LA ROUMANIE EN IMAGES

ROMANIA A

IN CHIPURI $1 VEDERI

SHOWING ROUMANIA

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RO ANIA
IN CHIPURI $1 VEDERI
LA ROUMANIE SHOWING
EN IMAGES ROUMANIA

CVLTVRA NATIONALA

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CVLTVRA NATIONAL BUCURE TI, 1926

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 PREFATA
ROMANIA IN CHIPURI $I VEDERI este o incercare de a reds sintetic, imaginea cea
mai fidela a tariff noastre cu tot ce are ea mai caracteristic. Cum primul material pentru
aceasta lucrare a fost adunat in timpul rasboiului la Paris, trebuie sa multumim in primul
rand D-lui Courboin, Conservator al Departamentului Estampelor dela Biblioteca Nationale
din Paris ; D-lui Pierre-Marcel Levy, Director at serviciului Fotografic si Cinematografic at
Armatei Franceze ; si D-lui Joubin, Director al Bibliotecii Doucet.
Aducem deasemenea marturia recunostintei noastre D-lor Ernest Dubois, jean Le-
comte du Nouy, Eugene Pittard, Rene Grivart de Kerstrat, Camille Trubert, Raemeckers Sl
Pierre Betrand.
Casele de Editura Hachette, Bossard si (Nouvelle Librairie Nationale' ; revistele (I'Art
et les Artistes'. (La Revue Hebdomadaire', si (L'Illustration'; casele (Siot-Decauville' gi
(Verascope Richard' ne-au usurat intro mare masura sarcina.
Datorim iarasi multumiri D-nelor Anna Lahovary, Maria lonescu, Z. de Linche si B.
Vaschide ; D-relor Maria Bengescu, H. Donici, Vlaicu ; D-lor Aristide Blank, General Ru-
deanu, V. Dimitriu, A. Bellio, Al. Lapedatu, Tafrali, E. Neculcea, A. D. Atanasiu, I. Oliva,
Dragomireanu, Georgescu-Rachtivan, Pion Popescu si Mavrodin.
Trebuie sa aducem multumirile noastre deosebite Arhitectului P. Antonescu, care prin
profunda cunoastere si iubire a artei romanesti a fost cel mai pretios colaborator la ale&
tuirea acestui volum, si caruia ii revine intregul merit al acestei opere, secondat fiind de
D-I G. Raut.

PREFACE
LA ROUMANIE EN IMAGES est un essai
de donner synthetiquement de notre pays
l'image la plus fidele. La matiere composant
ce volume a ete reunie a Paris, durant la
guerre avec le concours bienveillant de Mes-
sieurs : Courboin, conservateur a la Biblio-
theque Nationale du departement des Estam-
pes; Pierre-Marcel Levy, directeur du ser-
vice photographique et cinematographique
de l'armee frangaise ; Joubin, directeur de la
Bibliotheque Doucet ; auxquels nous expri-
mons igi nos sentiments de parfaite gratitude.
Nous devons encore un temoignage de
notre reconnaissance a Messieurs : Ernest
Dubois, jean Lecomte de Nouy, Eugene Pit-
tard, Rene Grivart de Kerstrat, Camille Tru-
bert, Raemeckers et Pierre Bertrand. II est
juste d'ajouter a ce palmares les maisons
d'edition Hachette, Bossard et Nouvelle li-
brairie Nationale"; des revues ,,l'Art et les
Artiste", la Revue Hebdomadaire" et ]'Illu-
stration", et les maisons Siot-Decauville" et
Verascope Richard" qui contribuerent dans
une grande mesure a nous faciliter la tache.
Nos remerciments s'adressent aussi a :
M-mes Anne Lahovary, Marie lonesco, Z. de
Linche et B. Vaschide ; M-elles Marie Ben-
gesco, H. Donici et Vlaico ; M-sieurs Aristide
Blank, General Rudeano, V. Dimitriu, A.
Bellio, Al. Lapedato, Tafrali, E. Neculcea, A.
D. Athanasiu, I. Oliva, Dragomireano, Geor-
gesco-Rahtivan, Popesco-Pion et Mavrodin,
et, d'une facon toute particuliere a l'archi-
tecte P. Antonesco qui fut, par la profonde
connaissance et son amour de l'art roumain,
notre collaborateur le plus precieux, la che-
nille ouvriere avec le concours, de M. S.
Raut de cette ouvre dont it a tout le
merite.
PREFACE
SHOWING ROUMANIA is an attempt to
give in a synthetic way a most faithful ima-
ge of our country with everything that shows
her chief characteristics. As the first part of
the material for this work was collected in
Paris during the war, our special thanks are
due to Monsieur Courboin, the Keeper of
the Engravings Department of the Bibliothe-
que Nationale of Paris, Monsieur Pierre-
Marcel Levy, Director of the Photographic
and Cinematographic service of the French
Army and Monsieur Joubin, Director of the
Doucet Library.
We also bring the testimony of our gra-
titude to Messieurs Ernest Dubois, Jean Le-
comte de Nouy, Eugene Pittard, Rene Gri-
vart de Kerstrat, Camille Trubert, Raemec-
kers and Pierre Betrand.
The publishing houses Hachette, Bossard
and (Nouvelle Librairie Nationale'; the revi-
ews cL'Art et les Artistes', 'La Revue Heb-
domadaire', and (L'Illustration'; the firms
'Siot- Decauville' and 'Verascope Richard'
have made our task easier to a great extent.
Our thanks are also due to Mrs. Ana
Lahovary, Maria lonescu, Z. de Linche and
B. Vaschide ; To Miss Maria Bengescu, H.
Donici Vlaicu ; To Messers. Aristide Blank,
General Rudeanu, V. Dimitriu, A. Bellio, Al.
Lapedatu, Tafrali, E. Neculcea, A. D. Ata-
nasiu, I. Oliva, Dragomireanu, Georgescu-
Rachtivan, Pion Popescu and Mavrodin.
We must bring our special thanks to Mr.
P. Antonescu, Architect, who, through his
profound knowledge and love of Rouma-
nian art has been the most precious colla-
borator in putting together this volume and
to whom belongs the whole merit. He was
helped in his task by Mr. S. Rautu.

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 CUVANT INAINTE
Opinia curenta asupra Romani lor, asupra obarsiei tor, asupra trecutului tor, asupra
insusirilor for etnice si asupra viitorului tor, s'ar putea rezuma in aceste cuvinte
Sunt latini pare-se, dar dintr'o ramura de multa vreme pierduta in Ra-
sarit, uitata $i vrednica de uitare. S'au amestecat cu toate rasele, care au trecut
pe pamantul for bogat $i hranitor $i prin vaile pitoresti. Indata, barbaria care-i
inconjura a pus stapanire pe acesti exilati, can au cazut in degenerare. Bieti
Paysans du Danube" degenerati, pe care fratii for din Apus, cu mull mai bine
proteguiti de destin, au desigur dreptul sa nu-i cunoasca sau sa-i respinga, chiar
data li-se infatiseaza cu dovezi neindoelnice asupra genealogiei tor.
Ei n'au avut istorie, in adevaratul inteles al cuvantului. Vreme de veacuri,
nu exista un singur rand scris, asupra vietii for obscure. Ei si-au tint viola de azi
pe maine, in tine tie ce ascunzis de munte. Si prin aceasta, ar fi sa le facem
Inca o concesie, caci vedeti d-v, exista $i o teorie strict stiinjifica, dar de un fobs
neprevazut pentru rasele vecine rivale $i inamice, teorie dupa care Romanii au plecat
pe urmele legiunilor lui Aurelian, care parasiau Dacia, catre al treilea patrar al celui
de at III-lea veac. $i apoi, fiindca totusi azi sunt treisprezece milioane de Romani
pe malul slang al Dunarii, in campie, in Carpati apoi s'au intors. Oh ! s'au intors
mull mai tarziu; abia in veacul al XIII-lea, in veacul al XIV-lea chiar ! Nimeni nu-i
chemase inapoi, nimeni nu se gandia sa le acorde drepturi, privilegii. Totusi deprin-
derea de-a pribegi cu turmele tor, i-a readus pe teritoriul fostei provincii a lui Traian.
Daca au fost tratati ca sclavi, e fiindca nu meritau alta soarta mai bung.
Un scurt elan catre libertate. Doua principate razboinice, Moldova $i Valahia,
n'au limp sa elaboreze o civilizatie. Cultura slava in biserica $i in stat ii im-
popotoneaza cu un vestmant strain, de care natiunea nu se va scapa decal dupa
trei veacuri. Presiunea otomana zdrobeste energia domnilor romani. Chiar depe la
1500, cele doua principate sunt doua provincii turcesti, ca atatea allele.
De atunci, provinciile Sultanului, fragmente ale unei patrii care niciodata nu
ajunsese sa se consolideze, ar fi trait ca $i celelalte teritorii, supuse Imparatului
pagan. Lumea 15i inchipue in adevar ca, in afara de credinta religioasa care a
ramas crestina, tot restul ar fi apartinut Turcilor, conducatori stapani $i modele de
imitat pentru Romani. Abia in veacul al XVIII-lea, profesori $i secretari francezi,
vin ca sa dea o poleiala de civilizatie apuseana boerilor barbari, simple unelte
ale unui print, el insusi ales printre sclavii greci ai Inaltei Porti $i sotiilor for
liberate mai de grabs de tirania model orientate. Apoi, iata congresul dela Paris
care, autorizand unirea Principatelor pe care Rusia be privia ca pe o prada usoara
creeaza o patrie romaneasca. Asa incat, abia dela 1853 dateaza «eliberarea Ro-
manlier., $i a trebuit sa astepte pang la 1878 rezultatele unui nou razboiu ruso-
turc pentru a obtine neatarnarea. Unitatea rasei a izvorit in sfarsit, din marele
razboiu pentru libertatile nationale, abia incheiat.
Numai ca toate acestea, desi atat de des repetate de glasuri autorizate, nu sunt
adevarate. Nu mai adaugam ca, pe deasupra, toate acestea nu sunt nici macar juste.
Cad neamul romanesc cu cele trei-spre-zece milioane care it alcatuesc,
$1 carora li se adauga aproape trei milioane de cetateni romani apartinand altor
rase este cu adevarat latin, in masura in care nu este trac prin celelalte origini
ale sale. Vreme de veacuri dela tarmurile Adriaticei pana in Carpati, o lenta
$i continua imigratiune a elementelor taranesti, venind din Italia navalita de
regimul vilelor elegante $i at importatiunii de grau, a desnationalizat pe Ilirii $i
pe Tracii, care apartineau unor natiuni surori $i a creiat o «Romanie» a Rasari-
tului corespunzatoare aceleea din Apus, din care au purces celelalte nafiuni romane.
Aceasta Romania a fost slavizata in Balcani, cu exceptia litoralului marei italiene
$i a vailor in care s'au adapostit, ca pastori «valahii» sau «vlahii» (cf. Vetches)
romani $i albanezi pe jumatate latini. Sub forme patriarhale, cu studs 5i cu «duci»
de imitatie carolingiana, natiunea a trait vreme de veacuri, deosebindu-se de popoarele

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vecine prin acest nume de (Romani., care Insemna, fata de statele barbare, libertatea
dupa traditiile Imperiului.
Apoi, in veacul al XIV-lea, s'au format state, cu caracter popular. $1 teritorial,
intr'un chip absolut national, care este pe dea'ntregul modern. Valachia este «Tara
romaneasca, ; Moldova este .Tara romaneasca depe valea Moldovei,. Domnii for
mo$teniau drepturile Imparatului $i, dace au Imprumutat pentru cancelariile tor,
slavona care era limba bisericeasca asemeni latinei In Apus, au fost socotiti dupa
disparitia statelor grecesti, sarbesti $1 bulgare, ca urma$i legitimi, imbracati $i in-
caltati in purpura, Incoronati cu aur, cezari ai Rasaritului. Veacuri Intregi, au fost
sustinatorii bisericii ortodoxe, $i cre$tinatatea balcanica a gasit sub sceptrul for un
aril. Nu este, in Balcani, nici o viata politics, nici o civili2atie nationals, care sa
nu fi rasarit pe malurile Dunarii romanesti.
Timp de aproape cloud veacuri, impotrivirea fata de Turd a fost cea dintaiu
misiune a domnilor Moldovei $i a Valahiei. lzbanzi glorioase au semnalat aceasta
Impotrivire. Aceste tari n'au sucombat niciodata in fata acestui vrasma$ al religiei
$i al neatarnarii for : un tribut la inceput foarte moderat, sarcini de razboiu, pre-
zenta soldatilor otomani pe tarmul stang al Dunarii, sunt singurele legaturi dintre
Romani $i Turci, care n'aveau nici macar libertatea de a se rugs lui Dumnezeu
dupe legea tor, pe acest pamant de traditie cre$tina. Dace grecii au fost admisi in
comet in biserica in slujbe, este fiindca erau socotiti ca coreligionari $1, cand
.

