PROPOSAL for INCLUSION in the TENTATIVE LIST of ROMANIA No.

:
for WORLD HERITAGE LIST – UNESCO Date:

Institution/Organism/Person making the proposal:

Signature: Stamp:
Contact information: mailing address, telephone, fax, e-mail, website

Name of person/persons responsible for the scientific content of the proposal:

Signatures: Cristina Ionescu, Raluca Iosipescu
Contact information: mailing address, telephone, fax, e-mail, website

NAME AND TYPE OF NOMINATION

Byzantine Churches of Curtea de Argeș
cultural, serial

County / counties: Argeș

City / cities: Curtea de Argeș
Country / counties: Romania
Geographic location:
LMI

Description:
After Campulung and before Targoviste, Curtea de Arges was a princely and metropolitan residence
of Wallachia during the Basarab dynasty. The churches of Curtea de Arges were princely necropolis.
The town continued to play the same role for the royal Romanian dynasty from 1914 until today, a
symbol of a spiritual continuity in the consciousness of the Romanian people.
Among the valuable monuments of Curtea de Argeș was the Princely church of Saint Nicholas and
the ruins surrounding it, archeologically dated to the 13th-16th centuries. The Princely church of Saint
Nicholas based on a Greek-cross plan was built and painted in the second half of the 14 th century. It
conserves a great part of the original paintings, one of the most representative examples of
Palaeologus art north of the Danube. The ensemble is paired with the ruins of Sân Nicoară (a
nickname of Saint Nicholas) church dating from the second half of the 14th century.
Sân Nicoară. The ruins of the church are situated on a hillside (448 m.) with Valea Schitului to the
North and a larger valley, Pârâul Doamnei to the South-Southeast. The edifice visually dominates the
terrace of the Argeş River where the churchyard of Princely church of Saint Nicholas was found on
the other side of the present-day road.
Displaying a single nave, a hall type church 16 m in length and 8.5 m in width, the Sân Nicoară
church ended in a semi-circular apse in the inside and three sides on the outside, framed by two
absidiola with an embrasure window in the axis. A prismatic tower with three levels stretches over the
narthex with fragments from the West and South sides surviving to the present day. The nave was
pierced by two entries, one from the outside and one connecting to the narthex. The nave was most
likely covered in semi-barrel vaulting reinforced with arches and the narthex had a semi-barrel
transversal vaulting. The altar was covered with a brick semi-calotte with two-directional masonry that
blends together with the axis. At the exterior, the altar had a suite of niches 10 cm deep in the wall.
The walls were constructed using three courses of brick and one course of stones or brittle rock,
similar to the masonry of the Princely church of Saint Nicholas. In order to strengthen the walls
longitudinal and transversal wooden beams were used.
The tower over the narthex was build solely out of brick with the same dimensions as the original
church walls. The size of the room at the bottom level of the tower is approximately 3.10m x 5.45 m,
resulting in a surface area of approximately 17 sq m. Inside the access corridor to the tower lies the
beam center that was used to block the wooden gate to the tower. The tower was supported by two
buttresses oriented on the same North and South sides of the narthex. Several tombs have been
performed in the tower.

