CURTI DOMNESTI ·

' '
SI
,1\
BOIERESTI A '

IN ROMANIA
Valahia
veacurilor al XVIl-lea si
•
al XVITI-lea
ROMANIAN PRINCELY AND
NOBILIARY COURTS
The 17th and 18th century Walachia

S I M E T R In A
 2 PREMffiUL

5 PREl\USE

6 Arbitccrura romancasdi a 'eacurilor XIV-XlX.

o «arhitectura a ansamblului»

10 Ansamblurile laice ~i man[L~lircsti

In Valahia secolclor al XVLl-lca ~i al XVUI-lca.
Functiune ~i rc7olvare nrhitecturala

13 Analin1 sistemclor de bollirc utiliJ.ate Ia bcciurile caselor domne~ti

~i boiere~ti din Valahia In ~ccolele al XVIl-lea ~i al XVlH-lea

19 ~URTILE BOTERESTI SI DOMNESTI

IN VALAHIA SECOLULUI AL XVII-lea

20 lpoteLc de reconstituire -
amplasarc. aldltuirc. elementc componcntc.

29 Caselc sccolului al XV II-Iea

Semncle lnnoirii - precur,orii Brancoveanului

-+5 ARHITECTURA LAJCA BRANCOVENEASCA

48 Arhitcctura promovaUl de ditre Constantin Brnncoveanu

-+8 Momentul Hurezi
50 Traseele principelui
51 De Ia (<ctitor» ~i «albumele de modele»
Ia rescdintcle Brfu1CO\ eanului
55 Curtile brancovene~ti
58 Moclclul Potlogi
60 Raspandirca modelului Potlogi

