself, his book was written out of a sense of duty because sporadic references in the press âdo not seem sufficient to preserve the memory of the deceased Count RaczyÅskiâs service to this country.â45 It was also written out of a need to do justice to the aristocrat, whose singular efforts to familiarize himself with Portuguese art had long met with mockery and had only recently found worthy successors.46 Vasconcelos undoubtedly felt himself to be a successor to RaczyÅskiâs work, and in many respects he did indeed act as its continuator.
In his biographical sketch, Vasconcelos briefly discusses RaczyÅskiâs origins, political career, and family situation but understandably devotes most of his attention to the Countâs stay in Portugal and his studies of Portuguese art underscoring their pioneering importance. âIt was the Count who gave the first impulse to work on comparative art historyâ in Portugal, he wrote.47
Several years after the publication of Vasconcelosâs book, the first German biographical sketches devoted to RaczyÅski, not counting posthumous recollections in the press, were published. The author of both was the Berlin art historian Lionel von Donop. The first was published as an introduction to the catalogue of RaczyÅskiâs collection of paintings which from 2 January 1884 was on display in Berlinâs National Gallery (with which Donop was professionally associated);48 the second was created with Allgemeine Deutsche Biographie in mind.49 These are interesting because they contain information about RaczyÅskiâs life and a concise but accurate attempt to characterize his thinking and political worldview.
RaczyÅskiâs biography was also published as an introduction in several other source editions. This âtrendâ was initiated by the aforementioned Adhémar dâAntioche, publisher of RaczyÅskiâs correspondence with Juan Donoso Cortés, and was continued by publishers of the collected works of the Spanish philosopher,50 as well as by Henrique Lima in his introduction to an edition of Athanasiusâ correspondence with Ferdinand Denis.51 A comprehensive biographical chapter was also included in a recently published monumental work by Uta Kaiser devoted to RaczyÅskiâs studies on contemporary German art.52
Among Polish authors, materials concerning RaczyÅski were collected by Cyprian Walewski53 and MichaÅ FrÄ ckiewicz54 for their Polski sÅownik biograficzny [Polish Biographical Dictionary]. The factually accurate entry for RaczyÅski was skillfully written by Stefan Kieniewicz.55 For the Wielkopolski sÅownik biograficzny [Wielkopolska Biographical Dictionary] a brief entry was prepared by Anna Dobrzycka.56 She announced in one of her publications the preparation of a comprehensive monograph on RaczyÅski.57 She was undoubtedly competent to produce such a work, but it never appeared in print. A short biographical note on RaczyÅski, inaccurate in many places but neutral in tone, was published by StanisÅaw Szenic in one of his books.58 Basic information about Athanasius, also imprecise and even incorrect in places, is also provided by Teresa ZieliÅska.59 A calendar of RaczyÅskiâs life, compiled by M. Piotr MichaÅowski, was included in the catalogue of the Countâs collection published by the National Museum in PoznaÅ.60
The most significant contribution to research on the person and work of Athanasius RaczyÅski has been made by art historians. RaczyÅskiâs activities in the artistic sphere earned him high praise and an international reputation early on. These were confirmed and consolidated in numerous studies by Polish, German, French, and Portuguese scholars. Four main themes were explored with particular intensity: the Countâs activities as a collector, his work on German art, his attitude to French art, and his research on the artistic legacy of Portugal.
RaczyÅskiâs collection has been described primarily in four catalogues published by the National Museum in PoznaÅ (or in cooperation with it), edited by Marian Gumowski (1931), Anna Dobrzycka (1981), Konstanty Kalinowski and Christoph Heilmann (1992), and a team led by M. Piotr MichaÅowski (2005).61 These are valuable and important works: Gumowskiâs edition with regard to his ambition to publish the most extensive and detailed description to date (significantly more precise than Donopâs Berlin catalogue) of the works in the RaczyÅski collection; Dobrzyckaâs edition because of her attempt to provide a concise but comprehensive description of the Countâs profile as a collector; Kalinowski and Heilmannâs catalogue because of the various high quality texts in it devoted to multiple aspects of RaczyÅskiâs biography and work;62 and MichaÅowskiâs publication because of its detailed discussion of all the works that had at some point been held in Athanasiusâ gallery, including those that have been lost. RaczyÅskiâs activities as a collector and patron were also the subject of a number of more minor, though in some cases very interesting texts by various authors, among them: Karl Simon, LuÃs Reis Santos, Paul Ortwin Rave, Anna Dobrzycka, Zofia Ostrowska-KÄbÅowska, Tadeusz J. Å»uchowski, Elise Grauer, Grzegorz BÄ biak, and finally, Anna Tomczak.63
The second large group of texts covers RaczyÅskiâs research and critical activity in the broad sense of the term. His study of German painting and the resulting three-volume LâHistoire de lâart moderne en Allemagne have been thoroughly analysed by Helmut Börsch-Supan,64 and recently also quite scrupulously by Uta Kaiser.65 His remarks on Duisseldorf painting contained in LâHistoire have been critically examined by Elke von Radziewsky.66 RaczyÅskiâs attitude to contemporary French art was subjected to detailed interpretation by France Nerlich.67 Annette D. Schlagenhauff and Thomas W. Gaehtgens have also focused attention on this topic.68 RaczyÅskiâs research on Portuguese art has understandably attracted interest mainly from scholars from that country. Several important pages were devoted to this subject by José-Augusto França in his classic study on the history of Portuguese art in the nineteenth century.69 Two articles dedicated to RaczyÅski were published by Paulo Simões Rodrigues70 and Sylvie Deswarte-Rosa.71 The second work is an extensive and insightful study of the Countâs Portuguese interests. These have also been given attention by Polish scholars: Anna Dobrzycka, Maria Danilewicz ZieliÅska, and, recently, Dorota MoliÅska.72 Noteworthy is a comprehensive and pioneering study by Danilewicz ZieliÅska, published first in Portuguese and then in Polish. The article, prepared with the use of little-known source materials (RaczyÅskiâs watercolours and his diary stored in London), not only provides basic factual information on Athanasiusâ stay on the Iberian Peninsula but also aptly and concisely describes his activities in the field of art there. Dorota MoliÅskaâs extensive study thoroughly discusses RaczyÅskiâs book Les Arts en Portugal.73 Finally, various aspects of RaczyÅskiâs activity in the sphere of art were addressed in articles collected in the volume Edward i Atanazy RaczyÅscy. DzieÅa â osobowoÅci â wybory â epoka (Edward and Athanasius RaczyÅski. Works â personalities â choices â epoch). Numerous detailed remarks, some of the great importance, are scattered across various studies concerning different aspects of nineteenth-century artistic and collector culture; these are listed in the footnotes contained in the present book. A consequence of this state of affairs for research for the present book is that themes dealt with in previous research will be treated superficially here, while more attention is paid to less known and less used documents.
