Manastiri Si Biserici Din Romania

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Monasteries and Churches of RomaniaM~n~stiri [i biserici din România

Moldavia and BukowinaMoldova [i Bucovina



Descrierea CIP a Bibliotecii Na]ionale a RomânieiGheorghiu, MihaiM~n~stiri din România: Moldova [i Bucovina / text [i legend~:Mihai Gheorghiu, Valeriu Cimpoeru; foto.: Dan Ioan Dinescu,Mircea Savu, ßtefan Petrescu; grafic~: Ovidiu Morar, Mihaela Dulea;trad.: Alina Cârâc.-Bucure[ti: NOI Media Print, 2005

ISBN: 973-7959-20-5

I. Cimpoeru, ValeriuII. Dinescu, Dan Ioan (foto.)III. Savu, Mircea (foto.)IV. Petrescu, ßtefan (foto.)V. Morar, Ovidiu (graf.)VI. Dulea, Mihaela (graf.)VII. Cârâc, Alina (trad.)

726.7(498)



M~n~stirea Putna

M~n~stirea Neam]

M~n~stirea Sfântul Ioan cel Nou

M~n~stirea Vorone]

Biserica Arbore

M~n~stirea Dobrov~]

M~n~stirea Moldovi]a

M~n~stirea Humor

M~n~stirea Sucevi]a

M~n~stirea Bistri]a

M~n~stirea Slatina

M~n~stirea Galata

M~n~stirea Dragomirna

M~n~stirea Barnova

M~n~stirea Sfin]ii Trei Ierarhi

M~n~stirea Cet~]uia

M~n~stirea Agapia

M~n~stirea V~ratec

M~n~stirea Secu

Broderii Moldovene[ti

The Putna Monastery

The Neamt Monastery

The Saint John the New Monastery

The Voronet Monastery

The Arbore Church

The Dobrovat Monastery

The Moldovita Monastery

The Humor Monastery

The Sucevita Monastery

The Bistrita Monastery

The Slatina Monastery

The Galata Monastery

The Dragomirna Monastery

The Barnova Monastery

The Holy Three Hierarchs Monastery

The Cetatuia Monastery

The Agapia Monastery

The Varatec Monastery

The Secu Monastery

Moldavian Embroideries

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ContentsCuprins



Monasteries and Churches of RomaniaM~n~stiri [i biserici din România

Moldavia and Bukowina

Moldova [i Bucovina



Arhitectura religioas~ moldoveneasc~ este

crea]ia remarcabil~ a unei civiliza]ii care î[i atinge

maturitatea, echilibrul interior [i o anumit~ autonomie,

având totodat~ con[tiin]a unei certe filia]ii spirituale.Tragedia c~derii Constantinopolului g~se[te ¥~rile

Române într-un moment fast, de avânt [i consolidare.

Transla]ia tradi]iei bizantine î[i g~se[te astfel un f~ga[

a[a-zicând „natural” la cur]ile domne[ti ale celor dou~

]~ri.

Modelul impus de tradi]ia bizantin~ domin~

spa]iul valah, dar prime[te neîncetat pecetea unui

genius loci românesc. De la ßtefan cel Mare, Petru

Rare[ [i Vasile Lupu la Cantacuzini [i Brâncoveni,

„Bizan]ul” românesc î[i tr~ie[te propriul ritm armonic

dictat de o forma mentis autohton~.Stilul moldovenesc al arhitecturii religioase

(influen]ate în mod cert de arhitectura militar~ [i civil~)

[i al picturii murale este opera de bun augur a unei

civiliza]ii aflate la apogeul creativit~]ii sale. A doua

jum~tate a secolului al XV-lea [i întregul secol al XVI-lea

alc~tuiesc vârsta de aur a medievalit~]ii române[ti,

aflate în dezvoltare militar~, diplomatic~, cultural~ [i

artistic~. Din 1400 pân~ în 1600 trec dou~ secole de

acumul~ri în crea]ia româneasc~, ce începe s~-[i

dezvolte personalitatea proprie, distinct~, dar

permanent ancorat~ în matricea tradi]iei teologice [i

estetice imperiale. Biserici, m~n~stiri, cet~]i, miniaturi,

broderii, sculpturi [i atâtea altele recompun imaginea

unei civiliza]ii constituite ca un continuum al tradi]iei

bizantine [i asumându-[i permanent aceast~ matrice

spiritual~. În toate aceste ctitorii se vede gestul

voievodului care î[i împline[te datoria de protector [i

slujitor al credin]ei.

Pictura mural~ a bisericilor m~n~stirilor

moldovene[ti din epoca lui ßtefan cel Mare [i cea a lui

Petru Rare[ reprezint~ un patrimoniu universal, odovad~ a autenticit~]ii [i creativit~]ii [colilor artistice

Moldavian religious architecture is the

outstanding creation of a civilization about to reach

maturity, interior poise, and a certain autonomy, while

preserving its definite spiritual heritage. The tragiccollapse of Constantinople found the Romanian Lands in

a favorable moment of consolidation and progress.

Thus, the Byzantine tradition got most naturally

grafted on the local spirit of the Wallachian and

Moldavian courts, constantly enhanced by the

Romanian genius loci . From Stephen the Great, Petru

Rares and Vasile Lupu to the Cantacuzinos and the

Brancovans, the Romanian Byzantium experienced its

own harmonious rhythm dictated by a distinct

autochthonous cast of mind.

The Moldavian style of religious architecture(bearing the obvious influence of military and civilian

architecture) and of mural painting is the well-auguring

creation of a civilization at an acme of creativeness. The

second half of the 15th century and the entire 16th

century represent the golden age of Romanian

medievalism at the height of its military, diplomatic,

cultural, and artistic development. From 1400 to 1600

the Romanian creation matured, finding a distinct

personality, yet constantly anchored in the matrix of

imperial theological and aesthetic tradition. Churches,

monasteries, citadels, illuminations, embroideries,

sculptures and many others compose the image of a

civilization that went in the footsteps of the Byzantine

tradition, constantly assuming this spiritual mould. All

these artifacts evince also the desire of the ruling princes

to fulfill their duty as protectors and servants of the faith.

The mural paintings in the Moldavian monasteries

and churches from the time of Stephen the Great and

Petru Rares now belong to the world heritage, standing

proof of the genius and creativity of the local art schools.

The churches of the Moldavian monasteries are ahistoric, artistic and theological expression of the

The Romanian Medieval EthosEthosul medieval românesc



7

moldovene[ti. Bisericile m~n~stirilor moldovene[ti sunt

expresia istoric~, artistic~ [i teologic~ a spiritului

medieval românesc. „Estetica” acestei picturi este în

întregime de extrac]ie plastic~, „icoana” acestei picturi

este fundamental frumuse]e teologic~, transmitere a

mesajului liturgic.

Umanitatea picturii murale este una trasfigurat~,

lipsit~ de spa]ialitate, de perspectiv~, pentru c~

„zugravul” nu construie[te iluzia unei realit~]i

cotidiene, ci aduce doar vedenia unei lumi v~zute sau

întrev~zute de profe]i, sfin] i sau binecredincio[i.

Reprezentarea trupului uman este aici canonic~, deci o

func]ie a semnifica]iei teologice [i nu realist~,

încercând s~ refac~ un concret vizibil natural. Imaginea

este permanent~ trimitere la Evanghelie, la istoria sacr~

ante legem [i post legem . Ea aduce la prezen]~ sensulpredat. Frumuse]ea pictural~ rezid~ în prospe]imea

tipului de abordare, în armonia coloristicii, în

ingeniozitatea solu]iilor cromatice, în m~iestria g~sirii

coresponden]ei dintre pictur~ [i arhitectur~, în

siguran]a desenului care „cite[te” Biblia.

De la gestul ctitoririi pân~ la ultima imagine

pictat~, biserica este un act de ofrand~ [i un leg~mânt

de credin]~. Nimic nu este gratuit, nimic nu este în

plus, totul este un întreg armonic.

Frescele bisericilor moldovene[ti ascund [i

transform~ piatra sau c~r~mida în liturghie [i vedere aadev~rului. Piatra zidirii este transfigurat~ de icoan~,

materia este dizolvat~ în imagine [i culoare, în semn al

nev~zutului. Biserica exprim~ omul medieval din spa]iul

românesc, spiritul s~u c~l~uzit de istoria evanghelic~,

întotdeauna deschis~ pentru sensul judec~]ii finale.

Ctitorul este cel care arvune[te de aici comoara

paradisului [i a judec~]ii lui Dumnezeu, iar biserica este

chivotul unui stra[nic leg~mânt, a unei umilin]e

des~vâr[ite numai în fa]a p~rintelui ceresc. El d~ruie[te

[i se d~ruie[te, reunind smerenia [i mândria într-un

singur gest.

Romanian medieval spirit. ”The aesthetics” of this

painting is entirely plastic, its ”icon” expressing

theological beauty, and conveying a liturgical message.

The humanity of the murals is transfixed, lacking in

spatiality and perspective since the artists did not depict

the illusion of daily reality but the image of a world seen

or glimpsed only by prophets, saints, and the faithful.

The representation of the human body is therefore

canonical, a function of the theological meaning, not

realistic or attempting to present a concrete natural and

visible world. Images are permanently suggesting the

Gospels, the sacred history ante legem and post legem .

Pictorial beauty springs from the freshness of the

approach, the harmonious colors, the ingenious

chromatic solutions, and the masterful correspondence

between painting and architecture, the assuredness ofthe drawing that interprets the Bible.

