DOI Heft:
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DOI Artikel:Michałowski, Maciej Piotr: The Raczyński of Rogalin
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18940#0132
2. Pompeo Batoni, Portrait of Kazimierz Raczyński, 1785, Poznań, Muzeum Narodowe
adorned the interiors of the palaces in Warsaw and Rogalin, and also the castlc of Zawada.9
Apparently his most important work was a group portrait of the Raczyńskis' (Kazimierz sur-
rounded by his family), which was shown at the Warsaw exhibition of fine arts in 1821 and
aroused much interest in the viewers.10
It was only after 1815 that Edward Raczyński resumed the altcrations to the Rogalin palące
which had been interrupted during the occupancy by Filip. However, he changcd Kamsetzer's
design which was now out of date. And so, following the spirit of antiquarianism, he converted
the former ballroom into an armoury, in which he brought together a truły impressive array
of Polish military accesories, historie mementoes and other objects which recorded the tradi-
9. A. Brosig,,,Ludwik Fuhrmann,malarz Raczyńskich",Dziennik Poznański, 1935, no. 2. Before 1939 thefollowingportraits
of tlie Raczyńskis were allegedly to be found at Rogalin: Estera with tlie Łoys Roger and Karol, Edward fas far as the
knees), Archbishop Ignacy. The portrait of Atanazy (from the Rogalin coliectiens) is now in the possession of Józef Ra-
czyński in Chile. The following portraits are kept in the National Musem in Poznań: Kazimierz (of Rogalin), Zygmunt,
Estera and Ignacy (of Mały Gaj; the last-named portrait was kept earlier in Zawada eastle and a copy of it was made
in 1845 by Edward Czarnikow for Wincenty Raczyński of Courland, cf. A. Raczyński, Geschichtliche Furschungen, I, Berlin
1860, pp. 418 and 425).
10. A. Ryszkiewicz, Polski porlrcl zbiorowy, Warszawa, 1961, p. 165; a pencil sketch of the picture in the National Museum
in Poznań, in the so-called Atanazy Iiaczyński's Album.
113
adorned the interiors of the palaces in Warsaw and Rogalin, and also the castlc of Zawada.9
Apparently his most important work was a group portrait of the Raczyńskis' (Kazimierz sur-
rounded by his family), which was shown at the Warsaw exhibition of fine arts in 1821 and
aroused much interest in the viewers.10
It was only after 1815 that Edward Raczyński resumed the altcrations to the Rogalin palące
which had been interrupted during the occupancy by Filip. However, he changcd Kamsetzer's
design which was now out of date. And so, following the spirit of antiquarianism, he converted
the former ballroom into an armoury, in which he brought together a truły impressive array
of Polish military accesories, historie mementoes and other objects which recorded the tradi-
9. A. Brosig,,,Ludwik Fuhrmann,malarz Raczyńskich",Dziennik Poznański, 1935, no. 2. Before 1939 thefollowingportraits
of tlie Raczyńskis were allegedly to be found at Rogalin: Estera with tlie Łoys Roger and Karol, Edward fas far as the
knees), Archbishop Ignacy. The portrait of Atanazy (from the Rogalin coliectiens) is now in the possession of Józef Ra-
czyński in Chile. The following portraits are kept in the National Musem in Poznań: Kazimierz (of Rogalin), Zygmunt,
Estera and Ignacy (of Mały Gaj; the last-named portrait was kept earlier in Zawada eastle and a copy of it was made
in 1845 by Edward Czarnikow for Wincenty Raczyński of Courland, cf. A. Raczyński, Geschichtliche Furschungen, I, Berlin
1860, pp. 418 and 425).
10. A. Ryszkiewicz, Polski porlrcl zbiorowy, Warszawa, 1961, p. 165; a pencil sketch of the picture in the National Museum
in Poznań, in the so-called Atanazy Iiaczyński's Album.
113