Historians have paid far less attention to the person of RaczyÅski. Apart from a relatively limited number of occasional allusions, only a few modest studies focusing on him exist. In 1921 Józef Frejlich recounted a particular episode in which RaczyÅski, then a Prussian deputy in Copenhagen, was involved.74 This was in connection with the November Uprising in the Kingdom of Poland (1830â1831). In a series of articles, Tomasz NodzyÅski provided a concise but comprehensive description of RaczyÅskiâs beliefs as a proponent of a pro-Prussian direction in Polish politics during the post-partition period.75 He used as research material the memoranda on Polish affairs prepared by Athanasius in 1819â1831, two of which, produced in 1819 and 1827, were published earlier together with a short commentary by Stefan Kieniewicz.76 Although the scope of this material, the tone of RaczyÅskiâs statements and, in part, the opinions and judgements of the authors vary, all the texts mentioned here deal with the same, very important problem: RaczyÅskiâs attitudes as at once a Pole and a loyal subject of the King of Prussia. This problem too will be discussed in the present book.
4 Acknowledgements
This book was written as part of a research project entitled âAthanasius RaczyÅski (1788â1874). The conservation, scholarly description, and publication of a critical edition of the writings of this Wielkopolska aristocrat, diplomat, historian and art collectorâ were carried out from 2012 to 2015 in the Institute of Art History at Adam Mickiewicz University in PoznaÅ thanks to supporting from the National Programme for the Development of Humanities. My sincere thanks go to the project manager Professor Wojciech Suchocki and his collaborators, Professor Adam S. Labuda, Dr PaweÅ Ignaczak, Dr Kamila KÅudkiewicz, Piotr M. MichaÅowski, Dr Dorota MoliÅska, Dr Aleksandra Paradowska, Anna Tomczak and Katarzyna Zawiasa-Staniszewska. Without the source materials prepared by this team, discussions with them, and their organizational assistance, this monograph would not have been possible. It would also not have been possible without the financial support provided by the NPRH grant and scholarships from the De Brzezie LanckoroÅski Foundation, which made it possible to conduct extensive archival and library research in London and Rome.
A separate grant from the National Programme for the Development of Humanities made it possible to prepare the English-language version of the book.
I also owe a great deal to the support of other people. Above all, I am forever in debt to Professor Tadeusz J. Żuchowski and the helpful and understanding employees of numerous Polish and European scientific, library, archival, and museum institutions, whose names I do not want to mention here for fear that I will inadvertently or unjustly overlook somebody. I thank you all very much.
However, I would like to mention a few people to whom I owe special thanks. First, I would like to thank Ms Catherine RaczyÅska, who welcomed me warmly to her London apartment many times, and for whose kindness and helpfulness I am unable to find adequate words. Next, I want to thank Professor Adam S. Labuda, who for many years continued to sponsor my research projects, always with the same high level of commitment, attention, and support. I would like to thank Anna Tomczak, who generously and unhesitatingly shared with me her great, detailed knowledge of Athanasius RaczyÅski, acquired through meticulous research, although she was fully entitled to keep this information to herself for use in her own academic work. I would also like to thank my family â my wife Patrycja and my sons Gustaw and Maksymilian â for their patience and understanding because my work on this monograph entailed countless sacrifices from them, including long periods of separation.
â¦
I dedicate this book to the memory of my father, a man of great simplicity with a big heart.
Julian Ursyn Niemcewicz, Dzienniki 1835â1836, do druku przygotowaÅa i przypisami opatrzyÅa Izabella Rusinowa (Warszawa: Wydawnictwa Uniwersytetu Warszawskiego, 2005), 281.
Deux diplomates le comte Raczynski et Donoso Cortès marquis de Valdegamas. Dépêches et correspondence politique 1848â1853, Publiéez et mises en ordre par la comte Adhémar dâAntioche (Paris: E. Plon, 1880), VIIâVIII.
The politically weakened Polish-Lithuanian Commonwealth (Rzeczpospolita) became the target of expansion by neighbouring powers â Prussia, Russia, and Austria â in the late eighteenth century. In the course of the so-called âthree partitions,â it was gradually reduced in size and finally, in 1795, divided among its neighbours. Poland disappeared from the map of independent European states for more than 120 years, until 1918. The western part of the fallen Polish state, so-called Greater Poland (Wielkopolska), together with its capital PoznaÅ, became the domain of Prussia in 1793. By virtue of the resolutions of the Congress of Vienna, the formally autonomous Grand Duchy of Posen was established in the region in 1815, and after 1848, renamed the Province of Posen.