From their very foundation down to the last

painted image, churches are an offering and a pledge of

faith. Nothing is redundant, nothing is gratuitous, and

everything creates a harmonious whole.

The frescoes on the Moldavian churches ensconce

and turn stone or brick into liturgy and perception of the

truth. The icon transforms the building stone, matter

dissolves into image and color as a token of the unseen.

Churches express medieval men from the Romanian

space, their spirit guided by the Gospels, and constantlyopen to the final judgement.

The founders of religious abodes offer an advance

down here for the paradisiacal treasure up there and for

God’s judgement, while a church represents the ark of a

mighty covenant, of consummate humility before the

heavenly father. The founders give and also give

themselves, combining meekness and pride in a single

gesture.

Frescoes dematerialize the walls, they pierce their

opaqueness and gravitational force. Gothic churches

send to the sky ever-sharper shapes in a final ascensional



Moldova

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Fresca dematerializeaz~ zidul, îi disloc~ opacitatea

[i for]a gravita]ional~. Dac~ biserica gotic~ se înal]~ la

cer în forme din ce în ce mai ascu]ite, într-o ultim~

încercare ascensional~, în schimb biserica pictat~ în

exterior se dezvolt~ pe orizontal~, a[ezat~ molcom pe

p~mânt [i perfect armonizat~ cu peisajul, dar g~se[tealt mod de a învinge gravita]ia [i materialitatea

acoperindu-se cu icoane ale transparen]ei teologice [i

p~strând astfel numai materialitatea strict necesar~ a

mesajului purtat de dincolo c~tre aici [i de aici c~tre

dincolo.

„Este de datoria pictorilor s~ execute ceea ce

P~rin]ii comand~ [i prescriu” dicteaz~ Conciliul de la

Niceea (cf. Charles Diehl, Bizantine Art , Baynes & Moss,

Byzantinum, 1948, p.179). „Zugravul” ortodox este un

emerit care trebuie s~ picteze sub har [i în ascez~ o

umanitate a p~catului [i a mântuirii.

Marile fresce exterioare ale bisericilor m~n~stirilor

bucovinene sunt teologie desf~[urat~ ca o mantie pe

zidurile bisericilor, iar portretele votive ale domnitorilor,

care închin~ „chivotele” bisericilor însu[i

Mântuitorului, demonstreaz~ la rândul lor semnifica]ia

major teologic~ a ctitoririi.

Desigur, o dat~ cu începutul secolului al XVII-lea

atât stilul arhitectural cât [i cel pictural se modific~,

hieratismul picturii murale se atenueaz~ în bun~

m~sur~, iar arhitectura religioas~ se diversific~,dobândind influen]e renascentiste [i baroce care

conduc la pierderea unit~]ii stilistice în favoarea

ajungerii la formule unicat. Vasile Lupu, cu

impresionanta sa apeten]~ pentru fast, tradi]ie

imperial~ [i împrumuturi str~lucitoare, este

reprezentativ prin ctitoriile sale în aceast~ epoc~ asupra

c~reia î[i pune amprenta. Arta Moldovei intr~ acum

într-o alt~ epoc~ [i într-un alt ritm al istoriei.

Vârsta premodern~ [i cea modern~ î[i anun]~

venirea, influen]ele occidentale sunt din ce în ce mai

puternice, iar stilul artei cre[tine din ce în ce mai elastic.

attempt. In exchange, churches painted on the outside

grow on the horizontal, blandly stuck to the ground, in

perfect harmony with the scenery. Nonetheless, they

discover another method of defeating gravity and

materialness: getting covered all over with icons of

theological transparency, and thus preserving only asmuch materialness as necessary to convey the message

from beyond over here and from down here to beyond.

”It is the duty of painters to carry out what the

Fathers order and prescribe”, stipulates the Council of

Niceea (cf. Charles Diehl, Byzantine Art , Baynes & Moss,

Byzantium, 1948, p. 179). The Orthodox painter is an

artist who must paint with afflatus and in austerity a

humanity of sin and redemption.

The great outer frescoes of the churches of the

Bukovina monasteries are theology unfolding on walls

like a mantle; the votive portraits of the princes dedicate

the church arches to the Savior Himself, in order to

prove one more time the major theological significance

of the respective abodes.

With the turn of the 17th century architectural and

pictorial styles changed. The hieratic nature of the

murals considerably diminished, religious architecture

diversified, acquiring Renaissance and baroque touches

that shattered the stylistic unity in favor of unique

formulas. By his foundations, Vasile Lupu, with his

impressive penchant for pomp, imperial tradition andbrilliant loans is representative for that epoch on which

he left his indelible mark. Moldavian art entered then a

new stage, a different historical rhythm.

Pre-modern and modern times were already

dawning, western influences became more and more

powerful, and the style of Christian art showed

tremendous elasticity. Byzantine tradition started to fade

away, although mural painting continued to obey the

Byzantine painting canons. The monuments and the

painting of the 18th century attest to all these changes as

well as to the more and more diverse trends emerging.

B



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Tradi]ia bizantin~ devine un ecou din ce în ce mai

palid, de[i pictura mural~ va respecta în continuare

erminia picturii bizantine. Monumentele [i pictura

secolului al XVIII-lea atest~ toate aceste schimb~ri,

precum [i influen]ele din ce în ce mai diverse, care î[i

fac sim]it~ prezen]a.

Începând cu 1711, o dat~ cu prima domnie

fanariot~, Moldova, [i cu ea întreaga civiliza]ie

româneasc~, intr~ într-o epoc~ nou~, dominat~ de

instabilitate, de control excesiv al Por]ii, dar [i de o

deschidere pronun]at~ spre influen]ele occidentale

vehiculate tocmai prin intermediul fanario]ilor. Aceste

influen]e vor decide în final drumul spre modernitate al

culturii române [i integrarea sa în concertul european

al secolului al XIX-lea. Dar chipul culturii române va

r~mâne totu[i dominat în permanen]~ de o tensiunedubl~ guvernat~ de o origine dubl~ a stilului na]ional.

Orient bizantin [i occident european au fost [i r~mân

dimensiuni ale sintezei culturii române[ti.

Starting with 1711 and the first ruler from the

Phanar appointed to the Moldavian throne, the

Romanian land and its entire civilization embarked upon

a new epoch marred by instability and the Porte’s

excessive control, yet also benefiting from western

touches brought about by the very Phanar rulers. All this

minglement would finally pave the way for the modern

times of the Romanian lands, which became integrated

into the European concert in the 19th century. Still, the

Romanian culture remained prone to a two-fold tension

governed by the dual origin of the national style. The

Byzantine Orient and the European Occident will stay for

ever blended in the Romanian spirit and culture.

Mihai Gheorghiu

ucov na



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Ctitorie [i necropol~ a voievoduluißtefan cel Mare, centru artistic [ic~rtur~resc. Construit~ \n 1466-1469,ca m~n~stire fortificat~, a fost ref~cut~

\n 1472, \n urma unui incendiu. Pustiit~de mai multe ori [i reconstruit~ \n1966-1988, ea nu mai p~streaz~ dinepoca lui ßtefan cel Mare decât TurnulTezaurului (1481). Muzeul m~n~stiriiposed~ o bogat~ colec]ie de broderiireligioase vechi, manuscrise miniate [iobiecte de cult.

De dimensiuni impun~toare,biserica m~n~stirii, cu hramul AdormireaMaicii Domnului, a fost ridicat~ \ntre1654 [i 1662 de domnitorii Vasile Lupu[i Gheorghe ßtefan. Edificiul reia planulbisericii ini]iale: plan treflat, cu propor]iialungite, având 37m lungime, 15ml~]ime \n dreptul absidelor laterale [i33 m \n~l]ime. Interiorul este \mp~r]it

\ntre tinda dreptunghiular~, pronaosulp~trat, camera mormintelor, dreptun-ghiular~, desp~r]it~ de naos prin dou~coloane, naosul p~trat, prelungit lateral

de absida secundar~, [i altarul din absidaprincipal~.Biserica ad~poste[te mormântul lui

ßtefan cel Mare [i pe cele ale urma[ilors~i, pân~ la Petru Rare[.

Biserica M~n~stirii Putna,v~zut~ dinspre sud-vest

The church of the Putna Monastery,

seen from the southwest

M~n~stirea Putna

Litografie color de Knapp Franz

Xavier,1859-1860.

The Putna MonasteryColoured litography

Knapp Franz Xavier, 1859-1860.

Foundation and necropolis of RulerStephen the Great, a center of arts andletters, Putna was erected between 1466and 1469 as a fortified monastery, andthen retouched in 1472, following a fire.Laid waste several times, it was rebuiltbetween 1966 and 1988, the onlyelement preserved from the time ofStephen the Great being the TreasuryTower (1481). The monastery’s museumboasts a rich collection of old religiousembroideries, illuminated manuscripts,and objects of cult.

Between 1654 and 1662, RulersVasile Lupu and Gheorghe Stefan erectedthe Dormition of the Virgin Church, soimpressive in size, on a design similar toan older one. The church of the PutnaMonastery is built on a trefoiled design ofprolonged sizes, 37 m long and 15mwide at the lateral apses, and 33m high.The interior features the rectangularporch, the square pronaos, therectangular mortuary separated from thenaos by two columns, the square naos

that goes laterally to the secondary apse,and the altar in the main apse.The abode shelters the tombs of

Stephen the Great and his descendants,down to Petru Rares.

