Elitele şi arhitectura rezidenţială în ţările române (sec. XIX - XX)

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Bibliographische Detailangaben
Format:	Buch
Sprache:	Romanian
Veröffentlicht:	Bucureşti Ed. Oscar Print 2011
Schriftenreihe:	Patrimoniu Cultural
Schlagworte:	Geschichte 1800-1960 Villa Architektur Architekt Palast Rumänien Bildband
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Datensatz im Suchindex

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adam_text	CUPRINS Prinos ...............................................................................................................................................................7 Cuvânt înainte - prof. univ. dr. loan Opriş .............................................................................................9 Introducere ....................................................................................................................................................13 CAPITOLUL I Arhitecturi rezidenţiale reprezentative, urbane şi rurale, în spaţiul românesc (secolele XIX-XX) ....................................................................................................16 Palatul Ghica-Mavrocordat din Căciulati ...............................................................................................17 Palatul Cantacuzino-Ghica din Deleni ....................................................................................................65 Palatul Ştirbey din Buftea .........................................................................................................................91 Conacul Callimachi din Stânceşti ..........................................................................................................121 Conacul Brătianu de la Florica ................................................................................................................153 Conacul Rosetti-Roznovanu din Stânca ...............................................................................................195 Conacul Văcărescu-Callimachi din Măneşti ........................................................................................215 CAPITOLUL II Arhitecţi, artişti şi decoratori în Ţările Române (secolele XIX-XX) ........................... ............................................................................................................238 CAPITOLUL III Destinul unor monumente istorice cu funcţie rezidenţială din România (1945-1955).........................................................................................................................388 Concluzii .....................................................................................................................................................453 Bibliografie generală .................................................................................................................................455 Summary .......................................................................................................................................................470 Indice de nume şi localităţi .....................................................................................................................493 Summary ELITES AND RESIDENTIAL ARCHITECTURE IN THE ROMANIAN COUNTRIES (19th - 20th century) SUMMARY INTRODUCTION This paper, Elites and Residential Architecture in the Romanian Countries (19111 - 20th century) sets forth to describe a subject matter which has been approached to a lesser degree till now in the Romanian historiography, i.e. the once boyar resi¬ dences in Romania, buildings which began to spring in our regions as early as the 16th century and which experienced their utmost development period during the 19th century. Especially in the second half of the 19th century, the Romanian political and aristocratic élite made attempts - and succeeded - to join the models of the European civilization. This was a pomp period when the representatives of the great boyar families built on their land properties located in the countryside palaces and manors imitating, in general, architectonic styles which were up-to-date in the Western regions of those times. France used to be the most imitated model, many French archi¬ tects having made several buildings that turned the Bucharest of those times - actual¬ ly - into a Small Paris , and estates located in the countryside have themselves been enriched with buildings erected in French eclectic style, according to designs worked out by the same French architects from the West. All these manors and palaces used to accommodate art collections, paintings, antiquities, numismatics, silvery, stylish fur¬ niture, books, upholstery, religious objects, deeds of estate, documents and family albums, out of which only an infinitesimal part was possible to be saved after the instauration of the communist regime. Patrimony assets of an inestimable value were destroyed during those times, local tendering commissions were installed therein, books were burned in the very parks of such buildings, the furniture was distributed among the representatives of the authorities and the local people who were faithful to the new regime, highly precious objects were wasted aimlessly, and manors were re-arranged to accommodate head¬ quarters of Agricultural Production Co-operatives (CAP), State Agricultural Enterprises (IAS), hospitals, nurseries or schools, in the most fortunate situations. This paper approaches a yet unex¬ plored field and is aimed at presenting and describing representative buildings from an architectural and historical viewpoint, showing the history of the families having owned such properties, sketching - to the extent of the available documentary sources - the life led by the Romanian aristocracy, the atmosphere which used to govern the high society. It attempts, in the spirit of the mentalities history, to recall that epoch by reference to the rich memoirs literature issued after 1990, to the documents kept in archives, to genealogical forays, to the narratives given by the descendants of the Romanian boyar families the author had the honour to meet, as well as to the family documents generously made available by their kind selves. In its first chapter dedicated to some Representative Urbane and Rural Residential Architectures in the Romanian Space (19th - 20th century) there is described the history of the following aristocratic families including their urbane or rural residences: Ghica (Bucharest, Căciulaţi, Deleni), Callimachi (Stânceşti), Ştirbey (Bucharest, Buftea, Braşov, Dărmăneşti), Rosetti-Roznovanu (Stânca), Brătianu (Florica), Văcărescu (Măneşti). The approach to the architectonic evolution of some representative residences is made 470 Summary from an architectural, historical and cultural viewpoint, while the atmosphere of the epoch is restored by forays into the history of mentalities and of the imaginary, in the Romanian boyar families genealogy or into the history of the collections sheltered by the mentioned buildings. Chapter II hereof is dedicated to the Architects, artists and decorators in the Romanian Countries and Romania during the 19th - 20th century and it describes the most representative monuments of architec¬ ture created by foreign and Romanian archi¬ tects who worked for one and a half century in the Romanian space. Architects, painters, decorators, artists, engineers - either from Romania or from abroad - left their imprints on the castles, palaces, manors and houses erected for the Romanian aristocratic and political elite in the first decades of the 19th century. Much has been built during this period, sustainable building work has been carried out further to the request of some rich supporters who have completed their studies in the West, thus contouring an architectonic identity in the Romanian regions. The work of the foreign (French, German, Austrian, Italian) architects who have created remarkable civilian or reli¬ gious monuments ordered by the state or by aristocrats during the 19th century has been continued in the first decades of the 20th century by front-ranking representatives of the Romanian school of architecture (Ion Mincu, Ion D. Berindei, Grigore Cerchez, Petre Antonescu, Nicolae Ghika-Budeşti a.s.o.), who have created an original specific style of the Romanian architecture. Chapter III of this paper tries to restore on the basis of new documents kept in the Archives of the Historical Monuments Commission the Destiny of Some Historical Monuments Featuring a Residential Function in Romania (1945-1955). The reviewed documents re-make the destiny of such historical monuments in the first decade of the communist rule, which was a period of significant social and political unrest, where the representatives of the „people s power aimed the gunfire of the class struggle at the Romanian aristocracy and implicitly at the rural or urbane pro¬ perties thereof. Thus the most ill-fated peri¬ od took its start in the several centuries old history of these buildings, marked by expro¬ priations, seizures, destruction of assets and of art collections sheltered in these buildings or even demolishing many of them. In this way, inestimable art collections gathered with passion by entire generations have been lost in fire and extremely valuable libraries have been set on fire and destroyed, thus mutilating a part of our cul¬ tural identity. The desperate attempts of the owners to save their houses and collections have been only in very few cases successful. The Commission of the Historical Monuments has categorized many of these buildings as being historical monuments, in the hope that in this way they will protect the same from the destructions and thefts directed by the new communist authorities. CHAPTER I REPRESENTATIVE RESIDENTIAL URBANE AND RURAL ARCHITECTURE, IN THE ROMANIAN SPACE (19th and 20th centuries) THE GHICA-MAVROCORDAT component parts which define a princely PALACE IN CĂCIULAŢI residential ensemble, intended not only for lodging purposes but also as the image of a way of life which in no way lacked pomp: Taking after the constructive exam- palace, church, greenhouse, outhouses, all Pie of his brother, Alexandra Ghica erected nicely arranged in the large park on the at Căciulaţi - within 1830-1834 - the same Pociovaliştea banks. The princely palace in 471 Summary Căciulaţi is built according to three levels - semi-basement, ground floor and partial floor - in a temperate romanticist style of a neoclassical structure, the elegance of the building being given by the simplicity of the decorations and the harmony of the propor¬ tions. The interior plan of the palace is simple, access to the eleven chambers being provided by a corridor to which one can get from the main hall. The second component of the resi¬ dential ensemble at Paşcani-Căciulaţi is the church dedicated to the Dormi tion of the Holy Virgin , built inside the park in the year 1832 by the ruler, according to a simple rectangle-shaped plan. With the church, too, we find a major difference in the architectu¬ ral style as compared to the one featured by the chapel / chapel of ease erected in 1833 by Alexandru Ghica s brother, ruler Grigore Ghica, on the Colentina-Tei estate. The palace and the ruler s chapel of ease were surrounded in the vast landscaped park (15 ha) by several constructions featuring the most diversified intended uses. The charm of the park is also given by the decorative elements with which it has been endowed: basins and artesian fountains, statues, garden houses, springs, rocks and artificial waterfalls. The first owner of the palace, ruler Alexandru Ghica, was very keen on the res¬ idence in Paşcani-Căciulaţi, and furnished it with much taste, mainly in Empire style. By testament, Alexandru Ghica left as an inher¬ itance the Paşcani-Căciulaţi estate to his sis¬ ter Pulcheria (Profira) Ghica, married to General Nicolae Mavros and - starting 1830 - to colonel Vladimir Moret de