A document preserved in RaczyÅskiâs records speaks in a particularly clear and concise way about his greatest fascinations and main fields of activity. This is a single sheet of paper included in the so-called Libri veritatis: on its obverse there is a schedule for a meeting of the Prussian Chamber of Lords on 19 March 1859, on the reverse side there is a project in Athanasiusâ handwriting to hang paintings in his gallery; LV, vol. 47b, MNP, MNPA 1414/47b, pp. 937â938.
Juliusz Falkowski, Obrazy z życia kilku ostatnich pokoleÅ w Polsce, vol. II (PoznaÅ: KsiÄgarnia Jana Konstantego Å»upaÅskiego, 1882), 211.
Pierre M. Larousse, ed., Grand dictionnaire universel du XIXe siècle: français, historique, géographique, mythologique, bibliographique, vol. 13 (Paris:1875), 619.
In January 1857, RaczyÅski wrote an article in the Brussels newspaper âLe Nordâ on the political situation in England (Les journaux qui attaquent Lord Palmerstonâ¦, Le Nord. Journal quotidien, 3e Année, No 13, Mardi, 13 Janvier 1857, pp. 1â2). It was one of a few RaczyÅskiâs public statements on political issues.
The term âdual revolutionâ has been taken from Eric J. Hobsbawm, The Age of Revolution: Europe 1789â1848 (London: Weidenfeld & Nicolson, 1962). See also the analysis of the âtransformation of the worldâ in the nineteenth century proposed by Jürgen Osterhammel, Die Verwandlung der Welt: eine Geschichte des 19. Jahrhunderts (München: C.H. Beck, 2009).
Adam S. Labuda, âBracia RaczyÅscy â biografie i konfiguracje pamiÄci,â in Adam S. Labuda, MichaÅ Mencfel, Wojciech Suchocki, eds., Edward i Atanazy RaczyÅscy. DzieÅa â osobowoÅci â wybory â epoka (PoznaÅ: Muzeum Narodowe w Poznaniu, 2010), 17â26, esp. 24.
We know from Adhémar dâAntioche that he kept such a record until at least 1871, but the volume (or volumes) containing the late entries, which were available to Antioche in the late nineteenth century, have been lost; Deux diplomates le comte Raczynski et Donoso Cortès, XXVII.
DIARY, 14 November 1808.
Gustaw Herling-GrudziÅski, Dziennik pisany nocÄ , 1973â1979 (Warszawa: Niezależna Oficyna Wydawnicza, 1983), 75.
The codicil to Athanasius RaczyÅskiâ will, dated 15 September 1869, in: LAB, Berlin, A Pr. Br. Rep. 005 A â Stadtgericht Berlin, No. 6909, pp. 41â57.
Adhémar dâAntioche, âLe dernier hiver dâun règne. Paris, 1824. Impressions dâun témoin,â Revue dâhistoire diplomatique publiée par les soins de la Société dâHistoire Diplomatique, Dix-septième année (1893): 124â147.
The marriage of Baron Chaulin to Simone dâAntioche was childless (Simone died in childbirth), as was his second marriage, to Marcelle Grimault. After his death, at least some of the dâAntioche family property was transferred to the Talleyrand-Périgord family (from which hailed Marie Marguerite de Talleyrand-Périgord, Adhémarâs wife and Simoneâs mother). Memorabilia from the Antioch and Chaulin families, held in the Talleyrand-Périgord family collection, including momentoes of Alphonse and Adhémar dâAntioche, were sold by the Daguerre auction house at an auction sale held at the Hôtel Drouot in Paris on 4 March 2015. If any of the letters sent by RaczyÅski to Alphonse dâAntioche have survived, they might be held by the Talleyrand-Périgord family.
Athanasius RaczyÅski, Noch ist Polen nicht verloren. Aus den Tagebüchern des Athanasius RaczyÅski 1788 bis 1818, herasugegeben und übersetzt von Joseph A. Graf RaczyÅski (Berlin: Siedler, 1984), 251â252.
We have knowledge of one additional copy of the diary commissioned by Athanasius in the 1850s. It was to include twenty-one bound yellow notebooks. Its current whereabout is unknown.
The microfilm was then handed over by Joseph Raczynski to the Geheimes Staatsarchiv PreuÃischer Kulturbesitz in Berlin, where it can still be found under the call number III HA, Repr, 59.
Athanasius RaczyÅski, Noch ist Polen nicht verloren.
The following volumes are found in typescript form: Der Weg nach Berlin. Aus den Tagebüchern des Athanasius Raczynski 1819â1836, herausgegeben und übersetzt von Joseph A. Graf Raczynski, Bd. 1â2, als Manuskript vervielfältigt, München, November 1986, and Berlin-Lissabon. Posen und Galizien (Persönliche Erlebnisse â Politik â Klatsch â Kunst â Diplomatie). Aus den Tagebüchern des Athanasius Raczynski 1837â1848, herausgegeben und übersetzt von Joseph A. Graf Raczynski, als Manuskript vervielfältigt, Santiago de Chile; BR, PoznaÅ, ms 4047.
APP, MajÄ tek Rogalin, 74â79; MNP, MNPA-1414â48; BR, PoznaÅ, ms 4223, pp. 1â47 and pp. 71â75.