65 CUR TILE SF ARSITULUI DE SECOL XV Ill

76
95
96 Lista abrcvierilor
IO.f Note
Ill BibJioerarie
.... selcctiva
112 Index
113 Provcnienta ilustratiilor
 Arhitectura
...,
/\
romaneasca
a veacurilor
XIV-XIX,
o «arhitectura
a ansamblului»
The Romanian
Architecture regula lstoriile arhitecturii romanesti studiazii de
evolutia arhiteclurii de zid din Tarile Romane
in the 14th-19th prin prisma analizei lipologice si a limbajului morfo-
5•
lo!!ic utilizat de arhitectura bisericilor Motivatia este,
centuries, dera;aoficiere
doar ~i poate. evidenta inscmne si totodata locuri
ale cultului «national». simboluri ale unui
an «Architecture credima de rit bizanrin.
orgoliu ctitoricesc mostenit de Ia - si impreunii cu -
aceste edificii reprezintii in
of the Compound» scnta valorilor culturalc ale epocii.
buna mrtSur5, prin mijloacele puse in opera. chinte-
insumarea posi-
bilitatilor constructive si aspirntiilor artistice ale unui
domnitor. ale unor boieri. ale unci paruri sociale. in-
tr-un anume moment istoric.
Nu lrebuie lnsa uitat c11 aceastil arhitccturii bise-
riceasca a constituit, inca de Ia lnceputuri le statului
feudal. un element in cadrul unui ansamblu. Cu alte
cuvinte. asemenea constructii nu erau izolate, prezente
arhitecrumle 'intiimpliitoare - asa cum adeseori le
regasim ucum - ci emu parte a unei grupari de cladiri
cu caracter laic sau religios. ·
Astfel. cu referire Ia Tara Romaneasca. biserica
Sf. Nicolae Domnesc din Curtea de Arges - biserica a
dirci conceptie spatiala, al dlrei dec<>r interior ~i exte-
rior au facut deseori obiectul unor studii. comuniciiri.
comentarii ce incercau sa descifreze semnilicatiile.
valoarea si locul pe care il ocup1i in cultura
romaneasdi - acest «IIIOT/11/1/entum princeps»6 fiicea
pane din ansamblul curtii d omn~ti Doveditoare in
acest sens sunt nu numui vestigiile vechii cuJ1i, ci
chiar denumirea localitlitii. Capelli a curtii, dar si loc
de ingropare pentru familia domnului. liicasuJ de cult
are chiar o 'imprejmuirc proprie de zid ce il separli de
zona laica inconjurntoare.
Tot asa. mare pane a bisericilor de sat si un
numar inscmnat de biserici de or~ ce sunt prezentate
si studiate in lucriirile tratand isroria arhitccturii in
Valahia sunt de fapt biserici ale unor curti boieresti
sau domnesti. multe dintre acestea din urma ruinate
sau disparute, amiotite doar de cronici ~i hrisoave ori
consemnate in scrierile unor dilatori. Dintre nume-
roasele exemple de aces! tip, biserica din Coiani-Mi-
ronesti. Giurgiu. a facut parte din vechea curte a pos-
telnicului Cantacuzino: cea din satul aH'iturat. Dobreni.
era biserica de curte a voievodului Constantin Serban.
in timp ce rcnumita si deseori citata bisericli din Go-
r
The various treatises on Romanian architecture
approach. as a rule, the evolution of the masonry
architecture in the Romanian Principalities from the
angle of the typological analysis und of the morpho-
logic language employed by church architecture-'. The
reason is but obvious. As tokens and also places to
practise the «national» faith. symbols of a founder'
pride inherited from - and together with- the Byzan-
tine rite, these buildings represent to a great extent. by
the means employed, the gist of the cultural assets of
the time. the sum of the building possibilities and
artistic aspirations of a ruler. noblemen. as well as of
a social stratum, at a given historic moment
One must. however. remember that this reli-
gious architecture was. from the very beginning of the
feudal state. an element within a compound In other
words. such structures were not isolated. they were
not chance architectural events - the way we often
lind them to be now- but part of a group of buildings,
laic or religious in nature.
For instance. speaking of Walachia. the SL
Nicolae Church at Curtea de Arg~- a church whose
spatial design. interior and exterior decoration have
often been a subject of studies. scientific papers. com-
mentaries seeking to single out the meanings. value
and place it holds in the Romanian culiure - thi
«mommremwn priuceps»6 was part of the princely
court compound Along with the vestiges of the old
court. its belonging is reinforced even by the name of
the locality (curtea = the court). Achapel of the court.
but also place of burial for the ruler's family, the wor-
ship building has its own wall enclosure that fences
the surrounding laic area out Likewise. most of the
village churches and an important number of town
churches presented and studied in books on the histo-
ry of architecture in Walachia are in fact churches of
gentry·s estates or princely courts. many of the latter
now reduced to ruins or vanished altogether. men-
tioned only by chronicles and document~ or recorded
in travellers' accounts. Of the numerous examples of
the kind. the church at Coiani-Mironesti. Giurgiu
county. was part of the old estate of the great landlord
Constanin Cantacuzino: the one in the neighbouring
Dobreni village was lhe court church of Prince Cons-
tantin Serban, whereas the famous and often quoted
lc~ti. Arge~. era paraclisul rescd intci lui Stroe Lcor-
dcanu. Fac exceptie de La regula doar uncle biserici
de targ ale unor bre le sau uncle biscrici ziditc de
Ob$tea taruneasca. in putinele ate cc nu au fosl aca-
parme de marile latifundii boiere~ti sau manas-
tiresti.
Nu trcbuie ncglijat de asemenea faprul eli bisc-
ricilc de Ia Vodita sau Tismana. Cozia sau Cobia,
Marcota sau Mihai Voda au fiicut de Ia inceput pane
dintr-un ansamblu, de data aceasta un anasamblu
miinastiresc. concepul ca atare, in directa relatie cu
istoria ~i evolutia vietii monahalc In f;u·a Romaneasdi
Tot aici trebuic mentionatc si uncle biserici de or~.
acum biserici parohialc. ce au lacut parte din ansam-
blurile unor hanuri. Un singur exemplu. eel al biseri-
cii Sf. Gheorghe din Bucuresti. element central in
cadrul cladirilor cc alcatuiau hanul cu acelasi numc.
estc ilustrativ in aces! sens7.
Existenta pc tcritoriul Valahiei nu a onor mono-
mente izolate cum ar crea impresia lecrurarea trata-
telor de istoria arhitcct:urii, ci a unor ansambluri -
intelcse ca gruparc de cliidiri-clcmcntc arhitccturale
avand o autonomic relativli. dispose uncle fata de alte-
le in asa fel incat sa serveascli destinatiei propuse -
merita reliefatii.
Ar parea de altfel straniu ca, in conditiile in
care intreaga Europa lsi concepea constructiilc rczi-
dentiale ~i de cult inconjurate de clMiri ce adiipo teau
runctiuni auxiliarc cu rol admini tr.uiv-go podiiresc.
dar si de aplirare. in Tarile Romanc. situate intr-un te-