Blaremberg. Between the two World Wars, colonel Constantin Moret de Blaremberg s wife, Maria Băleanu (1840-1924), bought back the estate shares of her brothers-in-law, remaining the sole owner. After Maria Blaremberg s death, the Căciulaţi estate was left in the property of her daughter Irina (1864-1955), married - on the I51 of September 1885 - with diplomat Edgar Mavrocordat (1857-1934), who further took care of the restauration and the preservation of the princely palace, scrupulously keeping all relics of the past and the patrimony objects sheltered thereby. Irina Mavrocordat strongly endeavored between 1945-1948 to keep together this genuine historical the¬ saurus at Căciulaţi. Unsuccessfully though, since the hard times that followed after the instauration of the communist regime brought along devastation, robbing and partial destruction of the components of the residential ensemble at Paşcani-Căciulaţi. The palace and the park at Căciulaţi were categorized as being historical monuments by the Royal Decree no. 2023 dated the 26lh of June 1945. Starting 1949, the palace has been accommodating a holiday home of the Romanian Academy. Its intended use has been preserved till date. THE CANTACUZINO-GHICA PALACE IN DĚLENI The ensemble of the boyar court in Deleni (Iaşi) is located in a large park, sur¬ rounded by strong walls. In the middle of this park a palace and a church were erected by the Cantacuzino family in the 17lh century. The first monument built at Deleni is the church dedicated to the „Dormition of the Holy Virgin , built in 1669 by the treasu¬ rer Toderaşco Cantacuzino. The church decoration is simple, with a flower dug into the stone above the door. The church altar is carved in wood, while icons were painted within September-October 1747 by painter Ioasaf from the Vatopedi (Athos Mountain) Monastery, being financially supported by hetman Iordache Cantacuzino. The major component of the boyar court at Deleni is, however, the palace, whose origins fade into the mist of bygone days. A first construction at Deleni, the remaining cellars and outhouses of which were still visible at the beginning of the 20* century, is related to the name of princess Ruxandra, the daughter of the ruler Vasile Lupu. The construction of the palace at Deleni is related to the name of hetman Iordache Cantacuzino-Deleanu, who was a great magistrate in the High Country during Constantin Mavrocordat s rule. His resi¬ dence at Deleni accommodated Grigore II Ghica (1690-1752), Moldavia s ruler, on the 472 Summary occasion of the first engagement of his elder son, young Prince Scar lat Ghica, in 1730, to Safta, the youngest daughter of Iordache Cantacuzino-Deleanu. In 1738, when the city of Iaşi laid wasted by plague, ruler Grigore Ghica - as reported by Neculce in his chronicle Letopiseţ - „has not come from Orhei to leş, because very many people had died there due to the plague, but turned to the village Deleni, in the Hârlău region, to visit magistrate Iordachie Cantacuzino- Deleanul, where they stayed till the 1st day of December . Beside the engagement with a Ghica prince, there occurred in the Cantacuzino- Deleanu family - two generations later - a similar alliance through which the boyar court at Deleni irrevocably became a Ghiculeşti asset: magistrate Iordache Cantacuzino s niece, Maria Cantacuzino - daughter of Gheorghe (Iordache) Cantacuzino - married the great chancellor Constantin Ghica (1758-1818). Constantin Ghica was the owner of the vast domain at Comăneşti (Bacău) and due to this marriage he also inherited the Deleni court. The Deleni estate was then inherited by his youngest son, Gheorghe (Iordache) „includ¬ ing the two houses and the entire grassland all around it, the incomes yielded by the millstones, the local fishponds and clear¬ ings, the apiary with all beehives thereof and all the woods and other outhouses and cattle available there, as well as the vineyard at Cotnari and each and every shop and inn and the entire area all around the Hârlău Marketplace, moreover the Oneşti, Paşcani and Ozoneşti estates, inclusive of all out¬ houses located there . Iordache Ghica-Deleni had two sons, Teodor (died in 1866) and Gheorghe. This latter - together with his wife Pulcheria Balş - built in 1842 the church in Maxut. The one to inherit the whole estate in Deleni was Teodor, married to Fenareta Ştirbei (1821- 1895), ruler Barbu Ştirbei s daughter. There were three children in this marriage: Constantin Ghica-Deleni, Eliza and Grigore Ghica-Deleni. When Teodor Ghica-Deleni died, he left as an inheritance to his two sons the tremendous estate at Deleni, featuring a 18.646 ha landed area. The palace in Deleni was finally given to Grigore, since Constantin had already received from his uncle Gheorghe Ghica, who died without successors, the Maxut manor, to be later radically transformed by the end of the 19th century. According to the tradition as kept by the members of the Ghica family and recorded by its last descendent, Theodor Ghica-Deleni, „the castle at Deleni, the so called Big Court, has been built by the great chancellor Costache Ghica and his wife Măriuţa, born Cantacuzino . This tradition is confirmed by the very inscription „1802 within a frame above the coat of arms of the massive gate at the park entrance, represen¬ ting probably the year when works with the palace and the inside wall have been actua¬ lly completed. One thing is sure, i.e. that the Deleni palace reached its shape as it is seen today - in terms of the internal and external decoration, the facades - due to a thorough restoration work performed within 1888- 1889. Grigore Ghica-Deleni was the one to set his fingerprints both onto the restoration of the Deleni palace, and onto the way of life led there. Grigore Ghica-Deleni (1847-1938), remembered by his contemporaries due to his distinction as a great senior, married a beautiful girl from the village, Maria Pándele, who presented him with as much as ten children. During the First World War, the members of the royal family - while living as refugees in Iaşi - have been welcome guests at the Ghica palace in Deleni and at the Polizu-Micşuneşti manor in Maxut. The outbreak of the Second World War ruined the plans of the Ghica family to sell the palace. As soon as the front line at Iaşi was broken through in March 1944, and the Red Army invaded Moldavia, the Deleni palace quartered - for two years - Soviet troops. It was then that the devastation of the palace and looting of all its interior richness start¬ ed. After having accommodated for a while the House of Culture in Deleni (starting 1949), the Ghica palace became the main building of a TBC prophylactic sanatorium, an intended use which has been kept till date. 473 Summary THE ŞTIRBEI PALACE IN BUFTEA The first Ştirbei to settle in Buftea was the great magistrate Barbu С. Ştirbey, who exchanged an estate - on the 13th of March 1845 - with the Radu Vodă Monastery in Bucharest, a property to which the Buftea area belonged, as well. Since Barbu С. Ştirbey had no children, he adopted his wife s nephew, Barbu Bibescu, to whom he left his entire wealth. Returning in the country, Barbu Bibescu-Ştirbei held several positions in the administration and after the 1848-1849 revolution, because of which his brother abdicated, he became ruler of Wallachia for six years (within 1849 -1853 and 1854-1856). Barbu Ştirbei built in 1835 the Ştirbei Palace in Bucharest (at no. 7 on the Victoriei Road), according to a plan drawn by the French architect Michel Sanjouand, who erected a neoclassical building to become the ruler s residence within 1849- 1856. In 1881, Alexandru В. Ştirbey, the ruler s son, deemed to alter the palace - based on the design of the Austrian archi¬ tect J. Hartmann - by superposing a second floor (whose facade is decorated with four caryatids) and, on the North-Eastern flank, by a two-floor tower, which ruined the architectural balance of the entire construc¬ tion. It is highly probable that the same Barbu Ştirbei erected at Buftea a manor, too, for spending his spare time together with his family, to recover his peace of mind, to be off the political issues and the unrest of the Capital city. And it was also here, in the Buftea park, that they found a place for the eternal rest of the „Prince , who has been brought back to the country from Nisa, where he suddenly died on the 12th of April 1869. From among his nine children, the second son - Alexandru В. Ştirbei - was to inherit and radically transform the Buftea estate, by erecting a palace and a chapel, as well as by arranging a large park, to be admired by all those visitors of the epoch. Alexandru Ştirbey married a beautiful woman, Maria Ghica-Comăneşti (1951- 1885), and turned Buftea into the very home of their happiness. The Buftea Palace was built in the year 1864. Featuring sizes which seemed to be rather excessive (25 χ 21.5 m) for those times, Alexandru Ştirbei s palace in Buftea has four levels (basement, ground floor and two floors), its outer decoration being inspired by the neo-Gothic trend, which was up-to-date at that time and con¬ ferred a romantic aura upon the building. The interior of the palace surprises visitors by its richness in carved / chiseled wood decorations, the most spectacular element being the inner ladder made of carved oak wood and marked with the family coat of arms and Alexandru Ştirbei s monogram. The Ştirbey family usually stayed at the Buftea palace from Eastern till November each year, spending wintertime in Bucharest, in their residence located there. During the year, the family used to visit their relatives and Alexandru Ştirbei travelled to his numerous estates in order to check himself the way these were managed and operated. Deeply affected by the loss of his wife in 1885, Alexandru Ştirbey set himself forth to build in the Buftea park a monumental chapel in Byzantine style, which was completed in 1890. The Ştirbei family mausoleum was designed by architect Louis Blanc from Switzerland, and the interior paintings bear Gheorghe Tattarescu s signature. Barely turning twenty-three, Alexandru Ştirbei s eldest son, Barbu Al. Ştirbey became the heir of the Buftea estate and tutor for his younger brothers. Under Barbu Ştirbei s administration, the Buftea palace was revived, accommodating recep¬ tions and balls much talked about in that time. He was the one who created at Buftea one of the greatest model farms of the country, setting up American grape-vine nurseries, a dairy, a systematic mill and building, in 1902, a cotton-wool and dressing factory. He was a pioneer among the great land-owners to implement in the Old Kingdom cotton and rice cultures for the first time. In 1909, the Ştirbei family organized at the Buftea palace a reception in honour of the German Prince Friedrich Wilhelm, heir to the throne, who paid a visit to the 474 Summary Romanian royal family. Starting January 1917, the Ştirbei family estate at Buftea has been requisitioned by Germans and the palace was turned into the headquarters of the German Military Commandment, where marshal August von Mackensen himself was accommodated then. The Cabinet led by General Alexandru Averescu had to conclude a separate peace treaty with the Central Powers, in March 1918. The dele¬ gates who negotiated the terms of this armistice were welcome by marshal Mackensen on the very steps of the Buftea Palace, where he had long talks with count Otokar Czernin, the Minister of Austrian- Hungarian Kingdom at Bucharest, and Richard Kühlman, the German Ambassador. After Barbu Ştirbei s death in 1946, the Buftea estate remained under the man¬ agement of Şerban Flondor, one of his four sons-in-law. Nadèje and Şerban Flondor stayed in the palace till March 1949, when it was nationalized, again further to an alleged agricultural reform. It was only between 1958-1959 that the Buftea palace was restored, refurbished and transferred from the property of the Cinema Studios to the Government to be later arranged as a proto¬ col house