Poarta $i-a trimes dragomanii ei ca Domni la Bucuresti $1 Iasi, ace$tia cautau salt
regaseasca stramo$ii in dinastia indigena.
Acest album va arata unui public putin informat $i poate prevenit ca
Wile romane au fost cinci veacuri caminul unei arte cu totul deosebita, in care se
Intalneau armonios Inrauriri orientate $i apusene, fara sa uitam nota originals a fondului
taranesc. Aceasta arta a lasat nenumarate monumente In cuprinsul Orel romane$ti au-
tonome (care cuprindea de asemeni Bucovina, rapita de Austria in 1775 $i Basa-
rabia, pe care Tarul a luat-o in 1812) ca $i in satele acelei Transilvanii, in care
au navalit Ungurii dupa anul 1100; $i in cele ale Banatului, rupt din trupul Vlahiei
mai de curand. Aceasta arta, ca $i arta pe care taranul o practice Inca, este vred-
nica de-a fi cunoscuta in adevarata ei inspirafie $1 In legaturile ei cu geniul national.
Satul romanesc a creiat astfel o intreaga opera poetics de balade $i de
cantece lirice, de legende $i de povestiri, care este departe de a fi cunoscuta.
Patura cults, la randul ei, a cultivat Cronica $i Istoria, in vreme ce o bogata lite-
ratura religioasa purcedea din manastiri.
Inraurirea spiritului modern nu dateaza de ieri. Transilvania trupe$te robita,
a proclamat cu mandrie ideile veacului at XVIII-lea $i boierii moldoveni $i valahi
s'au inspirat deasemeni din filozofia veacului. Alaturea de literatura neo-elena, pe
care au provocat-o, Incurajat-o $i Imbogatit-o, ei au mai creiat $i o noua literatura
cults care, influentata neintrerupt de Apus $i mai ales de Apusul trance?, a fost fac-
torul moral in stare sa ne duce, dimpreuna cu sprijinul aliatlior no$tri de acelas
sange, la unirea principatelor, la neatarnare $i la unitatea politica actual&
A trebuit, credem, sa reamintim aceste titluri inainte de a Infati$a aceste dovezi
de netagaduit stranse in albumul de fata, care este poate o aparare dar care nu
vrea sa fie o pledoarie.
PARIS, 25 Septemvrie 1921 N. IORGA

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 AVANT-PROPOS
L'opinion courante concernant les
Roumains, leur origine, leur passé, leurs
qualites ethniques et leur avenir pourrait
se resumer dans ces propositions :
Des Latins peut-titre, mais un rameau
depuis longtemps perdu en Orient,
oublie et digne d'être oublie. Its se
sont mélanges avec toutes les races de
passage a travers leur riche terre nour-
riciere et leurs vallees pittoresques. Bientot
la barbarie environnante se saisit de ces
exiles qui devinrent aussi des degeneres.
Pauvres <(Paysans du Danube» abatardis,
que leurs freres d'Occident, infiniment
mieux protégés par le sort, ont bien le
droit d'ignorer ou de repousser, meme
s'ils se presentent devant eux avec les
preuves douteuses de leur genealogie
entre les mains,
Its n'ont pas eu d'histoire, a proprement
parler. Pendant des siecles, it n'y a pas
une ligne sur leur vie obscure. Its ont
du vivoter dans quelque recoin de
montagne. Et ce serait encore une con-
cession qu'on leur ferait, car, voyez-vous,
it y a aussi une theorie strictement scien-
tifique, mais d'un avantage imprevu pour
les races voisines, rivalles et ennemies,
qui leur fait emboiter le pas apres les
legions d'Aurelien abandonnant la Dacie,
vers le troisieme quart du III' siècle.
Et puis, puisque tout de meme it y a
treize million de Roumains sur la rive
gauche du Danube, dans la steppe, dans
les Carpathes, its revinrent. Oh, bien
tard, au XIII' siècle, au XIV' siecle meme.
Personne ne les avait appeles, personne
ne pensait a leur accorder des droits, des
privileges. Cependant, leur manie d'er-
rer avec leurs troupeaux, les ramena
sur le territoire de l'ancienne province
de Trajan. S'ils furent traitesen esclaves,
c'est qu'ils ne meritaient pas mieux.
Un bref élan vers la liberty. Deux
principautes guerrieres, Moldavie et Va-
lachie, elles n'ont pas le temps d'elaborer
une civilisation. La culture slave d'eglise
et d'etat les affuble d'un vetement &ranger
dont la nation ne se debarassera qu'apres
trois siecles. La poussee ottomane brise
l'energie des princes roumains. C'est
déja, vers 1500, une terre du Turc comme
les autres.
11
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INTRODUCTION
The current opinion regarding the
Roumanians, their origin, their past, their
ethnic qualitieasnd their future could
be resumed in the following lines:
Of Latin origin, perhaps, but abranch
lost long since in the East, forgotten
and perhaps rightly forgotten. They have
been mixed with all the races that
have passed through their fertile native
land and their picturesque valleys. Soon
the surrounding savagery took hold of
these exiles, who also degenerated. Poor
Danubian peasants", sunk to a low le-
vel, whom their western brothers, infini-
tely better protected by Fate, have quite
the right to ignore or push aside, even if
they present themselves before them
withthe questionable evidences of their
genealogy in their hands.
Really speaking they did not have a
history.For centuries there is not a
line about their obscure life. They must
have muddled on in some mountain fast-
ness, and that much would even be a
concessiofor, youn, see, there is also
a strictly scientific theory, but of an un-
forseen advantage for the surrounding
rival and enemy races, which makes
them march lock-step after the legions
of Aurelian leave Dacia, towards the
third quarter of the third century. And
then, nevertheless, they returned be-
cause there are thirteen million Rouma-
nians on the left bank of the Danube,
in the steppe and in the Carpathians. Oh I
They returned very much later, in the
XIII-th or even in the XIV-th century.
Nobody called them back, nobody thou-
ght of giving them rights or privileges. Ho-
wever, their habit of wandering with their
flocks brought them back on the territory
of the old province of Trajan. If they
were treated as slaves, it is because they
deserved no better.
A short impetus towards liberty : two
war-like principalities, Moldavia and Wal-
lachia, have no time to elaborate a ci-
vilisation. The Slavonic church and state
culture dresss them up in a borrowed
garment of which the nation could only
rid itself after three centuries. The Otto-
man invasion breaks the energy of the
Roumanian princes. By 1500 A. D. the
 Depuis lors, les provinces du Sultan,
fragments d'une patrie qui n'etait jamais
arrivee a se consolider, auraient vecu
comme les autres territoires, soumis a
l'Empereur paien. On s'imaginerait vrai-
ment que, sauf la foi, rest& chretienne,
tout le reste aurait appartenu aux Turcs,
chefs, maitres et modeles des Roumains.
Au XVIII' siècle seulement, des maitres
de langue, et des secretaires francais,
viennent pour donner un vernis de civi-
lisation occidentale aux boiards barbares,
simples instruments d'un prince choisi
parmi les esclaves grecs de la Porte, et
a leurs femmes liberties plus tot des
tyrannies de la mode orientate. Puis,
voici le Congres de Paris qui, en auto-
risant l'union des Principautes, dont la
Russie se promettait la proie facile, tree
une patrie roumaine. De sorte que c'est
a partir de 1853 que date la «delivrance
des Roumains», et it fallut attendre encore
jusqu'en 1878 les resultats d'une nouvelle
guerre russo-turque pour avoir l'inde-
pendance. L'unite de la race sortit, enfin,
du grand combat pour les libertes na-
tionales qui vient a peine de finir.
Seulement, tout cela, bien que reptile
si souvent par des voix autorisees, nest
pas vrai. Nous ne dirons pas que, en
plus, ce ne pas juste.
Car la race roumaine avec les
treize millions qui la composent et
auxquels s'ajoutent aujourd'hui environ
trois millions de citoyens roumains appar-
tenant a d'autres races est bien latine,
en tant qu'elle nest pas thrace par ses
autres origines. Pendant des siecles, des
rives de l'Adriatique aux Carpathes, une
lente et continuelle immigration d'elements
paysans, venant de l'Italie, envahie par
le regime des villas et des importations
de ble, denationalisa Illyres et Thraces
appartenant a des nations soeurs, et crea
une «Romania» d'Orient, correspondant
a celle d'Occident, dont viennent les aut-
res nations romanes. Cette Romania fut
slavisee dans les Balkans, sauf le littoral
de la mer italienne et les vallees on se
refugierent comme patres les «Valaques»
ou «Vlaques» (cf. Vetches) roumains et
les Albaniens, a demi latins. Sous des
formes patriarcales, avec des «juges» et
des «dues» d'imitation carolingienne, la
nation vecut pendant des siecles, se dis-
tinguant de ses voisines, par ce nom de
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two principalities are already two Tur-
kish provinces lilt eso many others.
Since then the Sultan'se provinces,
fragments of a country which never
succeed de in consolidating itself, appa-
rently lived as other territories subject
o the pagan Emperor. People really ima-
gine that, apart from the religious faith
twhich remained Christian, everything
else belonged to the Turks, chiefs,
masters and models of the Roumanians.
It is only in the XVIII-th century that
French teachers and secretaries cometo
give a varnish of western civilisation to
the barbarian boyards, mere instruments
of a Prince chosen fron among the
Greek slaves of the Sublime Porte and
to their women freed earlier from the
tyranny of Oriental fashions in dress.
Then came the Congress of Paris, which,
authorising the union of the principaliites
in which Russia promised herself ane asy
prey, creates a Roumanian country. So
that is is only from 1853 that the cli-
beration of the Roumanians» dates and
they had to wait till 1878 for the results
of a new Russo-Turkishwar in order to
have their independence. The unity of
the race emerged at last from the great
war for the national liberties which has
just finished.
All these things, however, although
often reapeated by so many authorities,
are not true. We might add that they
are not even fair.
For the Roumanian race with the 13
million which constitute it and to which
are to be added about three million
Roumanian citizens belonging to other
races is quite Latin in so far as it is
not Thracian by its other origins. For
centuries, from the banks of the Adriatic
to the Carpathians, a slow and continuous
immigration of peasant elements coming
from Italy, which was filled with elegant
mansions and fed with imported wheat,
denationalised Illyrians and -Thracians
belonging to brother nations and treat
ed an eastern Romania corresponding
to that of the west, whence come the
other Roman nations. This Romania was
slavonised in the Balkans, with the exceptio-
nof the coast of the Italian sea and the val-
leys where the Roumanian "Wallachians
or Vlachs (compare Welsh) and half la-
tinised Albanians took refuge as shepherds.
12
Romani, qui signifiait, a regard des Etats The nation lived for centuries under
barbares, la liberty selon les traditions patriarchal government with judges* and
de l'Empire. «dukes» imitating those of the Carolin-
Des Etats se formerent ensuite, au Ca- gians, distinguishing itself from its neigh-
ractere populaire et territorial, d'une ma- bours by the name of Romani, which,
niere strictement nationale, qui est tout with relation to the barbarian States, it
a fait moderne, au XIV' siecle. La VA- meant liberty according to the traditions
LACHIE c'est le «pays roumain*, la of the Empire.
MOLDAVIE, le «pays roumain de la Thereafter, in the XIV-th century, states
vallee de la Moldova». Leurs princes were founded in a strictly national and
heritaient des droits de I'Empereur et, in a thoroughly modern way, that is with
s'ils emprunterent pour leur Chancellerie a popular and territorial character. WAL-
le Slavon qui eta la langue de l'eglise, LACHIA is the Roumanian Country*;
comme le Latin en Occident, its furent MOLDAVIA the Roumanian country
consideres, apres la disparition des Etats in the valley of the Moldova». Their
grecs, serbes et bulgares, comme les con- princes inherited rights from the Emperor,
tinuateurs legitimes, vetus et chausses de and, if they borrowed for theirc hancel-
pourpre, couronnes d'or, des cesars d'O- leries the Slavonic language, which was
rient. Pendant des siecles, its furent les the language of the church, as Latin was
soutiens de l'eglise orthodoxe, et la chre- in the west, they were considered, after
tiente balkanique trouva sous leur sceptre the disappearance of the Greek, Serbian
un asile. Il n'y a pas, dans les Balkans, and Bulgarian states, the legitimate
une vie politique, une civilisation natio- inheritors of the Caesars of the Orient,
nate, dont les premiers stages ne se fus- clad and shod with purple and with
sent passes sur le Danube roumain. crowns of gold. During centuries these
Pendant presque deux siecles, la re- Roumanian states were the support of
sistance conte les Turcs fut la principale the Orthodox church, and Balkan Chris-
mission des princes de Moldavie et de tianity found an asylum under their
Valachie. Des victoires glorieuses la si- sceptre. In the Balkans there is no
gnalerent. Ces pays ne succomberent political life and no national civilisation
jamais devant cet ennemi de leur reli- which did not develop in its first stages
gion et de leur independance : un tribut on the Roumanian banks of the Danube.
d'abord tres modere, des charges de During nearly two centuries the
guerre, la presence de soldats ottomans resistance against the Turks was the
sur la rive gauche du Danube sont les principal mission of the Moldavian and
seuls liens des Roumains avec ces Turcs, Wallachian princes. Glorious victories
qui n'avaient pas meme la liberty de marked it. These countries never suc-
prier Dieu a leur maniere, sur cette terre cumbed to this enemy of their religino
de tradition chretienne. Si les Grecs fu- and of their independence : a tribute,
rent admis dans le commerce, dans l'e- at first very moderate, war contributions,
glise, dans les fonctions, c'est qu'ils eta- the presence of Ottoman soldiers on the
lent consideres comme des coreligion- left bank of the Danube without even
naires et, lorsque la Porte envoya sens the right to pray to their god in their
anciens drogmans comme Princes a Bu- own way these are the only ties of
carest et a Jassy, ceux-ci cherchaient a the Roumanians with the Turks in this
retrouver leurs aieux dans la dynastic land of Christian tradition. If the Greeks
indigene. were admitted to trade, to the church,
Cet album montrera a un public mat and to public functions, it was because
inform& et prevenu peut-titre, que les they were considered as coreligionaries
and, when the Porte sent its former
pays roumains surent pendant cinq cents
ans le foyer d'un art tout particulier, dragomans as Princes to Bucarest and
dans lequel se fondaient harmonieusement Jassy, these tried to find their ancestors
des influences orientates et occidentales, in the native dynasty.
sans oublier la note originate du fonds . This album will shew to a public, not
paysan. Cet art a laisse d'innombrables very well informed and perhaps pre-
monuments a tracers le pays roumain judiced, that the Roumanian lands were