ritoriu supu unor dese navaliri. razboaie. lupte pentru
dornnie, sa nu li fiintat acelasi tip de organizare spa~i ­
aH!. Toate datele cc ne stau astlizi Ia dispozitie: con-
tructiile ce -au paslral pana in Lilele noastre.
ncnumilratele zidiri mai mult sau mai potin ruinate,
infom1atiile aduse Ia lumina de cercetanle arheologi-
ce. precum si marturiile docurncntnre scot in evidentfi
cu pregnantli aceasta . caracteristidi a arbitecturii
Valahiei in secolele XI\f- XI X. fie ca este vorba de
construc~ii destinate unor funqiuni religioase -
manastiri sau schituri -, fie ca estc vorba de cdificii
cu caracter laic - curti boier~ti ~i domn~ti , hanuri,
celiiti Chiar si un important numar de cule, conside-
rate indeobste constructu izolate, fiiceau adeseori
parte din ansamblul unor curti boierestis. destinate a fi
un ultirn refugiu ale posesorilor acestora in cazul unor
atacuri de pmda din sudul Dunarii.
Sunt multiple cauzele pentru care bisericile au
fost multa vreme considerate ca singurele purtiitoare
de valoare arhitecturalli Pe de o parte este vorba, usa
cum s-a arlitat de constructii pcntru care au fost intol-
deauna utilizate materialele cele mai pre~ioasc si mai
rezistente, pusc In opera de mcstcri ce trebuiau sa fie
•specialisti)), ale ciiror realizari dumbile stau marturie
fclului in care stiau sli execule complicata zidire a unci
bisericL Purtatoare de valoarc arhitecturalii, dar si sim-
bolidi, biserica spre deosebire de constructiile incon-
juliitoare ale ansamblului din care f:icea pane - s-a
aplirar singur;i de vitregiile vremurilor. Dacli edificiile
m~n~tir~ti erau distruse sau Jiisate in padisire. dacli
church at Gole$ti. Arges, was ~1e chapel of Stroe Le-
ordeanu's residence. Exceptions to the rule are only
some borough churches of guilds or churches founded
by peasant comrnunitie. in the few villages that were
not absorbed by the big landlord or monastic estates.
Likewise. one should not overlook the fact that
the churches at Vodita and Tismana. Cozia. Cobia.
Marcuta. Mjhai Voda were from the on et pan of a
compound, a monastic compound this time. projec-
ted as such. directly associated with the history and
evolution of the monastic life in Walacbia We should
also mention here some town churches, now parish
churche . that belonged to inn compounds. One
example. that of the St George Church in Bucharest.
central to the ensemble of buildings making up the inn
with the same name. is illusrrnrive in this respect7
The existence in Walachia's territory not of iso-
lated monuments. as it might appear from the reading
of treatise of architecture history. but of compounds.
seen as group of buildings- architectural elements
with a relative autonomy, disposed in such a way as to
serve the designed destination- is worth emphasizing.
As a mauer of fact. when a whole Europe
would design the residential and religious tructurcs
surrounded by outbuildings with auxiliary administra-
tive-domestic and also defence utilizations, it would
be strange that the same type of spatial organization
should not have existed in the Romanian Principalities
lying in a territory prone to frequent invasions. wars.
infights. All the available data that is: the structures
that still stand. the countless buildings more or le-ss
ruined, the archaeological findings as well as docu-
mentary evidence bring into bold relief this characte-
ristic of architecture of the 14th-19th century Wala-
cbia, both in the case or structures for religious func-
tions - convents or hermitages - and, in the case or
laic buildings - noblemen's and princely courts,
inns, rortresses. Even an important number of cule
(inhabited donjons - from Turkish kula), generally
considered to be isolated structures. were oflen part of
landlords' court compoundss. designed as the owners'
last escape in ~1e event of predatory incursions from
across the Danube.
There is a multitude of reasons why the chur-
che.~ were long considered to be the only bearers of
architectural value. As shown before, on the one hand
there are the structures for which the most valuable
and most resistant materials have always been used,
built by master masons who had to be «experts)> and
whose lasting accomplishments stand proof as to their
skillful execution of ~1e intricate masonry of a church.
A bearer of architectural yet also symbolic value. the
church - unlike the surrounding buildings of the com-
pound it belonged to - used to protect itself against
the adversities. Even when monastic buildings were
destroyed or abandoned, when the court buildings fell
to ruins and the walls were dismantled for the purpose
of reusing the bnilding material. the church was pre-
served. repaired. remade. used as parish establishment
or gmveyard chapel
 ®
cladirile curtii cadeau in ruinll $i zidurile ii erau de-
mantelate pentru refolosirea materialului de con-
stnJctie. biserica era pastrata. repamta, refilcuta, uti-
lizatn ca 11ica~ de parohie sau paraclis de cimitir.
Aceasta arhitectur:i bogat reprczentata. marcatli
cand de diversitate. ciind de unitate stilistidi. cristali-
zata in fonne proprii. specifice Valahiei. ~i a carei evo-
lutie poate fi urmiirita de-a lungul intregii perioade
scurse de Ia inceputurile statului feudal. a atras cer-
cetatorii, detcrrninandu-i sa considere ca intreaga arta
constructiva s-a desfasurat numai in cadrul cdificillor
destinate cuhului, tratand ca flira importantii constmc-
tiilc ce insoteau de regulii o bisericU. Chiar in cazul
pastrarii 1ntrcgului ansamblu de curtc sau manlistircsc.
srralucirea decorului elcganta siluetei. proportiile
volumului, concep~a spapaHi ce caracterizeaza biseri-
ca au pus in umbrli constructiile aflate in vecinatate. si
rare sunt situatiile in care celelalte cladiri ale miinas-
tirii. ale cuJ1ii. ale hanului din care flicea pane llicasul
de cult sa fie studiate i'mpreuna cu acesta din urrna
Lucrarea de fata se bazeaza pe ideea potrivit
careia analiza unor edificii trebuie sa fie precedatli de
studiul programelor de arhitcctura spcciuce, intr-o
epoca sau alta, intr-o anume zona geograficli - ale
ci\rei limite sunt determinate de caractere politico-
istorice. economice si culturale comunc - precum si
de evidentierea elementelor sitului in care constructia
a fost amplasata
Astfel. penrru a ilustra cu ciiteva exemple. bise-
ricile de Ia Cozia sau Amota, Govora. Mogo~oaia sau
Vadeni, palatul de la Potlogi sau cui a de Ia Cuni~oara.
monumentc de varf ale arhitecturii Tfuii Roman~ti.
prezentate si analizate in afara cadrului in care si pen-
tru care au fost 7..idite, sunt pllgubite de o buna parte a