for high state officials. THE CALLIMACHI MANOR IN STÂNCEŞTI The Stânceşti estate, located near Botoşani, was bought by Toader Calmăşul in 1729 from Dumitrache Stroici. By the end of the 18th century, lancovachi Callimachi, started to erect the brickwork of the first manor on the domain. Alecu Callimachi, son of lancovachi and Ruxandra Catargi, was the one to give the final shape and touch to the family residence in Stânceşti. After the premature death of his first wife, magistrate Alecu Callimachi re-married, in 1834, to Maria Cuza, who presented him with two children: Teodor and Smaranda. The manor built by magistrate Alecu at Stânceşti was given, according to the spirit of the time, with imposing propor¬ tions. The predominant style of the con¬ struction is neo-Gothic, the central part of the building featuring decorative elements, at the level of the floor, nice framing at the windows, as well as two statues preten¬ tiously fitted in between the large windows of the saloon. It was the same magistrate Alecu Callimachi who completed the chapel built on the Stânceşti domain in 1837, the year he died. The building of the chapel brickwork was begun by the end of the 19th century by Maria Callimachi, ban Dumitraşcu s wife. In the pronaos of the Stânceşti chapel there were buried the members to come of the Callimachi family. However, the one who definitively set his signiture on the Stânceşti manor, enlivening and conferring upon it splendor, was Teodor Callimachi, son of magistrate Alecu, born on the 4th of January 1836, in this very place. Just as his father, Teodor grew up as an orphan, missing from early childhood his dead father, as well as his mother, Maria Cuza, who died in 1834. Teodor was raised by Ruxandra Rosetti- Roznovanu (1808 -1892), the daughter from the first marriage of magistrate Alecu. Teodor Callimachi s select education com¬ pleted in Paris - at the Saint Barbe High- School and at the Law Faculty - contributed to the training of the one who was to become a suporter of the Unification of the Principalities. Cuza appointed Teodor Callimachi, in 1859, as a secretary of the diplomatic agency at Istanbul, and in July 1863 as a diplomatic agent of the Principalities in Serbia, at Belgrad. Retiring to his estates in Stânceşti, Teodor Callimachi erected there new build¬ ings on his domain and restored the manor in a neo-Gothic style, which was characteris¬ tic to the Romanticist architecture in those times. The great bibliophile, Teodor Callimachi, succeeded to set up at Stânceşti one of the most valuable libraries in Moldavia in the 19th century. Most family documents kept in the library at Stânceşti had been made available to great historians such as A.D. Xenopol and Nicolae Iorga, who wrote, each in his turn, in the honour of this brilliant family, solid monographies of the Callimachis : History and Genealogy of the Callimachi s House (1897) and 475 Summary Documents of the Callimachi Family (1902). Teodor Callimachi married in 1865 Zenaida Moruzi-Zvorişteanu (1840 - 1909), and had five children: (Ralu, Zenaida, Smaranda, Alexandru and loan. After Teodor Callimachi s death, the new owner was Alexandru Callimachi and, starting 1918, his younger brother, loan Callimachi (1880 -1940), whose daughter, Roxana Zenaida Callimachi (1918-1978), was the last owner of the Stânceşti manor up to 1944, when the building was destroyed by the Soviet bombing operations. THE BRĂTIANU MANOR AT FLORICA The Florica domain is the work of the first two Brătianu, i.e. Ion and Ionel, father and son, who - being keen on constructions - have transformed a coquette administration house of the manor into a luxurious boyar residence, where important decisions have been made as far as our his¬ tory is concerned. The first house at Florica has been built by Ion С Brătianu (1821-1891) in 1858, after his marriage to Caliopia (Pia) Pleşoianu (1841-1920), when the family established their home in the countryside. As long as Ion C. Brătianu lived, the house preserved this sober style imposed by its simple tastes. Hardly and only towards the end of his life was he persuaded by his son Ionel, that the house needed to be restored. As it looks today, the angel ensemble at Florica is the fruit of Ionel Brătianu s passion for constructions. The arrangements and constructions made by Ionel Brătianu (1864- 1927) at Florica lasted, with intermittence, from 1889 to 1925. This entire plan as envis¬ aged by Ionel Brătianu represented the grounds for the great restoration and exten¬ sion of the manor between 1905-1912, under the management of architect Petre Antonescu. From among the almost forty rooms of the manor, the libraries located on the ground floor and on the first floor are remarkable in terms of their interior decora¬ tion (carved ceilings, wainscotting in wood), which, although almost empty today, impress each and every visitor, in the same way. The library at Florica has undoubtedly been - by virtue of its collections of rare books, incunabulum, reviews - one of the most important ones in Romania, a peer to which was only George Sturdza s library in the Miclăuşeni castle or the Roznovan library at the Stânca-Iaşi castle. As most libraries accommodated by boyar manors, the library at Florica was scattered and destroyed after 1948, with only an infinite part of the books being donated to the Romanian Academy and other libraries. The second basic component of the ensemble at Florica is the farm, located at the very entrance in the park. The monu¬ mental farm building is the work of archi¬ tect Petre Antonescu between 1905-1912, being built according on two floors in neo- Romanian style. Beside the farm, Ionel Brătianu has erected at Florica other outbuildings, featuring the most varied intended uses, as well: „Some of them shel¬ tered flowers during wintertime, others electricity or water pumping equipment, all kinds of workshops, and even an observa¬ tory including a telescope, an ill-fated tele¬ scope, which could be used for practically nothing since in his building fever, Ionel placed it above the motor for light and the vibrations of the machinery on the earth hindered the accuracy of the observations in the sky - as sarcastically noted by Constantin Argetoianu. Remarkable is the park of the Florica manor, called „the Semiramis Gardens by Brătianu senior. Also, a major contribution to the completion of the park was given by Eliza Brătianu. At the Florica manor, the Brătianu family led a patriarchal life, according to the rules imposed by Ion C. Brătianu and strictly observed by the other members of the family. For the education of the children, they employed Marie Bornand, a governess from Switzerland who taught German and French language, as well as piano, drawing and religion. Important moments in the life of the children of Ion and Pia Brătianu were Christmas (when „dumb with admiration we stood astounded for a few seconds, then suddenly jumped crying with joy and ran all around the wonderful, bright, sparkling tree 476 Summary with twinkling candles and the smell of the hot resin ) as well as the family holidays (each and every birthday and the wedding celebrations of the parents), in which all relatives and friends used to participate. Florica has been, at the same time, also the manor visited by the most important charac¬ ters of the Romanian political life, and important decisions related to the history of the modern Romania have been taken here, as well. Another component part of the res¬ idential ensemble at Florica is the church where the large majority of the Brătianu family members are buried. Located on a plateau at the right hand side of the park, by the end of the forest and next to the farm, the Brătianus chapel - dedicated to the „Birth of St. John the Baptist - has been built in 1898 according to the plans of the French architect Emile André Lecomte du Nouy. The church has been sanctified on the 19th of May 1921, in order to move lon C Brătianu s coffin into the new chapel. This ceremony took place three days later. Keen on traditional architecture, Ionel Brătianu brought to Florica, in the year 1907, Horea s small church from Albac. The church used to be dedicated both to the „Birth of the Holy Virgin and to „St. Great Martyr Pantelimon , being erected, according to the inscriptions, „as a result of the devou tness and mite of the faithful Romanian peasants of the village Albac, in the Western Carpathians, in 1746 A.D. . After 1949, Horea s small church was neglected for five years, till 1954 when Patriarch Justinian and Bishop losif of Argeş researched this reli¬ gious house and decided to move it to Olăneşti, where it has been re-built starting from its very foundations and re-sanctified on 6th Octobrer 1958. After the expropriation in March 1949, Dinu Brătianu, the last owner of the Florica manor, was arrested and the entire residential domain of the Brătianu family was transferred into the property of the state, and soon there was destroyed every¬ thing that might give a hint to the Brătianu family, starting from books, art items, to fur¬ niture, insomuch that today there is only a wooden table and a chest of drawers left, and re-arranged the manor to accomodate a hostelry and in the farm a Wine-Growing- Making Research Center, while in the chapel there have still been held some reli¬ gious ceremonies till nowadays. THE ROSETTI-ROZNOVANU CASTLE IN STANCA From among all boyar residences of Moldavia, the Roznovanu castle at Stanca has been not only the oldest and largest, but also the most pompous one, including the richest collection of old documents, related both to the family history and to Moldavia s history, as well as the most valuable library of those times. The history of the castle at Stanca, jsut as the history of the palace at Iaşi, are related to the history of the Rosetti- Roznovanu family, who founded them and owned them for almost one century and a half. The founding ancestor of the Roznovanu branch was Neculai Rosetti- Roznovanu (1715-1805), who held the most important offices / dignities in Moldova. In 1630, there was erected the first manor at Stânca, the famous Castle being built at the beginning of the 19th century by the great treasurer Iordache Rosetti- Roznovanu, at the same time as the superb palace in Iaşi, both residences featuring a common fate at the beginning of that centu¬ ry: they perished in a fire at a six years inter¬ val one after another. Next to the castle at Stânca, in the park, treasurer Iordache Rosetti-Roznovanu built, at the beginning of the 19th century, a church dedicated to „St. George , which was bombed during the Second World War and subsequently re-built by the local people from the castle bricks. The well-read and passionate biblio¬ phile treasurer, Iordache Roznovanu, set up at Stânca the first great library in Moldaiva. The French and Greek-Latin library have been brought in the country from Paris, in 1818. In 1931, prime-minister Nicolae Iorga - assessing the historical value of the castle and of the collections owned by him - expressed his wish to buy on behalf of the state, the libraries and the castle at Stânca. 