BR, PoznaÅ, ms 4223, pp. 67â77.
BR, PoznaÅ, ms 1996.
BR, PoznaÅ, ms 2727; BR, PoznaÅ, ms 4223, pp. 89â90.
GStA, Berlin, VI. HA Nl Karl Friedrich von Savigny, Nr. 208.
The University Library of Amsterdam holds a collection of almost thirty letters written by or addressed to RaczyÅski. These items were part of a rich collection of autographs collected by the publisher and collector Pieter Arnold Diederichs that was donated to the library by his son soon after his death in 1874. Among the materials related to the Polish aristocrat, only a part is correspondence in the strict sense. Many of these items are quite mundane: invitations to dinner, acknowledgements, information about deliveries, etc. In some cases, they are anonymous, and only some are precisely dated. However, the collection also includes some extensive and quite interesting letters, concerning for the most part RaczyÅskiâs artistic and scientific interests, especially those written to the Berlin art historians Friedrich Rumohr (letters dated 11 December 1828, 18 and 28 July 1836; OTM: hs. 86 M 6â8) and Gustav Friedrich Waagen (letter dated 6 [December?] 1836; OTM: hs. 95 A 2), to the Dresden librarian Konstantin Karl Falkenstein (letters dated 13, 18 and 22 June 1844; OTM: hs. 86 M 1â3), to the scholar Wilhelm Körte of Halberstadt (letters dated 5 June 1837 and 22 February 1846; OTM: hs. 86 M 4â5), and to the Portuguese aristocrat and amateur researcher Francisco de Almeida, Count Lavradio (letters dated 29 April 1843 and 16 June 1844; OTM: hs. 137 El, 1â2).
See letters written to the following addressees (in alphabetical order): Dezydery ChÅapowski (BR, PoznaÅ, ms 4048, p. 81, letter dated 19 November 1830), Tytus DziaÅyÅski (BK, Kórnik, ms 7349/2, pp. 310â315, letters dated 29 June 1820, 23 March and 23 June 1828, 27 August 1855), Sir Charles Eastlake (NAL V&A, London, MSL/1922/416, letters dated 15, 19 and 28 August 1838, 5 October 1838, 3 December 1839, 10 June 1840, 24 June, 30 September and 6 December 1841), Józef Grabowski (Ossolineum, WrocÅaw, ms 4187/II, 385, letter dated 29 September 1849), Teresa JabÅonowska (BR, PoznaÅ, ms 4048, pp. 119â123, letter dated 6 October 1831), Karol Kniaziewicz (Biblioteka Polska in Paris, ms BPP 482/1, pp. 579â580, letter dated 26 August 1829), Hipolit Kownacki (BN, Warsaw, ms 2758 II, p. 51, letter dated 20 March 1822), Izabela Lubomirska (APK (Wawel), Archiwum Potockich z Krzeszowic, AKPot 289, pp. 227â230, letter dated 10 December 1815), Friedrich Lucanus (Staatsarchiv Graubünden, Chur, B/N 1361 Nr. 1202, letter dated 9 November 1836), Tomasz ÅubieÅski (BR, PoznaÅ, ms 4048, pp. 152â161, letter dated 4 January 1832), Kajetan Morawski (BR, PoznaÅ, ms 4223, pp. 87â88, letter dated 19 December 1864), Alfred Potocki (APK (Wawel), Archiwum Potockich z Krzeszowic, AKPot 313, p. 675), Franciszkek Potocki (APK (Wawel), Archiwum Potockich z Krzeszowic, AKPot 3288, pp. 705â706, letter dated 3 September 1822), Józefina RadoliÅska (BR, PoznaÅ, ms 4223, pp. 91â92, letter dated 9 October 18[?], WÅadysÅaw RadoliÅski (BR, PoznaÅ, ms 4223, p. 93, letter dated 4 July 1828; APP, MajÄ tek Jarocin, 3865, pp. 9â10, letter dated 10 February [18â¦?]); APP, MajÄ tek Jarocin, 3845, pp. 38â39, letter dated 9 October 1866), Karl Friedrich von Rumohr (Staats- und UniversitaÌtsbibliothek Hamburg Carl von Ossietzky, CS 10: RaczyÅski, 1â3, letters dated 20 September and 11 December 1828); Joachim Stattler (Ossolineum, WrocÅaw, ms 12911/III, 397, letter dated 26 June 1821); George Ticknor (RSCL, Hanover, NH, call no. 837320, letters dated 20 May 1837, 12 and 23 September 1839, 19 January and 6 February 1840, 30 May and 19 July 1841 and 3 September 1856); Franciszek WÄżyk, (Ossolineum, WrocÅaw, ms 12320/II, 269â272, letter dated 9 September 1857); Henry Wheaton (Pierpont Morgan Library, New York, Wheaton Papers, Box 13, letters dated 5 January 1834, 25 January and 6 September 1836, 1 May 1843, 16 May 1848, 30 May 1850 and 6 January 1852); Józef ZaÅuski (APK (Wawel), Archiwum Siedliszowickie ZaÅuskich, ASZ 48, pp. 723â726, letter dated 26 January 1830).
Deux diplomates le comte Raczynski et Donoso Cortès.
Cartas dirigidas pelo Conde de Raczynski a Ferdinand Denis, prefaciadas e anotadas por Henrique de Campos Ferreira Lima (Lisboa: História, 1932).