valorii lor arhitecturale, iar judecarca acesteia este lara
doar si poate falsificata: tot a$a cum biserica de Ia
Hurczi nu poate fi studiata fara a pune in discutie
intregul ansamblu at mlinlistirii $i schiturilor ce o
inconjoara 0 ev-dluare corecta a obiectului de arllitec-
tura trebuie sa cuprindii si analiza cadrului construit in
care acesta a fost amplasat. imprcuna cu care se con-
stituie in ceca ce am numit ansamblu arhitectural
***
Pledind de Ia func~iunea simpla si relativ limi-
tata de adapost trainic destinatunei obsti. unci familii
boiere~ti sau domne~ti. ori unei activitil\i comerciale,
ansamblul arhitectural de zid prcia parte din func-
~iunca sociala a orasului de tip bizantin sau central-
european: dedicat vietii laice sau religioase. el se cir-
cumscrie tuturor fonnelor de culturJ - in afara celei
populare - ce iau nastere ~i se dezvolta in Valallia
secolelor XIV- XIX
Este suficient sa enumer:lm ~colile: $COlile de
copi~ti, pictori de icoane, zugravi «de subtire», sculp-
lori: tipamitele ~ i bibliotecile ce isi guseau locul ftresc
in cadrul ansamblului monastic, completand
funCiiunea religioasa direia acesta ii era menit Multli
vreme adapostul singurilor $liutori de carte, dar si aJ
unor ilustri comentatori ai textelor religioase, capabili
de a polemiza cu inaltii prelati ai timpului. manastirea
This abundantly represented architeclllre.
marked now by diversity and then by stylistic unity.
crystallized in specific fom1s, characteristic of
Walachia, whose evolution can be traced all along the
period elapsed since the beginnings of the feudal state,
has aumctcd the researchers. leading them to believe
that the whole building art 'vas deployed only in edi-
fices meant for worship. while finding the building
that usually went with a churcn quite irrelevant Even
where the whole court or monastic complex \V'tl.S pre-
.,erved, the splendor of the decoration. the elegant sil-
houette, the proportions of the volume. the spatial
design characteristic of the church would dwarf the
neighbouring buildings and onJy rarely were the other
buildings of a convent, court, inn which the worsllip
structure belonged to. studied together with it
This book rests on the ide.a that an analysis of
specific edifices should be preceded by the study of
the relevant architecture programmes in one era or
another. in a certain geograpllic zone - whose limits
are determined by common political-historical. eco-
nomic and cultural features - as well as by the sin-
gling out of the elements of the site where the struc-
ture was located
So. in order to illustrate the idea with several
examples. the churches at Cozia, Amota, Govora.
Mogosoaia and Vlideni. the palace at Potlogi, the culc1
at Cunisoara, outstanding monuments of Walachia ·
architecture. if presented and analysed outside the
environment in which and for wllich they were built.
are deprived of a sizeable pan of their architectural
value. and its judgement is surely distorted; the same
as the church at Hurezi cannot be studied without con-
sidering the whole ensemble of the surrounding
monastery and hermitages. A correct evaluation of the
architectural object should comprise also the analysis
of the built environment in which it was placed and
together with which it creates what I already named as
the architectural compound
***
Starting from the simple and relatively limited
function as a durable shelter for a community, a noble
or princely family or a commercial activity. the
masonry architectural compound takes over a part of
the social function of the Byzantine- or Central-Euro-
pean-type town: dedicated to the laic or religious life.
il fits in all forms of culture - except for the folk one
-coming into being and growing in the l-lth-19th cen-
tury in Walachia.
Suffice it to list the schools: school ~ of cop)-
ists. icon painters. «fine>, painters. sculptors: pre
shops and libraries that found their natural place in
the monastic compound, rounding off the religious
function for which it was meant. Being for a long
time the shelter of the only literate men but also of
illustrious commentators of religious texts apt to
polemize with high prelates of the time. the
monastery was also the place where laic or ecclesi-
astic personalities sometimes were hosted for shor-
ter or longer periods of time.
ern uneori si Iocul de popas. mai curt ori mai tndelun-
gm. al unor personalitati laice ori biserice~ti.
Tot asa. ansamblul de cune inchidea intre
zidurile sale nu numai cele nccesarc traiului de zi cu
zi al familiei i •uitci boierului sau domnului. Boieri
nu o data ciirturari. intocmitori de cronici, purtiind
corcspondcnta cu oamcni de cuhurJ din Occident au
Orient. isi ga. eau argumentelc in bibliotcci ce nu
lip eau din marile resedinte nobiliarc. Curtea era locuJ
in care preceptori erau chemati pcntm a da inviitiitura
tincrei gcneralii: in care ciiUitori straini de marcl. mi-
reni dar si religiosi. erau primiti ~ i ospiitati. Locul
unde au luat na tere scoli destinate copiilor siiraci,
curtea ern ~i ea un focar de cuhura. iradiind in tntrea-
1!3 civilizatie romaneasdi.
"' impreuna cu m3nastirea si curtea. hanul - in
spctii hanul orii$enesc al veacurilor al XVII-le-a si <~
XVIU-Jca - adapostea un alt egment al vietii sociale.
inlesnind prin in iisi functiunca sa schimburi culturale
cu Lone uncori foanc indepartate. El oferea posibili-
tatea contactelor nemijlocite ale lumii romane~i cu tot
ceea ce Apusul sau Rasiiritul puteau transmite prin
intermcdiul negutlitorilor. ciillitorilor si uneori inal-
telor fete bisericesti ce-si giiseau aici un loc de popas.
Aceste tipuri de ansambluri. desi diferite ca
func~une. vor constitui cadrul de afirmare a unor
mcntalitati. a unci victi in care un anurne Lraditiona-
li mse intiilneste cu inova~a si cu noul adus de pe ahe
meleaguri, toate cristalizate si transpuse in forme pro-
prii piritualitatii roman~ti. Programul unui asemenea
ansamblu se circumscric asadar unei preocupari muH
mai largi decit impla zidire a unci cladiri. oricat de
valoroasa ar fi aceasta: cl reprezintll - prin complexi-
tatca functionalii si simbolica. precum si prin con-
ceptia arhitecturnla rrcbuind sa r:ispunda cxigen1elor
accstora- o pane imponantii. definitorie chiar. a civi-
liLaJiei si cullurii romanesti de pe teritoriul Valahiei.
Just the same. the court compound would
enclose within its walls not only the daily living
nece. sities of the nobleman· s or prince· s family and
suite. Noblemen. who were often scholars as well.