13

www.dacoromanica.ro
autonome (qui comprenait aussi la Bu-
kovine ravie par l'Autriche en 1775 et
la Bessarabie, que le Tsar s'appropria
en 1812) de meme que dans les villa-
ges de cette Transylvanie, envahie par
les Magyars, apres l'an 1100, et du Ba-
nat, separe de la Valachie a une épo-
que plus recente. Cet art, reuni a celui
que le paysan pratique encore, merite
d'etre connu dans la verite de son in-
spiration et dans ses attaches avec le
genie national.
Le village roumain a cree ainsi toute
une oeuvre poetique de ballades et de
chansons lyriques, de legendes et de con-
tes, qui est loin d'etre connue. Les cla-
sses superieures, de leur cote, cultiverent
la Chronique et l'Histoire, alors qu'une
riche litterature religieuse surgissait des
cloitres.
L'influence de l'esprit moderne ne date
pas d'hier. La Transylvanie physiquement
et sclave, proclama hautement les idees
du XVIII° siecle, et les Boyards molda-
ves et valaques s'inspirerent aussi de la
philosophie>> de l'epoque. A cote de la
literature neo-hellenique qu'ils provoque-
rent, encouragerent et enrichirent, ils
creerent une nouvelle literature cultivee
qui, sans cesse influencee p'ar l'Occident,
surtout par l'Occident frangais, fut le fac-
teur moral capable de conduire avec
I'appui des amis du meme sang, a l'u-
nion des principautes a l'independance
et a l'unite politique actuelle.
II a fallu, croyons-nous, rappeler ces
titres avant de presenter les preuves in-
contestables qui suivent dans cet album,
qui est peut-titre une defense, mais de-
daigne d'être une plaidoit ie.
N. IORGA
www.dacoromanica.ro
during five hundred years the home of
an art totally apart, in which eastern
and western influences mingled harmoni-
ously, not forgetting the original note
of the peasant basis. This art has left
innumerable monuments scattered across
the autonomous Roumanian countries
(which also comprised Bucovina, snatched
away by Austria in 1775, and Bessa-
rabia to which the Tsar helped himself
in 1812) as well as in the Transylvanian
villages, invaded by the Magyars after
1100, and of the Banat, separated from
Wallachia at a recent epoch. This art,
together with that still practiced by the
peasant, deserves to be known for the
sincerity of its inspiration and in its
connections with the national genius.
The Roumanian village has also
created a whole poesy of ballads and
lyrical songs, of legends and tales, which
is far from being known. The upper
classes, on their part, occupied themsel
veswith chronicles and history, while a
rich religious literature poured out from
the monasteries.
The influence of the modern spirit
does not date from yesterday. Enslaved
Transylvania proclaimed aloud the ideas
of the XVIII-th century, and the Moldavian
and Wallachian boyards drew inspiration
from the (philosophy) of their epoch
Besides the Neo-Hellenic literature which
they instigated, encouraged and enriched,
they created a new literary culture which,
unceasingly influenced by the West,
especially the French West, has been
the moral factor capable of leading,
withthe help of the friends of the same
blood, to the principalities, to the
independence and to the political unity
of to-day.
It has been necessary, we think, to
have these facts recalled before pre-
senting the indisputable evidences which
follow in this album, which are perhaps
a defence, but which disdain to be a
plea for indulgence.
N. IORGA
ARTA POPULARA $1 ARTA ISTORICA A ROMANILOR

Arta populara $i arta istorica a Romani lor nu alcatuesc doua domenii deo-
sebite, fiecare cu obarsia $i cu conceptia sa proprie. Aceste arte purced din fazele
succesive ale unei sinteze, care se urmeaza de multe veacuri; ele manifest fiecare
potrivit cu Pinta sa $i in marginile mijloacelor sale aceia$ psihologie a rasei sub
inraurirea mediului de civilizatie pe care-I intalneste dela o epoca la alta.
Facand o simpla comparafie intre caracterele artei preistorice din regiunea
Dunarii $i Carpatilor $i intre caracterele distinctive ale podoabelor camasilor $i
sorturilor, pe care le poarta azi taranii romani sau care se pot vedea pe covoarele
lor, de o atat de bogata varietate de tonuri $i de desenuri, de o atat de libera
$i frumoasa originalitate, podoabe pe care le tes mainile agile ale tarancelor
dela un capat la celalt al tarii ; constati indata punctele esentiale ale acestei
.

iden Mali.
Nu trebuie, de sigur, sa impingem prea departe acest studiu comparat ; dar
ansamblul, nota dominants, atmosfera de arta raman mereu aceleasi. Natura e
stilizata; ea isi pierde contururile proprii, care n'ar putea fi variate la infinit, ca
sa treaca la multiplicitatea capricioasa a liniilor representative pe care fiecare suflet
rustic, plin de o poezie indrazneata $i gingasa in acela$ timp, le poate schita, in-
lantui $i orandul dupa voia lui Nu mai exists floarea de camp, iarba potecii sau
razorului, arborele din livada, insecta care sboara, animalul obisnuit, chipul $i
trupul omenesc, casa taraneasca; dar ochiul priceput descopere indata Coate aceste
lucruri in liniile for esentiale, in intortocherile in care trasatura rectilina se imbina
cu paralelogramul, cu zigragul $i cu spirala, cu crucea nuantata sau simpla. Si
chiar daca nu descoperi ceeace artistul anonim a vrut sa infatiseze, culorile
care izbucnesc biruitoare sau care se topesc intr'o dulce armonie, iti dau impresia
exacta a acestei naturi, care nu se intuneca de fel, dar nici nu striga cu indraz-
neala nearmonioasa frumoasa limpezime a coloritului sau.
Or, acest prim strat al artei romanesti apartine unei rase, care acoperia odi-
nioara cu ramificatiile ei, cu «natiunile» ei vorbitoare ale aceleiasi limbi, toata
Peninsula Balcanilor, insulele Arhipelagului $i o mare parte din Asia Mica: Tracii,
carora li se adaugau, prin limba care le fusese transmisa, Ilirii de pe tarmurile
Adriaticei. Insusirile acestor credinciosi in nemurirea sufletului, insusirile acestor
razboinici de un entuziasm nebun ce trebuia temperat de puternica discipline a
colonizarii romane se vad in sinceritatea, in insufletirea, in frumosul capriciu al
acestor improvizatii artistice de o uimitoare varietate de linii $i culori.
Este foarte probabil ca aceiasi «barbarl», a caror cultura populara poate fi
puss alaturi de aceia, atat de desvoltata totus, a Galilor au dat formula in-
variabila in fond, de o incalculabila multiplicitate in formele care, de sigur, din
milioane de cazuri n'au fost niciodata repetate formula casutei taranesti. Cli-
matul vailor carpatine $i balcanice cerea acoperisul mare $1 concav cu jgheaburile
late, cu creasta din mici olane aliniate sau formand o cuirass, care prin spatiile
de ventilare ingadue utilizarea podului ca deposit de carnuri, de fructe conservate,
$i lase sloboda iesirea fumului ce inconjura cu o ceata albastrie acest acoperis inegrit
$i aproape unificat de ploi $i de puternicile imbratiseri ale soarelui de vara. Tot din
pricina climatului, s'a creat peristilul aerisit, bancul de pamant intarit care alca-
tueste temelia zidurilor, care to pofteste la vorba in timpul lungilor $i blandelor
nopfi ale anotimpului frumos sau care iti darueste putinta de a dormi in aer liber,
in cantecul greerilor din camin $i al ierbei $i in usoara fosnire a arborilor din jur.
$1 sufletul rassei da acestei cladiri de caramida, de lemn $i de pamant acea
insufletire, acea fluiditate in contururi, acea eleganta in infatisare care amintesc pe
ciobanul ce-si fluera cantecul in urma oilor, pe plugarul ce trage incetinel brazda
in zori de zi, insotit de saltaretele capricii ale ciocarliei. Din acest suflet izvoraste,
,