Josefa Dürck-Kaulbach, Erinnerungen an Wilhelm von Kaulbach und sein Haus, mit Briefen und hundertsechzig Abbildungen (München: Delphin Verlag, 1921); Hans Müller, Wilhelm Kaulbach, vol. 1 (Berlin: Fontane, 1893).
Louis-Ãtienne Piccard, âLe comte Adhémar dâAntioche (1849â1918),â Mémoires & documents publiés par lâAcademie Chablaisienne XXXI (1918): 144â155, esp. 150.
GStA, Berlin, III. HA Ministerium der auswärtigen Angelegenheiten I, Nr. Nr. 4549, 4556, 4565, 4604â4607, 6210, 6245â6250, 7031,7106â7110; GStA, Berlin, I. HA Rep. 81 Kopenhagen: Gesandtschaft Kopenhagen nach 1807, Nr. 136â140; GStA, Berlin, I. HA Rep. 81 Lissabon: Gesandtschaft / Generalkonsulat Lissabon nach 1807, Nr. 38â44; GStA, Berlin, I. HA Rep. 81 Madrid: Gesandtschaft Madrid nach 1807, Nr. 15, 23, 24, 52.
AA, Berlin, Nr. 011609.
BR, PoznaÅ, ms 2719, 2720.
RA, Copenhagen 302. Departament for udenlandske anliggender, Preussen, Nr. 1691, 1692, 1711, 1770â1774; ANTT, Ministério dos Negócios Estrangeiros, liv. 621, 639.
GStA, Berlin, I. HA Rep. 84 a, Justizministerium, Nr. 45517, 45518.
BR, PoznaÅ, ms 2721â2723, 2725, 2726.
LAB, Berlin, A Pr. Br. Rep. 005 A â Stadtgericht Berlin, Nr. 6909.
MNP, MNPA 1414/1â47d. A large portion of it was recently published in a volume edited by Wojciech Suchocki, Libri veritatis Atanazego RaczyÅskiego, vol. IâII (PoznaÅ: Instytut Historii Sztuki UAM, 2017) and Kamila KÅudkiewicz, Libri veritatis Atanazego RaczyÅskiego. Suplement (PoznaÅ: Wydawnictwo Naukowe UAM, 2020).
See the correspondence between RaczyÅski and Wilhelm Kaulbach (in the Bayerische Staatsbibliothek in Munich, BSB, Kaulbach-Archiv II: Raczynski; Kaulbach-Archiv IV: Raczynski) and Bertel Thorvaldsem (in Arkivet- et dokumentationscenter om Thorvaldsen, Thorvaldsens Museum in Copenhagen, Call number m5 1818, no. 38a, 83 and 89).
Wirydianna Fiszerowa, Dzieje moje wÅasne i osób postronnych. WiÄ zanka spraw poważnych, ciekawych i bÅahych, transl. by Edward RaczyÅski (London: NakÅadem TÅumacza, 1975).
Franciszek Gajewski, PamiÄtniki puÅkownika wojsk polskich (1802â1831), do druku przysposobione przez prof. dra StanisÅawa Karwowskiego (PoznaÅ: ZdzisÅaw Rzepecki i S-ka, 1913); Marceli Motty, Przechadzki po mieÅcie, vol. 1â2, opracowaÅ i posÅowiem opatrzyÅ ZdzisÅaw Grot (Warszawa: PaÅstwowy Instytut Wydawniczy, 1957), first published 1889â1891; Józef ÅoÅ, Na paryskim i poznaÅskim bruku. Z pamiÄtnika powstaÅca, tuÅacza i guwernera 1840â1882, wstÄp i opracowanie Krystyna Nizio (Kórnik: Polska Akademia Nauk, Biblioteka Kórnicka, 1993); Franciszek Ksawery Prek, Czasy i ludzie, przygotowaÅ do druku, przedmowÄ , wstÄpem i przypisami opatrzyÅ Henryk Barycz (WrocÅaw: ZakÅad Narodowy im. OssoliÅskich, 1959); Ferdinad Denis, Journal (1829â1848), publié avec une introduction et des notes par Pierre Moreau, Collectanea Friburgensia, Publications de lâUniversité de Fribourg (Suisse). Nouvelle série, fasc. XXI (30me de la collection) (Fribourg, Paris: 1932); Josefa Dürck-Kaulbach, Erinnerungen an Wilhelm von Kaulbach und sein Haus; Karl Friedrich von Savigny, 1814â1875. Briefe, Akten, Aufzeichnungen aus dem Nachlass eines preuÃischen Diplomaten der Rechsgrründerzeit, Ausgewählt und herausgegeben von Willy Real, vol. 1â2 (Boppard am Main: Boldt. 1981); Life, letters and journals of George Ticknor, edited by Geroge Hillard, Anna Ticknor and Anna Eliot Ticknor, vol. 1â2 (Boston: Houghton Mifflin Company, 1909); Rachel Varnhagen, Rachel. Ein Buch des Andenkens für ihre Freunde, vol. 3 (Berlin: Duncker & Humblot, 1834).
Georg Kauffmann, Die Entstehung der Kunstgeschichte im 19. Jahrhundert (Opladen: Westdeutscher Verlag, 1993), 9.
For more on the life of Vasconcelos, see in particular: Santa Maria Fonseca Leandro, âJoaquim de Vasconcelos (1849â1936). Historiador, crÃtico de arte e muséologo,â vol. 1â2 (Dissertação de Doutoramento em História da Arte Contemporânea, Junho 2008), 47â223, and on the book he wrote about RaczyÅski, pp. 77â80. Also: António Cruz, Joaquim de Vasconcelos. O homeme a obra. Com algumas cartas inéditas (Porto, 1950). 9â13.