chroniclers. writing correspondence with scholars in
the West or East. used to support their arguments on
the books from the libraries that were not scarce in the
big nobiliary dwellings. The court was the place where
teachers used to be brought to educate the young
generation: where outstanding foreign travellers. laic
but al o divine. would find ·hclter and boarding. A
place where schools for needy children were et up,
the court was also a hotbed of culture irradiating
throughout the Romanian civilization.
Together with the monastery and the court. the
inn - more specifically the 17th and 18th century town
inn - used to give shelter to another segment of the
social life, facilitating by its very function cultural ex-
changes with sometimes very remote zon~ Opportu-
nities would be found there for the Romanian world's
direct contact with everything the West or the East
could convey through merchants. travellers and some-
times high prelates that would stop over there.
Those types of compounds. although different
in point of function. would be the framework for the
as enion of mentalities. of a life where a certain tra-
ditionalism met with the innovation and with the new-
ne s brought from alien pans, all of them crystallized
and turned into forms characteristic of the Romanian
culture. The programme of such a compound. there-
fore. rits into a far more comprehensive preoccupation
than the mere making of a building, no matter how
vnJuable; by the functional and symbolic complexity
and architectural conception that had to meet those
exigencies. it represents an important. even defining
part of the Romanian civilization and culture in
Walachia 's territory.
 Ansamblurile laice
si manastiresti
' '
in Valahia
:ecolelor al xvn-lea
si al xvm-lea.
'
Functiune
'
si rezolvare
'
arhitecturala
0 inccrcare de inventariere a accstor ansam-
bluri duce Ia concluzii relevante pcntru pcisajul arhi-
Laic and Monastic tectural aJ VaJahiei. Astfel. insumand infonnatille
documentare. se poate observa ca cele mai numeroase
Compounds ansambluri de zid sunt cele destinate vietii religioa~
si celc ale curtilor domnesti si boicrcsti. in privinta
in the 17th and 18th pondcrii zidirii acestor doua tipuri de ansambluri
intr-o epoca sau alta, se poate spune eli, In secolele
century XIV-XVI , mai insemnatii pare a fi fost dorinta dom-
nitorilor de a afinna si tntari ritul bizantin ca rit ofi-
Walachia. cial prin clitorirea de numeroase 3$ezl!minte monas-
lice. sau vointa boierilor de a-~i manifesta credinta
Function prin zidirea ~i patronarea unor maniistiri9- ce le vor fi
fost in acelasi timp si Joe de refugiu, dar si mod de
and Architecture exprimare aJ statutuJui social
Epoca uherioarii. cea a veacurilor aJ XVTI-Iea si
al XVIII-lea. este caracterizatil printr-o crestere impor-
tantii a numarului re~cdintclor boicrcsti si domn~ti.
Accasta schimbare nu trebuie nicidccum intelcasa ca
rezultat al sdiderii rolului vielii religioase, ci mai
curfind ca o rellectare a imeresului crescand penrru
domeniullaic. motivat de contextul social-economical
Tlirii Romanesti din perioada de care ne ocupiim. pre-
cum si de relatiile culturale cu zone lnvecinate sau
mai indepanate. Se poate afirma ell, spre deosebire de
secolele precedente, numarul curtilor este deosebit
de mare, apropiindu-se de ce.l al miinlistirilor zidite
in acee~i epoca 10•
Aceste doua programe ale arhitccturii de zid. ce
par a ti celc mai raspandite in secolele al XYU-lea ~i
al XVllJ-Iea. riispund - <1$" cum s-a uratat - unor
necesitati functionale de o mare diversitate, determi-
n:uc de complexitatea vie~i pe care um1au sa o
adaposteasca
Astfel. in limp ce tennenul de curte descm-
neaz.1 KOnmmblul edificiilor in care cyi au re~edi11(a
I'Oievoduf smt boierii. cu imregullor aparar admirris-
rrariv, gospodiiresc ~i mifitar»11 • in mod similar
mliniistirea rcprezint.1 adapostu1 unci ob~ti a cr~rei
viuta comunitadi este supusa unor reguli rezultate din
caracterul predominant religios aln$czarii.
Trcbuind sa riispund!i unor moduri de viatii
diferite. curtea ~i manastirea au totusi comuna
funqiunea de locuire (cu tot ce inglobcazli aceasta).
prccum si pc cea religioasii. diferentierile specifice
An attempt to draw up an inventory oF these com-
pounds leads to conclusions telling of Walachia's archi-
tectuml landscape. On summing up the documentary
infommtion. one can note that the most numerous
masonry compounds are those meant for religious life
and those of the princely and nobiliary couns. As for the
share of construction of these rwo types of compounds m
one time or ano01er, it can be said 01a1 in the 14th-16th
centuries the rulers· wish to assert and consolidate the
Byzantine rite as oflicial rite by founding numerous
monastic c.~tablishments seems to have been more impor-
tan~ as it was the noblemen's will to have monasteries
built w1der their patronage9. Those must have been both
their refuge and a way of expressing a social status.
The subsequent epoch of the 17th and 18th cen-
turies \vas characterized by an important increase in the
number of nobiliary and princely dwellings. Thi
change should by no means be understood as a result of
the decline in the role of the religious life, but rather as
mirroring the growing interest in the lnic life. motivated
hy the socio-economic context of Walachia in the peri-
od under consideration, as well as by the cultural rela-
tions wi01 neighbouring or more remote cultural zone
It can be said that, unlike the previous centuries, the
number of courts is extremely big, close to that of
monasteries built in the same epoch'o.
These two programmes of masonry architec-
ture. that seem to be the most disseminated in the 17th
and 18th centuries, meet - as I said - functional neces-
sities of a big diversity. determined by the complexity
of the life which 01ey were meant to shelter.
So. whereas the word court defines «the whole of
the edijires where the ntler or the boyar* h01•e residence,
wirli al/1heir administrative, domestic and military apfXI·
rantS»11• similarly. the monastery is a shelter of the com-
munity whose life proceeds according to rules resulting
from the prevailing religious character of the settlement
Having to comply with differing ways of living.
the court and monastery still have in common the
function of habitation (with everything therein incor-
porated ) and Lhe religious function, with the specific
differences residing in the differing importance
attached to one funcrion or the other within the laic
and monastic compounds.
• Boyar- Romanian for «landlord•

