DOI issue:
Rozprawy
DOI article:Grauer, Elise F.: Bridging the gap: Count Athanazy Raczyński and his galleries in Poland and Prussia
DOI Page / Citation link:https://doi.org/10.11588/diglit.28199#0031
BRIDGING THE GAP - COUNT ATHANAZY RACZYŃSKI AND HIS GALLERIES IN POLAND AND PRUSSIA
29
The gallery was open to the public daily between 12 am and 2 pm;98
admission cost IV2 Silbergroschen, which included a copy of the cata-
logue.99 By comparison, the royal museum, also open daily, was free of
charge, except on Tuesdays and on Wednesdays when it was reserved for
artists.100 Many private galleries were accessible exclusively by
appointment, and often only displayed parts of the collections.101
5. Palais Raczyński after its enlargement, (1881), photograph, 35,5, x 27 cm, Berlin, in Michael
S. Cullen, Vom Exercierplatz zum Platz der Republik, ex.cat, Landesarchiv Berlin 1992, ill.
III/10
As the visitor entered the Palais, he saw new and old glass paintings
in the windows, which must have created extraordinary lighting
effects.102 Presumably, this church-like illumination, which fitted Ra-
czynski’s preferred Nazarenes and his perception of art of quasi-religious
significance, was meant to attune visitors to the ‘high art’ displayed
under the temple’s roof.103 Visitors to his gallery had to climb a staircase
98 Max Schasler, Berlins Kunstschätze, 2, Die Öffentlichen und Privat-Kunstsamm-
lungen, Kunstinstitute und Ateliers der Künstler und Kunstindustriellen von Berlin, Ber-
lin 1856, p. 284.
99 A. Woldt (ed.), Neuester Fremdenführer durch Berlin. Nebst einem Stadtplan und
einer Karte der Umgebung Berlins, Berlin 1868, p. 23. A sum of 7 Silbergroschen was
enough for two journeys through Berlin by the horse-bus. [Neuester Fremdenführer durch
Berlin, 2nd ed. Berlin 1848, p. 20].
îoo a. Woldt (1868), op. cit. fn. 100, p. 36.
101 A. Woldt (1868), op. cit. fn. 100, p. 40.
102 Max Schasler (1856), op. cit. fn. 99, p. 284.
103 Raczyński had purchased many paintings on glass already in the 1820s. [Poznań,
archive of the National Museum, Libri Veritatis, Verzeichnis der Gemäldeeinkäufe; Ra-
czyński diaries, entry for 1 September 1820],
29
The gallery was open to the public daily between 12 am and 2 pm;98
admission cost IV2 Silbergroschen, which included a copy of the cata-
logue.99 By comparison, the royal museum, also open daily, was free of
charge, except on Tuesdays and on Wednesdays when it was reserved for
artists.100 Many private galleries were accessible exclusively by
appointment, and often only displayed parts of the collections.101
5. Palais Raczyński after its enlargement, (1881), photograph, 35,5, x 27 cm, Berlin, in Michael
S. Cullen, Vom Exercierplatz zum Platz der Republik, ex.cat, Landesarchiv Berlin 1992, ill.
III/10
As the visitor entered the Palais, he saw new and old glass paintings
in the windows, which must have created extraordinary lighting
effects.102 Presumably, this church-like illumination, which fitted Ra-
czynski’s preferred Nazarenes and his perception of art of quasi-religious
significance, was meant to attune visitors to the ‘high art’ displayed
under the temple’s roof.103 Visitors to his gallery had to climb a staircase
98 Max Schasler, Berlins Kunstschätze, 2, Die Öffentlichen und Privat-Kunstsamm-
lungen, Kunstinstitute und Ateliers der Künstler und Kunstindustriellen von Berlin, Ber-
lin 1856, p. 284.
99 A. Woldt (ed.), Neuester Fremdenführer durch Berlin. Nebst einem Stadtplan und
einer Karte der Umgebung Berlins, Berlin 1868, p. 23. A sum of 7 Silbergroschen was
enough for two journeys through Berlin by the horse-bus. [Neuester Fremdenführer durch
Berlin, 2nd ed. Berlin 1848, p. 20].
îoo a. Woldt (1868), op. cit. fn. 100, p. 36.
101 A. Woldt (1868), op. cit. fn. 100, p. 40.
102 Max Schasler (1856), op. cit. fn. 99, p. 284.
103 Raczyński had purchased many paintings on glass already in the 1820s. [Poznań,
archive of the National Museum, Libri Veritatis, Verzeichnis der Gemäldeeinkäufe; Ra-
czyński diaries, entry for 1 September 1820],