15

www.dacoromanica.ro
cu deosebire, facultatea de a crew neincetat, de a Puri, fard istov dar si fara a
rasa sa se intrevada cel mai mic efort, variantele fard sfarsit ale acestui tip, care
cu toata asemanarea, in raporturile esenjiale, cu locuintele tuturor vecinilor, mos-
tenitori ai aceleiasi rase, Sarbi, Bulgari, Ucraineni si chiar, uneori, Maghiari de
vechi sange slay, deosebeste totus casa romaneasca.
Roma n'a dat nimic, nici in stilul arhitectural, nici in podoaba costumului
(nu este nevoie sa mai vorbim de covorul, care-5i are corespondentul in Suedia,
Got ii fiind vreme de cel putin un veac vecinii apropiati ai Tracilor, nu insa in
Italia) nici in arta ceramicei, in afara poate de formele, de un nobil caracter antic,
ale unora dintre vase.
Dar Roma noua, aceea din Bizant, realizand o sinteza dintre cele mai inte-
resante $i dintre cele mai fecunde intre mostenirea elena trecuta prin simplificarea
romana $i intre inspirajiile, de un cu totul alt stil, din Asia Mica, din Siria, din
Egipt, chiar din regiunile asiatice launtrice, a dat artei romanesti, ca $i artei po-
poarelor slave care au trait sub conducerea administrative a Bizantinilor, a doua
sa asezare istorica.
Aceasta a doua asezare avu loc trite() epoca destul de tarzie, c5ci Wile
locuite de rassa noastrd au trait vreme de veacuri o vieata patriarhala, plina de
traditii imperiale, dar fara incoronarea unei vieti de Stat. Abia in cel de al XIV-lea
veac, principatul Tarii Romanesti numit vulgar «Valachia», «Tara Valaha., «Via-
hia», «Tara Vlohilor», de catre Slavii care au Imprumutat aceasta denumire dela
Germani pentru Galo-Romani $i Romani, a putut avea monumente in piatra,
costume de Curte, un prestigiu al bo,gajiei $i at solemnitatii, o «majestate» care
cerea serviciile artei.
Dinspre Salonic $i Macedonia, pe de o parte, asa a fost mai ales cu fru-
moasa $i vechea biserica domneasca dela Arges «Curtea de Arges», dela Muntele
Athos de alts parte, au purces spre Miaza-Noapte, care nu cunoscuse pang acum
acest fel de a cladi, bisericile in forma de trifoi, triconcha, cladite in caramizi lipite
cu ciment, cu turnuri joase $i puternice, cu acoperisurile in forma de cupola, cu
picturi de veche tradijie iconografica $i de o tehnica imemoriala. Iar dela Con-
stantinopol $i dela Curjile slave de imitatie, purcede fastul $i aurul bogatelor
costume purtate azi de simplele tarance de pe valea Argesului $i dela isvoarele
Dambovitei.
Dace rasa ar fi fost nu atat de vivace, nu atat de inventiva; dace spiritul
ei ar fi ramas inchis influentelor straine ; dace nu ar fi pastrat in sufletul ei aceasta
forta misterioasa care singura poate topI elementele imprumutate din strainatate;
s'ar fi oprit numai la atat. Ar fi fost, ca in Serbia, cateva frumoase asezaminte
domnesti, din piatra sculptata sau de un bogat vestment de costisitoare picture
care niciodata n'ar fi putut fi puss la nivelul milioanelor de tarani care traiau in
sate in aceea credinta religioasa ce sugereaza nevoi artistice. = Dar, dace in
Moldova, cel de al doilea principat, intemeiat mai recent tot in cursul celui de at
XIV-lea veac, dela inceput anume conditii de arta populara s'au impus in chip
imperios, transformand biserica goals $i trista, severe $i intunecata, a manastirilor
dela Athos intro capela cu zidurile polihrome, tarcata cu rosu, cu cenusiu, cu
albastru, cu galben, cu verde, prin alternarea pietrei curate cu caramida netencuita,
cu caramida lustruita, cu discurile ce purtau ciudate figuri mitologice $i heraldice ;
in urma, in a doua faza, acoperita $i pe zidurile exterioare de nenumarate picturi
aproape surazatoare ; apoi influentele occidentale au contribuit $i ele, in ambele
principate, pentru a complica mai mult Inca formula artistica. . r , .
Pentru a fixa aceasta a treia laza a desvoltarii sale, am avut doua curente
de origins geografica $i spirituals diferita.
Mai intaiu, cel din Italia, venit prin Dalmatia $i prin regiunile Serbiei mari-
time pe care $i le-a castigat in mare parte. Piatra devenita document istoric, se
datoreste acestui nou aport, cu toate detaliile acestei sculpturi exterioare, care pre-.
cedeaza in Wile romanesti cu multa vreme opera abundenta, luxurioasa a picto-
rilor alcatuind o adevarata scoala care trebuia sa dureze mai.mult de patru veacuri.

16

www.dacoromanica.ro
 Tot deacolo vine basorelieful cutarei porti, in care chipurile de sfinti o Vestire
. a Sfintei Fecioare foarte ginga$ infati$ata, un slant rasboinic amintesc traditiuni de
naturalism cu totul straine tinuturilor noastre.
Tot dead, in sfarsit, vine in domeniul sculpturei, maniera mai vie, atitudinile
mai realiste, gesturile mai libere, maniera pe care o intalnim in cizelarea unei
parti din argintaria valaha din veacul al XVI-lea. Aceasta inraurire se resimte chiar
in caracterul latin, venetian al inscriptiilor de pe frontispiciile bisericilor si de pe
morminte.
Occidentalismul german, care vine cuceritor prin Polonia cu °rase germanice,
prin Transilvania burghezilor saxoni, bogati in aptitudini artistice, castiga mai
mult teren, mai ales in Moldova, pe care a dominat-o cel putin vreme de un veac
si jumatate.
Aceasta in a dat cadrurile ferestrelor $i usilor, care se taie in «arc brae
sau se oranduesc in gergevele rectilinii, ca $i caracterul ornamentului floral $i cel al
inscriptiunilor de pe mormintele printilor $i ale boierilor; aceeasi influents s'a
exercitat intro masura oarecare asupra scenelor infatisate pe legatura Evangheliilor,
asupra vaselor bisericesti. Inspiratia generals insa in ceeace priveste argintaria,
perdelele altarului, pietrele funerare, a ramas de obarsie bizantina. Pans tarziu de
tot, in Valahia, mai ales catre sfarsitul celui de al XVII-lea veac, sub domnia bo-
gatului $i magnificului print Constantin Brancoveanu (1688-1714), argintarii dela
SibiuHermannstadt $i dela BrasovKronstadt lucrau pentru asezarile domnesti
obiecte minunate, dar uneltele for se conduceau totdeauna $i in chipul cel mai strict
dupa desenurile trimise dela Targovi$te sau Bucure$ti de catre Voevodul donator.
Renasterea n'a avut decat o slabs inraurire asupra tarilor romanesti, a caror
epoca de neatarnare politica $i de mare desvoltare comerciala trecuse deja. Acest
nou curent occidental se recunoaste numai in detaliile de ornamentare, cum sunt
de pilda florile de o linie mai larga $i mai libera de pe pietrele sepulcrale.
Astfel: pe lespezile mormintelor, pe care rasboinicul mort, domn sau boier, e in-
fatisat calare, cu coroana sau cu casca pe cap, manuind armele sau silind cu
varful sulitei sau al spadei, pe cutare vra$mas War sa descalece in vreme ce sa-
getile vra$ma$ului, in caderea lui, se risipesc (la Arge$, la Viero$, la Stanesti). Dar
in aceste parti niciodata antichitatea n'a fost imitata in ciuda originilor romane, a
caracterului latin al limbei.
Un al patrulea factor de sinteza a fost mai adanc imprimat : acela al Orien-
tului musulman, care a exercitat o influenta ce totus nu poate fi de fel comparata
cu aceea a suzeranitatii politice.
Cand la Dragomirna, la Putna, marile manastiri ale Bucovinei, vezi spiralele
incalcite care urmeaza linia indrazneata a boltilor, acoperita cu flori si stele mul-
ticolore ; cand mormintele fondatorilor, in loc sa fie insemnate printr'o simpla
piatra plata, se ridica deasupra lespezilor sub un fel de capac pe care reliefurile
se intretaie ca niste panglici ; cand florile larg deschise sunt oranduite ici $i colo,
pe liniile nervurilor gotice ; trebuie sa recunoastem inspiratia moscheelor in care
stapanii tarii se rugau lui Dumnezeu altfel decat noi. Este un Orient de un lux, impins
in chip pretentios pans la cel mai mic detaliu; aceasta a dat marei biserici Trei
Erarhi din Iasi acele pietre sculptate cu flori aurite, fiecare in alt fel.
Si, acelas lucru, in Valahia din cel de at XVII-lea veac, unde cadrele fere-
strelor sau ale usilor sunt sculptate cu tulipe, cu frunze stufoase, cu toata aces
inflorire ce to mans catre arta Persiei, mama oParadisului», a gradinilor divine.
Cutare mica biserica din apropierea Bucurestilor, la Fundenii Doamnei, are orna-
mente exterioare in stuc, infatisand arborii tipici, pauni asezati fats in fats, candele
atarnatoare elemente ale acestei arte persane iar in casele boierilor $i ale
Domnitorilor aceasta mods orientala se va invedera in stucaturi. Si se va gasi
aceea$ noua deprindere in miniaturile, atat de variate, ale manuscriselor epocei. in
literile ornate ale documentelor valahe din a doua jumatate a veacului, cu florile
for larg deschise ce ies dintr'un bogat frunzis. Imprimeria care incepuse cu for-
mete venetiene in veacul al XVI-lea, ca sa adopteze tipurile Renasterei introduse

17

www.dacoromanica.ro
la Rusii din Polonia, la cei din Moscova si la Transilvaneni, ia forme fermeca-
toare, dupa aceleas cerinte ale model, sub conducerea calugarului Antim din Iberia,
ajuns arhiepiscop al Valahiei.
Italia aceleiasi epoci, Franta lui Ludovic XIV n'au dat nimic mai mull decal
acea Vestire unica sculptata in marmura pe poarta de intrare a bisericii Golia din
Iasi. Cu totul altfel este Venetia, Inca izbanditoare, din sfarsitul acestui al XVII-lea
veac. De acolo si nu atat din Orient, isi ia, sub Brancoveanu, sculptura deco-
rativa cu canaturile, capiteluri!e, coloanele canelate, rampele scarilor, pietrele fune-
rare locul pe care nu-I avusese niciodata pang atunci; in biserici $i in palate, totul
este acoperit cu ornamente datorite noilor mesteri ai daltei. La Mogosoaia, langa
Bucuresti, casa de yard a printului Brancoveanu, cu acele loggie indrcptate spre
grading sau spre raul ce strabate verdele livezii, to crezi la Asolo sau aiurea in
imprejurimile Venetiei, intre casele patricienilor. Ins pictura, pe !impede fond
albastru, purcede din invataturile mesterilor venetieni.
Si forma definitiva fiind opera unei lungi stradanii a inteligentii si a gustului
desavarsita de o rasa incapabila de izolare, incapabila sa se inchida in forme
imuabile, aceasta opera se raspandeste in sute, in mil de edificii de cult, pang
in cel din urmd catun mandru de biserica lui cu capiteluri ornate, cu bogate
picturi de o fermecatoare polihromie. In felul acesta, opera originals prin caracterul
nou al ansamblului ajunge nationala prin aceasta facultate de a deveni universal-
populara, scoborind ca o rasplata spre acele masse din care pornise in adancu-
rile istoriei romanesti cea dintaiu initiative de arta $i care, in forme simple, ii
mentinea cu gelozie traditia cea mai pure.

II

Din aceasta arta populara si, mai ales, din mestesugarii acestia chiar ta-
ranii $i din inspiratoarea for natura acestor tinuturi de un caracter atat de
particular; trebuia sa isvorasca mai de grabs decat din amintirile istoriei si din
traditiunile artei culte faza moderns a desvoltarei artistice in Romania.
In epoca in care Bucurestii si celelalte orase valahe se alcatuesc din cladiri
de moda veche, marl. curti boieresti, cu multimi de sclavi tigani $1 de servitori,
clienti in jurul casei stapanului, cu un luminos peristil ; din bisericute care cuprind
enciclopedia artei acestei Pi; din casute de mahala svelte si surazatoare in mij-
locul gradinitelor ingrijite cu dragoste in lunile de vara; in epoca in care in
Moldova, alaturi de dughenele evreesti de moda galitiana, patrundea casa frantuzeasca
din veacul al XVIII-lea in ulitile principale, aceasta casa confortabila, comoda
si modest& cu veranda $i balcon, cu un mare salon ce se rotunjeste asupra par-
cului secular $i asupra helesteului cu barca primblarilor romantice ; in epoca
aceasta apare pictura noua.
Unul dintre fauritorii ei, Theodor Aman, studiaza cu pasiune in Franta, in
Parisul atelierelor $i at retetelor. De acolo, se intoarce atotstiutor in ceeace priveste
tehnica corecta $i eleganta si zugraveste tablouri marl cu lupte, cu tragedii dom-
nesti, cu scene oficiale din lumea contimporana. Pitorescul it atrage: tdranul cu
caciula, femeea cu iie, tiganul care isi taraste ursul dupa el. Dar toate acestea in
afara de notiunea precise de rasa $i de mediu.
Nicolae Grigorescu, fost zugrav de manastiri, este cel care a descoperit aceste
elemente esenfiale. $i el si-a facut pelerinajul sau parizian, dar s'a oprit la scoala
aerului liber, in epoca unui Corot $i Millet, in padurea dela Fontainebleau, la
Barbizon. Franta it inspira si Grigorescu redd colturi din Bretania, intimitatea ca-
sutelor burgheze, poezia subiectului comun intro lume de veche oranduiala, ce
trece dela o generafie la alta. Intors acasa, Grigorescu se afunda in azurul cerurilor
imense, se pierde in colbul aurit al drumurilor, urmareste pasul. incet al boilor
sarmati injugati la carele preistorice, se opreste prietenos in fata taranului care se
duce la targ si priveste ironic pe micul evreu care se ia la harta cu musterii lui