477 Summary Because of lack of funding, the plan could not be accomplished. Six years later, in 1937, the Royal House wished to purchase this library for the heir to the throne, The Great Voivode of Alba Iulia, Mihai, but the transaction could not be concluded since Mr. Ernest Ballif, General, was of the opi¬ nion that then the Court was short of enough liquidities . Beside the library, the Stânca castle also had an impressive collection of family documents, offered for sale by Anton Rosetti-Roznovanu, in 1934, to the Ministry of Instruction, Religion and Arts. Fortunately, the historical archive at the Stânca castle has been saved due to its hav¬ ing been purchased by the State Archives in Iaşi. What could not be saved from the Stânca Castle because Anton Rosetti- Roznovanu refused to move the collections to Iaşi was its interior richness: books, furni¬ ture, paintings, porcelains, silvery. Treasurer Iordache Rosetti- Roznovanu was married to Profira (Pulcheria) Bals, with whom he had two children: Neculai (1794 - 1858) and Alecu (1798 -1853). He died inl6th February 1836 and was buried - together with his wife - at the Metropolitan Church at Iaşi. Under Nicolae Rosetti-Roznovanu s management, the castle at Stânca underwent a new period of glory, since the pretentious boyar resi¬ dence was „always full, during summer¬ time, with the most select people from all over the country and entertained all foreig¬ ners in the district, who stayed in the coun¬ try or just transited it . This considerably enriched the library and the collections of precious objects in the castle and completed the works (interior decorations) at the fami¬ ly palace at Iaşi. Having received a high education in France and Germany, Nicolae Rosetti- Roznovanu held important positions in the state administration, he was a candidate in 1856 to the Caimacán office and his dream was to become the ruler of Moldavia. He led a highly adventurous life, and married twice: first to Catinca Ghica and then to Maria (Marghioiţa) Ghica-Comăneşti (1806- 1887). With the latter he had three children: Maria, Smaranda-Ema and Nicolae (Nunuţă); the boy became the owner of the castle at Stânca and of the palace at Iaşi. The new owner of the castle at Stânca, named also Nicolae Rosetti- Roznovanu, but especially known by the name of Nunuţă, was an interesting charac¬ ter in the epoch. Just as his father, Nunuţă wished to become Moldavia s ruler, after the separatist movement in Iaşi which took place in April 1866. Nunuţă Roznovanu married twice: in 1867 to Adela Cantacuzino-Paşcanu, with whom he had a son, George (1869-1937), and in 1875 to Lucia Vogoride, who presented him with two sons: Anton and Emanuel. On 22nd October 1891, Nunuţă Roznovanu died when he was only 49 years old, having left much too early his residence at Stânca, which was so dear to his heart that - break¬ ing with the family traditions - asked to be buried inside the church built here by his grandfather. Till 1938, when he died, Lucia Grecianu was the owner of the castle at Stânca. Co-owner was her elder son, Anton Rosetti-Roznovanu, who was at the same time the last owner of the residential domain at Stânca. The decline of the castle at Stânca and, finally, its destruction, started during the Second World War. The first devastations took place in the famous cellars of the castle at Stânca. The castle at Stânca, alongside with the church of the Roznovanu family have been bombed during the fights on 30th May - 12th June 1944, when the German and Soviet troops occupied them in turn, and destroyed them entirely. THE VĂCĂRESCU-CALLIMACHI MANOR IN MĂNEŞTI Initially, the Măneşti manor belonged to the Mănescu family, who owned it from the 17th century, when they actually erected a manor here. By the middle of the 19th century, the manor was in the possession of Dumitru Mănescu-Filitti and of his wife, Elena Arsachi. In 1863, their daughter, Maria Mänescu-Filitti married 478 Summary Theodor С. Văcărescu (1842-1914), diplomat general, historian and politician. As long as a marshal of Carol ľs Court (1873-1881), Theodor Văcărescu supervised the construc¬ tion works of the Peleş Castle at Sinaia. The erection of the royal residence served to general Văcărescu as a model of inspiration for the re-construction of the manor at Măneşti. The works began in 1882 and lasted for ten years, so that the new manor was officially inaugurated in 1892. The plans of the new building was made by the French architect Paul Gottereau. Since in this period the general stayed less in the country and more in diplomatic offices at Bruxelles, Rome and Wienna, the construc¬ tion works at the Măneşti building site were rather supervised by his son, Radu Văcărescu. Radu Văcărescu s daughter, Ana Maria Văcărescu, said that the so re-built manor „was a long, rather narrow construc¬ tion, weird, with huge saloons and rooms, open spaces, numerous stairs, useless vaults / hidden places, attics inviting to lounging about and deep cellars. Re-made in the sec¬ ond half of the Victorian times, out of which there has been kept only the original thick¬ ness of the almost fortress-size wall to stop the blaze of the summer days, and thus the home of my childhood was impressive through a distinct charm . It was also in 1892 that they built the church in the manor park, for whose erection Theodor Väcärescu hired the services of the French architect Paul Gottereanu, who made the plans according to the indications of architect Lecomte du Nouy. The actual construction of the church was accomplished between within 1892-1896 by the enterprise of archi¬ tect R. Lieber of Ploieşti, and the interior painting of the church was performed by Nicolae Vermont. Featuring large dimensions (55 x 21m), the manor at Măneşti was built in keeping with a symmetrical plan, according to three levels (basement, ground floor and storey), having at its extremities two vast terraces with arcades supported by carved wood columns. The two terraces frame the central tower of the manor, which has at its top a watch tower which is accessible using secret wooden stairs. Especially remarkable was the interior decoration of the manor at Măneşti, however hardly recognizable today among the ruins of the building. The coloured glass windows were made by R. Ziegler, the painter who also made the ones at the Peleş Castle at Sinaia, representing either Madam Chiajna or Madam Necşuţa, or the Văcăreşti poets, or different geometric decorative compositions and Romanian noble coats of arms. All these have been destroyed by a fire in 1974. The saloon ceil¬ ings of the manor were made of carved wood, the ones on the ground floor being destroyed today almost entirely. The saloons walls were covered with tapestry made of leather or silk, in some rooms there were frescoes and highly refined moldings, special fireplaces with ornamental Dutch / glazed store tiles, chandeliers, art furniture, sculptures, precious paintings, all these pat¬ rimony values being lost in fire in 1974. It was also general Theodor Văcărescu, who, as a great bibliophile, collected at the Măneşti manor one of the most valuable pri¬ vate libraries in those times, including bib¬ liophile rarities which have later been dis¬ persed and destroyed after 1949. General Theodor Văcărescu and hiw wife Maria Mănescu had three daugh¬ ters (Elena, Ana şi Maria) and only one son, Radu Văcărescu (1868-1936), who used to be an intersting character of that age. Radu Văcărescu married Maria Cazotti, the daughter of the great landowner Procopie Cazotti. They had one single daughter, Ana Maria Văcărescu (born on 2nd September 1892, in Bucharest), who inherited half of her mother s and her grandfather s (mother s father) entire wealth. The other half of the wealth remained with Radu Văcărescu. One of the most important society events in which Radu Văcărescu participa¬ ted, took place at Măneşti manor on 19th June 1911, namely the marriage of his daughter, Ana Maria Văcărescu, with Jean Callimachi. The religious ceremony was held in the church located in the park of the manor at Măneşti and has been conducted by the Bishop Nifon of Lower Danube, and the assistance of the choir of the Domniţa 479 Summary Bălaşa church, conducted by composer Dumitru Georgescu-Kiriac. Starting 1939, Ana Maria Văcărescu-Callimachi left Romania for England, where she worked with the BBC (starting 1941) and published in 1949 an interesting memoir book: Yesterday Was Mine. She passed away in her residence in London on 25 July 1970. After 1944, Pussy Callimachi sold the manor at Măneşti to King Mihai I of Romania, who being a passi¬ onate hunter used to come frequently here. Nationalized in 1949, the manor at Măneşti underwent an ill-fated period of its exis¬ tence, the objects and assets of the Vacărescu and Callimachi families being stolen, dis¬ persed, destroyed or sold. The building inte¬ riors were robbed and degraded, an unfor¬ tunate event to which filming performed here had fully contributed. In 1974 there were made some repair works at the roof of the manor, an occasion when due to the negligence of the workers, a fire broke out which was impossible to be extinguished in due time and destroyed all interior and exte¬ rior decorations of the building. CHAPTER II ARCHITECTS, ARTISTS AND DECORATORS IN THE ROMANIAN COUNTRIES AND ROMANIA (19th and 20th century) After the Kuciuk-Kainargi Peace Treaty in 1774, political and cultural relations with foreign countries - almost inexistent before - have strengthened, thus offering to the Romanian political elites, mainly selected from among the ranks of the boyars, new models of life, which could not be implemented under circumstances other than a new ideal of material comfort At the beginning of the 19th century it became imperative for the two Romanian provinces Wallachia and Moldavia to create infrastructures and upgrade towns, especially the two capitals, by implementing works related to buildings and urban systematization, but also by erecting politi¬ cal or private public edifices according to Western models. Such works were mainly entrusted to foreign architects ( architecto- nists - as they were called at that time) or engineers originating especially in the German and Austrian space. But before the modernization of Bucharest, by the end of the 18th century, Iaşi was proud of several notable examples of residential architecture. From among the foreign architects who worked in Iaşi, outstanding in the first half of the 19th cen¬ tury were the Austrian Johann and Gustav Freywald. Johann Freywald had also worked for other great boyars in Iaşi. On 13th 480 May 1814 he became the architect of sales¬ man lancu Balş and made a beautiful genealogie tree of this famous boyar family. Since Johann Freywald was involved for a year in the restoration of the Neamţ monastery, the Metropolitan Church of Moldavia employed him in 1833 to make the first plans of the Metropolitan Church Cathedral in Iaşi, and he stayed there as the Metropolitan Church architect till the 16th of August 1837. Johann Freywald carried out a rich activity as an engineer and architect in Bucharest, too. In 1820, Freywald pledged himself, together with his son-in-law Udritski, to restore during two years four princely bridges in Bucharest but the work has been abandoned due to the Tudor Vladimirescu s revolution. In 1819 architect Freywald was appointed by ruler Alexandru Suţu to make the plans for the construction of a new Princely Court instead of the one burnt down during the night of 21st / 22nd of December 1812. In 1822 the old princely palace has been renewed, and on this occa¬ sion the Italian painter Giacometti decorated the interiors of the building with frescoes representing the Olymp gods. The second Freywald architect who worked in Wallachia is Julius Freywald, whose activity encompassed the restoration Summary of several monasteries. Julius Freywald was a member of the restoration architects team, led by the Austrian Johann Schlatter, being commissioned by ruler Gheorghe Bibescu to restore in Oltenia great monasteries such as: Bistriţa, Hurezi, Arnota, Tismana, Dealu, Cozia or Curtea de Argeş. The name Julius Freywald is shown by the inscription of the Bistriţa Monastery in Vâlcea, whose cells / small rooms were built between 1846 and 1855. Julius Frey wald worked at the restora¬ tion of the monasteries Dealu in Târgovişte (1851) and Arnota (1852-1856), as well. Among the great works of the archi¬ tect Julius Freywald in Bucharest mention must be done about the erection in 1855 of the third building for the Spitalul Brâncovenesc hospital and several boyar houses in Bucharest, such as: the Brâncoveanu house on Şerban Vodă Road, chamberlain Filip Lens s house on Victoriei Road (subsequently transformed by the architect Ion Mincu), the Villára house, baron Meitani s house on Victoriei Road and Bălăceanu s house on