provenind din impommta nuantata ce se acordii uncia
au alleia dimre functiuni in cadrul ansamblului laic si
al celui destinat obstii monahalc. 0 analiza menta va
rcleva alte functiuni comune indeplinite de curte si
manastire. r:ispunzand caracterului, si el comun. de tip
seniorial-medieval at celor douil institutii.
***
Atiit mll.nll.stirea cat si cunea boicreasca
detineau in ecolul al XVIJ-lea - sccol in care in Tara
Romaneasdi este deja consolidat marele domcniu feu-
dal - intinse proprielii~i. stiipilnind zeci de sate. cu
toate anexele ce intregeau asemenea posesiuni: iazuri.
paduri. vii. mori. pive de po tav. torcatorii Ca si uncle
curti boieresti, uncle manastiri aveau o erie de privi-
legii tipice epocii: dreptul de varna asupra marfurilor
ce le trcceau hotarele: dreptul de judecata asupra
locuitorilor mosiei: dreptul de a tine targ pe mosiile
lor: dreptul de a detine in orasc case sau dirciumi.
dreptul de impunere a upra carciumarilor. tlirgove-
lilor, negullitorilor. Uneori raceau comert cu propriile
produse prin rcprczentantii pe care ii aveau in tilrguri.
Allil mana tirca dlt $i boierul aveau tarani obligati sa
le muncea cil pamfintul. robi - olari. cojocari, tierari-
care lucrau pentru stlipanul lor mirean sau rcligios12•
Alfiturat funqiunii economicc si celei adminis-
trative. rolul de aparare estc si el comtm cclor doua
tipuri de aseziiri. Justificuta de pozitin politico-
geograficli a Valahiei. de desele naviiliri si de aproape
permanema pre iune a puterilor invccinate. de desele
lupte pentru domnie. de implir\irea boierinili in par-
tide favorabile unuia sau aJtuia dintre voievozH atiit de
frecvem schimbati, cu alte cuvinte, justificata de
epoca zbuciumata ce a fast pentru Tiirilc Romilne
pcrioada secolelor XIV- XIX. fonificarea manastirilor
si curtilor e te pe deplin motivata de nevoile unci
aparnri ciit mai eficiente ~ cu atat mai eficiente cu cat
Poarta Otomana insoteste in veacul al XVJ-Iea inter-
diqia de a construi cetati cu ordinul de dar5mare a
celor exi tente pc intreg teritoriul celor doua princi-
pate. Astfel. miinastirile si curtile sunt ingurele
ansambluri de zid ce mai puteau avea functiune dcfen-
ivii in cazul unor invazii, incursiuni de jaf. al stali-
onarii pe teritoriul valah a unor trupe striiine. sau chiar
In cazul unor r;izmerite locale 13•
***
Se poate vorbi in acest sens despre rolul de
centru administrath'-gospodaresc aJ unei mari
exploatliri funciarc, ca ~i despre functiunea defensiva
pe care asemenea ansambluri o au tn epodi - carac-
reristici comune ce, impreunii eu cele specifice pre-
lCntate mai sus, sunt oglindite in organizarea spa1iala.
in parte asemanatoare a curtilor si manastirilor
veacurilor XVLI-XVlll
Astfel. pe 15nga faptul ca. raspunzand unor
functiuni imiJare. CUf\iJe Si man!lstirile au clemente
componentc asemanatoare. amplasarea ace tom in a~a
fellncat sa dea na~tere unci incinte 1 ~ este o caracte-
ristica definitorie a ansambluri lor laice ~ i a celor des-
tinate cultuluL Chiar ~i atunci ciind nu are prevazute
clemente de fonificare. zidul de incima este nelip it
1111
Just the same, an careful analysi5 is bound to
single out common functions performed by the court
and the monastery. meeting the equally common charac-
ter of a nobiliary-medieval type of the two institutions.
***
Both the monastery and the nobiliary court
owned in the 17th century - a century when the big
feudal estate w·ctS already con. olidated in Walachia -
va~t properties. tens of villages with all annexes
rounding off such estates: ponds, woods. vineyards,
cereal mills. felting mills. spinning mills. Just like
nobiliary courts. some monasteries had a series of
privileges typical of the epoch: the right to levy cus-
toms duties on the goods crossing their borders: the
right to mete out justice to the estate residents; the
right to hold fairs on their estates; the right to own
houses or pubs in towns, the right to levy taxes on pub
owners, townsfolk and merchants. Sometimes. they
would trade their own products through their repre-
sentatives in towns. Both the monastery and the
noblemen had peasams who were forced to plough
their land. slaves - potters. furriers. iron smiths - who
toiled either for their laic or religious master. 12
Along with the economic and admini trative func-
tion. the defence role also. is shared by the two types of
settlements. Justified by Walachia's political-geographic
position. by the frequent inV'asions and the almost per-
manent pressure put by the neighbouring powers. by the
frequent lights for rule. the divi ion of the nobility into
parties favouring one or the other of the rulers so fre-
quently changed. in other words. justified by the troubled
epoch represented by the 14Ul-19Ul centuries for the
Romanian Principalities. the fortification of the monas-
teries and courts is fully motivated by the necessities of
a most efficient defence; in the 16th century that became
all the more efficient because the Ottoman Empire added
to the interdiction as to build fortresses an order to have
the already existing fortresses in the two principalities'
territory pulled down. So. the monasteries and courts
were the only masonry compounds that still could pre-
serve a defensive function in U1e event of in v-etS ions. plun-
der, or foreign troops billeted in the Walachian territory,
or even in case of local riots. 13
***
We can peak in this respect of the role as
administrative-domestic center of a big land exploita-
tion. <L~ well as of the defensive function such com-
pounds had in the epoch - common characteristics
which. together with the above-mentioned specific
one . are mirrored in the spatial organization. partly
similar to the 17th-18th century courts and monasteries.
Apart firom the fact that, by meeting similar func-
tions. the courts and monasteries have similar elements
in their compo ition. their location in such a way a~ to
fonn precincts 1 ~ is a salient feature of the laic and
monastic compounds alike. Even when it is not devised
with fortified elements, the precinct wall is a constant
component of the cou11s and mona~teries. Its presence
creates the possibility of isolation required by monastic
life or the setting in which the pomp of the everyday life
 11~
din alcatuirea curtilor si miinastirilor. Prezcnll! sa creeazli
posibilitatea de iz.olare necesarJ specificului vietii monahale.
sau decorul in care se dcslli.soarJ fastul vietii cotidiene din
cadrul curt.ilor nefonilicate. al ciiror cap de serie pare a li
fost cunea de Ia Potlogi a lui Constantin BrJncovean11
Aliiturate observa~ilor de mai sus. datele existcnte
privitoarc Ia manastiri si curti Lidite in secolcle al XVII-Iea
~i al XVIII-lea oferJ posibilitatea realiz.arii unui inventar
de clemente ~ a modului de compunerc a acestora 15•
Comparand lista elementelor componente. se va
remarca prezenta unor constructii ce adapostesc in
ambele cazuri acelasi tip de functiune: cea de locuire.
rezolvata diferit, corespunziitor ierarhici membrilor
comunitatii - stiircpe. casa domneasca si chilii in
manastire: casa boiereascii si locuinfele pcrsonaluJui
in cadrul curt:ii -, funcriunea religioasii, indeplinita in
ansamblul manastiresc de bisericii si uneori de un
paradis. in limp ce curtea isi are si ea paraclisul, cu
dubla sa destinatie de toe de unniirire a slujbei, dar si
de necropo111 a posesorului curtii ~i a familiei sale.
Ancxele gospodaresti legate de exploatarea feudei.
cuhnia. ca si curtina si turnul de poa rtii - acestea
din urma servind functiunea defensiva - sunt si etc
prezcntc in ambcle tipuri de aseziiri.
Asemiinarile nu se opresc aici. Constructiile
adapostind functiuni similare sunt rezolvate de cele
mai multe ori dupa conceptii spatial-planimetrice
ideotice sau foarte apropiate, avand adcseori chiar si
acecasi pozitionare to cadrul unuia sau altuia dintre
ansambluri. in aceasta categoric intni desigur cunina
cu tumuJ de poarta $i cuhnia. Casa boiercasca si cores-
pondcntul ei manastiresc. stiiretia sau casa domneasca.
au - pcntru o relativ lungii perioada de limp -
numeroase caracteristici comune.
Ceea ce diferenJiaza cele douii tipuri de
alcatuiri arhitecturale este plasarea ~i tmtarea cHidi-
rilor principale. cele care definesc speci!icul fiediruia
dintre programe.
Firesc. rolul principal in manastire iL are bise-
rica. Prin pozi1ia sa central~. prin volumetric ~i tmtare
decorativa. biserica domina intregul ansamblu. Toate
celelalte constructii. rezemate pe conturul incintei, o
inconjoam Ele constituie cadrul arhitectural menit sa
puna in V'ti.Joare constructia dcslinata cultului, decorul
tn care se desfasoarii modesta viata monahala, cat si
fastul alaiurilor mai-marilor religiosi sau laici.
Delimitand o arie centmlii neconstruitii. curtea
secolului al xvn-lea are toate elementele componente