18

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 . . .
dela tars, in piata unui targusor moldovenesc ; surprinde pe tanarul cioban manan-
du-si prin vai oile albe ; $i, mai ales, adora alba silueta a fetei care toarce, cu
ochii pierduti departe $i inecati in vis.
Adevarata arta romaneasca se nascuse in pictura. Altii, ca Andreescu, mai trist
si nu atat de poet in conceptia sa asupra vietii taranesti ceeace inseamna, in
fond, mai departe de adevarul intim al lucrurilor ; ca Luchian, care arunca
luminile nesfarsite ale paletei sale, ca un reflex al ironicului sau suras de om
bolnav, peste lucruri comune, case vechi, flori mangaietoare, chipuri de fiinte iubite ;
ca Verona, de o atat de abundenta creatie; ca Grant, autorul peisagiilor romantice ;
ca D. Stoica, pictorul istoriei $i al rasboiului; ca Petrascu, maestrul tonurilor dure
si brutale ; ca Stoenescu, autorul portretelor de o fina psihologie; ca Steriade,
de o productie atat de feline; ca Horatiu Dimitriu, Schweitzer-Cumpana ; au
continuat acest curent care din nefericire, se va ineca in formulele la mod&
care pot fi cel mull daca sunt sincere. indicatii pentru viitor. Dar sculptura
unui Storck, Severin, Jalea, Han, Hette, fara a mai vorbi de indraznetele incercari
in ireal ale Iui Brancus abia daca va atinge in treacat o realitate, pe care n'a
prins-o Inca delicata vigoare a mainilor creatoare.
Cat despre arhitectura ale carei reguli au fost deja stabilite de un Anto-
nescu sau Mincu ea rataceste Inca in trecutul, pe care 11 copiaza prea adesea,
ca sa descopere o formula pe care n'o pot reprezenta doar balcoanele cu coloane
ornate, ferestrele de capela funerara, acoperisurile deschise in afara din olane
tarcate, nici turnuletele can cer altceva decat teoria monotona a frontonurilor din
marlie orase. Ar trebui, drept cadru, curtea-grading si, pentru cetatea moderna,
ceva in genul acestui stil francez adaptat care a furnizat atat de frumoase alei
senioriale oraselor boierimei moldovenesti.
N. IORGA