Joaquim de Vasconcellos, Conde de Raczynski (Athanasius). Esboço biographico (Porto, 1875), 5.
Joaquim de Vasconcellos, Conde de Raczynski (Athanasius), 11.
Joaquim de Vasconcellos, Conde de Raczynski (Athanasius), 11.
Lionel von Donop, Verzeichniss der Gräflich Raczynskiâschen Kunstsammlungen in der Königlichen National-Galerie (Berlin: Mittler 1886), VIIIâXVI.
Lionel von Donop, âRaczynski, Athanasius Graf,â in Allgemeine Deutsche Biographie, 1888, Onlinefassung, URL:
Juan Donoso Cortés, Obras de Don Juan Donoso Cortés marqués de Valdegamas. Nueva edición aumentada con importantes escritos inéditos y varios documentos relativos al mismo autor, publica pro su hermano Don Manuel bajo la dirección y con un prólogo de Don Juan Manuel Orti Y Lara, Volumen II (Madrid-Barcelona-Buenos Aires: CompañÃa Ibero-Americana de Publicaciones, 1904), 637â645.
Cartas dirigidas pelo Conde de Raczynski a Ferdinand Denis, prefaciadas e anotadas por Henrique de Campos Ferreira Lima (Lisboa: Tip. José Fernandes Junior, 1932), 7â19.
Uta Kaiser, Sammler, Kenner, Kunstschriftsteller. Studien zur âGeschichte der neueren deutschen Kunstâ (1836â1841) des Athanasius RaczyÅski (Hildesheim: Georg-Olms-Verlag, 2017), 41â122.
Walewski emphasises RaczyÅskiâs contribution to the field of art, writing about him: âAn exceptional connoisseur and lover of art, he amassed a famous collection of paintings and wrote books about the history of painting in French and published them.â See: MateriaÅy do sÅownika biograficznego Cypriana Walewskiego, ms in: BN PAN/PAU in Kraków, 7457, vol. 19.
In the works written by FrÄ ckiewicz there are only references to articles devoted to RaczyÅski in âTygodnik ilustrowanyâ [Illustrated Weekly]. See: MateriaÅy do sÅownikach biograficznego MichaÅa FrÄ ckiewicza, ms in: BN PAN/PAU in Kraków, 2159, vol. 16.
Stefan Kieniewicz, âRaczyÅski Atanazy (1788â1874),â in Polski SÅownik Biograficzny XXIX (WrocÅaw et al.: ZakÅad Narodowy im. OssoliÅskich, 1986), 625â627.
Anna Dobrzycka, âAtanazy RaczyÅski,â in Wielkopolski sÅownik biograficzny (Warszawa- PoznaÅ: PaÅstwowe Wydawnictwo Naukowe, 1981), 606â607.
Anna Dobrzycka, âAtanazy RaczyÅski,â in MyÅl o sztuce. MateriaÅy Sesji zorganizowanej z okazji czterdziestolecia istnienia Stowarzyszenia Historyków Sztuki, Warszawa, listopad 1974, edited by Teresa Hrankowska (Warszawa: PaÅstwowe Wydawnictwo Naukowe, 1976), 235â251.
StanisÅaw Szenic, Za zachodniÄ miedzÄ . Polacy w życiu Niemiec XVIII i XIX wieku (Warszawa: PaÅstwowy Instytut Wydawniczy, 1973), 125â130.
Teresa ZieliÅska, Poczet polskich rodów arystokratycznych (Warszawa: Wydawnictwa Szkolne i Pedagogiczne, 1997), 293â294.
M. Piotr MichaÅowski et al., Galeria Atanazego RaczyÅskiego. Katalog zbiorów Muzeum Narodowego w Poznaniu (PoznaÅ: Muzeum Narodowe w Poznaniu, 2005), 37â43.
Marian Gumowski, Galerja obrazów A. hr. RaczyÅskiego w Muzeum Wielkop. (PoznaÅ: Muzeum Wielkopolskie, 1931); Anna Dobrzycka, ed., Galeria Atanazego RaczyÅskiego, exh. cat. (PoznaÅ: Muzeum Narodowe w Poznaniu, 1981); Malerei der Spätromantik aus dem Nationalmuseum PoznaÅ, exh. cat. (München: Hirmer Verlag, 1992); M. Piotr MichaÅowski et al., Galeria Atanazego RaczyÅskiego.
Christoph Heilmann, âGraf Athanasius RaczyÅskis Sammlung zeitgenössischer Malerei im Vergleich mi denen des Konsuls Wagener in Berlin und König Ludwigs I. von Bayern,â in Konstanty Kalinowski and Christoph Heilmann, eds., Sammlung Graf RaczyÅski, 33â44; Frank Büttner, âAthanasius Graf RaczyÅski als Apologet der Kunst seiner Zeit,â in Konstanty Kalinowski and Christoph Heilmann, eds., Sammlung Graf RaczyÅski, 45â60; Micheal S. Cullen, âDas Palais Raczynski. Vom Bauwerk, das dem Reichstag weichen muÃte,â in Konstanty Kalinowski and Christoph Heilmann, eds., Sammlung Graf RaczyÅski, 61â69 (the text is an abbreviated version of an earlier article; see Micheal S. Cullen, âDas Palais Raczynski. Vom Bauwerk, das dem Reichstag weichen muÃte,â Berlin in Geschichte und Gegenwart. Jahrbuch des Landesarchivs Berlin (1984): 25â48); Angelika Wesenberg, âRaczyÅski in Berlin,â in Konstanty Kalinowski and Christoph Heilmann, eds., Sammlung Graf RaczyÅski, 70â84.