in~iruite perimetral de-a lungul curtinei. intre ele. casa
domneasdi sau boiereasca, cea care confer:! caracterul
laic al a~ezarii, are o pozi~ie oarecum indiferentli. ase-
maniitoare cu aceea a stiiretiei sau a casei domne~ti din
manastire. in veacul urmator ea isi afirma insa. prin
plasarea centralii - Ia fel cu cea a bisericii mlinastiresti -
rolul de construcJie principala, prezenta ordonatoare a
intregului ansambl11 Situat in afara zidurilor, avan-
du-si adeseori propria sa incintii. paraclisul curtii
marturiseste prin pozitie. ca ~i prin tratarea mai mo-
desiU dedit cea a bisericii manastiresti o alta diferen-
, ~iere intre cele douii tipuri de ansambluri.
procccds in the unfortified COUitS. of which Constantin
Briincoveanu's court at Potlogi seems to have topp:d the list
Added to the observations above. the extant data
regarding monasteries and courtS built in the 17th and
18th centuries allow For the drnwing up of an inven«r
ry or elements and of the way of composing them 15.
Should we compare 01e component elemcms, we
will notice the presence of structures that perfom1 in
both cases the same type of function. The habitation is
resolved in different ways. according to the hierarchy of
01e community members - the abbey, the princely
house and the ceUs in the monastery: the boyar's
house and the personnel dwellings in the court. The
religious function is performed in the monastic com-
pound by the church and somerim~ by a chapel The
court has its chapel also. with its double function as
place to attend the religious service but also as a necro-
polis of the court owner and his fan1ily. The domestic
outbuildings connected with the exploitation of the
feud, the kitc.hen, as well as the precinct wall and the
gate tower - these two elements serving the defensive
function -are present in both types of settlements.
The similarities do not stop here. The solution
for the buildings accomodatiog similar functions is
established most often according to identical or very
close spatial-planimetric conceptions. often having
even the same position in either compound. The
precinct wall with the gate tower and the kitchen ob-
viously belong in this category. The boyar's house and
its monastic correspondent. the abbey or the princely
house had - for a relatively long period of time -
numerous common characteristics.
What distinguishes the two types of architectu-
ral structures is the position in the site and the special
attention paid to the main buildings. that define the
characteristic of each of the building-types.
Naturally, the main role in the monastery
belongs to the church. By its central position and also
by volume and decorative approach, the church domi-
nates the whole compound All the other constructions
resting on the contour of the precincts are surrounding
il They make up the architectural framework meant to
enhance the value of the worship building. the envi-
ronment of the modest monastic life as well as of the
pomp of the religious or laic leaders' suites.
Delineating a central area free of buildings. the
17th century court has all elements disposed perime-
trically along the precinct wall. Among them, the
princely or nobiliary house, which renders the laic
charncter to the settlement. has a somewhat indifferent
position. similar to that of the abbey or of the prince-
ly house in the monastery. However. in the next cen-
tury it asserted, by its central position -like that of the
monastic church - its role as the principal structure. a
presence that dictates the arrangement of the whole
compound Placed outside the walls and having often
its own precincts. the court chapel betrays. by its posi-
tion and a rather modest treatment as compared with
the monastic church. another difference between the
two types of compoun<b.
 CAPITOLUL 2
CURTILE
'
BOIERESTI SI DOMNESTI
' ' "IN VALAHIA
'
SECOLULUI AL XVII-LEA
 lpoteze
de reconstituire-
amplasare, alcatuire,
elemente componente.
Casele
secolului al XVII-lea
Reconstitution
«Tori boierii din Tara Romfineascll au cltldiri
Hypotheses - minunme in satele lor. Fiecare are illfotdeaww lemgii
casa lui o mlina.wire (biserica - n.a.) mare, inzesrrara
Location, Structure, cu danii, ~i fiecare boier se intrece c:u cei de o seama
cu el in ce priveste frumuserea cllidi,·ii 1fi a lucl'liturii.
Component Ei lfi pun wma mandria In ace.we lucruri. Cand vre-
Elements. Jmul din ei esre seas din siiUbli. el se rerrage pemru tot
resrul vierii in sarele sale $i in palarele safe 1~i ifi are
The 17th century nu1niisrirea lui afiiwri»J.t. remarca Paul de Alep 1n
cal1iloria sa din 1654.
Houses. Dacii rentm perioada de limp cuprinsa intre
sffirsirul secolului al XVIT-Iea ~i 1800. monumentele
piistrate pana astazi. apaqinand programului re~edin­
relor nobiliare, stmt relauv numeroase si pot fi anali-
zate. arhitectura curtilor veacului al XV ll-lea este
mult mai sarac reprczentalii Existii totu~i un sur-
prinziitor de bogat mateJjal documcntar care atestii
cxistenta unui mare numlir de asemenea unsambluri
zidite in epoca Mai mult decal ataL reconstituirca
imaginii ~i modului de alcatuirc a acestora este posi-
bilii prinrr-o pre1ucrare a informaflilor sus-ami:ntite si
care vor fi prezentare 111 continuare.
S-au avut astfel in vedere:
- documente ale epocii, sugernnd sau indicand
existenta unor cuni in locurile de obfrrsie a unor boieri;
- numele unor boieri - asa cum apar in docu-
mente si cronici -. nume luat, asa cum era obiceiul
vremii. dupa locul de resedinta Neagoe Strehiiianul
(adica din Strehaia ). Papa Brancoveanu (sau «din
Brnncoveni» ). Staico Bengescul {cu re~edinta Ia
Beng~ti ). Stroe Leordeanu (din Leordeni ), acestea
sunl numai diteva exemple dintr-un numar impresi-
onant de nume asemanatoare35:
- manuri i ale unor cronicari sau ciilatori privi-
toare Ia cxisten(a unui mare numar de curti. de ora~ ~i
de \flril; unele dintre ace,~te izvoare con~in si referiri Ia
aldituirea arhitecturala, descrieriJil;
- descrierile unor ruine de curli prezente tn cele
opt volume din 187 1-1873. cu referire la vestigille
istoricc, atlare in Biblioteca Academieil7:
- rapoarte arheologice publicate, precum si
uncle studii punctua1e asupra unor monumente. sau
monografii arhitecturale ale unor localitati;
- rezultatele cercetiirii de tcren care a pus in evi-
denlii numeroase1e locuri de pe teritoriul Valahici undc
se mai gasesc inca poJ1iuni din zidurile de incintii ale
«All noblemen in Wafachia hal'e wonderful
buildings in rheir villages. Each of them always has a
big mo1uiSTery (dwrd1, author's note) near his house,
prollided with donarions, and every nobleman is com-
peting wirh his like as regards the beaury ofrhe building
and of the work. They take full pride in such things.
When one of them is released }1'om office, he would
wirhdrmv for the resr of his life to his villages and ro
his palaces, having his monastery nearby»34. noted
Paul of Aleppo in hL~ travel in 1654.
Whereas for the period of time between the end
of the 17th century and 1800. the monuments pre-
served to this day. belonging to the programme of
uobiliary residences.. are relatively numerous and can
be analysed, the architecture of the 17th cemury
courts is fnr less represented However. there is a sur-
prising!)' rich documentary material bearing evidence
to the existence of a big number of Sllch ensembles
built in the epoch. Moreover, the reconstitution of
their image and structure is possible through a pro-
cessing of the above-mentioned information that will
be presented below.
r took imo consideration the following:
- period documents suggesting or indicating the
existence of courts in the native places of some noble-
men:
- the names of some noblemen - the way they
are mentioned in documents and chronicles - name
borrowed. according to the then usage, from the resi-
dence place. Neagoe Strehaianul (that is, from
Strehaia). PapaBrancoveanu (or ((from Brnncoveni>>),
Staico Bengescul (with residence at Beng~ti ). Stroe
Leordeanu (from Leordeni ), these are only a few
examples from an impressive number of similar
names35:
- testimonies by chroniclers or travellers about
the existence of a big number of town and country-
side courts; some of these sources also comprise re-
ferences to the architectural make, dcscriplionsJ6;
- the descriptions of the ruins of some courts
presented in the eight volumes of 187 1-1873. with
reference to l1istoric vestiges, preserved ar the Library
of the Academy37:
- published archaeological reports, as well as
some punctual studies on monuments. or architectural
monographs of certain localities;
 .._p'":·j:lt.i ,... ll I, 2. T'ISlltana, Mehedinli
Mrmllslirea
- -ri'>o'h. fl hL r.~. ldesenc.
inccputul ~olului al XVIII-Iea)
The Monastery
(curly 18th c. dmwutgs)