Franceză Street, aga Alecu Conduratu s house (1847) and Dimitrie Boiarolu s house in the Gorgani suburbs (1858). The third Freywald architect, hav¬ ing carried out an intense activity in Iaşi during the first half of the 19* century, is Gustav Freywald, who endowed the capital city of Moldavia with two emblematic edi¬ fices: The Metropolitan Church Cathedral (1833) and the Rosetti-Roznovanu Palace (1832). Since the old houses of the Rosetti- Roznovanu family had been burnt down in 1827, treasurer Iordache Rosetti-Roznovanu asked in 1830 architect Gustav Freywald to make the plans of a new palace, construc¬ tion works of which were completed in 1832. The bailiff of the work was Alecu Stere or Steriade, of a Greek origin, and the man¬ ager of the Court was aga Vasile Bosie. This palace was inaugurated on Saint George s day of 1832, on the occasion of a great ball conveyed by the media of the time. Another engineer and „ architecto- nist who worked in Iaşi during the first half of the 19th century was the Russian Nicolai Singurov. Nicolai Singurov - who was a captain in the Russian Army in 1833 and came to Iaşi alongside with general Pavel Kisseleff - proposed, in the name of the Body of Engineers for Public Domains, a project to pave streets in Iaşi. One year later, in 1834, Singurov builds - according to Gheorghe Asachi s plans - the lions Obelise. Nicolae Singurov became, in 1835, an engi¬ neering professor at the Mihăileană Academy and then member of the Academy Committee (1837), receiving an order from ruler Mihail Sturdza for making the plans of the Princely Palace in Iaşi, a work which was carried out between 1841-1843. The palace was re-built in an almost identical manner with the one made by Alexandru Moruzi and accommodated offices of the administrative judiciary, and military insti¬ tutions, being named Palatul Ocârmuirii (Government Palace). When Mihail Vodă Sturdza (1834-1849) became ruler of Moldavia in 1834, he found the princely palace in ruins, and therefore he set up his residence in his own houses in Iaşi. In order to transform his houses into a residence worth for a ruler, the Adunarea Obştească (Public Meeting) voted in July 1834 a com¬ pensation in amount of 38,000 ducats so that the ruler can extend his own palace. Mihail Sturdza entrusted the reconstruction of his own palace in Iaşi to architect Singurov, and this work has been accomplished between 1834-1849. Also, other members of the same famous princely Sturdza family erected imposing aristocratic residences. The most eloquent example is actually one of ruler Mihai Sturdza s sons, Grigore M. Sturdza (1821-1901), who astonished the Bucharest society with the palace he built for himself in the Victoriei Square in Bucharest. The plans of the Sturdza palace have been drawn up by the German architect Julius Reinicke in 1897, and the building was erect¬ ed between 1898-1901. Most probably, the same German architect Julius Reinicke is the author of the plans for the Sturdza castle in Miclăuşeni (Iaşi). Although built during the flourishing period of the modern age - 1880-1904 - the neo-Gothic castle belonging to George A. Sturdza (1841-1909) in Miclăuşeni features all elements of a Western medieval resi- 481 Summary dence, from towers and terraces, up to the arms of coat, emblems, cartridges, masks and dragons decorating its façades. Julius Reinicke also made the interior decoration of the castle: the walls and the ceilings were painted in oil, with geometric and flower patterns, interspersed with Latin adages and heraldic lion presentations everywhere, and the stairs using Dalmatian marble. Another residence of the Sturdza family which has been preserved till day is the palace in Ruginoasa (Iaşi). Built in the year 1811 by the great treasurer Sandu Sturdza - according to the plans made by architect Johann Freywald - the palace in Ruginoasa was conferred upon features of a neo-Gothic impression due to the transfor¬ mations made by chancellor Costache Sturdza between 1847-1855, supported by the German architect Johann Brandel. In 1862, the palace was bought by the ruler Alexandru loan Cuza and re-furbished one year later in order to become summer resi¬ dence of the ruling family. During the first decades of the 19th century, in Wallachia we encounter the first boyar and princely palaces built according to foreign architects. From among them, the most acknowledged ones were the Austrian Johann Veit and Konrad Schwink who endowed Bucharest with one of the most beautiful edifices: the Suţu palace. This palace was built within 1833-1835 by court marshal Costache Suţu (1799-1875). On the supporter s request, architects Veit and Schwink erected a construction in the neo- Gothic style, specific to the Romanticist architecture of the age. In the same period in Bucharest the ruler Barbu Ştirbey s palace was under con¬ struction. This edifice was built between 1833-1835, according to the plans of the French architect Michel Sanjouand, who made a building in neoclassic style to become the princely summer residence between 1849-1856. In 1881, Alexandru В. Ştirbey altered the palace - as re-designed by the Austrian architect Friedrich Hartman - in that he erected above the central out¬ standing part a second floor and, on the North-Eastern wing, a two-floor tower. The same period of architectonic enthusiasm was the time when they radical¬ ly transformed the once boyar house belonging to Dinicu Golescu (1777-1830), built in a neoclassical style „for futurity , between 1812-1815, next to the Kretzulescu Church in Bucharest. In 1832, the inheritors sold the house to the state, which installed there the Administrative Council. Between 1834-1837, due to the request of ruler Alexandra Dimitrie Ghica (1834-1842), engi¬ neer Rudolf Artur Borroczyn and architect Xavier Villacrosse drew up the plans for the transformation of the building into a prin¬ cely residence, which was actually called the Princely Court from that moment on. Engineer Borroczyn has elaborated, in 1863, the design for re-arranging the Scarlat Kretzulescu house at no. 12, Dacia Street in a neoclassical style. Keen on good taste, Kretzulescu asked painter Gheorghe Tattarescu to decorate the house interior, between 1852 and 1855. From among the artists having worked in Wallachia at the beginning of the 19th century there have been kept till day fragments from the work of the Italian painter Giacometti, who decorated the inte¬ riors of the Ghica-Tei palace in Bucharest. Saved in the 1930ies, Giacometti s frescoes, which adorn the vaults of the saloon located upstairs and the hall located on the ground floor, present a luxurious decoration of flowers and wreaths / creeping stalks, a landscape animated by the presence of numerous birds. Another Austrian architect who worked in Wallachia was Johann Schlatter, invited by ruler Gheorghe Bibescu to restore monasteries (Bistriţa, Tismana, Dealu, Curtea de Argeş, Cozia, Arnota) in Oltenia and Walalchia. Schlatter changed somewhat the traditional spirit of our old monastery houses, having introduced elements that were specific to the neo-Gothic architecture (battlements, pediments, reinforcements, towers). Due to his desire to build a palace in the vicinity of Bucharest, ruler Gheorghe Bibescu entrusted architect Schlatter the task to erect a princely residence at Băneasa, on the estate received as a dowry from his wife Mariţica Văcărescu. The construction 482 Summary of the new palace was started in 1847, but the outburst of the revolution during the summer of the year 1848 resulted in the abdication of the ruler and in the desertion of the palace. As soon as the rule of King Carol I was installed, the place of the Austrian, German and Russian architects is taken by a series of architects from France and Switzerland - Paul Gottereau, Louis Blanc, Albert Ballu, Cassien Bernard, Ernest Doneaud, Théophile Bradeau, Jules Berthét, Grégoire Marc - who endowed our capital city with public edifices which changed the appearance of Bucharest, actually turning it into a „small Paris . From among these French archi¬ tects, the most prolific one was Paul Gottereau, according to whose plans the headquarters of the University Foundation „King Carol I and the palace building of the Savings and Loan Bank have been erected. For the purpose of building the Royal palace in Bucharest, King Carol I entrusted the French architect Paul Gottereau with working out the project. Merged with the old Golescu house through a circular saloon in neo-Renaissance style, the royal palace (built in the year 1885 according to three levels: ground floor, storey and attic) had a rhythmic façade with brick columns and bas-relief decorations made of gypsum, while at the attic level the central decorative element was the coats of arm of the royal family. Because of the fire in 1926, which destroyed the old royal palace in Bucharest, the building works of the new royal palace were initiated by King Ferdinand in December 1926 and completed in September 1940. The new royal palace is remarkable by its interior decorations: painting and sculpture, made by renown artists: Jean Dupas, Arthur Verona, Henri Catargi, Iosif Iser, Nicolae Tonitza, Theodor Pallady, Rudolf Schweitzer-Cumpăna, Francise Şirato, Dumitru Ghiaţă, Gheorghe Petraşcu, Dumitru Stoica, Cecilia Cuţescu- Storck, Cornel Medrea, Ion Jalea, Constantin Baraschi, Dimitrie Ştiubey, Marius Bunescu, Ştefan Popescu and others. King Carol I appoints Paul Gottereau in the position of chief architect of the Royal House and entrusts to him the construction works of the Cotroceni Palace in Bucharest, built as well between 1893- 1895 according to architect Paul Gottereau s plans, the Cotroceni palace was constantly arranged and modified after 1900, on princess Maria s request, who was keen on decorations and an adept of the Art Nouveau style. Under the influence of the princess and, then, of Queen Maria, the Cotroceni palace underwent several trans¬ formations and interior arrangements betweenWOO-WlO and 1913-1915. For arrangements in neo-Romanian style, the sovereign lady chose to employ the services of one of the creators of this style, Grigore Cerchez, who carried out ample extension and re-modelling works in the Northern wing of the palace, giving a new look to the royal residence between 1915-1926. It was the same architect Paul Gottereau who was asked by Alexandru Marghiloman, too, to build his manor in Buzău, known under the name of Vila Albatros (Seagull Villa). They started to build the Vila Albatros in 1884, and its offi¬ cial inauguration took place thirteen years later, in 1897. Unfortunately, after 1948, the Vila Albatros was transformed by the communist authorities into a warehouse of the Agricultural Production Cooperative, being practically ruined and abandoned in 1985. A masterpiece of the architect Paul Gottereau in Romania is the Dinu Mihail palace in Craiova. The palace was built by Constantin N. Mihail (1837-1908), between 1900 and 1907, under the direct supervision of the Italian architect Costantino Cichi. Inaugurated in 1909 by Dinu Mihail s two sons, Nicolae and Jean, the palace features the constructive style of the French academism, with prevailing elements of the late baroque. Another French architect having worked in Romania was Albert Galleron, who endowed Bucharest with two emble¬ matic monuments - i.e. the Romaninan Athenaeum and the Romanian National Bank. Moreover, he has erected several boyar houses in Bucharest and in the provinces. In the capital city Galleron worked out the plans for the following 483 Summary residences: the Eliza Filipescu house on 129- 131 Victoriei Road, dr. Steiner s houses on 7 Brezoianu Street (1889), the Costescu- Comăneanu house on 12 Clemenţei Street (1889), Iacob Negruzzi s house on 25 Romană Street (1889), Zoe Slătineanu s houses on 96 Dorobanţilor Road (1890) and on 2 Corabia Street (1891) or dr. N. N. Turnescu s house on 37 Dionisie Lupu Street (built between 1893-1895). In the provinces, Albert Galleron