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DOI Artikel:Grauer, Elise F.: Bridging the gap: Count Athanazy Raczyński and his galleries in Poland and Prussia
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28199#0032
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ELISE F. GRAUER
painted with frescoes by Michael Echter, Wilhem Peters and Julius
Detmers.104 On top of the stairs, the visitor was welcomed by Thorwald-
sen’s marble sculpture Ganymed.105
6. Palais Raczyński, (1852), photograph, 25 x 19 cm, [Landes-Bildstelle Berlin, Rep. 250, Acc.
2374, Rep. 394] in Michael S. Cullen, Vom Exercierplatz zum Platz der Republik, ex.cat,
Landesarchiv Berlin 1992, ill. III/ 4
When entering the gallery through a rather narrow door the visitor
found himself in a room of almost 200 square metres split into two parts
by a dividing wall which did not reach the ceiling. In order to avoid
unflattering light one window above the wall was left out which
indicates that the wall was part of the initial plan. None of the walls had
windows except the wall on the North side, where windows reached from
the height of five metres to the ceiling two metres above. Additional
light entered through skylights displaying the paintings in a very
104 Subjects of the frescoes were a Sybil after a drawing by Overbeck, an Eritrean
Sybil, an allegory after Kaulbach, Saint Lucas, the Vision of Ezekiel and some arabes-
ques. [Poznań, archive of the National Museum, Libri Veritatis, correspondence with
artists 1855-1858, sheet 51 onwards.
105 Max Schasler (1856), op. cit. fn. 99, p. 284; for Thorwaldsen’s sculpture see Anna
Dobrzycka, ‘Ganymède: trois lettres inédites de Thorvaldsen à Athanase Raczyński’, in
Bulletin du Musée National de Varsovie, 7, (1966), no. 1, p. 31.
ELISE F. GRAUER
painted with frescoes by Michael Echter, Wilhem Peters and Julius
Detmers.104 On top of the stairs, the visitor was welcomed by Thorwald-
sen’s marble sculpture Ganymed.105
6. Palais Raczyński, (1852), photograph, 25 x 19 cm, [Landes-Bildstelle Berlin, Rep. 250, Acc.
2374, Rep. 394] in Michael S. Cullen, Vom Exercierplatz zum Platz der Republik, ex.cat,
Landesarchiv Berlin 1992, ill. III/ 4
When entering the gallery through a rather narrow door the visitor
found himself in a room of almost 200 square metres split into two parts
by a dividing wall which did not reach the ceiling. In order to avoid
unflattering light one window above the wall was left out which
indicates that the wall was part of the initial plan. None of the walls had
windows except the wall on the North side, where windows reached from
the height of five metres to the ceiling two metres above. Additional
light entered through skylights displaying the paintings in a very
104 Subjects of the frescoes were a Sybil after a drawing by Overbeck, an Eritrean
Sybil, an allegory after Kaulbach, Saint Lucas, the Vision of Ezekiel and some arabes-
ques. [Poznań, archive of the National Museum, Libri Veritatis, correspondence with
artists 1855-1858, sheet 51 onwards.
105 Max Schasler (1856), op. cit. fn. 99, p. 284; for Thorwaldsen’s sculpture see Anna
Dobrzycka, ‘Ganymède: trois lettres inédites de Thorvaldsen à Athanase Raczyński’, in
Bulletin du Musée National de Varsovie, 7, (1966), no. 1, p. 31.