ti

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 ART POPULAIRE
ET ART HISTORIQUE DES
ROUMAINS
1 1
L'art populaire et l'art historique des
Roumains ne forment pas deux domaines
separes, chacun ayant ses origines et ses
conceptions differentes. Its partent des
phases successives d'une synthese qui se
poursuit depuis de longs siecles et mani-
festent, chacun d'apres ses buts et dans
les limites de ses moyens, la meme psy-
chologie de race sous l'influence dumi-
lieu de civilisation qu'elle rencontre d'une
époque a l'autre.
On n'a qu'a faire une comparaison
entre les caracteres de l'art prehistorique
dans les regions du Danube et des
Carpathes et entre ceux qui distinguent
les ornements des chemises et des tabli-
ers port& aujourd'hui par les paysans
roumains ainsi que ceux qu'on peut ob-
server sur les tapis, d'une si riche va-
riete de tons et de dessins, d'une si libre
et belle originalite, que tissent les mains
agiles des femmes de la campagne rou-
maine d'un bout du territoire habite par
la nation a l'autre, pour constater des
points essentiels d'identite.
11 ne faudrait pas, sans doute, pousser
trop loin cette etudecomparee, mais l'en-
semble, la note dominante, l'atmosphere
d'art restent toujours les memes. La nature
est stylisee ; elle perd ses contours a which could not be varied ad infinitum,
elle, qui ne pourraient pas etre varies a
l'infini, pour passer a la multiplicite ca-
pricieuse des lignes representatives que
chaque ame rustique, empreinte d'une
poesie hardie et delicate en meme temps,
peut tracer, entrelacer et arranger a sa
guise. n'y a plus la fleur des champs,
11
l'herbe du sentier et de la pelouse, l'arbre
du verger, l'insecte qui vole, l'animal
familier, la figure et le corps humain, la
maison villageoise ; mais l'oeil expert en
devine aussitot sur ces tapis les lignes es-
sentielles sur ces meandres dans lesquels
le trait rectiligne se mete au parallelogram
me, au rhombe, au zigzag et a la spirale,
A la croix, gammee ou simple. Et, meme
si on ne devine pas ce que l'arliste artist wanted to represent, the colours
anonyme a voulu representer, les cou-
leurs qui &latent victorieuses ou qui se
fondent dans une douce harmonie don-
.
20
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THE PEASANT AND THE
HISTORICAL ARTS
OF THE ROUMANIANS
The peasant and the historical arts
of the Roumanians do not form two
separate domains, each having its own
origins and conception. They start from
succesive stages of a synthesis which
follows for many centuries shewing (each
according to its own scope and within .
the limit of its means) the same race
psychology under the influence of the
civilisation of the environment which they
find from one epoch to another.
One has only to make a comparison
between the characteristics of the pre-
historic art in the Danubian and Car-
pathian regions and those that mark the
ornaments of the shirts and aprons worn
to-day by the Roumanian peasants as well
as those seen on the carpets, of such a
rich variety of tones and design, of such a
free and beautiful originality, woven by the
agile hands of the women of the country-
side from one end of the territory inha-
bited by the nation to the other, in order
to ascertain the essential points of identity.
No doubt this comparative study should
not be pushed too far, but the ensemble,
the dominant note, the artistic atmosphere
remains always the same. Nature is
conventionalised ; it loses its own outlines,
in order to pass to the capricious multi-
plicity of representative lines which each
rustic soul, stamped at the same time
by a bold and delicate poetry, can draw,
intertwine and arrange in its own way.
There is no more the field flower, the
grass of the path or of the lawn, the
orchard tree, the flying insect, the domes-
tic animal, the human body and face, the
peasant house; but the expert eye disco-
vers at once on these carpets the essential
bases, on these meanderings in which the
straight line is intertwined with the rhomb,
with the zigzag and with the spiral, with
the simple or the double cross. And even
if one doesnot guess what the anonymous
which flash out victoriously or melt in a
sweet harmony, give the exact impression
of this nature which neither effaces itself
nent l'impression exacte de cette nature
qui ne s'efface nullement, mais ne dame
pas avec une hardiesse disharmonieuse
la belle nettete de ses couleurs.
Or cette premiere couche de l'art : great and strong race, the Thracians (a
roumain appartient a une race, a une
grande et. forte race, qui couvrait jadis
de ses ramifications, de ses «nations»,
parlant la meme langue, toute la peninsule
des Balkans, les Iles de l'Archipel et une
grande partie de l'Asie Mineure : les
Thraces, auxquels se rattachaient, par la
langue qui leur avait ete transmise, les
Illyres des rives de l'Adriatique. Les qua-
lites de ces croyants a l'immortalite de
l'am, de ces guerriers d'un fol enthousias-
me qui devait etre tempere par le bon
sens et par la puissante discipline de la
colonisation romaine se rencontrent dans
la sincerity, dans l'elan, dans le joli caprice
de ces improvisations artistiques d'une
. a bewildering variety of lines and colours.
effarante variety de lignes et de couleurs.
Il est tres probable que les memes
barbares" dont la culture populaire peut
etre mise a cote de celle, si developpee
pourtant, des anciens Gaulois, ont donne
la formule invariable au fond, d'une
incalculable multiplicite dans les formes,
qui, certainement, sur des millions de cas,
n'ont jamais ete repetees, de la maison-
nette rurale. Le climat des vallees car-
pathiennes et balkaniques demandait le
grand toil concave aux goutieres pro
longues, la 'time' de petits bardeaux,
allignes ou faisant cuirasse, qui par ses
. like a cuirass, which by its interstices of
interstices de ventilation permet d'em-
ployer le grenier comme depot de viandes,
de fruits conserves et donne passage a
la fumee qui entoure d'une buee bleuatre
cette couverture noircie et presqu'unifiee
par les pluies et les forts embrasements
du soleil d'ete; c'est de lui que vient le
peristyle aere, le banc de terre durcie
qui forme la base des murailles, invitant
A causer pendant lec longues et douces
nuits de la belle saison ou offrant un
. long and sweet nights of the beautiful
sommeil a l'air libre as chant des grillons
de l'atre et de l'herbe et au lent bruis-
sement des arbres amis. Mais lame de
la race est celle qui donne a cette con-
struction en briques mêlées de Planches
et de terre une legerete d'elan, une fluidite
de contours, une elegance d'alltres qui
. and earth, a delicate line, a fluidity and
rappellent le patre sifflant sa chanson der-
riere les brebis, le laboureur creusant
allegrement son sillon a l'aurore, accom-
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nor spoils the beautiful clearness of the
colours with striking dissonances.
However, this first layer of the Rou-
manian art belongs to a race, to a very
branch of which were the Illyrians from
the banks of the Adriatic sea to whom
the language was handed down) once
covering with its ramifications, with its
«nations» speaking the same language,
the whole of the Balkan peninsula, the
islands of the Archipelago and a great
part of Asia Minor. The qualities of these
believers in the immortality of the soul,
of these warriors with a mad enthusiasm
who were to be tempered by the common
sense and the powerful discipline of the
Roman colonisation, are found in the
sincerity, in the outpour, in the beautiful
caprice. of these artistic improvisations of
,
It is very probable that the same «bar-
barians», whose popular culture can be
put side by side with that of the old Gauls
in spite of the advanced development of
the latter, have given the invariable for-
mula for the plan of the small rural
house, which lending itself to an incal-
culable variety of forms, certainly in
million cases has never been repeated.
The climate of the Carpathian and Balkan
valleys demanded the great concave roof
with the prolonged gutters, the roof
made of thin planks, aligned or arranged
ventilation allow it to be used as a
granary, as a deposit of viands or of
preserved fruits and gives outlet to the
smoke which surrounds this blackened
roof with bluish steam, weatherbeaten
by the rains and the strong glowing of
the summer sun ; it is from this climate
that comes the aerated peristyle, the
hardened earthen stoop forming the basis
of the walls, inviting to gossip during the
season or offering a sleep in the open
air to the music of the cricket of the
hearth and of the grass, and to the
sluggish rustling of the friendly trees. The
soul of the race is what gives to this
construction of bricks, mingled with planks
elegance reminding one of the shephard
piping his song behind the sheep and
the -husbandman gaily digging the fields
pagne par les sautillants caprices aeriens
de l'alouette. Et c'est surtout de la que
vient la faculty de creer sans cesse, de
donner naissance, sans se lasser, mais
aussi sans que paraisse le moindre effort,
a des variantes sans fin de ce type qui,
au premier aspect, malgre la similitude
sous les rapports essentiels avec l'habita-
tion de tous les voisins, heritiers de cette
meme race, Serbes, Bulgares, Petits Rus-
siens et meme certains Magyars d'ancien
sang slave, denote la maison du Roumain.
. Rome n'a rien donne, ni dans le style
de l'architecture, dans l'ornement du co-
stume pas n'est besoin de parler du
tapis, qui a son correspondant en Suede,
les Goths ayant ete pendant au moins un
siecle les voisins immediats des Thraces,
mais pas en Italie , dans l'art de la cera-
mique, sauf peut-titre la forme, de carac-
tere noblement antique, de certains vases.
Mais la Rome nouvelle, celle de By-
sance, realisant une synthese des plus
interessantes et aussi des plus fecondes
entre l'heritage hellenique passé par la
simplification romaine et entre les inspi-
rations, d'un tout autre style, de l'Asie
Mineure, de la Syrie, de l'Egypte, des re-
gions asiatiques interieures memes, a
donne a l'art roumain, ainsi qu'a celui
des peuples slaves vivant ceux-la sous la
direction administrative meme des Bysan-
tins, sa seconde assise historique.
Elle fut posee a une époque asses tar-
dive, les pays habites par notre race ayant
vecu pendant des siecles d'une vie pa-
triarcale, pleine de traditions imperiales,
mais sans le couronnement d'une vie
d'Etat. Ce n'est qu'au XIV-e siècle que
Ia principaute de ° toute la Terre Rou-
maine", appelee vulgairement la Vala-
chie, «le pays welche"; le Valais", la
«Wallonie", le «Wales' par les Slaves
ayant emprunte cette denomination pour
les Gallo-Romains et les Romains aux
Allemands, put avoir des monuments en
pierre, des costumes de Cour, un prestige
de richesse et de solennite, une «majeste»
qui demandait a etre servie par l'art.
. De la region de Salonique et de Ma-
cedoine, d'un cote comme surtout pour
la belle ancienne eglise princiere d'Arges,
de la .Cour sur l'Arges" , du Mont
Athos de I'autre vinrent donc vers le
Nord, qui ignorait jusque la cette facon
de batir, les eglises en forme de trefle,
22
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at the dawn accompanied by the aerial
springing caprices of the skylark; and
it is mainly from there that comes the
faculty of creating unceasingly, of giving
birth untiringly but with apparent ease,
to endless variants of this type, distingui-
shing the Roumanian house at the first
glance, in spite of ifs likeness in the
essential points to the dwelling of all
the neighbours, heirs of the same race,
Serbians, Bulgarians, Ukrainians and even
certain Magyars of old Slavonic blood.
Rome has given nothing, either in the
style of the architecture or
in the or-
namentation of the costume (there is
not the least necessity of talking of the
carpet which has its correspondent in
Sweden, the Goths having been the im-
mediate neighbours of the Thracians for at
least a century. though not in Italy) neither
in the ceramic art except, perhaps, in
certain vases of noble antique shape.
But the new Rome, Bysantium, attai-
ning one of the most interesting and
most fruitful synthesis between the Hellenic
heritage (simplified by Roman influence)
and the inspirations of quite another
style coming from Asia Minor, Syria,
Egypt, even from remote Asiatic regions,
has given Roumanian art its second his-
toric basis as well as to the Slavonic
races who lived under the direct admi-
nistration of the Bysantines themselves.
This basis was laid at a rather late
epoch, as for centuries the countries
inhabited by our race had seen a
patriarchal life, full of imperial tradi-
tions, but without the crown of an
organised state. It is only in the XIV-th
century that the principality of «all the
Roumanian lands (popularly called Wa-
lachia, le pays welche., "Valais», «Wal-
lonie», "Wales., the Slays borowing this
denomination from the Germans who
used it for the Gallo-Romans and the
Romans) could have monuments in
stone, Court costumes, a prestige of
wealth and solemnity, a «Majesty, de-
manding to be served by art.
Fromthe regions of Salonica and Ma-
cedonia, on the one hand, (as espe-
cially in the case of the beautiful prin-
cely church of Argesh, of "the Court
on the Argesh») , of Mount Athos on
the other, there came to the North
which did not know till then that type
etriconque», baties en briques noyees
dans le ciment, avec leurs tours basses et
fortes, leurs toits en coupole, leur pein-
ture d'ancienne tradition iconographique
et de technique immemoriale. Et c'est de
Constantinople et des Cours slaves d'imi-
tation que derivent la pompe et l'or des
riches costumes porta aujourd'hui par
de simples paysannes dans les vallees de
l'Arges et de la Dambovita superieure.
Si la race avail ete moins vivace et
moins inventive, si son esprit s'etait ferme
aux influences etrangeres, si elle n'eut
pas conserve dans son ame cette force
mysterieuse, qui seule peut fondre les em-
prunts faits a l'etranger, on se serait
arrete la. Il y eut eu, comme en Serbie,
quelques belles fondations princieres, de
pierre sculpt& ou d'un riche vetement
de peinture coUteuse, qui n'auraient ja-
mais pu etre mises au niveua des millions
qui dans les villages vivaient dans la
meme foi qui suggere des besoins d'art.
Mais, si, en Moldavie, la seconde princi-
paute, de fondation plus recente au cours
du meme XIV-e siecle, des le debut cer-
taffies conditions de l'art populaire s'im-
poserent d'une facon imperieuse, trans-
formant l'eglise vide et triste, severe et
obscure, des couvents athoniques dans
une chapelle de polychromie exterieure,
barictee de gris, de rouge, de Brun, de
bleu, de jaune, de vert par l'alternance
de la pierre franche avec la brique libre,
avec la brique emaillee, avec les disques
A figures bizarres, mythologiques et he-
raldiques, puis, dans une seconde phase,
recouverte de multiples peintures pres-
que souriantes a l'exterieur aussi, des in-
fluences occidentales travaillerent bientot.
dans les deux principautes, pour compli-
quer encore la formule roumaine de l'art.
Pour fixer cette troisieme base de son
developpement, on a eu deux courants,
d'origine geographique et d'esprit bien
differents.
D'abord celui de l'Italie, venu par la
Dalmatie et par les regions de la Serbie
maritime qu'elle s'est gagnees en grande
partie. La pierre «historiee» est due a ce
nouvel apport, avec tous les details de
cette sculpture exterieure qui precede
dans les pays roumains de longtemps
l'oeuvre abondante, luxurieuse des pein-
tres formant une vraie ecole qui devait
durer plus de quatre siecles. De la aussi
23
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of construction of the churches in the style
of the clover, «trifoliate built of brick
deeply embedded in ciment, with their
low and strong towers, their dome-shaped
roofs, their painting using immemorial
technique of ancient iconografic tradition.
It is to Constantinople and to the Slavonic
Courts, by imitation, that the simple pea-
sant women of to-day, inthe valleys of the
Argesh and upper Dambovita, owe the
pomp of gold on their
. rich costumes.
If the race had been less vivacious and
less inventive, if its spirit had closed itself
to foreign influences, if it had not prese-
rved in its soul this mysterious force which
alone can assimilate the foreign borro-
wings, it would have stopped there ; as
in Serbia there would have been a few
beautiful princely foundations in sculp-
tured stone, or covered with costly pa-
intings which could never have been
within the reach of millions who lived
in the villages, in that same faith, the
which suggesst the need of art. If in
Moldavia, the second principality (foun-
ded more recently during the XIV-th
Century) certain conditions of the pea-
sant art imposed themselves in an im-
perious way, transforming the empty
and sad churches, severe and obscure,
of the convents like those of Mount
Athos, into a multicoloured chapel, varie-
gated with green, red, brown, blue,
yellow, green in alternance with ap-
parent stone and brickwork, with bricks
enamelled in discs representing strange
mythological and heraldic figures, and
then in a second phase, covered on
the outside also with multiple gay pain-
tings, western influences were soon at
work again in the two principalities of
complicate the Roumanian formula of art.
In order to fix this third basis of de-
velopment there have been two currents
of entirely different geographical origins
and conceptions.
First of all that of Italy, come through
Dalmatia and the regions of maritime
Serbia, in which Italy acquired the grea-
test influence. The decorated stone is
due to this new contribution, with all
the details of a new external sculpture,
long preceding in the Roumanian pro-
vinces the abundant and the luxurious
work of the painters forming a real
school that was to last for more than .
vient le travail en bas-relief de tette porte
dont les figures de saints, une Annon-
ciation de la Vierge, tres gentiment pre-
sentee, un fringant guerrier sacre, rappel-
lent des traditions de naturalisme tout a
fait etrangeres a nos regions. De la enfin,
dans ce domaine de la sculpture, la ma-
niere plus vivante, aux attitudes plus rea-
listes et aux gestes plus libres, dont est
martelee une partie de l'argenterie va-
laque du XVI-e siecle. Celle influence se
ressent meme dans le caractere latin, ve-
nitien des inscriptions sur le frontispice
des eases et sur les tombeaux.
.L'occidentalisme allemand, qui con-
quiert, par la Pologne aux villes germa-
niques, par la Transylvanie des bourgeois
saxons, riches en aptitudes artistiques,
gagne plus de terrain, surtout en Mol-
davie, qui en fut dominee au moins un
.
siecle et demie. .
Il a donne les encadrements des portes
et des fenetres, qui se coupent en arc
brise ou s'ordonnent en meneaux recti-
lignes, ainsi que le caractere de l'or-
nement fleural et des inscriptions sur les
tombes des princes et des boiars, un peu
aussi celui des scenes representees sur les
reliures des Evangiles, sur les vases du
culte, l'inspiration generale restant nean-
moins, pour l'argenterie comme pour les
rideaux d'autel, pour les couvertures des
pierres sepulcrales, celui de l'ancienne di
rectrice qui est Byzance. Jusque bien
tard, en Valachie aussi, et surtout au
.
XVII-e siecle finissant, sous le regne du
riche et magnifique prince Constantin
Brancoveanu (1688-1714), les orfevres
de Sibiiu- Hermannstadt et de Brasov-
Kronstadt travaillalent pour les fondations
princieres des objets admirables, mais leur
poingon se dirigeait invariablement et de
la fagon la plus stride d'apres les dessins,
envoyes de Targoviste ou de Bucarest
par le, Voevode donateur. . or from Bucarest by the princely donor.
La Renaissance n'a eu qu'une faible
prise sur les pays roumains, dont l'e-
poque d'independance politique et de
grand developpement commercial avait
déjà passé. On reconnait ce nouveau had already passed. One can only
courant occidental seulement dans des recognise this new western current in
details d'ornamentation, comme dans les
