Skala's History of the Church, exists in manuscript at Dux, and it is
from this manuscript that the two published volumes of it were printed.
The library forms part of the Museum, which occupies a ground-floor wing
of the castle. The first room is an armoury, in which all kinds of arms
are arranged, in a decorative way, covering the ceiling and the walls
with strange patterns. The second room contains pottery, collected by
Casanova's Waldstein on his Eastern travels. The third room is full of
curious mechanical toys, and cabinets, and carvings in ivory. Finally, we
come to the library, contained in the two innermost rooms. The
book-shelves are painted white, and reach to the low-vaulted ceilings,
which are whitewashed. At the end of a bookcase, in the corner of one of
the windows, hangs a fine engraved portrait of Casanova.

After I had been all over the castle, so long Casanova's home, I was
taken to Count Waldstein's study, and left there with the manuscripts. I
found six huge cardboard cases, large enough to contain foolscap paper,
lettered on the back: 'Grafl. Waldstein-Wartenberg'sches Real
Fideicommiss. Dux-Oberleutensdorf: Handschriftlicher Nachlass Casanova.'
The cases were arranged so as to stand like books; they opened at the
side; and on opening them, one after another, I found series after series
of manuscripts roughly thrown together, after some pretence at
arrangement, and lettered with a very generalised description of
contents. The greater part of the manuscripts were in Casanova's
handwriting, which I could see gradually beginning to get shaky with
years. Most were written in French, a certain number in Italian. The
beginning of a catalogue in the library, though said to be by him, was
not in his handwriting. Perhaps it was taken down at his dictation. There
were also some copies of Italian and Latin poems not written by him. Then
there were many big bundles of letters addressed to him, dating over more
than thirty years. Almost all the rest was in his own handwriting.