The Putna MonasteryM~n~stirea Putna



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Vedere panoramic~ dinspre nord-est

Turnul Tezaurului, a[ezat pe latura de vest a zidului incintei, este

singurul element arhitectonic p~strat din ansamblul original.

Panoramic view from the northeast

On the western side of the precincts wall, the Treasury Tower is

the only architectural element still standing from the old ensemble.

Camera mormintelor din

biserica M~n~stirii Putna

Mormântul ctitorului

ßtefan cel Mare (decedat

\n 2 iulie 1504).

Mortuary room in the

church of the Putna

Monastery

Tomb of founder

Stephen the Great (died

on July 2, 1504).



„ßtefan Vod~ cel Bun, când s-au apucat s~ fac~ M~n~stirea

Putna, au tras cu arcul ßtefan Vod~ dintr-un vârvu de munte, ce

este lâng~ mân~stire, [i unde au agiuns s~geata au f~cut

prestolul \n oltariu. ßi este mult loc de unde au tras pân~ la mân~stire...“ (cronicar Ion Neculce, 1672-1745)

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”Ruler Stephen the Kind, when he made up his mind to build

the Monastery of Putna, he stretched his bow and shot an arrow

that flew right from the top of the mount close to the

monastery, and where the arrow struck there the table in the altar was laid. And, I vouch, the distance between the monastery

and the place from where he shot the arrow is quite

remarkable...“ (chronicler Ion Neculce, 1672-1745)



A fost ctitorit~ \n secolul al XIV-lea,mai \ntâi de Petru Mu[at, apoi deAlexandru cel Bun. çn incinta m~n~stiriisunt dou~ biserici [i dou~ paraclise:Biserica mare çn~l]area Domnului (secolulal XV-lea) [i Biserica Sfântul Gheorghe(secolul al XIX-lea), paraclisele BunaVestire (secolul al XVI-lea) [i AdormireaMaicii Domnului (secolul al XVIII-lea).

Biserica mare \ncununeaz~ prinarhitectura sa stilul moldovenesc ini]iat \nepoca lui ßtefan cel Mare. Este unmonument arhitectonic impresionant,sintez~ a tuturor elementelor arhitecturiimoldovene[ti, apogeu al arhitecturiireligioase a epocii. Pictura original~ s-amai p~strat \n altar, naos [i cameramormintelor; \n pridvor [i pronaos,pictura dateaz~ din timpul lui PetruRare[. Ultima restaurare, realizat~ \ntreanii 1954 [i 1961, a readus la formaini]ial~ biserica lui ßtefan [i cetatea.Biserica este caracterizat~ de elegan]~,armonie a propor]iilor, ingeniozitate asolu]iilor arhitectonice, armonia

combina]iilor cu elemente arhitecturalegotice.A[ez~mântul posed~ cea mai mare

bibliotec~ m~n~stireasc~ (18 000volume, incluzând manuscrise de marevaloare) [i un muzeu cu o valoroas~colec]ie de art~ bisericeasc~.

This abode was founded in the 14th

century first under the care of PetruMusat and then of Alexander the Kind.Within the monastery complex there aretwo churches and two chapels: the bigAscension Church (the 15th century), theSt. George Church (the 19th century), thechapels The Annunciation (the 16th

century) and The Dormition (the 18th

century).The architecture of the big church is

in Moldavian style dating from the timeof Stephen the Great. An impressivemonument of architecture, the churchachieves a synthesis of all the elementsof Moldavian architecture, being anacme of the religious art at that time.Original paintings have been preservedin the altar, naos and mortuary, whilethe paintings of the porch and thepronaos go back to the time of PetruRares. The latest restoration works,carried out between 1954 and 1961,returned Stephen’s church and thefortress to their former looks. Elegant, of

harmonious proportions, the church alsoevinces harmonious Gothic borrowings.The abode boasts the biggest

monastery library (18.000 volumes,including highly valuable manuscripts)and a museum with a priceless collectionof religious art.

O parte din incinta m~n~stirii, cu bisericile

çn~l]area Domnului (secolul al XV-lea) [i

Sfântul Gheorghe (secolul al XIX-lea)

Vedere dinspre sud-vest.

Parts of the monastery precincts with the

Ascension Church (15th

century) and SaintGeorge Church (19th century)

View from the south-west.

M~n~stirea Neam], vedere aerian~Prim-plan cu aghiazmatarul.

The Neamt Monastery, bird’s eye view

Close-up of the holy waterfont.

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The Neamt MonasteryM~n~stirea Neam]



S~rb~toarea hramului M~n~stirii Neam]

Fotografie de epoc~.

Celebration of the Neamt Monastery dedication dayPeriod photograph.



Tetraevanghelul lui Gavriil Uric, 1429Miniatur~: Sfântul Apostol Luca .

The Four Gospels of Gavriil Uric, 1429

Miniature: Saint Apostle Luke .

Tetraevanghelul lui Gavriil Uric, 1429 çnceputul evangheliei dup~ Marcu.


Beginning of the Gospel according to

Saint Mark.

Tetraevanghelul lui Gavriil Uric, 1429Miniatur~: Sf ântul Apostol Marcu .


Illumination: Holy Apostle Mark .



Biserica mare, In~l]area Domnului. Exonartex

Ni[a ferestrei [i fresce restaurate stângaci \n 1850.

The big Ascension Church. Exonarthex

Window niche and awkwardly restored frescoes from 1850.

19

Fa]ada vestic~ [i aghiazmatarul

M~n~stirii Neam]

Cl~direa are un acoper~mânt

bulbat [i a fost construit~ \n 1836-

1847 [i pictat~ \n 1974-1977 de

Teodor Varahil-Moraru. ßi aceast~

cl~dire, dar mai ales turnul-

clopotni]~ cu patru etaje sub care

se arcuie[te intrarea \n incint~,

creeaz~ o puternic~ impresie de

monumentalitate.Fotografie interbelic~.

The westerf fa∆ade and the holy

waterfont of the Neamt

Monastery

The building with a bulbous roof

was built between 1836 and

1847 and painted between 1974

and 1977 by Teodor Varahil-

Moraru. This construction and

particularly the four-storied belfry

under which stands the entry give

a powerful sense ofmonumentality.

Interbellum photo.

Trapeza M~n~stirii Neam]

Imagine din perioada interbelic~.

Refectory of the Neamt Monastery

Picture from the interbellum period.



Este ctitoria lui Bogdan al III-lea, fiullui ßtefan cel Mare (1514), fiindterminat~ de ßtef~ni]~ Vod~, nepotulmarelui voievod, urmând apoi, „de subferestre \n sus”, a fi zugr~vit~ lacomanda lui Petru Rare[ (1532-1534),pridvorul fiind ad~ugat de Petrußchiopul, la 1579.

Biserica, cu hramul SfântuluiGheorghe, \n form~ de nav~ [i cu pridvorcu intrare lateral~, nu [i-a schimbat preamult \nf~]i[area de-a lungul timpului;doar acoperi[ul, ini]ial din plumb, a fost

\nlocuit la sfâr[itul secolului al XIX-lea, cuunul de ]igl~ multicolor~. Pictura dateaz~din timpul lui ßtef~ni]~-Vod~, iar pefa]ada sudic~ se p~streaz~ [i picturaexterioar~.

Numele de Sfântul Ioan cel Nou vinede la moa[tele acestui sfânt ad~postiteaici; ele au fost aduse de la Cetatea Alb~la Suceava \n 1402 de Alexandru cel Bun,unde Ioan din Trapezunt a fost martirizat

\n 1303. M~n~stirea a fost \nfiin]at~dup~ 1783, când au fost readuse aici

moa[tele Sfântului Ioan cel Nou, duse demitropolitul Dosoftei \n pribegia sa dinPolonia.

A[ez~mântul are o organizareadecvat~ catedralelor mitropolitane, fiindre[edin]a Arhiescopiei Sucevei [i aR~d~u]ilor [i a doua re[edin]~ amitroplitului Moldovei.

It is the foundation of Bogdan III,son of Stephen the Great (1514), and itwas finished by Ruler Stefanita, nephewof the great prince. Then it was painted”from the windows upwards” upon theorders of Ruler Petru Rares (1532-1534),while the porch was added under Peterthe Lame, in 1579.

The church, dedicated to SaintGeorge, in the shape of a nave, has aporch with a lateral entrance. It hasremained unchanged over the centuries.Only the roof, initially made of lead, wasreplaced in the 19th century withmulticolored tiles. The painting datesfrom the reign of Ruler Stefanita, and thesouthern fa∆ade still features the originalfrescoes.

The name of Saint John the Newcomes from the relics of this saint,housed by the religious abode. In 1402,Alexander the Kind brought them toSuceava from Cetatea Alba where Johnof Trebizond was martyred in 1303. Themonastery was set up after 1783 when

the relics of Saint John the New werebrought over after having been taken bymetropolitan bishop Dosoftei, exiled toPoland.

The abode is organized inconformity with the rules formetropolitan cathedrals, being the seatof the Suceava and RadautiArchbishopric and the second residenceof the metropolitan bishop of Moldavia.

M~n~stirea Sfântul Ioan cel NouVedere aerian~ dinspre sud.

The Saint John the New Monastery

Bird’s eye view from the south.

Biserica Sfântul Gheorghe dup~ restaurare

Acoperi[ul din plumb a fost \nlocuit cu ]igle

multicolore. Fotografie interbelic~.

The Saint George Church after restorationMulticolored tiles replaced the lead roof.

Interbellum photo.