fleurs d'une ligne plus large et plus libre
sur ces pierres tombales. Aussi sur quel-
ques pierres sepulcrales oil le guerrier
mort, prince ou boiar, figure a cheval,
24
www.dacoromanica.ro
'1
four centuries. From there also came the
work in basso-relievo of a certain gate
in which the figures of the saints, an
Annunciation of the Vergin, very nicely
presented, a lively sacred warrior, recall
traditions of naturalism entirely alien to
our provinces. It is from there, at last,
that came in this sculptural domain
the more vivacious manner, the more
realistic attitudes and the freer gestu-
res seen in some of the Wallachian
hammered silver of the XVI-th century.
This influence is felt even in the Latin-
Venitian character of the inscriptions on
the frontispice of churches and tombs.
The German occidentalism, rich in
artistic qualities, which dominated Mol-
davia for at least a century and a half
gains more territory through the Transyl-
vania of the Saxon burghers and through
Poland with its German towns.
The latter has given the embrasures
of the windows and the portals of the
gates outlined in broken arches or
arranged in straight mullions as well as
the character of the floral ornament of
the inscriptions on the tombsof the
princes and of the boyards, a little also
that of the scenes represented on the
covers of the Gospels, on the church
vessels, the general inspiration remaining
neverthelless for silver, for altar curtains
as well as for the covers of the tomb-
stones, that of the old directress which
is Bysantium. Till very late, in Wallachia
also and especially during the XVII-th
century, ending under the reign of the
rich and magnificent Prince Constantin
Brancoveanu (1688-1714), the silvers-
miths of Sibiu Hermannstadt and of Brasov-
Kronstadt worked admirable objects for
the princely foundations, but their punc-
heons were invariably and strictly directed
after the designs sent from Targoviste
The Rennaisance had only a feeble .
influence on the Roumanian provinces,
for their epoch of political independence
and of great commercial development
.
details of ornamentation, as in flowers
of a larger and freer line on certain
tombstones. Also on certain other tomb-
stones where the dead warrior, prince
or boyard, is represented mounted,
couronne ou casque en tete, brandissant
la masse d'armes ou bien faisant descen-
dre de selle, du bout de la lance ou de
l'epee, tel adversaire tatare, dont les
fleches, dans sa chute, s'eparpillent (a Ar-
ges, a Vieros, a Stanesti). Mais jamais it
n'y eut de ce cote, en depit des origines
romaines, du caractere latin de la langue,
une imitation de l'antique.
lln quatrieme facteur de synthese fut
sensiblement plus marque: celui de l'O-
rient musulman, qui exerca cependant,
toujours, une influence nullement compa-
rable a celle de la suzerainete politique.
Lorsque, a Dragomirna, a Putna, les
grands monasteres de la Bucovine, on
voit les boudins enchevetres qui suivent
la ligne hardie des voiltes, toute couverte
d'etoiles et de fleurs multicolores, lorsque
les tombeaux des fondateurs, au lieu
d'etre marques par une simple pierre plate,
se presentent au dessus des dalles, sous
une espece de couvercle enrubanne de
moulures, lorsque des fleurs largement é-
panouies sont plaquees ci et la sur les
lignes des nervures gothiques, it faut bien
reconnaitre l'inspiration des mosquees ou
les maitres du pays priaient Dieu d'une
autre fagon. C'est un Orient de luxe
pousse pretentieusement jusqu'au moindre
detail qui a donne a la grande eglise des
Trois Hierarques de Jassy ses pierres dont
chaucune est sculpt& de fleurs dorees,
d'une fagon differente.
Et, aussi, lorsqu'en Valachie du XVII-e
siècle les cadres des portes, des fenetres
sont ornees de tulipes, de feuillages touf-
fus, de toute cette floraison qui renvoie
a l'art de la Perse, mere des =paradise,
des jardins divins. Telle petite eglise en
marge de Bucarest, a Fundenii Doamnei,
a des ornements exterieurs en stuc, offrant
les arbres typiques, les paons affrontes,
les lampes pendantes de cet art persan,
et dans les maisons des princes et des
boiars it n'y aura dans la stucature que
cette mode orientate. Et on retrouvera
cette meme coutume nouvelle dans les
miniatures, si variees, des manuscrits de
l'epoque, dans les lettres ornees des
documents valaques de la seconde moitie
du siècle, avec leurs fleurs epanouies
sortant d'une riche feuillage. L'imprimerie,
qui avait commence par des formes
venitiennes au XVI-e siècle pour adopter
les types de la Renaissance introduits
www.dacoromanica.ro
crowned or helmeted, brandishing wea- -
pons or dismounting his Tartar adversary
with the end of his spear or sword whose
arrows are scattered in his fall (at Arges,
at Vieros, at Stanesti). But there never
was in these parts an imitation of the
. antique, in spite of their Roman origins.
A fourth factor of the synthesis was
somewhat more remarkable : that of the
Moslem East which, however, always
exercised an influence incomparably in-
ferior to the political sovereignty.
When one sees at Dragomirna, at
Putna (the great monasteries of Bucovina)
the entangled toruses which follow the
bold line of the vaults, which are covered
with stars and multicoloured flowers,
where the tombs of the founders instead
of being marked by a simple flat stone,
shew over the slabs raised above the
level of the pavement a sort of canopy
decorated with twisted ribbon-like moul-
dings, where flowers in full bloom are
strewn here and there on the lines of
the Gothic ribs, one must recognise the
inspirationof the mosques where the
masters of the country prayed God in
another fashion. It is the luxurious East,
pretensiously pushed to the smallest
details, which has given to the great
church of the Three Hierarchs of Iassy
its stones of which each one is sculptured
in a different way with gilt flowers.
And similarly when in Wallach is of
the XVII-th century the portalsof the
gates, the embrasures of the windows
are orna mented with tulips, with clus-
tered leaves, of all the blossoming
which reminds us of the Persian art,
mother of "paradise' and of divine
gardens. A certain small church on the
outskirts of Bucarest, at Fundenii Doamnei,
has external ornaments in stucco, offering
the typical trees, the daring peacocks,
the suspended lamps of this Persian art,
and in the houses of the princes and
boyards one will only find stucco works
in this Eastern style. And one will again
notice this same new style in the minia-
tures, infinitely varied, of the manuscripts
of the epoch, in the ornamental letters
of the Wallachian documents of the
second half of the century, with their full
bloomed flowers amid rich foliage. The
printing press, which was originally set in
Venitian type in the XVI-th century, and
25
 . .
chez les Russes de Pologne, chez ceux
de Moscou et chez les Transylvains, se
plie, dans des formes charmantes, aux
meme exigences de la mode, sous la di-
rection du moine Anthime d'Iberie, de-
venu archeveque de Valachie.
L'Italie de cette meme époque, la
France de Louis XIV n'ont rien donne,
sauf cette Annonciation unique sculpt&
en marbre sur la porte d'entree de re-
glise de Golia a Jassy. II n'en est pas de
meme pour la Venise, encore triom-
phante, de la fin de ce XVII-e siecle. C'est
de la, et pas autant de l'Orient, que, sous
Brancoveanu, la sculpture decorative,
des encadrements, des chapiteaux, des
colonnes canelees, des rampes d'escalier,
des pierres tombales prend une place
qu'elle n'avait jamais eue auparavant et
que tout, dans les eglises et les palais,
est reconvert de la parure due aux nou-
veaux maitres du ciseau. A Mogosoaia,
pres de Bucarest, maison de plaisance du
prince Brancoveanu, avec ses loggie
dirigees vers les jardins ou vers la riviere
traversant la verdure des vergers, on
se croirait a Asolo ou ailleurs dans les
environs, pleins de maisons patriciennes,
des environs de Venise. La peinture elle-
meme, sur le clair fond bleu, derive de
I'enseignement des maitres venitiens.
Et, la forme typique avant ete form&
par une longue oeuvre de travail, d'in-
telligence et de gout, accompli par une
race incapable de s'isoler, de se figer
dans des formes immuables, elle se repand
dans des centaines, des milliers d'edifices
du culte, allant jusqu'au dernier hameau,
fier de son eglise aux chapiteaux ornes,
aux riches peintures d'une charmante
polychromie. De cette facon, ce qui etait
original par le caractere nouveau de l'en-
semble arrive a etre aussi national par cette
faculty de devenir universellement popu-
laire, descendant, remunerateur, vers ces
masses dont &all partie, au fond de l'his-
toire roumaine, la premiere initiative d'art
et qui, dans des formes simples, en mainte-
naient jalousement la tradition la plus pure.
lI
De cet art populaire, et surtout de ses
artisans meme, les paysans, et de son
inspiratrice, la nature de ces contrees d'un
caractere si particulier, devait sortir plus
26
www.dacoromanica.ro
later adopied the type setting of the Ren-
naissance, introduced also to the Russians
of Poland, to those of Moscow and to
the Transylvanians, lends itself charmigly
to the same requirements of fashion under
the direction of the monk Antim of
Iberia, later Archbishop of Wallachia.
Italy in the same epoch, France under
Lewis XIV have given nothing except the
unique Annunciation sculptured in marble
on the entrance door of the church of
Golia at Iassy. This is not the case with
Venice, still triumphant, in the XVII-th
century. It is from there, and not so
much from the East that under Branco-
veanu, the decorative sculpture, the
borders, the capitals, the fluted columns,
the balustrades, the tombstones take a
place which they never had before,
and that all the walls of the churches
and palaces are covered with ornaments
due to the new mastersof the chisel. At
Mogosoaia, near Bucarest, the pleasure-
house of prince Brancoveanu, with its
loggie directed towards the gardens or
towards the river flowing through the
green of the orchards, one feels as if at
Assolo or perhaps in the suburbs of Ve-
nice full of patrician houses. Painting
itself, on clear blue background has its ori-
gin in the teaching of the Venitian masters.
The typical form having been evolved
by the prolonged effort of labour,
intelligence and taste, accomplised by
a race incapable of isolating itself, of
congealing in unchanging forms, spreads
itself in hundreds, in thousands of places
of worship, going to the least hamlet,
proud of its church with ornamented
capitals, with rich, charmingly varied
paintings. In this way what was original
by the new character of the ensemble
comes to be also national by the faculty
of becoming universally popular, des-
cending profusely towards these masses,
whence, from the beginnings of the
Roumanian history, started the first ini-
tiative of art, which, in the simple forms
jealously maintained the purest tradition.
II
From this art of the people, and espe-
cially from the peasants, its very artisans,
and from its inspirer the nature of the coun-
try, which has very marked characteristics,
que des souvenirs de l'histoire et des tradi-
tions de l'art cultive, la phase moderne du
developpement artistique des Roumains.
A une époque ou Bucarest et les villes
valaques etaient composees de batisses a
l'ancienne facon, grandes scours" de
boiars, retenant tout un monde d'esclaves
tziganes et de serviteurs, de clients,
autour de l'habitation au lumineux peris-
tyle du maitre, eglises de petites dimen-
sions, mais contenant l'encyclopedie d'art
du pays, maisonnettes de faubourg, sveltes
et riantes au milieu des fleurs soignees
avec amour pendant les mois d'ete, et
otl, en Moldavie, l'habitation frangaise
du XVIII-e siecle s'introduisait le long
des rues principales et a cote des bouti-
ques juives a la galicienne, cette habita-
tion de luxe a l'aise, commode et sans
pretentions, avec son porche et son bal-
con, son grand salon arrondi s'ouvrant sur
le verger seculaire et sur la piece d'eau
ou attendait la barque des promenades
romantique, la nouvelle peinture parait.
Tel de ses createurs, Theodore Aman,
etudie avec passion en France, dans le
Paris des ateliers et des conventions. 11
en revient savant en fait de technique
correcte et elegante et brosse de grands
tableaux de luttes, de tragedies princieres,
de scenes officielles dans le monde
contemporain. Le pittoresque l'attire: le
paysan au bonnet de laine, la femme a
la chemise brodee, le Tzigane trainant
son ours enchain& Mais tout cela en
dehors de la notion precise de la race
et du milieu.
Ces elements essentiels c'est Nicolas
Grigoresco, ancien peintre d'eglise, qui
les decouvre. II a fait aussi son pelerinage
parisien, mais s'est arrete en plein air,
a l'epoque d'un Corot et d'un Millet,
dans la foret de Fontainebleau, a Barbizon.
La France l'inspire, et il en rend les coins
de Bretagne, l'intimite des petites maisons
bourgeoises, la poesie du sujet quelconque
dans un monde de tres ancien arran-
gement qui passe d'une generation a
l'autre. Revenu chez lui, it plonge dans
l'azur des ciels immenses, il se perd dans
la poussiere doree des routes, il suit le
train lent des boeufs sarmates atteles aux
chariots prehistoriques, it s'arrete amica-
tement devant le paysan qui se rend au
marche et it observe d'un pergant regard
ironique le petit Juif qui se chamaille
www.dacoromanica.ro
was destined to issue the modern phase
of the artistic development of the Rou-
manians, rather than from historical sou-
venirs or the traditions of cultured art.
The new painting arrived at an epoch
when Bucarest and the Wallachian towns
were composed of old fashioned buil-
dings, great courts of boyards, retaining
a whole world of gipsy slaves and ser-
vants, of clients, round the master's house
with its well lighted peristyle, churches
of small dimensions containing the art
enciclopedia of the country, small subur-
ban houses, slender and gay in the
midst of flowers lovingly tended during
the summer months, and when in Mol-
davia, the French dwelling of the XVIII-th
century was introducing itself along the
principal streets near the Jewish shops
built in the Galician fashion, that con-
fortable luxurious mansion, commodious
but unpretensious, with its porch, bal-
cony and great round drawing room
opening on the century old orchard
and on the pond, where boats were mo-
ored ready for romantic promenades.
One of its founders, Theodore Aman,
studied with passion in France, in the
Paris of studioes and conventions. He re-
turned, master of a correct and elegant
technique, and executes large pictures of
battles, princelly tragedies, official scenes
of the contemporary world. The spictu-
resque attracts him : the peasant with the
woolen cap, the woman with the embroi-
dered shirt, the gipsy leading his chained
bear. All these, however, apart from a pre-
cise conception of race and environment.
. The latter essential elements are re-
presented by Nicolas Grigorescu, for-
merly a church painter, who perceives
them. He has also made his Parisian
pilgrimage, but has stopped in the open
air, in the forest of Fontainebleau, at Bar-
bizon, during the epoch of Corot and
Millet. France inspires him and he paints
the corners of Brittany, the intimacy of
the small middle class houses, the poetry
of some subject in a world of ancestral
homes. On his return he plunges into
the azure blue of the immense skies, he
loses himself in the golden dust of the
roads, he follows the slow train of the
Sarmatian oxen drawing prehistoric cha-
riots, he stops in a friendly way before
the peasant who goes to the market, and
27
avec sa clientele rurale dans la place
encombree d'une bourgade moldave; it
surprend l'ephebe pastoral menant par
les vaux ses brebiettes blanches, mais
surtout it adore la blanche silhouette de
la jeune fille devidant, les yeux vers
l'irreel qui les remplit de reve, le fit de
laine de son fuseau.
Le vrai art roumain etait ne dans la
peinture. D'autres comme Andreesco, plus
triste dans sa conception de la vie pay-
sanne et infiniment moins poete ce
qui signifie, au fond, plus loin de la verite
intime des choses comme Luchian,
jetant les lueurs infinies de sa palette,
comme le reflet de son sourire ironique
de valetudinaire, sur les choses indiffe-
rentes, vieilles maisons, fleurs consolai-
rices, portraits d'etres aimes, comme
Verona, d'une si abondante creation,
comme Grant, aux paysages romantiques,
D. Stoica, le peintre de l'histoire et de la
guerre, Petrascu, aux durs tons heurtes,
Stoenescu, aux portraits d'une fine psy-
chologie, Steriade, d'une production si
chatee, Horace Dimitriu, Schweizer-Cum-
pana, continuerent ce courant qui, mal-
heureusement, ira se perdre dans des
formules de mode qui peuvent etre tout
au plus, si elles sont sinceres, des indi-
cations d'avenir. Mais la sculpture d'un
Storck, d'un Severin, d'un Jalea, d'un
Han, d'un Hette, sans parler des hardis
tatonnements dans l'irreel d'un Brancus
effleurera a peine une reality dont elle
ne s'est pas encore saisie avec la delicate
vigueur des mains creatrices.
Et, quant a l'architecture, dont les
regles etaient deja posees par un Anto-
nesco et un Mincou, elle fouille encore
dans le passé, qu'elle copie trop souvent,
pour decouvrir une formule que ne
peuvent pas representer seulement des
balcons aux colonnes ornees, des fenetres
de chapelle funeraire, des grands toits
&vases recouverts de tuiles bariolees, ni
les tourelles qui demandent autre chose
que la theorie monotone des fronts de
grande ville. II faudrait comme cadre la
ville-jardin et, pour la cite moderne,
quelque chose dans le genre de ce style
francais adapte qui a fourni de si belles
allees seigneuriales aux villes de boiarie
moldave.
N. IORGA
www.dacoromanica.ro
he notices with a piercing ironical eye
the small Jew, wrangling with his rural
customers in the crowded market place of
a small Moldavian town; he comes unex-
pectedly upon the young shepherd driving
his white sheep through the valleys but es-
pecially he adores the white silhouette of
the peasant girl daydreaming while she
winds the woolen thread on her spindle.
The real Roumanian art owes its birth in
painting. Other artists, such as Andreescu,
sadder in his conception of the peasant life
and infinitely less poetical (which means
in fact a greater distance from the intimate
truth of things), such as Luchian, throwing
the reflection of his ironical valetudinarian
smile from the infinite glitterings of his
pallet on various objects, old houses, con-
soling flowers, portraits of beloved friends;
such as Verona, with such an abundant
creation, such as Grant with romantic
landscapes; such as D. Stoica, the painter
of war and history, Petrascu with the hard
and rough tones ; Stoenescu with his por-
traits of a penetrating psychology, Steriade
with his finely shaded productions, Ho-
race Dimitriu, Schweizer-Cumpana, follo-
wed this tradition which unfortunately
is losing itself in fashionable formulas
which can be, at the utmost, indications
for the future, if they are sincere. But the
Sculpture of a Storck, of a Severin, of a Ja-
lea, of a Han, of a Hette (without speaking
of the bold outreaching towards unreality
of a Brancus) will hardly arrive at a reality
which it has not yet been seized with
the delicate vigour of creative hands.
And as for architecture, for which the
rules were laid down by an Antonescu
and a Mincu, it is still looking towards
the past, which it copies too often, in
order to find a formula, which can be
expressed otherwise than by balconies
with ornamented columns, windows of
mortuary chapels, large overhanging roofs
covered with multicoloured tiles, or by
turrets which demand something else
than a monotonous theory for the fa-
cades of a great city. The garden-city
should be taken for a background, and
for the modern city, something in that
adapted French style which has given
such beautiful seigniorial alleys to the
towns of the Moldavian boyards.
N. IORGA
 :
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MARIA
REGINA ROMANIEI
MARIE MARY
REINE DE ROUMANIE QUEEN OF ROUMANIA