made the plans for Constantin Vălimărescu s house in Craiova (built between 1892-1893) and of Dimitrie Ghica s palace in Comăneşti (Bacău), built inl890, in the very middle of one of the largest parks in Moldavia. The work of the French architects who have carried out their activity in Bucharest by the end of the 19th century was excellently continued by a large number of Romanian architects, who graduated the same Fine Arts School in Paris. The one to resume the work of the French architects at a magistrate level was Ion D. Berindei (1871- 1928). The first significant works of architect Ion Berindei were the house of general Eraclie Arion (1838-1903) in Bucharest and Grigore Olănescu s house (erected in 1901). Two residencies have been built by Berindei in Louis XVI style: i.e. Alexandru G. Florescu s house (1902) and the house of the industrialist Basil G. Assan (1904). Another art collector, Ion Kalinderu, built a private art gallery between 1908-1909, according the plans of the same architect Ion Berindei. The building that defines architect Ion Berindei remains however - alongside the impressive Administrative Palace in Iaşi, erected between 1906-1925 in a neo-Gothic style, - the George Grigore Cantacuzino Palace in Bucharest. For building his residence, the Nabab asked for the services of some great artists: architect Ion Berindei worked out the design of the building in Louis XIV style, and the interior decoration was the work of the painters G. D. Mirea, Nicolae Vermont, Costin Petrescu and of the sculptor Carol Storck. The Cantacuzino Palace was built between 1901-1903 and inaugurated on 29th January 1906. Supported by the same architect Ion D. Berindei, George Grigore Cantacuzino buit on his estate at Floreşti (Prahova) a res¬ idence which is impressive even today, although by now in ruins since decades: the Small Trianon Palace. Completed within only two years (1911-1913) by French crafts¬ men according to the plans made available by architect Ion D. Berindei, in French eclectic style, with prevailing neo-roccoco and neoclassic elements, the Cantacuzino Palace at Floreşti is a masterpiece of the eclectic architecture in Romania. In Romania, there carried out their activity several Italian architects and crafts¬ men. From among them, the most prolific was architect Mario Stoppa, who worked for Romania s royal family. Honouring the request of Queen Maria, Mario Stoppa made the plans of the royal palace in Mamaia. Being highly fond of the sea, Queen Maria builds two summer residences i.e. at Baleie and at Mamaia. Featuring a 1,200 sqms sur¬ face area, the royal palace in Mamaia was built between 1924-1926 by the entreprise of the Italian architect Carlo Actis, under the direct management and supervision of architect Constantin D. Dobrescu. Barbu Ştirbey entrusted to the same architect Mario Stoppa the accomplishment of the plans for his palace in the city of Braşov, actually built between 1923-1925 according to architect Mario Stoppa s plans, with the help of the entreprise of the Italin engineer Cesare Fantolli and architect F. Höflich. There were other Romanian aristo¬ crats, too, who employed the services of Italian architects for building or restoring their rural or urban residences. The most eloquent example is the one of Marthei Bibescu (1886-1973), who initiated in 1912 an ample restoration process of the palace at Mogoşoaia. In order to restore the palace and revive its architectonic aspect with influences from Venice, Martha Bibescu had only one choice, namely to turn to one single Venetian architect, Domenico Rupolo. The restoration works with the palace in Mogoşoaia started in September 1912. The palace was Inaugurated in June 1927, but Martha Bibescu continued, between 1930- 1935, the interior arrangement works under architect G.M. Cantacuzino s management. Also, in Moldavia at the beginning 484 Summary of the 20 century we encounter boyar manors built according to plans drown by Romanian architects. For instance, in the village Gheorghe Doja (Bacău) there is still preserved the manor of the brothers Dimitrie and Gheorghe Buzdugan. As a massive building made of stones and bricks, with basement, ground floor and a partial storey, this manor was built between 1906 and 1909, according to the plans elaborated by architect N. Caranevici, who was the very designer of the church dedicated to „St. Dumitru , built by the Buzdugan family in the year 1934. Another architect who became known especially by his famous restoration works related to historical monuments, but also by building some monumental edifices, was Nicolae Ghika-Budeşti (1869-1943), a foreground character of the Romanian architectonic school and one of the founders of the history of architecture in Romania. The Cantacuzino-Paşcanu family s manor in Paşcani, built between 1640-1650 by the great treasurer Iordache Cantacuzino- Paşcanu, was restored in 1904 by its owner, princess Maria Moruzi, through the care of the very architect Nicolae Ghika-Budeşti. The same architect Nicolae Ghika-Budeşti made the plans according to which Prince George Ştirbei s palace in Dărmăneşti (Bacău) was built ín 1914. A great representative of the eclectic and neo-Romanian architecture was the engineer and architect Grigore Cerchez (1850-1927). He built several boyar houses in Bucharest: Ion Cerchez house (1900), Emil Lahovary s house (erected between 1906-1910, by the enterprise of engineer F. Schmidts), Hie I. Niculescu-Dorobanţu s house (1896-1911), loan Manu s house (erected by the enterprise of engineer Cesare Fantolli and of architect F. Hoeflieh). At Constanţa, on a rock near the seashore, Grigore Cerchez implemented the plans of Mihai Suţu s vila, built in 1899. In the same period when he made transformations in neo-Romanian style of the Cotroceni palace, inspired by princess Maria, architect Grigore Cerchez was also the one to sign the plans for two princely residences: the Kisseleff palace belonging to Prince Carol and the Zamora castle owned by G. Gr. Cantacuzino at Buşteni. Important contributions to the development of the neo-Romanina architec¬ ture in the first half of the 20th century were those delivered by the works of architect Petre Antonescu (1873-1965). Although in an early phase of this creations, Petre Antonescu made buildings in an eclectic style featuring a French influence (among which the most remarkable is Elena Kretzulescu s palace in Bucharest - 1902 or the office of the Accademia di Romania in Rome - 1931) or an Art Nouveau influence (the Casino and the Hotel Palace in Sinaia, built between 1913-1914), subsequently the architect opted for de development of the neo-Romanian style, succeeding to erect several edifices with defining traits (the Mayor s House of the capital city - 1906- 1910; the Mayor s House in Craiova - 1912- 1913, the headquarters of the Marmorosch- Blank bank - 1915-1923, palaces of justice in Botoşani and Buzău - built between 1909- 1912, the Arch of Triumph in Bucharest - 1935-1936, the Cathedral in Galaţi, the river Stations in Galaţi -1912-1915 and Giurgiu - 1935-1936). Petre Antonescu was to accomplish the plans for several houses in neo- Romanian style in Bucharest: Dumitru Oprea Soare s house and Nicolae Malaxa s house, Ion I. C. Brătianu s house (built in the year 1908 by the entreprise of engineer Hugo Schmiedigen), Vintila Brătianu s house (1920). A rural residential work of architecture belonging to Petre Antonescu is the manor of Mihai Oromolu at Păuşeşti- Măglaşi (Vâlcea), built between 1915-1916. Another lady architect to build sev¬ eral rural residential ensembles between the two World Wars was Henrietta Delavrancea-Gibory (1894-1987). For painter Eustaţiu Stoenescu, the architect made a house in 1931 in Bucharst, and between 1934-1938 designed for the same artist the manor and the outbuildings at Drăghiceni (Olt). One of her significant works was the palace of Prince Nicolae of Romania, built in a solemn Romanic-Spanish style on the banks of the Snagov lake, between 1935- 1937. A manor at the countryside was 485 Summary designed by the same lady architect in Magura Odobeşti (Vrancea), her work being accomplished between 1937-1938 for Petre Logady. Moreover, Henrietta Delavrancea- Gibory also built several private lodgings at Baleie, all around Queen Maria s palace or in the city, for a number of artists or friends of the same lady sovereign: the Vânturile, valurile (winds, waves) house belonging to general Rasoviceanu (1932-1934), the Casa Lupoaicei (she-wolf house) belonging to N. Ionescu (1934-1935), Elizei Brătianu s and Ion Pillat s villas (1935), the Casa cu terase în mare (hose with terraces in the sea) for the painter Ştefan Popescu (1937) or even the Mayor s House in Baleie (1936). CHAPTER III DESTINY OF SOME HISTORICAL MONUMENTS FEATURING RESI¬ DENTIAL FUNCTIONS IN ROMANIA (1945-1955) After the instauration of the first government dominated by communists and led by dr. Petru Groza, on 6th March 1945, it became obvious for quite many of the repre¬ sentatives of the Romanian aristocracy that their future was going to be subject to uncer¬ tainty and were going to bear the consequences of some populist measures intended to increase the popularity to the new governors. One step taken against the bourgeois-landlord representatives was the removal of their economic basis grounds, by reducing the surface areas of all estates (fur¬ ther to the agricultural reform on 23rd March 1945) and then by the liquidation of all Jewish people from the ranks of the Romanian aristocratic élite, further to the expropriation in March 1949, when thou¬ sands of estates and manors were confisca¬ ted, and the owners were banished from their homes, being forced to move in manda¬ tory domiciles or thrown into jails, where they died. In order to know exactly the extent of the said rural land properties of the great aristocrats, between 25th-31sl January 1948 the new communist authorities have organized a census of the population and of the agricultural properties. The first notable example in the field of the expropriations was a given by the royal family of Romania, right after the forced abdication of King Mihai I, on the 30th of December 1947. On 27th May 1948, by virtue of Decree no. 38 of the President of the Great National Assembly of the People s Republic of Romania, „the Romanian state was rightfully reintegrated starting the same day into the full ownership rights related to all assets having made up the once Domain of the Crown and the ones that used to be utilized or administered under the Royal House designation, alongside with the entire living or non-living stock . Article 2 of the said Decree stipulated that „all estates and chattels movable, which were on the 6th of March 1945 in the property of the former King Mihai I or of other members of the former royal family, shall be transferred starting the same day into the property of the Romanian state. Any acts of disposal or of setting up actual rights as to the said goods, having occurred after 6th March 1945, were to be deemed as being null and void . After the expropriation of the assets having belonged to the royal family, it was the turn of the properties owned by the Romanian landlords. The Minister of Agriculture and Domains asked - on the 24th of June 1948 - that the county agricultur¬ al services forward nominal lists with all owners of agricultural land areas featuring exploitations of 50 ha and above within the range of their respective counties. According to the centralized data, on November 1949, in Romania there were 7,703 private proper¬ ties featuring a surface area of 50 ha and 486 Summary above, all in all 1,013,461 ha, out of which: 289,333 ha plough land, 107,128 ha hay fields, 71,509 ha grassland, 5,964 ha vine¬ yards, 8,886 ha orchards, 3,620 ha gardens, 468,622 ha forests, 36,295 ha ponds and 22,104 ha non-fertile land areas. In order to take over the 50 ha rural land properties and the model farms which have not been expropriated by virtue of