The Saint John the New MonasteryM~n~stirea Sfântul Ioan cel Nou



The abode was built under RulerStephen the Great, in 1488, moreexactly in three months and 21 days.

Being dedicated to Saint George,the church is famous for its outer andinner frescoes created between 1534and 1535, during the reign of PetruRares. The paintings, on a light bluebackground (the celebrated ”Voronetblue”) are monumental, clear andrigorously composed.

In 1547, metropolitan GrigorieRosca added a closed porch, painted bymaster Marcu. The pronaos waspainted in 1550.

Disbanded in 1986, the monasterywas reestablished after 1989 and nowis a UNESCO world heritagemonument.

A fost ctitorit~ de voievodul ßtefancel Mare \n anul 1488, fiind construit~ \ntrei luni [i 21 de zile.

Biserica, cu hramul SfântuluiGheorghe, este celebr~ prin picturaexterioar~ [i interioar~, executat~ \n1534-1535, \n timpul lui Petru Rare[.Picturile, realizate pe un fond albastrudeschis (vestitul „albastru de Vorone]“),se caracterizeaz~ prin monumentalitate,claritate [i rigoare compozi]ional~.

çn 1547, mitropolitul Grigorie Ro[caa ad~ugat bisericii un pridvor \nchis, carea fost pictat la exterior de me[terulMarcu; pronaosul a fost pictat \n 1550.

Desfiin]at~ \n anul 1986,m~n~stirea a fost re\nfiin]at~ dup~1989, fiind \n prezent un monumentUNESCO.

23

Biserica M~n~stirii Vorone]Judecata de Apoi, fresc~ de pe fa]ada

de vest.

The church of the Voronet Monastery

The Last Judgement, frescoe on the

western fa∆ade.

Biserica m~n~stirii v~zut~

dinspre sud-est

The church of the monastery

seen from southeast

The Vorone] MonasteryM~n~stirea Vorone]



Jud ecat a de Apoi, fresc~ de pe fa]ada de vest a bisericii (1534-1535)

Compozi]ie impresionant~, acoperind tot peretele de vest al pridvorului. Tema este prezent~ \n toate picturile murale ale bisericilor bucovinene, având o

semnifica]ie teologic~ major~. În imagine sunt reprezentate por]ile Raiului cu Cel Vechi de Zile, \ncadrat de semnele zodiacului (centru, sus). çn planul inferior un

registru \l înf~]i[eaz~ pe Iisus ca judec~tor suprem (centru), încadrat de Fecioara Maria [i Ioan Botez~torul ca intercesori. De o parte [i de alta, pe b~nci, se afl~apostolii, veghea]i de cete de \ngeri. În registrul urm~tor, elementul central este tronul Hetimasiei, la picioarele c~ruia au \ngenuncheat Adam [i Eva. În stânga

tronului se afl~ cetele drep]ilor, \n dreapta cetele nelegiui]ilor, formate din necredincio[i evrei, turci, t~tari [i armeni, (ceea ce este o inova]ie a epocii lui Petru

Rare[, care aduce pentru prima dat~ \n figura]ie elementul etnic pentru caracterizarea cetei p~c~to[ilor). În registrul urm~tor sunt reprezentate c~ile pe care

merg cele dou~ cete: calea Raiului (pentru drep]i) [i calea Iadului (pentru necredincio[i).



The Las t Judgement , frescoe on the western fa∆ade of the church (1534-1535)

An impressive composition that covers the whole western wall of the porch. The theme is present in all the murals of Bukovina churches, having a major

theological significance. The picture presents the gates of Heaven with the Ancient of days surrounded by the signs of the zodiac (center up), followed, in a

lower register, by Jesus as the supreme judge (center), with the Virgin and John the Baptist as intercessors, on the right and on the left. On both sides, onbenches, there are the apostles guarded by groups of angels. The next register presents the Hetoimasia throne in the middle, with Adam and Eve kneeling.

On the left of the throne there stand the righteous, and on the left the sinners, including the heathen, the Jews, the Turks, the Tartars and the Armenians

(the ethnic element used to describe the sinners is an innovation dating from the time of Petru Rares). The next register presents the two paths followed by

the two groups: the path to Heaven (for the righteous), and that of Hell (for the evil).



Fresce de pe fa]ada de nord a

bisericii M~n~stirii Vorone]

çn registrul superior:

Fa cere a

çn registrul mediu:

Scene din Evanghelie

Frescoes on the northern fa∆ade

of the Voronet Monastery

church

In the higher register:

Ge ne si s

In the the medium register:

Scenes from the Gospels

çn registrul inferior:

Sfin]i [i scene de martiriu

In the lower register:

Saints and martyrdom scenes



29

Biserica m~n~stirii a fostconstruit~ la 1503 de Luca Arbore,portarul Sucevei, ca paraclis al cur]ilorsale [i ca loc de \nmormântare pentruneamul s~u.

Pictura bisericii a fost executat~ deDrago[ Coman \n 1541, un zugravremarcabil, fiul unui preot din Ia[i.Pictura este monumental~, cu uncolorit dominat de o nuan]~ de verdealb~strui ceruleum.

Luca Arbore, gatekeeper ofSuceava erected the church of themonastery in 1503 as a chapel for hiscourt, and repository for his family.

Dragos Coman, a remarkableartist, the son of a priest from Iasi,painted the church, in 1541. It is amonumental composition where blue-green (cerulean) prevails.

The Arbore ChurchBiserica Arbore

Fa]ada sudic~ a bisericii,cu intrarea

The southern fa∆ade of the

church, with the entrance

Fa]ada de vest

Forma de ni[~ apare ca un element

inedit, având rolul de a crea un spa]iu

cultic exterior.

Western fa∆ade

The niche form is an original element,

creating an exterior cult space.



Ruler Stephen the Great (1503-1504) built it, while the painting wasexecuted later, (1527-1531), duringthe reign of Petru Rares. Theiconography contains in the bud thewhole program of outer churchpainting to be carried out later.

The church dedicated to theAnnunciation is majestically monu-mental, and it was restored to its initialform in 1975. This is a construction inMoldavian style with a rectangulardesign. The turrets were removedduring the restoration process, whenthe church was covered in coppersheet. The lateral walls have threebuttresses on each side.

Este o ctitorie a voievodului ßtefancel Mare (1503-1504), pictura fiindexecutat~ mai târziu (1527-1531), \ntimpul lui Petru Rare[. Programuliconografic cuprinde aici \ntr-o form~embrionar~ programul picturiiexterioare al bisericilor ce vor fi \n~l]atemai târziu.

Biserica cu hramul „PogorâreaSfântului Duh“, construc]ie de omaiestuoas~ monumentalitate, a fostrestaurat~ [i adus~ la forma ini]ial~ \n1975. Este realizat~ \n stilmoldovenesc, dup~ un plandreptunghiular. Turlele au fost

\nl~turate cu prilejul restaur~rii, bisericafiind acoperit~ cu \nvelitoare de tabl~de cupru. Pere]ii laterali au ca \nt~rituritrei contrafor]i pe fiecare latur~.

The Dobrovat MonasteryM~n~stirea Dobrov~]

Turnul por]ii, cu decora]ii baroc-

moldovene[ti (secolul al XVIII-lea)

Gate tower, with decorations inthe Moldavian-Baroque style

(18th century)

Biserica v~zut~ dinspre sud-vest

The church seen from the

southwest



32



33

Tablou votiv

Voievozii ßtefan cel Mare, Bogdan al III-lea [i Petru Rare[.

Votive painting

The rulers Stephen the Great, Bogdan III and Petru Rares.

Pictur~ mural~ \n naos

Sfin]ii Imp~ra]i Constantin [i Elena.

Mural painting in the nave

Sts. Emperors Constantine and Helena.

Fragment din portalul [i luneta bisericii

Fragment of the church portal and lunette



A fost ctitorit~ de Petru Rare[ \n1532 (lâng~ ruinele m~n~stirii fondate

\n 1402-1410 de Alexandru cel Bun), \nforma \n care se p~streaz~ ast~zi:Biserica Buna Vestire, chiliile [i casadomneasc~, \nconjurat~ de ziduriputernice cu turnuri de ap~rare. çn1612, mitropolitul Efrem a ref~cutincinta fortificat~, \n~l]ând, \n col]ul denord-vest o clisiarni]~, care ad~poste[teast~zi muzeul m~n~stirii.

Biserica, având toate caracterelearhitecturale statornicite \n Moldova pevremea lui ßtefan cel Mare, plus unpridvor deschis, este pictat~ \n interior[i la exterior (1537).

Pridvorul se deschide cu treiarcade mari \n arc frânt pe peretelevestic, câte o arcad~ pe cel de sud [i celde nord. çn imagine este vizibil [ipronaosul dreptunghiular, cu câtedou~ ferestre mari, \n arc frânt, pepere]ii de sud [i de nord. Turla se \nal]~pe o baz~ dublu stelat~, elementspecific stilului moldovenesc. Plastica

ornamental~ combin~ elemente degotic târziu [i renascentiste. Estemonument UNESCO.

Built by Petru Rares, in 1532 (closeto the ruins of the monastery foundedbetween 1402 and 1410 by Alexanderthe Kind), the complex as it is todayfeatures the Annunciation Church, thecells and the princely residencesurrounded by powerful defense towers.In 1612, metropolitan bishop Efremrebuilt the fortified precincts and erecteda treasury in the northwestern corner,which today houses the museum of themonastery.

The church, with all its architecturalcharacteristics established during thetime of Stephen the Great, also includesan open porch, and is painted on theinside and the outside (1537).