The Princely church of Saint Nicholas of Curtea de Argeș is the most important traditional
Byzantine monument of Wallachia. According to the inscription uncovered on the interior plaster, the
church was in construction around 1351/1352, being founded by Basarab I (c.1316-1351/1352) and
his son Nicolae Alexandru (1351/1352-1364) with craftsmen brought from Byzantium, Thessaloniki or
even Constantinople. The painting of the church was finalized during the reign of prince Radu I (c.
1374-1384). The church served as a princely necropolis in the last third of the 14th century.
The church has a Greek-cross plan inscribed in a square with three apses to the East, an altar apse
in the center as tall as the church’s main body and the two lateral apses being smaller and lower. The
apses are semicircular on the inside and three-sided to the outside. The nave, the most interesting
and most representative room, has four pillars on a square shaped plane at the intersection of the
main isle and the transept that form the cross. The space, of distinguished monumentality, is made
from an ingenious ascending succession of arches and vaults that support the massive but elegant
polygonal tower with 16 sides. The masterfully done adaptation to the outer architectural shapes and
of the interior structure of the church is remarkable transferring the Greek-shaped to the cross motif
by the outer vaulting of the exterior volumetry, with the tower crowning the intersection point, placed
on a square-based prism.
The masonry is made up of three courses of brick on the main walls and four courses of brick for the
church arch gables, reducing the esthetics of the facades to a chromatic variance, grey stone strips
and red brick strips.
Each of the tower’s facades is decorated with semicircular arcades made of two courses of toothed
bricks and windows situated according to the cardinal points. Here, every four courses of brick are
followed by a course of stone. The cornices of the tower and its base are made of sawtooth arranged
bricks. The narthex with its barreled vaulting, once crowned by a tower from which only the first levels
survived, now has a simple cover with a single down-grade after the 1911 restoration that partially
masks the gullets of the Western facade’s gable.
The actual entrance to the church is via a semicircular door on the Western wall of the narthex.
Another entrance was once placed at the South West corner of the nave, entrance that was latter
blocked by a buttress most likely built after 1870. Constructed at the same time, a symmetrical
buttress was added on the Northern side. The original windows, some narrow, semicircular, others
thin, similar to firing chambers, survived in the lateral apses. The current windows with their stone
platbands date back to a reconstruction during the XVIIIth century.
Certain interventions were done to the painting throughout the years, between 1750 and 1760 when
the window openings were enlarged, then in 1827 when the tower was partially repainted along with
certain parts in the upper areas of the arches and vaults. Between 1921 and 1923 certain portions of
the painting were restored due to sustaining damage. Despite the interventions, the painting of the
Princely church of Saint Nicholas has exceptional artistic and spiritual value due to the variety of the
subjects displayed and the methods that were used in depicting them.

Justification of Outstanding Universal Value:

The ensemble of Byzantine churches of Curtea de Argeș (14 th century) represent exceptional
examples of combining the influences present in the architecture of Wallachia with original
synthesis between the Byzantine East and Catholic West, creatively incorporated not only
from a planimetry point of view but also through the architectural design, and in the case of
the Princely church of Saint Nicholas fresco, displaying exceptional artistic values for the
entire history of European painting in the Palaeologus period.

Sân Nicoară church is an example of byzantine architecture of the 14th century in Wallachia both from
a planimetry standpoint but also as a creative expression due to the parament of the facework that
overlaps alternating courses of rubble work and bricks.
In the case of the Princely church of Saint Nicholas, the alternating volumes, the simplicity of the
decoration but also the sincerity and elegance of the architectural language, the rounded arches of
the brick gables displayed radially that mark the structure of the vaulting on the facades, the brick
cornices displayed in a sawtooth pattern, the three separate covered apses, all of these elements
speak to the influence of Byzantine art from Constantinople. The analysis of the structure and
architecture as well as the building methods for the Princely church of Saint Nicholas of Curtea de
Argeș evidence the use of ingenious techniques such as the cantilever arches that connect the cradle
vault of the Eastern end of the Greek cross, marked at the semi-calotte of the altar’s apse by means
of a short bay. This arch not only gives rhythm to an otherwise monotonous curved surface but also
reinforces the tall semi-cylinder with which the esthetic short bay is covered with providing the entire
static system for vaulting the apse and altar. Doubling the distinguished architectural value of the
church, the painting originating in the second half of the 14 th century bears the mark of the
Palaeologus era painting, displaying an exceptionally stylistic approach and showing influence from
the mosaics of the Chora monastery of Constantinople. The renowned French art historian Henri
Focillon would write in reference to the church: "At Argeș the walls of the princely church guard a rare
wonder, valuable not only for Romanian art, but also for painting history across Europe…Although
they have been justifiably compared to Byzantyne mosaics from Kahrye Djami in Constantinople, they
display a freer creativity, more human, simpler." The ingeniously solved planimetry in the case of the
Sân Nicoară church of Curtea de Argeș is made while displaying various Western influences such as
the campanile and the plan of Romanic basilicas.
The Princely church of Saint Nicholas of Curtea de Argeș displays universal values with its extremely
important decorative fresco, representative for the entire history of European painting for the
Palaeologus period.

Criteria met:
(i) X (ii) X (iii) (iv) X (v) (vi) (vii) (viii) (ix) (x) .
( i) to represent a masterpiece of human creative genius

The Byzantine churches of Curtea de Argeș are masterpieces of Romanian architecture

of the 14th century that combine the influences of byzantine art with traditional
characteristics of Wallachian art and architecture.