the agricultural reform in 1945, they issued Decree no. 83 on the 3rd of March 1949, according to which there were transferred into the state property „all agricultural land¬ lord exploitations having been subject to the expropriation as per Law no. 187/1945 and the model farms built by virtue of the same law, including its living and non-living inventory, as well as the buildings, pertai¬ ning to or subject to such exploitations, no matter where these are located . The actual expropriation of all landlords in the coun¬ tryside started during the night of 1st towards 2 ul of March 1949. After the expro¬ priation, the goods inventoried in the for¬ mer boyar residencies have been distributed according to the circular letter dated the 4lh of May 1949 issued by the Minister of Agriculture: assets featuring an agricultural character have been taken over by the State Agricultural Farmsteads; different patrimo¬ ny assets locked up in manors or at the county residence had to be taken over by the Provisional Committee of each and every county and distributed to local institutions (schools, mayor s office, libraries) or cultur¬ al ones (museums), provided that the Ministry of Arts was notified thereto, while all gold, silvery, precious stones and money deriving from those expropriated, have been delivered to the State Bank of the People s Republic of Romania. The Ministry of Arts set up a patrimony objects deposit (for paintings, sculpture, decorative arts), the most valuable works of art, for example 153 picture works, 52 sculpture works being directed to the National Picture Gallery or the Art Museum of the People s Republic of Romania, opened in 1950. For the residences of the Romanian royal family there have been set up an inventorying commission presided by academician George Oprescu, but, nevertheless, many of the patrimony values have been destroyed or alienated on purpose. The first case to save a historical monument was the Budişteanus manor in the village Budeasa Mare (Argeş). The histo¬ ry of this historical monument is shown by the inscription in the manor hall: „Built by cap [tain] Pană of Budeasa, during Mihai Vodă s rule (1598). Restored by great provost marshal Şerban Budişteanu during Vodă Mavrocordat s rule (1768). Repaired by general Alexandru Budişteanu during King Carol I s rule (1870). Restored by Dumitru A. Budişteanu (1922 and 1927) . The second component of the residential ensemble at Budeasa is the church dedicated to the „Dormition of the Holly Virgin , built - according to the inscription - in the year 1769 by the brothers Şerban and Nicolae Budişteanu, on the location of an old wood¬ en church. In order to avoid further damages to the fortified boyar s manor and to the park in Budeasa, the owner Alexandru D. Budişteanu appealed - on 17th October 1948 - to the President of the Commission for Historical Monuments in Romania in order to achieve the „historical categorization of the monuments owned by him in the com¬ mune Budeasa. Reviewing the report drawn up by architect Ştefan Balş concerning the historical monuments in Budeasa, the Commission for Historical Monuments decided - in the meeting held on the 22nd January 1949 - to categorize as historical monuments the Budişteanu fortified boyar s manor and park in Budeasa. The Mayor s Office of the commune Budeasa did not want to take into account this step, which established other conditions for the Budişteanu manor, now declared historical monument, and asked Alexandru Budişteanu to make available to the author¬ ities the house „which was going to be used by mass organizations of the commune Budeasa . The local authorities of county Argeş have requisitioned the manor in Budeasa on 21si April 1949. The next day, Alexandru Budişteanu was compelled to hand over the manor alongside with the entire inventory to Ion Bănică, director of the House of Culture in Budeasa. The 487 Summary totally inappropriate function given to the manor resulted in the degradation of the monument and of the surrounding park. Another residence of a historic value was Ion Ghica s manor in Ghergani (Dâmboviţa), built towards the end of the 18 th century by the great ban Dimitrie Ghica. The building was reconstructed in 1859 by Ion Ghica, who gathered precious bibliophile and art collections, dispersed during the years of the communist regime. In the park of the manor there stands Ion Ghica s family chapel, dedicated to St. John the Baptist , built in 1869, according to the plans drawn up by architect Dimitrie Berindei. In the first half of the year 1948, the authorities in Ghergani tried to take over Ion Ghica s manor in order to use it as offices for some local institutions. Inferring the risk of expropriation of the entire resi¬ dential domain, Ion Ghica s great grandson, Dan Bossy-Ghica, wrote a letter on 16th June 1948 directly to the Minister of Arts, explaining the reasons why he considered abusive the requisitioning step. The only solution for warding the requisition off was to categorize the three components of the residential ensemble in Ghergani - the Ghica manor, park and chapel - as histori¬ cal monuments, and so Dan Bossy-Ghica asked the Minister of Arts to issue a decree to this extent. Having investigated the manor, the park and the chapel in Ghergani, the Commission for Historical Monuments held a meeting on the 8th of July 1948, but unfortunately „failed to approve the catego¬ rization as a historical monument of the park and of I. Ghika s house on the Ghergani estate, county Dâmboviţa . Though the manor in Ghergani is still preserved nonetheless seriously dam¬ aged due to the elapsed time and the negli¬ gence of those who have administered it during the years of the communist regime. The same does not hold true for the resi¬ dence at the countryside of another prime- minister of Romania, Barbu Catargiu from Maia (Ialomiţa), built in 1820 by the great magistrate Ştefan Catargiu. After the death of Barbu Catargiu s wife, the manor in Maia was donated by the family in order to set up - according to the testament of the former prime-minister of Romania - a Girl s Institute whose operating rules have been established by a special law on 8th January 1900. Although the Girl s Institute was under the Jurisdiction of the Ministry of Justice and was acknowledged as a legal person, in March 1946 the local authorities of Maia have requisitioned the manor and have evacuated the schooling settlement sheltered thereby. Under these circum¬ stances, in order to avoid the destruction of the manor in Maia, Barbu Catargiu - the descendant of his ancestor who founded the manor and guardian of the Girl s Institute which was operative at Maia - has request¬ ed that the Commission for Historical Monuments categorize as historical monu¬ ments the manor, the chapel and the park in Maia. Facing such arguments and docu¬ ments, the Commission for Historical Monuments has approved - in their meeting held on 27th March 1946 - the categorization as a historical monument the „of late Barbu Catargiu s residence, left by testament for operating inside it the «Barbu Catargiu» Girl s Institute, made up of lodgings, the chapel with the family tomb, the garden, the lake and the surrounding park comprising a 20 ha overall surface area . Even so, the new authorities cancelled in 1949 the Girl s Institute, a fact that resulted in the irrevoca¬ ble falling into ruins of the Barbu Catargiu s residence. Almost the same scenario was applied in the situation of other boyar resi¬ dences, as well, such as the Ghica- Cantacuzino manor in Ciocăneşti (Dâmboviţa). The manor in Ciocăneşti - dating from the 17th century - was rebuilt during the first decades of the 19th century by aga Constantin Creţulescu (1796-1871). Subsequently, by the marriage of one of his daughters, Eliza, to Vladimir M. Ghica (1832-1915), the manor was transformed by this latter, who erected its outbuildings, too. Lacking descendants, Vladimir Ghica adopts his wife s nice, Alexandrina Palladi (1881 -1944), to whom he left as inheritance the domain at Ciocăneşti. The last owners of the manor at Ciocăneşti were Alexandrina Cantacuzino s son, Gheorghe Gr. 488 Summary Cantacuzino (1900-1977), and her niece, Elena Cantacuzino. On 6th April 1948, Elena and Gheorghe Cantacuzino asked for the catego¬ rization as a historical monument of the entire residential ensemble taken into account that the manor and the park in Ciocăneşti featured a high historical and artistic value. Reviewing all these argu¬ ments, the Commission for Historical Monuments decided - in their meeting held on 15th April 1948 - to categorize as a his¬ torical monument both of the Cantacuzino manor and the park (comprising a 20 ha overall surface area) in Ciocăneşti. All these precautions and steps have been of no use since the manor in Ciocăneşti was demol¬ ished after 1950. Another residence of the Cantacuzino family, the Mavros- Cantacuzino manor in Călineşti (Prahova), was built in a neoclassical style between 1821-1825, by Nicolae Mavros (1786 -1869). In 1845, by the marriage of Mavros daugh¬ ter, Maria (1828-1902), to loan Cantacuzino- Măgureanu (1823-1882), the manor in Călineşti was transfered into the property of the Cantacuzinos . Fearing that the expro¬ priations imposed by the agricultural reform of 1945 might result in the devasta¬ tion of the manor in Călineşti and to the dis¬ persion of the collections kept here, dr. Alexandru I. Cantacuzino asked the Commission for Historical Monuments on the 20th of April 1945 „to categorize as a his¬ torical monument the manor at Călineşti, county Prahova, a manor as to date owned by my brother . The Commission for Historical Monuments approved - in their meeting held on 27lh April 1945 - the catego¬ rization as a historical monument of the Cantacuzino park and the manor in Călineşti. Even though deemed as being a historical monument, the Mayor s House of the commune Călineşti failed to observe this stipulation and expropriated the park of the Cantacuzino manor. Starting 1949, in the manor there has been installed a military unit of dog-training frontier guards. A sad destiny was experienced also by the Văcărescu family s manor in Văcăreşti (Dâmboviţa), which - though already donated in 1948 to the Romanian Academy by its last owner, Zoe Cáriból - has been demolished down to the last brick during the first years of the „people s power . The manor at Văcăreşti was built in 1868 by loan Enăchiţă I. Văcărescu (1839- 1914), in the very middle of a large park. Severely damaged by the earthquake in November 1940, the new manor belonging to the Văcăreşti family was identically re¬ made in the year 1942, by Zoe M. Cáriból (1866 - 1950), loan Enăchiţă I. Vărărescu s daughter. Inferring the risk that the Văcăreşti park and manor might be expro¬ priated on the request of the new authori¬ ties, in April 1946 Zoe Caribol asked the Minister for Religions and Arts the catego¬ rization as a historical monument of the park in Văcăreşti. King Mihai I of Romania signed the Royal Decree no. 41 on the 14th of January 1947 by virtue of which the „manor and the park belonging to the Văcăreşti estate, owned by Mrs. Zoe colonel Caribol, is categorized as being a historical monu¬ ment . This, however has not hindered communists to expropriate in March 1949 the Văcăreşti manor and park and to trans¬ form the same into a public grassland, a des¬ tination which is preserved till nowadays. Since the Academy was unable to protect its property, the local authorities and the local people in Văcăreşti have demolished the manor and the chapel of the Văcăreşti fami¬ ly, and the park has been cleared. Dramatic was also the situation of the hungarian castles, palaces, manors and noble courts in Transylvania, many of them remarkable monuments of architecture, which sheltered inestimable collections of patrimony. In many situations, because of the agricultural reform in 1945, the estates and the residences of the hungarian counts started to be devastated by the population