The church porch opens into threebig pointed arcades on the western wall,and an arcade on each of the southernand the northern walls. Also visible arethe rectangular pronaos with two bigwindows on the southern and northernwall. The turret of the church raises froma doubly starred foundation, a specific

element of the Moldavian style. Theornaments combine late Gothic andRenaissance elements. The abode is aUNESCO world heritage site.

35

Fragment din fa]ada sudic~ a bisericiicu pridvorul deschis

Fragment of the southern fa∆ade of the church

with the open porch

The Moldovita MonasteryM~n~stirea Moldovi]a

Col] din incinta m~n~stirii

A corner of monastery inner court




Vedere aerian~.


Bird’s eye view.

36




Litografie color din secolul al XIX-lea de Knapp

Franz Xavier.


Colour litography from 19th century by KnappFranz Xavier.

37

Biserica m~n~stirii, v~zut~ dinspre sud-est

The monastery church, seen from southeast



R~s tignirea

Pictur~ mural~ \n absida de nord a naosului.

The Cr uci fi x ion

Mural on the northern apse of the naos.

38

Ii su s Panto c rator

Detaliu de pe bolta naosului bisericii.

Jesu s Pantocrato r

Detail from the vault of the church naos.

Pronaosul bisericii, ni[ele ferestrelor:

scene din Me nol o gi u

The narthex of the church, window

niches: scenes from The Meno lo g io n



39



40



41

Asedi ul Co nstantinopo lului

Detaliu de fresc~ pe peretele sudic

al bisericii.

The Siege of Cons tantinople

Frescoe detail on the southern wall

of the church.

Sinod ecume n ic , fragment de fresc~

Ecumeni cal s y nod, fragment of a fresco

Fragment din fa]ada sudic~ a bisericii

Fragment from the southern fa∆ade

of the church



A fost \ntemeiat~ la \nceputulsecolului al XV-lea de vornicul Oan~ [irectitorit~ \n 1530 de logof~tul TeodorBubuiog. Biserica actual~, cu hramulSfântului Gheorghe, f~r~ turle [i cupridvor deschis, a fost pictat~ \n

\ntregime, atât \n interior cât [i laexterior, \n 1535 de zugravul Toma dinSuceava. Turnul clopotni]ei a fostconstruit \n 1641.

Din punct de vedere arhitectural,biserica este format~ din: pridvordeschis, pronaos, naos [i altar. çntrepronaos [i naos este situat~ cameramormintelor. Pentru prima dat~ \narhitectura religioas~ moldoveneasc~apare pridvorul deschis. De asemenea,tot pentru prima oar~ aparediaconiconul (camera odoarelor), \npartea de nord-vest. Eleva]ia bisericiisurprinde prin eliminarea turlei de penaos; \n locul ei, boltirea se face printr-o calot~ sprijinit~ pe arce suprapuse, ca

\n mai vechile biser ici, ctitorite deßtefan cel Mare, de la Borze[ti [i

R~zboieni. M~n~stirea figureaz~ pelista monumentelor UNESCO.

It was founded in the early 15 th

century by High Steward Oana andretouched in 1530 by Chancellor TeodorBubuiog. The present church, dedicatedto Saint George, without turrets andwith an open porch, was painted bothon the outside and the inside in 1535 byartist Toma of Suceava. The belfry towerwas erected in 1641.

Architecturally, the church is madeup of an open porch, pronaos, naos,and altar. Between the pronaos and thenaos, there is the mortuary. It is for thefirst time in Moldavian religiousarchitecture that we see an open porch.Likewise, it is also for the first time thatwe have a diaconicon (treasure room),on the northwestern side of the church.The elevation of the church is surprisingas it has eliminated the turret on thenaos; instead the vaulting is achieved bya dome supported on superposedarches like in the older churches erectedby Stephen the Great at Borzesti andRazboieni. The monastery is featured on

the UNESCO world heritage list ofmonuments.

The Humor MonasteryM~n~stirea Humor

Pridvorul bisericii, v~zut dinspre sud

The church porch, seen from the south

Vedere aerian~ a bisericii, dinspre est

Bird’s eye view of the church seen

from the est



Procesiune la hramul m~n~stirii, fotografie de epoc~

Procession on the monastery’s dedication day, period photograph



46

Tetraevangheliarul de la Humor

Ferec~tur~ \n argint.

The Humor Gospels

Bound in silver.

Sfântul Nicolae taie cop acul cu d em onul

Detaliu de pictur~ exterioar~ pe fa]ada

sudic~ a bisericii.

Saint Nicho la s cut ting the t ree w i th the d ev i l Detail from the outer painting on the

southern fa∆ade of the church.

Tetraevangheliarul anonim

A fost realizat în perioada lui ßtefancel Mare [i a lui Bogdan al III-lea.

Anonymous Gospels

Dating from the time of Stephen the

Great and Bogdan III.



Biserica M~n~stirii Humor, fa]ada sudic~

Pictur~ mural~, reprezentând Glorificarea Mariei .

The church of the Humor Monastery, southern fa∆ade

The mural painting features the Glorification of the Virgin .

47



Arhanghel [i heruvimi

Detaliu de pe bolta pridvorului.

Archangel and cherubs

Detail of the porch vault.



Biserica M~n~stirii Humor

Bolta pridvorului, arcul central:

Sfin]ii Ilarion [i Hariton, \ncadra]i de

heruvimi [i arhangheli.

Church of the Humor Monastery

The vault of the porch, the central arch:

Saints Ilarion and Hariton, between

cherubims and archangels.

J udecata d e Ap oi , detaliu

Fresc~ de pe peretele estic al pridvorului.

The Las t Ju dgement Da y, detail

Frescoe on the eastern wall of the porch.

Judecata de Apoi, fragment

Fresc~ de pe peretele estic al pridvorului.

T he Las t J udg ement , fragment

Frescoe from the eastern wall of the porch.



This above was erected between1581 and 1601 by the Movila brothers:Minister of Justice Ieremia and Simion,future princes, and Gheorghe,metropolitan bishop of Suceava. Themonastery has spacious quadrilateralprecincts surrounded by high walls,strengthened by massive corner towersand a gate tower housing the chapel,then the monastic buildings, and thechurch.

Built on a long design, consistingof a trefoiled naos, vault, pronaos and

closed porch (with two open porchesadded to the north and southentrances), the church stands out by itselegant architecture and the richness ofthe paintings decorating it on theinside and on the outside. These arethe creation of artist Ion and hisbrother Sofronie, before 1596.Sucevita Monastery is included on theUNESCO world heritage list.

Este o ctitorie din anii 1581-1601a fra]ilor Movil~: vornicul Ieremia [ipaharnicul Simion, viitori domni, [iGheorghe, mitropolit al Sucevei.M~n~stirea este alc~tuit~ dintr-ospa]ioas~ incint~ \n form~ depatrulater, \nconjurat~ de ziduri \nalte,

\nt~rite cu masive turnuri de col] [i cuturnul por]ii, \n care se afl~ paraclisuldin cl~dirile monastice [i din biseric~.

Cu un plan alungit, comparti-mentat \n naos triconc, gropni]~,pronaos [i pridvor \nchis (cu alte dou~

pridvoare deschise ad~ugate la intr~rilede nord [i sud), biserica se remarc~ prinelegan]a formelor arhitectonice [ibog~]ia picturilor care \mpodobesc atâtinteriorul cât [i exteriorul s~u; ele aufost realizate de zugravul Ion [i frateles~u Sofronie, \nainte de 1596.M~n~stirea Sucevi]a este inclus~ deUNESCO \n lista patrimoniului culturalmondial.

51

Vedere panoramic~ a m~n~stirii

Panoramic view of the monastery

Biserica M~n~stirii Sucevi]aPictur~ mural~ pe absida de nord.

Church of the Sucevita Monastery

Mural painting on the northern apse.

The Sucevita MonasteryM~n~stirea Sucevi]a



Pictur~ mural~: C~r tu rar ii, detaliu

Mural painting: T he Scho lar s, detail

52

Pictur~ pe fa]ada de nord

Scara Virtu]ilor (Scara Sfântului Ioan Climax ),

iar \n registrul superior scene din Genez~ .

Picture on the northern fa∆ade

The Ladder of Virtues (Ladder of St. John

Climax ) and in the upper register scenesfrom Genesis .

Pridvor deschis pe fa]ada de sud

Open veranda on southern fa∆ade



54

Fragment din fa]ada de nord a altarului [i a absidei naosului

Cinul cu cele [apte trepte (de jos \n sus): Martirii, Ierarhii, Arhanghelii [i

Apostolii, Profe]ii, Îngerii, Serafimii.

Fragment of the northern fa∆ade of the altar and of the naos apse

The Order with the seven levels (from bottom up): the Martyrs, the

Hierarchs, the Archangels and the Apostles, the Prophets, the Angels, the

Seraphims.

Fragment din fa]ada de sud-est,

cu cinci registre din Ci n

Fragment of the southeastern fa∆ade with

five registers of the O rd er

Fa]ada absidei principale

Trei registre din Cin : Ierarhii, Arhanghelii [i

Apostolii, Profe]ii.

Main apse of the church fa∆adeThree registers of the Order : Hierarchs,

Archangels and Apostles, Prophets.



56

Turla bisericii

The turret of the church



57

I isus Hri stos ce l Vechi d e Zile

Bolta stâng~ a pronaosului.

Je sus Chris t the Ancient of Days

Left vault of the pronaos.