The church of Sân Nicoară represents definitive proof of introducing in Wallachian architecture of the
mid 14th century of a type of church that was present at Mesembria and Caliacra, at the court of
despot Dobrotiţă, here, unfortunately, just only conserved by foundations. The circumstances of these
influences and the borrowing of craftsmen can be plausibly explained by the presence of the
Metropolitan Iachint from Vicina at the court of the Basarab, princes from Argeș, on the background of
the occupation of the port fortress of Vicina, the former headquarters of the Metropolitan see, by the
forces of the great Han Őzbeq (approx. 1340). This would be one of the founding premises for the
establishment of the metropolitan seat of Wallachia at Argeş. The church Saint Nicoară, as does its
prototype, the Princely church of Saint Nicholas, display a clear choice in favor of a synthesis
between East and West seeing as a campanile was obviously added to the Greek-cross church. Of
course, it is possible such synthesis had been used in the Thessaloniki Empire, at the frontiers of the
Latin Empire of Constantinople and moved towards the Despotate of Dobrotiţă. From Mesembria it
reached Caliacra and from there Curtea de Argeş.

The Princely church of Saint Nicholas, a Greek-cross type church, typical of Byzantine churches in
Thessaloniki and Constantinople, displays universal values with its extremely important decorative
fresco, representative for the entire history of European painting for the Palaeologus period.

(i) to exhibit an important interchange of human values, over a span of time or within a cultural area
of the world, on developments in architecture or technology, monumental arts, town-planning
or landscape design;

Curtea de Argeş housed a balanced ensemble serving as both metropolitan headquarters and
princely, later royal necropolis for 700 years first in the case of the Princely church of Saint
Nicholas – with its Palaeologus age painting and the Sân Nicoară church, the only surviving
example of elevated church with a campanile tower on the narthex.

Studies concerning the history of architecture evidenced the posterity of the type of plan from
Princely church of Saint Nicholas and Sân Nicoară, as reflected in the plan similarities with the
Hârteşti church (the surviving inscription dates back to 1531/1532), today part of the Ţiţeşti
village, Bucşeneşti-Lotaşi township close to Piteşti.
Archeological investigations and restoration under the aegis of the Historical Monuments
Commission at the Princely church of Saint Nicholas during 1910-1920, completed by
comparative studies of the history of art show the existence of a barrel vaulted chamber atop
the narthex, suggestion that the elevation on top of it would have been different. Added to this
is the model of the church votive painting, redone in 1827, where atop the narthex two
steeples are depicted as being improbably high. Seen as the steeples that were destroyed
during restoration were made of sheet metal, it is reasonable to assume that the original
painting of the model for the Princely church of Saint Nicholas included a steeple over the
narthex similar to the one that partially survived at Sân Nicoară.

Declaration of authenticity and/or integrity:

An important set of attributes and values indicate the fact that the exceptional values of the
aforementioned churches was kept in their forms, materials, original substance, use and functions.
As such, all the conservation and restoration works focused on maintaining the original techniques
and construction materials by not diminishing the authenticity of these monuments. The works have
been performed after serious studies, including architectural and artistic details, archeological and
historical documentation that justify said values and ensures their authenticity.
During the restorations of Sân Nicoară church (end of the 19th century and the dawn of the 20th
century) the two apses in the altar were repaired and the initial slit windows were covered. Recent
archeological researches discovered the remains of the spiral staircase, which permitted the access
to the first level to the belfry.
The Princely church of Saint Nicholas was closed off by the Order of the Ministry of Cults and
Education No. 6559/1887. In 1914 it became property of the Ministry of Cults and Education in order
for it to be restored. After the restoration, the church and ensemble of Princely Court became the
Museum of Medieval Art. After 1990 ample and costly consolidation and restoration works were
carried out for the resistance structure, outer face of the wall, the coating and the picture. After
finalizing the restoration works, only one sermon per year was allowed when celebrating the church’s
patron.
Despite all of this, the Princely church of Saint Nicholas maintains its original plan and volume,
techniques and construction materials, keeping its authentic and original aspects. Despite the
aforementioned interventions, due to the complexity of the subjects and the representation methods
the painting of Princely church of Saint Nicholas is of exceptional artistic and spiritual value,
maintaining its integrity and authenticity.