within 1945-1948. Examples to this extent are for instance: the Kornis castle in Mănăstirea (Cluj) - „in progress of demoli¬ tion, being the most beautiful castle in the Renaissance style built in Transylvania -, the Bànffy castle in Bonţida (Cluj) or the Bethlen castle in Samsond-Şincai (Mureş). Last but not least, the Hungarian People s Union sent on 9lh September 1948 to 489 Summary the Commission for Historical Monuments a file including 14 historical monuments, the said documentation being accompanied by historical data and photographs. Due to the examination of the file, the Technical Sub- Commission of the Commission for Historical Monuments proposed to the plenum the categorization as such of the following historical monuments: the castles in Brâncoveneşti, Bontida, Mănăstirea, Ozd and Vinţu de Jos and the churches in the communes Benic, Cricău, Petrinzel, Sântămărie Orlea, Uioara and Cetatea de Baltă. For the castles in Samsond, Bahnea and Ardud Subcomisia it deemed to ask for professor Virgil Vătăşianu s endorsement, too. One of the most important monu¬ ments featuring a residential function in Transylvania was the Bánffy castle in Bontida, whose situation worsened during the Second World War, when „the with¬ drawing German troops robbed and entrusted the castle during the fall of the year 1944. The roof of the main building and the ceiling of the first floor have been damaged. One of the most beautiful and largest castles in Transylvania was to be soon irrevocably destroyed if the most important repair works failed to be carried out urgently. Nowadays, it accommodates an operative agronomy school, which, however - and unfortunately - further car¬ ries on the said destruction work . The degradation condition persisted between 1947-1948, too, when the Bánffy castle was used for the purposes of the Agricultural Chamber , although the Ministry of Arts and Information categorized the castle as being a historical monument. Another important castle of Transylvania, the one in Brâncoveneşti (Mureş) - property of count Kémény loan - „had to suffer during the actual World War, being hit by gun missiles. The walls and the carved parts have been damaged . From among all these castles, the most dramatic situation was experienced by the Kornis family residence in Mănăstirea (Cluj). Devastated and ruined after 1945, from the residential ensemble at Mănăstirea only the palace and fragments of the Renaissance castle ruins are still left. The same situation was encountered at Beclean (Bistriţa), where there were three Bethlen noble family cas¬ tles, which „were not at all taken care of, although one was the property of the state farm, the second of the Textiles School, which, in my opinion, had no reason at all . The Bethlen castle in Ozd (Mureş) was „a highly peculiar building, with bastions in the corners, originating in the 17th century . Starting the first post-was years, the castle „deteriorated very much after this war. One could rightfully fear that it would eventual¬ ly loose its original shape . The same lack of concern was expe¬ rienced with the Károlyi castle in Ardud (Satu Mare), built at the beginning of the 18th century. Just as in other situations, local people demolished the walls of the fortress and stole the bricks. Therefore, the prefect of county Satu Mare, dr. Mihai Şuta, was of the opinion that „in order to be able to save the available material - i.e. the bricks - we deem that demolishing should be authorized, and the obtained bricks be used for public state constructions in the headquarters of the small rural district Ardud . Other noble res¬ idences in county Mureş had suffered due to the war and to the local people, just the same: the „Teleki castle in Glodeni, in baroque style, too, being quite valuable, had several collections, museum, all destroyed by the vicissitudes of the war; the Zichy castle in Voivodeni, a castle with beautiful arcades, cannot be inhabited, either; the Toldalaghi castle in Bolintineni, built towards the end of the 19th century, destroyed all the same. These castles are worth to be restored and preserved as archi¬ tectural monuments . Only the Teleki fami¬ ly castle in Dumbrăvioara was „in an usable condition , sheltering the primary school and the House of Culture of the locality. The Castele in Ozd (Mureş), Ilona Teleki s prop¬ erty, was significantly damaged during the war and in 1948 was „administered by the A.F.S.M., however partly was used by the commune, which performed repair works, too . In the case of the castle belonging to Prince Mihail Apafy in Dumbrăveni (Sibiu) there were still preserved from the building „a tower, some ruins and galleries, which 490 Summary extend over tens of kilometers , the brick of the former castle being used for erecting some new buildings. In the commune Şomcuta Mare there was preserved the Fortress „received by donation from the Chioarul Community and the Şomcuta Mare Community, in order to accommodate a school or a cultural institution . Further to the war, a wing of the fortress in Şomcuta Mare was severely damaged, requiring to be re-built, the entire edifice being „short of glasses, jewelry, doors . Another castle which had to suffer due to the war was the one belonging to count Degenfeld Sándor in commune Ardusat (Maramureş), this edifice being „in a highly bad shape, destroyed as the front line passed by, fully lacking doors, win¬ dows, as well as a part of the roof, a reason for which it falls apart due to the adverse weather, since its walls are made of brick¬ work . It was also in the small rural district Ardusat, in the commune Pribileşti that the residence belonging to count Teleki Pál, for¬ mer prime-minister of Hungary stood, the castle being „covered by shingle and which, here and there, was destroyed, so that rain used to fall in through the ceilings . The sec¬ ond World War had devastating effects over the great Lonyay castle in the commune Medieşu Aurit (Satu Mare), as well. After 23rd August 1944, because of the withdraw¬ al of the German troops, the castle in Medieşu Aurit was set on fire, so that in 1950 - when the Minister of Arts decreed the preservation of the castle - the local autho¬ rities took steps for safeguarding the edifice which was permanently degrading. Nevertheless, the demolition process could not be stopped, since the building was damaged to an extent that practically it was impossible to take any steps whatsoever for its preservation. Doors and windows were totally missing in this part of the building, having been destroyed a long time ago . With all commendable endeavour of the Commission for Historical Monuments to categorize aristocratic resi¬ dences in Romania as historical monuments in order to save them from the destruction dictated by the communist regime, most of the castles, palace and manors in Romania within 1945-1955 had the same fate, i.e. the wave of the destruction ordered by commu¬ nists affected all buildings featuring a residential use in rural areas. CONCLUSIONS From the review of the residential architecture created by Romania s aristocra¬ tic, political and cultural élites during the 19th - 20 1 century one can draw as a conclu¬ sion first of all the idea of our European traits. All buildings referred to in this work are eloquent proofs of the good taste, select education, style and refinement of the Romanian aristocracy at the turn of the century. Due to the modernization process experienced by the Romanian society in the two Principalities, in the first half of the КГ century there began to occur the first notable examples of residential architecture as works of foreign architects. In the second half of the century, the constructive enthusi¬ asm of the Romanian aristocracy keeps on to be present at a high level, with an ever grow¬ ing number of rural and urbane residences. There has been built much, with taste and sustainably, thus contouring a new physiog¬ nomy of the big cities in the country, the entire Romania being under an ample process of restoration. This period is chronologically cir¬ cumscribed to the period of the ruler, and starting 1881, of King Carol I (1866-1914), when practically the modern Romania was created and joined the European models of civilization. Romania s first sovereign him¬ self is the one who gave remarkable exam¬ ples in the field of residential architecture in the Romanian space: the Peleş and Pelişor castles in Sinaia, the royal palace in Bucharest, the Cotroceni palace have thus become symbols of our royal and European character. The example of the dynasty- 491 Summary founder sovereign was followed by the entire aristocratic and political élite of the country, private residences started to spring first in cities then in residential domains in the rural space. Mention must repeatedly be done about the patrimony goods and inestimable collections (objects of decorative art, wainscotting, paintings, famous libraries) kept in such Romanian castles, palaces and manors. All were proofs of the refined taste of their owners and supporters, creating and re-creating an atmosphere which used to customize each and every residence, but unfortunately all have been destroyed after the nationalization in 1949 with a fury and outburst worth of a better cause. For this reason, this work attempts to recover not only a page from our cultural and political history, but rather a whole world, which disappeared in the communist dungeons during the years of the past regime. A world that created the modern Romania, a political élite for which the supreme values were the welfare of the country, a cultural élite which contoured - through its work - a new Romanian identity, a world whose few surviving representatives experienced the infinite joy to have met and recovered the affective memory of their childhood and youth in manors located in the countryside during the years of the „Belle Époque . This reconstruction is not only necessary - for recovering an aristocratic history cursed for half a century - but also full of teachings for the European future of a Romania still looking for models and her identity lost during the communist regime. To re-discover the history of these residen¬ tial architectures in the Romanian space is an equivalent to recovering an image of the once profound Romania. A Romania where being an aristocrat meant, above all, a state of mind which governed an entire social élite. To restore these manors and palaces ruined by the passing time, people s indifference and the scheduled destruction during the years of the communist regime means respecting not only our past, but also our future. To transform these buildings proud with a glorious past into a network of private hotels would be the best solution for their preservation and the transmission of this architectonic thesaurus to next genera¬ tions. Translated by Camelia Ţugui 492
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title	Elitele şi arhitectura rezidenţială în ţările române (sec. XIX - XX)
title_auth	Elitele şi arhitectura rezidenţială în ţările române (sec. XIX - XX)
title_exact_search	Elitele şi arhitectura rezidenţială în ţările române (sec. XIX - XX)
title_full	Elitele şi arhitectura rezidenţială în ţările române (sec. XIX - XX) Narcis Dorin Ion
title_fullStr	Elitele şi arhitectura rezidenţială în ţările române (sec. XIX - XX) Narcis Dorin Ion
title_full_unstemmed	Elitele şi arhitectura rezidenţială în ţările române (sec. XIX - XX) Narcis Dorin Ion
title_short	Elitele şi arhitectura rezidenţială în ţările române
title_sort	elitele si arhitectura rezidentiala in tarile romane sec xix xx
title_sub	(sec. XIX - XX)
topic	Villa (DE-588)4063532-6 gnd Architektur (DE-588)4002851-3 gnd Architekt (DE-588)4002844-6 gnd Palast (DE-588)4044394-2 gnd
topic_facet	Villa Architektur Architekt Palast Rumänien Bildband
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Elitele şi arhitectura rezidenţială în ţările române (sec. XIX - XX)

MARC

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