O spi talitatea lu i Av ra am (Sfânta Tre ime)

Bolta dreapt~ a pronaosului.

Abraham’s hospi talit y ( T he Holy Trinit y)

Right vault of the pronaos.



„Am fugit [i am ajuns la Mân~stirea Bistri]a [i

intrând am c~zut la p~mânt \naintea sfintelor

icoane [i mult am plâns, a[i[dere [i egumenul [i

tot soborul plângea \mpreun~ cu mine, cu fierbin]i lacrimi...“ (Document de danie a lui

Petru Rare[,1538).

”I ran away and I got to Bistrita Monastery, and

upon entering I fell to the floor before the holy

icons and I cried, and the Father Superior was

also crying and with him the entire group of priests were crying bitter tears...” (Donation

parchment of Petru Rares, 1538).



M~n~stirea are patru ctitorivoievozi mu[atini: Alexandru cel Bun,ßtefan cel Mare, Petru Rare[ [iAlexandru L~pu[neanu. A fost

\ntemeiat~ \nainte de 1407, iar \ntre1541 [i 1546 Petru Rare[ a consolidatbiserica lui Alexandru cel Bun. Aceastaa fost reconstruit~ integral \n 1554.Pictura \n ulei dateaz~ din 1814.M~n~stirea a fost restaurat~ \ntre anii1969 [i 1983, aducându-i-se multe [iimportante \mbun~t~]iri; numaipridvorul p~streaz~ fragmente dinpictura original~. Incinta are form~p~trat~, fiind protejat~ de ziduriputernice de piatr~ [i o \n~l]ime ini]ial~de aproximativ 4m, prev~zute cumetereze [i drum de straj~. Intrareaprincipal~ este situat~ pe latura sudic~.La nord se afl~ turnul clopotni]ei ziditde ßtefan cel Mare \n 1498, dup~victoria din Codrii Cosminului.

The monastery was founded byfour princes of the Musat dynasty:Alexander the Kind, Stephen the Great,Petru Rares and Alexandru Lapusneanu.Founded before 1407, between 1541and 1546 Petru Rares consolidated thework of Alexander the Kind. In 1554,the whole abode was built anew. The oilpainting dates to 1814. The monasterywas restored between 1969 and 1983,when several important improvementswere made. Only the porch preservessome original paintings. Rectangular inshape, the monastery precincts areprotected by strong stone walls, initiallyfour meters high, provided withbattlements and a sentry path. The mainentrance is situated on the southernside. The belfry tower stands on thenorthern side, and it was erected byStephen the Great in 1498, after thevictory at Codrii Cosminului.

Biserica M~n~stirii Bistri]aVedere dinspre sud.

The Church of the Bistrita Monastery

View from the south.

M~n~stirea Bistri]a v~zut~ dinspre sud-vest

Fotografie din perioada interbelic~.

The Bistrita Monastery seen from southwest

Interbellum photo.

The Bistrita MonasteryM~n~stirea Bistri]a



M~n~stirea Galata a fost ctitorit~de domnitorul Petru ßchiopul [i arehramul \n~l]~rii Domnului, fiind sfin]it~

\n 1584.Biserica m~n~stirii este o

remarcabil~ realizare arhitectonic~, cumulte elemente de noutate [i totodat~o sintez~ a influen]elor bizantino-muntene [i a elementelor tradi]ieimoldovene[ti. Caracteristice pentruGalata sunt: \nlocuirea peretelui dintregropni]~ [i naos cu trei arcade sus]inutede coloane, apari]ia turlei secundarepeste pronaos, brâul median care

\mparte fa]ada \n dou~, iluminareaabsidelor cu trei ferestre. Picturaoriginal~ a bisericii, inclusiv fresceleinterioare, nu s-a p~strat, fiind distrus~laolalt~ cu catapeteasma \n incediul din1762. S-a p~strat totu[i tabloul votivcare \l \nf~]i[eaz~ pe Petru ßchiopul.

Casa domneasc~ a fost zidit~, deasemenea, de domnitorul Petrußchiopul (\n secolul al XVIII-lea i s-aad~ugat etajul). Ast~zi cl~direa este

restaurat~ [i ad~poste[te muzeulm~n~stirii.

Galata Monastery was founded byRuler Peter the Lame, was dedicated tothe Ascension of the Lord, and washallowed in 1584.

The monastery church is anoutstanding architectural feat, withmany novel elements, and at the sametime a synthesis of Byzantine, Wallachianinfluences, and Moldavian traditionalelements. Characteristic for Galata is thereplacement of the wall between themortuary and the naos with threearcades supported by columns, thesecondary turret over the pronaos, themiddle girdle that separates the fa∆adeinto two, and the illumination of theapses by three windows. The originalpaintings of the church, the interiorfrescoes included, have not beenpreserved, being destroyed alongside thealtar screen in the 1762 fire. A votiveportrait has come down to us featuringPeter the Lame.

Ruler Peter the Lame also erectedtthe princely house (another floor was

added in the 18th

century). Today thebuilding has been restored and it housesthe museum of the monastery.

Biserica m~n~stiriiVedere dinspre est.

The monastery church

View from east.

Vedere aerian~ dinspre sud-est

Bird’s eye view from southeast

The Galata MonasteryM~n~stirea Galata



Este o ctitorie din 1606-1609 amitropolitului Anastasie Crimca.Biserica Mare (datând din 1609), \nform~ de nav~, uime[te prin bog~]iadecora]iei sculptate. Puternica incint~fortificat~, cu ziduri \nalte [i turnurimasive, a fost construit~ de domnitorulMiron Barnovschi \n 1627.

Silueta bisericii demonstreaz~ o cutotul alt~ vârst~ a arhitecturii religioase

\n Moldova. Caracteristic ile stiluluimoldovenesc sunt p~strate, dar apardiferen]e notabile fa]~ de bisericile desecol XVI; planul nu mai este triconc,dreptunghiul naosului este prelung [ise continu~ cu absida principal~ la est.Biserica prezint~ câteva elementespecifice, care nu se mai reg~sesc la niciun alt monument: brâul a[ezat la

jum~tatea \n~l]imii bisericii , caresubliniaz~ zvelte]ea construc]iei,folosirea pietrei brute, a pietrei netede[i a celei sculptate \n zone diferen]iateale paramentului.

It was built between 1606 and1609 by metropolitan bishop AnastasieCrimca. The big nave-shaped church(dating from 1609), has an amazingsculptural decoration. Ruler MironBarnovschi built these powerful fortifiedprecincts, with tall walls and massivetowers, in 1627.

The silhouette of the church pointsto an entirely different age of religiousarchitecture in Moldavia. Thecharacteristics of the Moldavian style arestill visible, but with notable differencesas to the 16th century monasteries. Thechurch design is no longer trefoiled, thenaos rectangle is long and continued bythe main apse to the east. The churchfeatures several specific elements not tobe found in any other monument: thegirdle at mid height, which furtheraccentuates the tallness of theconstruction, the use of raw stone, ofsmooth and sculpted stone in differentareas of the wall facing.

65

M~n~stirea Dragomirna la 1857

Gua[~ de Knapp Franz Xavier.

The Dragomirna Monastery at 1857

Gouache by Knapp Franz Xavier.

The Dragomirna MonasteryM~n~stirea Dragomirna

Turla bisericii, supl~, \mpodobit~cu sculpturi \n piatr~

The slender turret with sculpted

stone



67

Vedere aerian~ a m~n~stirii dinspre nord-vest

Bird’s eye view of the monastery seen from the northwest

Biserica m~n~stirii,

v~zut~ dinspre est

The monastery church,

seen from east



71

Este o bijuterie a secolului al XVII-lea moldovenesc, fiind ctitorit~ dedomnitorul Vasile Lupu [i construit~

\ntre 1635 [i 1639. çn 1641-1642 pictoriiru[i Lidor Popeev, Iakov Gavrilov, DeikoIakovlev, Pronka Nikitin, precum [izugravi români decoreaz~ Sfin]ii TreiIerarhi. çn 1646, m~n~stirea este

\nchinat~ c~lug~rilor greci de la MunteleAthos.

Biserica, monument unic \n artamedieval~ româneasc~, este ocapodoper~ arhitectural~: construit~ \n

\ntregime din piatr~, are fa]adeleacoperite de o fastuoas~ decora]iesculptat~ ca o minu]ioas~ dantel~, ini]ialaurit~. Interiorul impresioneaz~ [i el prinbog~]ia decora]iei [i a concep]ieiarhitecturale. Avariat~ de-a lungulsecolelor de incendii [i cutremure,biserica a fost restaurat~ \n 1882-1890de arhitectul Lecomte de Nouy, care aadus l~ca[ului o serie de modific~ri.Biserica ad~poste[te moa[tele CuvioaseiParaschiva (aduse pentru prima dat~ la

13 iunie 1641) iar \n ni[ele sepulcrale seafl~ osemintele lui Dimitrie Cantemir,mare c~rturar [i domnitor al Moldovei(1710-1711) [i ale lui Alexandru IoanCuza, primul domnitor al PrincipatelorRomâne Unite (1859-1866).

Biserica m~n~stiriiO broderie de piatr~ sculptat~ acoper~

\n \ntregime cl~direa.

The church of the Monastery

An embroidery of sculpted stone covers

the building entirely.

Biserica m~n~stirii

Vedere dinspre nord.

The monastery church

View from the north.