www.dacoromanica.ro
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FERDINAND I
REGELE ROMANIEI
FERDINAND I-er FERDINAND I-st
ROI DE ROUMANIE KING OF ROUMANIA

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www.dacoromanica.ro
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THE VALLEY OF THE RIVER OLT - TOWARDS RIMNIC-VALCEA (WALLACHIA)

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LA VILLE DE BOTOSHANI (MOLDAVIE) THE TOWN OF BOTOSHANI (MOLDAVIA)

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LA BISTRITZA (MOLDAVIE) THE RIVER BISTRITZA (MOLDAVIA)

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GORGES DU BOUZEO (VALACHIE) THE BUZEU PASS (WALLACHIA)

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LE VILLAGE DE VARATIC (MOLDAVIE) THE VILLAGE OF VARATIC (MOLDAVIA)

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LE VILLAGE DE NAMAEST THE VILLAGE OF NAMAESTI

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Desen spina In r:Illustration. 1847
LES BORDS DU PRUTH THE BANKS OF THE PRUTH RIVER
D'alffer un deuin paru dart il 'wooden, en 1847 After a drawing printed in L'Illustrationr, in 1847

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VEDEREA GENERALA A ORA$ULUI NASAUD (TRANSILVANIA)

VUE DE:LA VILLE DE NASAUD (TRANSYLVANIE) VIEW OF THE TOWN OF NASAUD (TRANSYLVANIA)

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Desen de M. Bouquet
LA PANAGIA, SOMMET DES CARPATHES MOLDAVES THE PANAGIA, A PEAK IN THE MOLDAVIAN
D'apres un dessin de M. Bouquet CARPATHIANS
After a drawing by M. Bouquet

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Peintures murales de Curtea-de-Argesh Frescoes at Curtea-de-Argesh

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AN EVENING PARTY AT PRINCE CHINA'S, AT IASSY (XIX-th CENTURY)
AFTER A DRAWING BY DOUSSAULT

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GROUPE DE PARLAMENTAIRES - 1857 A GROUP OF MEMBERS OF PARLIAMENT -Sr857

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Merge National de Bucarest
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TEZAURUL DELA PETROASA TEZAURUL DELA PETROASA

FIBULE IN FORMA DE IBIS
Muzeul National din Bucureati
LE TRESOR SCYTHO-HELLENIQUE DE PETROASSA.
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FIBULA CEA MARE (IN FORMA DE ULIU)
Muzeul National din Bucureati
LE TRESOR SCYTHO-HELLENIQUE DE PETROASSA
GRANDE FIBULE EN FORME D'EPERVIER
Musee National de Bucarest
THE SCYTHO-HELLENIC TREASURE OF PETROASA
LARGE BUCKLE REPRESENTING A HAWK

PECETEA LUI ALEXANDRU-CEL-BUN, DOMNITORUL MOLDOVEI, BASARABIEI

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SCEAU D'ALEXANDRE-LE-BON, PRINCE SOUVERAIN DE MOLDAVIE, BESSARABIE ET BUCOVINE (1401-14331
THE SEAL OF ALEXANDRU-CEL-BUN, SOVEREIGN PRINCE OF MOLDAVIA, BESSAR.4BIA AND BUCOVINA
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Musa National de Bucarest
THE SCYTHO-HELLENIC TREASURE OF PETROASA SOLID GOLD BASKETS IN FORM OF POLYGONES

PECETEA ORASULUI BAIA, CEA DINTAIU CAPITALA A MOLDOVEI (SEC. XIV)

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SEAL OF THE TOWN OF BAIA, FIRST CAPITAL OF MOLDAVIA (XIV-th CENTURY)

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MONNAIES D'ARGENT D'ETIENNE LE GRAND
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Collection de l'Academie Roumaine
PIECES OF SILVER MONEY OF STEPHEN THE
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AN OLIVE WOOD CROSS SET IN SILVER-GILT
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FRAME (XV-th CENTURY)
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Dupa revista .Arta si Artisti
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D'apres la revue sl'Art et les Artistes.
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(XVIII-th CENTURY)

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CRISTOLE D'ARGENT VUE INTERIEURE DU SILVER CHURCH VESSEL INSIDE OF THE LID
COUVERCLE (XV-e SIECLE) (XV-th CENTURY)
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CHIVOT DE ARGINT AURIT (SEC. XVII)

TABERNACLE EN VERMEIL (XVII-e SIECLE) SILVER-GILT TABERNACLE (XVII-th CENTURY)

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BRASS OHANDELLIER (XVII-th CENTURY) ,SASSY - CHURCH OF GOLIA

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TABERNACLE EN VERMEIL MONASTERE DE HUREZI (XVIII-e SIECLE)
D'apres la revue d'Art et les Artistes*
SILVER-GILT TABERNACLE MONASTERY OF HUREZI (XVIII-th CENTURY)

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(XVIII-e SIECLE) (XVIII-th CENTURY)

TRONUL LUI PETRU RARES (SEC. XVI)

TRONE DU PRINCE PIERRE RARES (XVI-e SIECLE) PRINCE PETRU RAKES' THRONE (XVI-th CENTURY,
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TRON DOMNESC DELA MITROPOLIA DIN BUCURE$TI (SEC. XVIII)

TRONE PRINCIER DE L'EGLISE METROPOLITAINE DE PRINCES THRONE IN THE METROPOLITAN CHURCH
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TRONE PRINCIER DE BASILE LE LOUP (VASILE PRINCE'S THRONE OF VASILE LUPU (XVII-th
LUPU) (XVII-e SIECLE) CENTURY)

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TRON DOMNESC DIN BISERICA STAVROPOLEOS (SEC. XVIII)

TRONE PRINCIER DE L'EGLISE STAVROPOLEOS PRINCE'S THRONE IN THE STAVROPOLEOS CHURCH
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TRON DOMNESC INTR'O BISERICA DE TARA

TRONE PRINCIER DANS UNE EGLISE DE CAMPAGNE PRINCE'S THRONE IN A COUNTRY CHURC'i

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EGLISE DE LUDESTI (VALACHIE) Xt. II-e SIECLE CHURCH OF LUDESTI (WALLACHIA) XVII -th CENTURY

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Suprafata totald Numar de locuitori
Surface totale Total Area Nombre des habitants Number of Inhabitants
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_ 1915 1920 1924

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 Cai de comunicatii
Voles de comunication Means of communication

1910/ I 3393 Km.

Chemins de fer Calle ferate Railways

1916 1 3702 Km.

1921 I 110.578 Km.

1924 111.200 Km.

Mijloace de transport
Moyens de transport Means of transport

Nombre des wagons Namur de vagoane Number of railway cars

-
1910 1 18.676

1915 1 25.790 95.534

1924

Nombre des voyageurs Num& de cab:Mori Number of passengers

1910 1 10.233.000
1915 12.056.000 47.202.000 .
1

1923

Voies et routes Drumuri Roads

1909 1 26.445 Km.

1915 1 44.574 Km.

1922 1 80.778 Km.

Importation Import Imports Exportation Export Exports

Tonnes Tone Tons Tonnes Tone Tons

484.368 tone
0 eiza 1
1 2.984.859 tone

-0 RWIR 771.516 tone

1 4.488.628 tone

0.> 703.274 tone 4.878.210 tone

1
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Importation Import Imports Exportation Export Exports

1923 1923

Textile, etc. Produse ale subsolului Cereale

Matieres textiles Produits du sous-sol Urea les
I I Textiles Products of the subsoil Cereals

n
Meta le, etc. Produse ale subsolului Petroleu si derivate
Metaux Produits du sous -sol ({ et ses derives
Metals I Products of the subsoil Oil and its derivatives

Marini, chimicalii si medicamente Anima le si produse animate

Machines, produits chimiques et medicaments Animaux et produits animaux
1 Machines, chemicals and drugs Animals and animal products

Produse ale solului Produse combinate

Produits du sol Produits combines
Products of the soil Mixt products

Invatamantul primar
Enseignement primaire Elementary schools

Nombre des eleves inscrits Numarul elevilor inscrii Number of pupils enrolled
1885 1 135.244
1921

1.533.191

Inveltamantul secundar si profesional

Enseignement secondaire et professionnel Intermediate and professional schools

1900 I10.232
1
Numarul elevilor inscrigi
1921 115.891
1
Nombre des eleves inscrits Number of pupils enrolled

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