Karl Simon, âAus dem Briefwechsel zwischen dem Grafen Athanasius Raczynski und Wilhelm von Kaulbach,â Historische Monatsblätter für die Provinz Posen, No. 5 (1904): 174â184; Idem, âHans Makart und Graf Athanasius Raczynski,â Kunstchronik, Neue Folge, XVI. Jahrgang, No. 15 (1905): 227â231; LuÃs Reis Santos, Estudos de pintura antiga (Lisboa: Gráfica Santelmo, 1943), 11â22; Paul Ortwin Rave, âÃber die Sammlung Raczynski,â Berliner Museen, 3 Jg., H. 1/2 (1953): 4â7; Idem, Kunst in Berlin. Mit einem Lebensbericht des Verfassers von Alfred Hentzen (Berlin: Staneck, 1965), 111â117; Anna Dobrzycka, âGaleria Atanazego RaczyÅskiego w Åwietle Libri Veritatis,â Muzealnictwo, No. 9 (1959): 5â16; Eadem, âListy Leopolda Robert. Ze studiów nad mecenatem Atanazego RaczyÅskiego,â Biuletyn Historii Sztuki XXVI (1964): 191â196; Eadem, âGanymède. Trois lettres inédites des Thorvaldsen à Athanase RaczyÅski,â Bulletin du Musée National de Varsovie VII (1966): 27â32; Eadem, âPoznaÅscy Medyceusze. Rodzinny portret RaczyÅskich,â Studia Muzealne, No. 12 (1977): 115â120; Eadem, âAthanazy RaczyÅski a Lisbonne et a Madrid,â in Actas del XXIII Congresso International de Historia del Arte. España entre el Mediterraneo y el Atlantico, Granda 1973, vol. 3 (Granada: Universidad de Granada, 1978), 497â508; Zofia Ostrowska-KÄbÅowska, âSiedziby-muzea. Ze studiów nad architekturÄ XIX w. w Wielkopolsce,â in Sztuka XIX wieku w Polsce. Naród â miasto, MateriaÅy Sesji Stowarzyszenia Historyków Sztuki, PoznaÅ, grudzieÅ 1977 (Warszawa: PaÅstwowe Wydawnictwo Naukowe, 1979), 69â108; Eadem, âGaleria Atanazego RaczyÅskiego. Na marginesie wystawy w Muzeum Narodowym w Poznaniu,â Studia Muzealne, vol. XIV (1984): 13â28; Tadeusz J. Å»uchowski, âKarl Friedrich Schinkel und Athanasius Graf RaczyÅski. Der Künstler und der Kunstkenner,â in Lothar Hyss, ed., Schinkel in Schlesien. Deutsch-polnisches Symposion in der Vertretung des Landes Niedersachen beim Bund, Bonn, 11.â15. April 1994. Vorträge und Berichte (Königswinter: Haus Schlesien â Museum für Landeskunde, 1995), 173â178; Elise F. Grauer, âBridging the Gap â Count Athanazy RaczyÅski and His Galleries in Poland and Prussia,â Artium Quaestiones XV (2004): 5â49; Eadem, âTradition als Konstrukt. Graf Athanasius RaczyÅskis Galerien in Polen und Preuβen,â in Robert Born, Adam S. Labuda, Beate Störtkuhl, eds., Visuelle Erinnerungskulturen und Geschichtskonstruktionen in Deutschland und Polen 1800 bis 1939. Beiträge der 11. Tagung des Arbeitskreises deutscher und polnischer Kunsthistoriker und Denkmalpfleger in Berlin, 30. Septemberâ3. Oktober 2004 (Warszawa: Instytut Sztuki Polskiej Akademii Nauk, 2006), 144â159; Jolanta Polanowska, âAtanazy RaczyÅski,â in Urszula Makowska and Katarzyna Mikocka-Rachubowa, eds., SÅownik artystów polskich i obcych w Polsce dziaÅajÄ cych (zmarÅych przed 1966 r.). Malarze, rzeźbiarze, graficy, vol. VIII (Warszawa: Instytut Sztuki Polskiej Akademii Nauk, 2007), 169â172; Grzegorz P. BÄ biak, Sobie, ojczyźnie czy potomnoÅci ⦠Wybrane problemy mecenatu kulturalnego elit na ziemiach polskich w XIX wieku (Warszawa: Wydawnictwo Neriton, 2010), 501â505; Anna Tomczak, âZ korespondencji Atanazego RaczyÅskiego z Wilhelmem von Kaulbachem. O mitologizacji, reklamie i intrygach artysty w relacjach ze swoim mecenasem,â in Adam S. Labuda, MichaÅ Mencfel, Wojciech Suchocki, eds., Edward i Atanazy RaczyÅscy, 363â370; Eadem, âHrabia z Wielkopolski i przyszÅy ksiÄ Å¼Ä malarzy wiedeÅskich. Atanazy RaczyÅski, Hans Makart i Królowa elfów â historia pewnego zlecenia z dokumentów wysnuta,â in MichaÅ BÅaszczyÅski et al., eds., Sztuka w Wielkopolsce (PoznaÅ: Wydawnictwo Nauka i Innowacje, 2013), 167â179.
Helmut Börsch-Supan, âDie âGeschichte der neueren deutschen Kunstâ von Athanasius Graf RaczyÅski,â in Wulf Schadendorf, ed., Beiträge zur Rezeption der Kunst des 19. und 20. Jahrhunderts (München: Prestel, 1975), 15â26.