The Holy Three Hierarchs is a gemof the Moldavian 17th century art. This isa foundation of Ruler Vasile Lupu, builtbetween 1635 and 1639. Between1641 and 1642, Russian painters LidorPopeev, Iakov Gavrilov, Deiko Iakovlev,and Pronka Nikitin, as well as Romanianartists finished the decoration of theHoly Three Hierarchs. In 1646, themonastery was dedicated to the Greekmonks on Mount Athos.

The church, a unique monument ofRomanian medieval art, is a masterpieceof architecture. Built entirely in stone, itsfa∆ades are covered with a majesticembroidery in stone, initially gilded. Theinterior is also impressive by its richdecoration and the architectural design.Damaged over the centuries byearthquakes and fires, the monumentwas restored between 1882 and 1890by architect Lecomte de Nouy, whomade several modifications to theconstruction. The church shelters therelics of the Holy Paraschiva (brought

here for the first time on June 13, 1641).In the sepulchral niches, there rest RulerDimitrie Cantemir, a great scholar Rulerwho ruled Moldavia between 1710 and1711, and of Alexandru Ioan Cuza, thefirst ruler of the United RomanianPrincipalities (1859-1866).

The Holy Three Hierarchs MonasteryM~n~stirea Sfin]ii Trei Ierarhi



72

Vedere aerian~ dinspre sud-vest

Bird’s eye view from southwest

„Aceast~ m~n~stire este unic~ [i

preafrumoas~; seam~n~ cu o cetate [i

este \nconjurat~ cu ziduri de piatr~...

Sfânta biseric~ se afl~ \n mijlocul

mân~stirii; ea este cl~dit~ \n \ntregime

din piatr~ f~]uit~, iar pe dinafar~ este toat~ sculptat~ cu o m~iestrie artistic~

ce uime[te mintea privitorului. Nu este

nici cât un deget care s~ nu fie acoperit

cu sculpturi; [i sub strea[in~ corni[ele

de piatr~ neagr~ sunt de asemenea

sculptate... Toat~ lumea spune \ntr-un

glas c~ nici \n Moldova, nici \n ]ara

Româneasc~ [i nici la cazaci nu este

vreo biseric~ comparabil~ cu aceasta,

nici prin podoabe, nici prin frumuse]e,

c~ci ea minuneaz~ mintea celor ce o

viziteaz~...“ Paul din Alep

”This monastery is unique and

extremely beautiful. It resembles a

citadel and is surrounded by stone

walls. The holy church sits in the

middle of the monastery, is made of

fully-fashioned stone, and on the outside is sculpted with extreme

craftsmanship that spellbinds the eye.

There is not a single inch left

unadorned, and the black cornices

under the eaves are also carved.

Everybody says in one voice that not in

Moldavia, not in Wallachia, nor in the

land of the Cossacks can you find a

church comparable by its beauty or

ornaments that fascinate the mind of

visitors…” Paul of Aleppo



Portretul doamnei Tudosca, so]ia voievodului

Vasile Lupu

Broderie specific~ secolului al XVII-lea, realizat~

pe catifea ro[ie. Portretul este pe deplin laic,

realizat cu elegan]~ [i deosebit rafinament.

Costumul oglinde[te fastul Cur]ii lui Vasile Lupu.

Portrait of Princess Tudosca, wife of Ruler Vasile

Lupu

Embroidery specific for the 17th century, on red

velvet. The portrait is fully lay, achieved with

extreme elegance and refinement. The lady’s

costume evinces the splendor at Vasile Lupu’s

Court.

74



Portretul pictat al

doamnei Tudosca

Fragment de fresc~ prelevat

de la Sfin]ii Trei Ierarhi.

The painted portrait of

Princess Tudosca

Fragment of a frescoetaken out of the Holy Three

Hierarchs Church.

75


Cromolitografie de Carol Popp de Szathmari,

secolul al XIX-lea.

The Three Ierarchs Monastery

Chromolitography by Carol Popp de Szathmari,

19th century.


Vedere general~ dinspre sud-est (imagine

de la sfar[itul secolului al XIX-lea).

The Three Ierarchs MonasteryGeneral view from south-est (photo

from the end of 19th century).



M~n~stirea Cet~]uia

Vedere aerian~ dinspre sud-est.


Bird’s eye view from the southeast.

M~n~stirea Cet~]uiaVedere dinspre sud-est.


View from southeast.

It was built between 1668-1672 atRuler Gheorghe Duca’s initiative. Thetrilobate church, with turrets on thenaos and the pronaos, features on thefa∆ades simplified decorative elementsinspired from the Holy Three HierarchsChurch of Iasi. Two turrets on a starfoundation, specific for the Moldavianstyle, rise above the pronaos and thenaos. In point of architecture, theCetatuia is a sober copy of the HolyThree Hierarchs, founded by RulerVasile Lupu in 1639.

The painting of Cetatuia is special,its authors being Mihai, Gheorghe andDima of Janina, together with localartists who had also worked on theHoly Three Hierarchs. It is the lastimpressive complex of Moldavianmurals of the post-Byzantine tradition.The interior wall painting was altered inthe 18th and 19th centuries.

Protected by a strong girdle of tallwalls, with a stone tower, the religiouscompound also features a two-level

princely house, an ecumenical housewith a Gothic hall, a row of cells, and aTurkish bath.

77

A fost construit~ \n 1668-1672 dininitia]iva domnitorului Gheorghe Duca.Biserica, de plan trilobat, cu turle penaos [i pronaos, reia pe fa]ade, \nforme simplificate, unele motivedecorative ale bisericii Sfin]ii TreiIerarhi. Deasupra pronaosului [inaosului se ridic~ dou~ turle cu baz~ \nform~ de stea, specific~ stiluluimoldovenesc. Sub raport arhitectural,Cet~]uia este o copie sobr~ a M~n~stiriiSfin]ii Trei Ierarhi, ctitoria domnuluiVasile Lupu de la 1639.

Pictura de la Cet~]uia este ocrea]ie artistic~ deosebit~, avându-i caautori pe Mihai, Gheorghe [i Dima dinIanina, al~turi de pictori autohtonicare lucraser~ [i la Sfin]ii Trei Ierarhi.Acesta este ultimul mare ansamblu depictur~ mural~ din Moldova \n liniatradi]iilor postbizantine. Picturamural~ interioar~ a suferit interven]ii

\n secolele al XVIII-lea [i al XIX-lea.Protejat de o puternic~ centur~ de

ziduri \nalte, cu turn de piatr~,

complexul monastic mai cuprinde: casadomneasc~, cu dou~ niveluri, casaecumeneasc~, dotat~ cu o sal~ gotic~,corpul de chilii [i baia turceasc~.

The Cetatuia MonasteryM~n~stirea Cet~]uia



78

Biserica m~n~stirii v~zut~ dinspre sud-vest

Dreapta:

Imagine de la \nceputul secolului al XX-lea.

Stânga:

Imagine actual~.

The Monastery Church seen from southwest

Right:

Photograph from the beginning of 20th century.

Left:

Nowdays photograph.

Incinta m~n~stirii, col]ul de nord-est

The northeastern corner of the monastery



79



81

A fost ctitorit~ de hatmanulGavriil, fratele lui Vasile Lupu, \n 1642-1644, [i \[i trage numele de la schitulconstruit de sihastrul Agapie, \n secolulal XIV-lea.

Construc]ia Bisericii Mari de laAgapia a \nceput la 16 octombrie 1642[i s-a \ncheiat la 3 septembrie 1644.Hatmanul Gavriil a apelat la arhitectulEnache Ctisi, n~scut [i crescut laConstantinopol. Biserica este construit~

\n plan triconc, pe temelie de piatr~brut~. Absidele au form~ semicircular~,cele centrale fiind \mbr~cate la exterior

\n rezalite dreptunghiulare. çn 1859-1862 s-au ad~ugat proscomidiarul,diaconiconul [i un nou pridvor, celvechi fiind integrat pronaosului. F~r~ aavea o arhitectur~ cu un stil specific,biserica este valoroas~ prin pictura ei,executat~ de Nicolae Grigorescu \n1858-1861.

A[ez~mântul a fost restaurat demai multe ori: \ntre 1848 [i 1858, cândbiserica a suferit mai multe

transform~ri, \n 1882 [i \n 1903, cânds-a re\nnoit toat~ incinta [i s-au f~cutcl~diri pentru ateliere. M~n~stirea are ocolec]ie de art~ [i obiecte biserice[ti.

Erected by War Minister Gavriil,brother of Ruler Vasile Lupu, between1642 and 1644, it gets its name fromthe skete constructed by recluseAgapie, in the 14th century.

The construction of the big churchof Agapia started on October 16, 1642and ended on September 3, 1644. Forthe purpose Minister Gavriil hiredarchitect Enache Citisi, born and raisedin Constantinople. The church has atrefoil structure, on a raw stonefoundation. The apses are semicircular,the central one being adorned byrectangular projections. A prothesis,and a diaconicon were later added, aswell as a new porch, the old one beingintegrated into the pronaos. While notin a specific style, the church is valuableby its painting, the work of NicolaeGrigorescu between 1858 and 1861.

The abode was restored severaltimes between 1848 and 1858, whenthe church underwent varioustransformations, in 1882, and in 1903,

when the entire precincts wererenewed, and workshops were set up.The church boasts a collection of artand religious items.

Incinta M~n~stirii Agapiav~zut~ dinspre sud-est

The precincts of the Agapia Monastery

seen from the southeast

Latura de vest a incintei:

st~re]ia [i chiliile

The western side of the precincts:

the abbey and the cells

Bolta naosului: Iisus Hri stos Pantocrator

Pictur~ mural~ de Nicolae Grigorescu.

