Th is paper aims to present the history of a precious manuscript from the collections of the Kórnik Library – Autograf Kościuszki. Th e manuscript, written by Tadeusz Kościuszko in mid- 1793, contains Opis kampanii r. 1792 – a description of a campaign launched against Russia. Having analysed the manuscript and discussed all the eight editions of its text, the author of the article presents its history up until the death of Józef Dobek Dzierzkowski from Lviv (1830). He subsequently discusses a brief history of Tytus Działyński’s acquaintance with Wiktor Baworowski, as contained in their mutual correspondence, which discloses the further complex fate of Autograf Kościuszki – information on its subsequent owner and the circumstances in which it found its way into the collections of the Kórnik Library. Finally, all the copies of the manuscript known from literature are discussed. In the Annex, the author publishes inter alia the abovementioned correspondence between Działyński and Baworowski.

In 2020 the Kórnik Library’s collections were supplemented with new documents connected with the beginnings of the Protestant parish in Bnin. The present article presents the time of formation and the first years of functioning of evangelical community in Bnin, which was one of the biggest communities in Greater Poland (excluding Poznań) for more over 150 years. After a brief introduction, the following part describes upon mentioned sources the establishing of community and construction of the first Lutheran church in Bnin with its buildings. Finally, the annex contains biographies of the first five pastors in Bnin and source edition of these documents.

This paper seeks to acquaint the readers with problems related to Wojciech Kętrzyński’s 1893 edition of Epitaphium Dithardi abbatis [ Epitaph of abbot Dithard] in volume six of Monumenta Poloniae Historica. In contrast to the information the scholar disseminated which was subsequently commonly adopted, Epitaphium Dithardi abbatis was not a part of the hand-written collection of the so-called Oliva sources ( Fontes Olivenses). This laudatory work in a verse form, in honour of the first abbot of the Oliva monastery, was probably created in the 13th century, and today is known mainly from the 17th-century epitaph tablet surviving in the Oliva Cathedral in Gdańsk, which Wojciech Kętrzyński did not see personally. He issued Epitaphium Dithardi abbatis taking as the basis a copy of the text surviving in the Kórnik manuscript call no. BK 65, copied from this tablet in 1749. Today, in view of the existence of an older copy of the text, included in the Gdańsk manuscript (APG, call no. 940/422) copied not from the tablet but from the 15th-century polychrome, Kętrzyński’s edition should be considered insufficient.

Tomasz Olizarowski (1811–1879) is a largely forgotten author, prolific poet and playwright, known only to a small group of specialists, who have recently started work on restoring his reputation. To do him justice is not easy task as we possess neither a complete list of his publications with basic textual and bibliographic data nor a reliable picture of the critical response they met with. While the body of materials on Olizarowski that have already been identified needs to be ordered and re-examined, the burden of work is growing as new items, also in bad need of verification, continue to surface both in Poland and abroad. This is a progress report of sorts with a number of updates, corrections and clarifications by the author of this article herself.

Czarny Paryż [The Back Paris] is a crime novel written by Jolanta Fuchsówna, journalist and writer, and Jan Brzękowski, leading poet of the Cracow Avant-garde who lived in Paris, and serialized in the Cracow daily Ilustrowany Kurier Codzienny in 1932, but not published as a book. In this article two typescripts of the novel are analyzed and compared with the printed text, taking note of all the corrections and amendments introduced by the authors. An integral supplement to this textual study is an extract from Chapter XIII ‘A Party in the Studio of the Japanese Man’ reproduced in two versions, 1) with footnotes and modernized spelling, and 2) the original text from the typescript with all annotations.