Comparison to other similar properties/sites:

Sân Nicoară church
The introducing of belfries is considered to have happened due to the forming of the Latin Empire of
Constantinople. As such, in the 13th-14th centuries, the cult edifices of the Palaeologus were equipped
with bell towers, added to the Saint Sofia as well according to the statements of Pachymeres, during
the reign of Andronic al II-lea (1282-1328). The position of the bell towers varied, adorned, included or
separate and connected by porticos to the body of the edifice. The inclusion of the bell tower to the
body of the church above the narthex appears earlier – the end of the 12 th century – start of the 13th
century – in the case of the Holly Virgin (Sveta Bogorodiţa Petricika) church in Stanimaka. The stages
of the Balkan evolution of this type of bell tower seem to be Saint Demeter of Veles, Saint Michael
and Gabriel, Saint Parascheva and Saint John Aliturgitos of Mesembria (Nesebăr) and later in the
case of some Serbian churches, among which Lazarića. A special mention needs to be made for the
former chapel of Moldavian Court in Constantinople (Bogdan Saray chapel), with a similar plan.
Archeological researches and the study of the church No. 1 foundations from Caliacra showed other
planimetry similarities with the church of Sân Nicoară. The form of the cathedral church of Silistra
given by the rebuilding during the 13th-14th centuries can be placed in the same category. Among the
churches with belfry on top of the narthex the closely resemblances with Sân Nicoară of Curtea de
Argeş are those on the Western Black Sea coast, especially from Mesembria and Caliacra.

The Princely church of Saint Nicholas, a uniquely original monument from the perspective of the
building techniques, the vaulting of the interior and the honesty in expressing these elements
throughout its composition and the exterior volume, it is a monument that proceeded from the
Byzantine architecture of the Comnenus dynasty age, being similar to the Saints Apostles church of
Thessaloniki as well as other Orthodox churches of Constantinople, for example Theodokos
Pammakaristos, despite that the latter have more towers. The technique of using bearing-out
masonry is also an influence of the Byzantine architecture, with courses of rubble rocks alternating
with bricks.
Regarding the painting, it originated in the paintings of the Palaeologus period and in the mosaics of
the Chora monastery church of Istanbul, its artistic and spiritual value being exceptional due to the
themes and the freedom of expression it displays.

Involved resources:
Curtea de Argeș City Hall
County Museum
Argeș County Council
Local community
There is a General Urbanistic Plan for the city of Curtea de Argeș.
There will also be a need for a management plan for including these monuments;
Implementing an official monitoring system that would take into consideration all the pressures made
against historical monuments.
All selected monuments are enlisted at the A category (national and universal value) in the Historical
Monuments List. Despite that the state is not the owner of all the previous mentioned monuments,
they are well conserved.
From a legislative perspective that governs Historical Monuments in Romania and especially
UNESCO, there are clear stipulations that concern the protection and security of these historical
monuments.
As such, both local and central authorities participate in this protection, valuing and promoting
processes for this unique and hugely important project in Wallachian architecture.
Recent legislation regarding UNESCO Monuments provides for the forming of Organizing Committees
that would delegate clear tasks necessary for the management of UNESCO Monuments through
Governmental Decision 1268-2010 regarding the approval of the Protection and management plan for
historical monuments on the UNESCO World Heritage List, published in the Official Monitor No. 11
dated January 5 2011.
Managing the monuments will be done by implementing a management system that would have the
main purpose of protecting the monuments in their integrity according to Romanian legislation and the
UNESCO operational guidelines.
The management system will be based on the adopting of a protocol struck between local, county,
central authorities and local community, while specifying the responsibilities of each of the parties;
Adopting an action plan that would include the actions, responsible authorities, the obligations,
deadlines to be met and allocated funds.
UNESCO Legislation
Convention Concerning the Protection of the World Cultural and Natural Heritage, approved in 1972
and ratified by Romania through Decree No. 187/1990
Governmental Ordinance No. 47/2000 regarding the stablishing of protective measures for historical
monuments that are included in the World Heritage List, published in the Official Monitor, No. 45 of
January 31 2000
Governmental Decision No. 493 of April 1 2004 for the adopting of the Methodology regarding the
monitoring of historical monuments included in the World Heritage List and the Methodology
regarding the drafting and framework of the protection and management plans for historical
monuments included in the World Heritage List
Governmental Decision 1268-2010 regarding the approval of the Protection and management Plan for
historical monuments included in the UNESCO World Heritage List, published in the Official Monitor
No. 11 of January 5 2011
Restoration and maintenance works:
- 1997 – 2007, works carried out at Princely church of Saint Nicholas