The vault of the nave: Je sus Chr is t Pantocrator

Mural painting by Nicolae Grigorescu.

Naosul bisericii: Sfâ nt a Ecate ri na

Pictur~ mural~ de Nicolae Grigorescu.

The nave: St. Ecate ri na

Mural painting by Nicolae Grigorescu.

The Agapia MonasteryM~n~stirea Agapia



84

Mai ca Do mnu lui cu Pr uncul

Icoan~ pe lemn, Moldova, prima jum~tate a

secolul al XVI-lea (Muzeul M~n~stirii V~ratec).

T he Mad onna w ith the Child

Icon on wood, Moldavia, the first half of the

16th century (Museum of Varatec Monastery).

M~n~stirea V~ratec

Vedere aerian~.

The Varatec Monastery

Bird’s eye view.



85

Statuia de bronz a Saftei Brâncoveanu,

realizat~ de Ion Jalea

Bronze statue of Safta Brancoveanu

by Ion Jalea

Cas~ monahal~ din incinta m~n~stirii

Monk house within the monastery precincts



A fost ctitorit~ \n anul 1602 dec~tre marele vornic Nestor Ureche(tat~l cronicarului Grigore Ureche),pe locul unui schit datând din secolulal XVI-lea.

Biserica m~n~stirii marcheaz~ odat~ important~ \n istoria arhitecturiidin Moldova prin influen]amunteneasc~ profund~ \n construc]iaedificiului. Ea reflect~ o puternic~influen]~ arhitectural~ munteneasc~,iar \n timp ea a fost augmentat~ cuun pridvor (secolul al XVIII-lea) [i un

diaconicon (secolul al XIX-lea). çn1850 a fost pictat~ \n \ntregime.Frumoasa incint~ fortificat~ este

\nt~rit~ cu turnuri, corpuri de cl~direpe patru laturi [i dou~ paraclise.Ansamblul a fost restaurat \ntre 1966[i 1976.

Justice Chief Nestor Ureche (fatherof chronicler Grigore Ureche) erected itin 1602 in the place of a skete datingto the 16th century.

The monastery church marks animportant date in the history ofMoldavian architecture owing to thecategorical Wallachian influencemanifest in the entire construction. Thechurch evinces a strong Wallachianinfluence. In time, a porch was added(the 18th century) as well as adiaconicon (the 19th century). In 1850, it

was entirely painted. Towers, four-sidesquare buildings, and two chapelsenhance the beautiful fortifiedprecincts. The ensemble was restoredbetween 1966 and 1976.

The Secu MonasteryM~n~stirea Secu

Biserica v~zut~ dinspre nord-vest În luneta de deasupra intr~rii, Sfântul

Ioan Botezatorul , patronul m~n~stirii.

The churc h seen fro m the nor thwe st

Above the entrance, St. John the

Baptist , the patron of the monastery.

Col]ul de nord-est a incintei, cu chiliile [i

paraclisul S fântu l Nico la e (1824)

The nor th e as ter n side of the preci nc t s, w it h the

cells and the Saint Nicho las Chapel (1824)



88



Vedere general~ dinspre sud-est

a incintei fortificate

General view from southeast of

the fortified monastery

89

Incinta m~n~stirii, cu biserica [i

aghiazmatarul

Vedere dinspre sud-vest.

The courtyard of the monastery,

with the church and the holy

waterfont

View from southwest.

Incinta m~n~stirii, cu biserica,turnul por]ii, aghiazmatarul [i o

parte din chilii

Vedere dinspre sud-est.

Inner court of the monastery,

with the church, the baptistery

and a number of cells

View from southeast.



Epitaful lui Silvan (1437)

Realizat la M~n~stirea Neam], compozi]ie perfect echilibrat~,

dominat~ de monumentalitate [i de o armonie extraordinar~ a

culorilor, figurilor, gesturilor [i propor]iilor. Epitaful lui Silvan

inaugureaz~ seria broderiilor monumentale, devenind un

model clasic al epitafelor moldovene[ti.

Silvan’s liturgical veil (1437)

Achieved at Neamt Monastery, the composition is perfectly

balanced, with an air of monumentality and a fantasticharmony of the colors, figures, gestures and proportions.

Silvan’s liturgical veil inaugurated the series of monumental

embroideries, remaining a classic of Moldavian liturgical cloths.91

Dvera Adormirii Maicii Domnului

(10 august 1510)

Aceea[i monumentalitate a epitafului moldovenesc, cu o

extraordinar~ [tiin]~ a compozi]iei, a echilibrului interior al

scenei, cu figuri monumentale [i gesturi rituale perfect

echilibrate.

Altar curtain featuring the Dormition of the Virgin

(10 August 1510)

The same monumentality as in all Moldavian liturgical veilblends here with an extraordinary science of the composition,

of poised scenes, gorgeous figures, and perfectly balanced

ritual gestures.

Broderia epocii lui ßtefan cel Mareeste la nivelul realiz~rilor picturii murale[i al manuscriselor miniate, stândm~rturie pentru existen]a unei [coli depictur~ cu tradi]ie \n Moldova. Printreepitafele, dverele, epitrahilelemoldovene[ti se g~sesc adev~ratecapodopere, unele dintre acesteademonstrând o des~vâr[it~ m~iestrie acompozi]iei [i a coloristicii.

The embroideries dating to thereign of Stephen the Great stand proudlynext to the illuminated manuscripts ofthe time, attesting to a school ofpainting of long tradition in Moldavia.There are genuine masterpieces amongthe Moldavian liturgical veils, the altarcurtains, and the stoles all of whichevince a perfect mastery of thecomposition and of the colors.

Moldavian embroideriesBroderii moldovene[ti



92

Acoper~mântul de mormânt al Mariei deMangop

Broderie cu fir de aur, argint [i m~tase

colorat~ pe un fond de atlaz ro[u dublat

cu pânz~ de in \n culoare natural~.

În chenar, o inscrip]ie comemorativ~ \n

limba slavon~, brodat~ cu fir de aur [i

argint aurit: „Acesta este acoper~mântul

roabei lui Dumnezeu, binecredincioasa [i

de Hristos iubitoarea doamn~ a lui Io

ßtefan Voievod, domnul ]~rii Moldovei,

Maria, care a trecut la ve[nicul l~ca[ \n

anul 6985 (1477), luna decembrie 19, \n

ceasul al cincilea din zi.“

Portretul funerar al Mariei de Mangop este

o capodoper~ a artei moldovene[ti a

secolului al XIV-lea, o compozi]ie de un

rafinament des~vâr[it, totodat~

monumental [i plin de fragilitatea

omenescului pieritor, impresionând

privirea prin puritate [i str~lucire princiar~.

G. Oprescu numea broderia „o

capodoper~ ce poate sta al~turi de opera

lui Dürer sau Holbein“.

Tomb cloth of Maria of Mangop

Embroidery in gold, silver, and colored silk

thread on a background of red Indian

satin doubled by linen. All around, the

border carries a commemorative

inscription in Old Church Slavonic, in gold

and silver thread: ”This is the tomb cloth

of Maria, God’s servant, the true believer

and God-loving spouse of His Royal

Highness Ruler Stephen, who went to

glory in the year 6985 (1477), December

19, at the fifth hour of the day.“

The funerary portrait of Maria of Mangop

is a masterpiece of 14th century Moldavian

art. It is a highly refined composition,

monumental and yet fragile like

everything that is mortal, and it catches

the eye by its princely purity and

resplendence.

G. Oprescu said that the embroidery was

”a masterpiece that could vie with works

by Durer or Holbein”.



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R~s tignirea , broderie (1500)

Detaliu reprezentând portretul lui ßtefan cel Mare.

Cr uci fi x ion, embroiderie (1500)

Detail representing the portrait of Stephen the Great.

R~s tignirea, broderie (1500)

Detaliu reprezentând portretul Doamnei Maria Voichi]a.

Crucifixion, embroiderie (1500)

Detail representing the portrait of Princess Maria Voichita.



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Dvera de la Slatina (1561)

A fost d~ruit~ de Alexandru L~pu[neanu ctitoriei sale.

Voievodul apare \n postura de donator \mpreun~ cu

so]ia sa, Doamna Ruxandra. În centrul imaginii, Sfin]ii

Petru [i Pavel sus]inând un templu cu cupol~ [i coloane.Doi \ngeri sunt a[eza]i \n spatele donatorilor [i doi

serafimi stau deasupra lor.

The Slatina altar curtain (1561)

Presented by Ruler Alexandru Lapusneanu presented to

his famous foundation. He is presented as the donor

accompanied by his wife, Princess Ruxandra. In the

center, Saint Peter and Paul support a temple with adome and pillars. Behind the donors there stand two

angles and two seraphims.

Acoper~mântul de mormânt al lui Ieremia

Movil~

Spre deosebire de portretul funerar al

fratelui s~u, aici compozi]ia nu p~streaz~

canonul, Ieremia Movil~ ap~rând \ntr-o

poz~ autoritar~, plin~ de emfaz~, o

imagine de portret lumesc, f~r~ emo]ia

„v~milor“ viitoare.

Tomb cloth of Ieremia Movila

Unlike the funerary portrait of his brother,

this composition does not obey the

traditional rigors, Ieremia Movila being

presented in an authoritative, emphatic

pose, in a lay kind of portrait, far from

the demanding future ”judgement”.

Manastiri Si Biserici Din Romania

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