Uta Kaiser, âDie âGeschichte der neueren deutschen Kunstâ des Athanasius Graf RaczyÅski (1788â1874),â in Wojciech BaÅus, Joanna WolaÅska, eds., Die Etabilierung und Entwicklung des Faches Kunstgeschichte (Warszawa: Instytut Sztuki Polskiej Akademii Nauk, 2010), 183â209; Eadem, âAthanasius Graf RaczyÅski als Kunstschriftsteller in den 1830ern und 40ern,â in Adam S. Labuda, MichaÅ Mencfel, Wojciech Suchocki, eds., Edward i Atanazy RaczyÅscy, 243â255; Eadem, âMäzenatentum in Schrift und Bild. Athanasius Graf RaczyÅski (1788â1874) und die Düsseldorfer Malerschule,â in Walter Schmitz, ed., Adel in Schlesien und Mitteleuropa: Literatur und Kultur von der frühen Neuzeit bis zur Gegenwart (München: Oldenbourg, 2013), 273â295; Eadem, Sammler, Kenner, Kunstschriftsteller.
Elke von Radziewsky, Kunstkritik im Vormärz. Dargestellt am Beispiel der Düsseldorfer Malerschule (Bochum: Brockmeyer, 1983), 31â32, 43â47, 54â59.
France Nerlich, Le peinture française en Allemagne 1815â1870, Passages. Centre allemand dâhistoire de lâart, vol. 27 (Paris: Ãd. de la Maison des Sciences de lâHomme, 2010), 101â103, 171â172, 297â308; Eadem, âEin kühner Blick. Athanasius RaczyÅski und die französische Kunst seiner Zeit,â in Adam S. Labuda, MichaÅ Mencfel, Wojciech Suchocki, eds., Edward i Atanazy RaczyÅscy, 263â276.
Annette D. Schlagenhauff, âCapital Concerns: German Perceptions of French Art and Culture in Berlin, 1830â1855â (PhD thesis, Courtauld Institute of Art, University of London, 2001, ms in the Kunstbibiothek Berlin), 103â116; Thomas W. Gaehtgens, âFranzösische Historien- und deutsche Geschichtsmalerei. Ãber den Besuch des Grafen Raczynski im Salon von 1836,â in Dieter Hein, Klaus Hildebrand, Andreas Schulz, eds., Historie und Leben. Der Historiker als Wissenschaftler und Zeitgenosse. Festschrift für Lothar Gall (München: De Gruyter, 2006), 257â271.
José-Augusto França, A arte em Portugal no século XIX, Volume I, Primer aparte (1780â1835) e Segunta parte (1835â1880) (Lisboa: Bertrand, 1966), 392â396.
Paulo Simões Rodrigues, âO conde Athanasius Raczynski e a historiagrafia da arte em Portugal,â Revista de história de arte, No. 8 (2011): 264â275.
Sylvie Deswarte-Rosa, âAthanase Raczynski au Portugal, 1842â1848. Luz e Sombra,â Artis â Revista do Instituto de História da Arte da Faculdade de Letras de Lisboa, No. 9/10 (2010â2011): 19â91.
Anna Dobrzycka, âRaczyÅski au Portugal,â Bulletin du Musée de Varsovie XXX, No. 1â2 (1989): 4â26; Maria Danilewicz ZieliÅska, âAtanásio Raczynski â 1788â1874. Um historiador de arte portuguesa,â Belas-Artes. Revista e Boletim de Academia Nacional de Belas-Artes, 3a Série, No. 3 (1981): 51â70.
Dorota MoliÅska, Sztuki piÄkne w Portugalii oczami Atanazego RaczyÅskiego. O poczÄ tkach badaÅ nad portugalskÄ historiÄ sztuki i ich miÄdzynarodowym kontekÅcie (PoznaÅ: Wydawnictwo Nauka i Inowacje, 2020).
Józef Frejlich, ââOdgÅosy listopadowe w Danji.â Przyczynek do charakterystyki Atanazego hr. RaczyÅskiego posÅa pruskiego w Kopenhadze,â Kwartalnik historyczny XXXV, z. 1/2 (1921), 91â98.
Tomasz NodzyÅski, Naród i jego przyszÅoÅÄ w poglÄ dach Polaków w Wielkim KsiÄstwie PoznaÅskim 1815â1850 (Zielona Góra: Oficyna Wydawnicza Uniwersytetu Zielenogórskiego, 2004); Idem, âAntoni RadziwiÅÅ i Atanazy RaczyÅski: idea kompromisu z Prusami â projekty i dziaÅania,â Studia Zachodnie 5 (2005):147â159; Idem, âAntoni RadziwiÅÅ oraz Atanazy RaczyÅski wobec monarchii pruskiej i niemieckiej kultury,â in Lidia Michalska-Bracha, Maria Korybutt-Marciniak, eds., MiÄdzy irredentÄ a kolaboracjÄ . Postawy spoÅeczeÅstwa polskiego w latach niewoli â âW obcym mundurzeâ (Warszawa: Wydawnictwo DiG, 2013), 85â103.
Stefan Kieniewicz, âDwa memoriaÅy Atanazego RaczyÅskiego z lat 1819 i 1827,â in Zbigniew Wójcik et al., eds., Z dziejów polityki i dyplomacji polskiej. Studia poÅwiÄcone pamiÄci Edwarda hr. RaczyÅskiego Prezydenta Rzeczypospolitej Polskiej na wychodźstwie (Warszawa: Wydawnictwo Sejmowe, 1994), 105â121.