unor ou11i, ruinc ale unor case - din care s-au plislrat - the results of the on-site research that
de multe ori intactc pivnitelc. In parte prezentate In revealed the numerous ~ites in Walachia's territory
Capitolul 1. - aflatc in imediata apropiere a unor bisc- where part of the precinct walls of courts. ruins of
cici (in mod evident foste paradise, astazi biserici de houses still stand - of which the cellars. partly pre-
parohie sau de cimitir) care isi mai piislreaza de mullc sented in Chapter L. often remained untouched -
ori zidurile propriilor incinte au portiuni din acestea right near churches (obviously former chapels.
Au mai rost depistate pivnitc cu caractcristici arhi- today parish or graveyard churches) which in many
tcctural-constructive specilice epocii. constiluind cases still have the walls of their own precincts or
acum subsolurile unor cladiri tidite in perioade mai part. of thent Other cellars have also been traced.
tfuzii. Modul de amplasarc. tipologia consLructiilor with architectural constructive characteristics of the
pastrntc. detaliile constructive impreuna cu pisaniilc epoch, now being basement. of buildings erected at
bisericilor marturisesc aparteneta anterioarll la ansam- later times. The disposition and the typology of the
blurile unor cufli boierest.i au domne~ti ale veacului constructjons pre erved. the constructive details.
al XVIl-lea in marea majoritate a cazurilor, aceasta together with the votive inscriptions of the churches
apartencnHI este intaritli de menfiunile documentare testify for their previous belonging to compounds of
rnai sus amint.ite. the 17th century nobiliary or princely courts. In
most cases. thi belonging is reinforced by the
Acestor date Ji se al1itur:i cele obtinute prin
above-mentioned documentary rererence.
compumrca dimre ansamblurile mlinastiresti si cele
laicc. prezcntata In Capitolul l. Nu trebuie sa surprinda
accentul pus pe analiza «paralclii)) a acestor alcatuiri ~i
nici locul pe care 71 ocupa manastirile intr-o lucrare
destinati:i a defini caracterele arhitecturale ale curtilor.
Cateva observa~ii, deloc neglijabile. pledeaza
pe,mru utilizarea acestui procedeu si pentru valabili-
tatea rezultatelor sale.
Cu precilderc in secolul al XVIl-lca, curti si
manlistiri au fost ridicate Ia porunca unor acelo!ll$i cti-
tori. de ciitre acei~i mesteri. Prezenta unui «Drago-
mir-zidar» Ia curtea de Ia B5je$ti, dar si Ia ctitoria de
Ia Cometu a aceluiasi mare ban Marcs3S nu este sin-
gulari Alte exemple asemlinatoare sunt cunoscutc si
pot expliea In parte caracterelc comunc observate in
arhitectura ambelor tipuri de ansambluri. Apace astfcl
posibilitatea ca mull mai bine pastratele manastiri sa
orere date privitoare Ia eruficiile componente ale unor
cu~i contcmpomnc. atlate astazi in stare de ruinii
Tot aici trebuie mentionatii existenta In epodi a
unor «CIIr(i-miinlistiri», ca ~i ate tari ale chimbarii de
func1iunc survenite In cadrul unor ansambluri - ca, de
pilda. lmnsformarea unci curti In aosamblu monastic
sau utilizarea unei manastiri ca re$edintll boierea~c3
ori domneascaw - sugerlind adaptabilitatea fieciintia
 ~
r''""~....._.. c., ....... ..,.
dintre programe Ia functiunea celuilalt, dar si
rczolvarea arhitecturalii usemiinatOare, capabilii sa
r;'ispundn unor astfel de modificitri.
Legal de acest din urma aspect, cste chiar de
presupus ca primul model at resedintelor de zid ale
veacului al XVII-lea sa li fost chiar eel al contempo-
ranelor aldituiri manastiresti. Utilizarea acestora din
3. Strehaia. Mehedinp urma ca rcsedinte inca din veacuJ al XVI-Iea. lipsa
unci traditii a arhitecturii rezidentiale de zid si mai
Cunea ales numeroasele camctere comu ne ale celor doua
(desen.
inccputul se.colului al XVlll-lea)
tipuri de ansarnbluri sunt argumente in favoarea aces-
The Court tci ipoteze.
(early 18th c. drawing) Cu atat mai mult - aplicatit acum Ia zidiri ale
secolului al XVII-Iea - . cornpararea lntreprinsa ante-
rior intre ansarnblurile maniisliresti si cele laice con-
stituie o metoda eficace in incercarca de reconstituire
a camcteristicilor arhitecturale ale re~edintelor nobi-
liarc.
***
A~ezfuile manastiresti ziditc in prima jumatate
a veacului al XVD-Iea continua formula de amplasare
si organizare legata de caracterul dcfensiv pe care
asemenea ansa.mbluri II aveau inca din secolul prece-
dcnL Asemaniitor acestora. cuqile boiere~li si
domnesti contempomne par a fi avut un important rot
de aplirare, aHiturat functiunii de locuire.
Un bot de deal sau o pof\iune mai ridicata de
teren. marginitii sau paf\ial inconjumta de cursu! unei
ape. aceasta este pozitia aleasa cu predileqie pentru o
curte intarita specifica epocii. Cercctarea de teren
oferii date numeroase In sprijinul acestei afirmatli.
Astfel,· pozi~ia ruinelor curlii Balenilor din sarul
4. Hagi~ti, lalomi(a Bltleni, Dambovita (cca 1640); a bisericii si ruinelor
Amplasarea curtii cuf\ii din Morunglav, Olt (zidita probabil Ia 1652);
(de:.en. cca a pivnilei casei din Hagie$ti, lalomita (cca 1640),
sccolul al XTX-Ica) singum miirturie a epocii de zidirc a vechii curti a
The location of Court marelui vistier Dumitru Dudescu: situarea bisericii si
( 19th c. drawing) ruinelor casei lui Datcovici Marco. numit in acte si
Adding to these data there are those obtained
from the comparison of the monastic and laic ensem-
bles presented in Chapter I The stres~ laid on the
«parallel» analysis of these structures and on the place
held by monasteries in a study meant to define the
architectural features of the courts must not be sur-
prising.
Seveml observations. not in the least negligible.
sustain the employment of this procedure and the
validity of its results.
Chiefly in the 17th century. the same founders
commissioned the building of couns and monasteries
to the same master builders. The presence of one
«Dragomir- master mason>> at the court of Bajesti but
also at the religious establishment at Cornetu founded
by the the same great governor Mares3S is not a sin-
gular case. Other similar examples are known and can
be explained partly through the common chamcters
noticed in the architecture of both types of compound
It is thus possible that the far better preserved monas-
teries should keep in store data regarding the edifices
making up contemporary courts. now in a state of ruiJt
We should also mention here the existence in
the era of «court-monasteries» as well as testimonies
to the change of function thot came about within cer-
tain compounds - such as, for instance. the turning of
a court into a monastic compound or the use of a
monastery as a nobiliary or princely residence"9 - sug-
gesting the adaptability of either building-type to the
function of the other. as well as the similar architec-
tural features, fit to cope with such changes.
As to this latter aspect, we can even infer that
the first model of the 17th century masonry residences
must have been precisely the one of the contemporary
monastic structures. The use of the latter as residences
as early as the 16th century. the absence of a tradition
of masonry residential architecture and especially the
numerous characters the two types of compounds
share. are arguments speaking in favour of this
hypothesis.
The more so - when applied now to buildings
of the 17th century- the already drawn comparison
between monastic and laic compounds is an efficient
method in the attempt to ret:onstitutc the architectuml
characteristics of the nobiliary residences.
***
The monastic settlements built in the early half
of the 17th century further employ the formula of
location and organization associated with the defen-
sive chamcter such compounds had as early as the
previous century. Similarly. the contemporary nobi-
liary and princely courts seem 10 have had an impor-
tant defensive role along with lhe habitation function.
The favourite location for a fortilicd court.
specific to the said epoch, is the hillside or a more ele-
vated stretch of land. sided or partly surrounded by a
watercourse. The site research offers numerous data to
uppon this st.atemenL Thus. the position of the ruins
of the Balcni's coun in Biileni village. Dambovita
Marco Arma~ul, din Samburesti, Olt (construit1i ante
1652); amplasarea curtii Balacenilor. din Balaci,
Teleorman ( 1684) dovcde c toate criterii asemanli-
toare in alegerea amplasamentului. Mai spectaculos
~zate inca. dominand faleze inalle. vecbca curte din
Hcrnsti. Giurgiu. a familiei sotiei lui Matei Basarab
(ante 16-t0)-111. cea din Coiani-Mironesti. Giurgiu. a
postclnicului Constantin Cantacuzino (existenta Ia
1657), ca ~i cea a marelui ban Mare~ din Baje~ti.
Arges ( 1666), intiiresc convingerea di accasta pozi-
tionare. strict legatii de po ibilitatile defensive oferite
de fonncle de relief. estc una dintre principalele ca-
racteristici ale accstor ansambluri.
Preluarea $i folosirea accidentelor de teren pen-
tru a igurarea unci aparari cat mru eficiente duce ade-
cori Ia realizarea unor incinte de zid de form~ nere-
gulata in plan. pc conturul dirora se u~aza
constructiile ce compun anasamblul de cune. Asema-
natoare celor ale incintclor manastire~ti. puternicele
ziduri lmprejmuitoare de Ia Strehaia. Mehedinti
( 1645 )~ 1 - prezenta dominantii in desenul auslriacului
Weiss4 2- . cele ale incintei initiale, din acel~i veac, a
curtii boierilor din Doice~ti43 , imprejmuirca cu «zid de
C(irl1midii de 1rei palme gros» a caselor din Fulga,
Prnhova. ale lui Grigore Ghica Voievod-14 ( ridicate
probabil intre 1660 si 1664, in timpul primei sale
domnii ). incinta mai sus mentionatei resedinle din
BaJeni, •ocolitti c11 :id in grosime de 1111 s1fmjin ~i
jumcitate»45 . zidurile «imtirire cu 111rn11ri 1fi
metere~e»40 a deja amintitei curti de Ia Blije$ti. pre-
cum si tumurile ce aparau Ia 1654 casa din Gole$ti.
Arges. a lui Stroe Lcordeanu47 par a fi fost caracte-
ristice acestei arhitecturi in secolul al XVII-Iea
Constructiile ce alcaruiesc cunea - casa.
locuintele slujitorilor, cuhnia. diversele alte cladiri
utilitare - se randuiesc pe conturul zidului de incima,
orientlindu-se catrc spaliul interior pe care II delimi-
tcaz.:t Asemanarea cu modul de organizarc a ele-
mentelor componente ale ansamblului mlinlistiresc
este evidenta. Doar ca. in Limp ce centrul incintei mli-
n5stiresti este ocupat de biseridl, cladirile cunii incon-
joara un spatiu riimas fiber. Dirnensiunile rclativ mari
ale acestuia potli puse pe seama utilizarii lui pcntru
<~dapostirea animalelor sau refugierea siltenilor in caz
de perico148.
ln mod firesc mai modesta ca volum si tratare
decal biserica mana tirea ca. biserica de curte este
amplasata in afara ansamblului re7jden~al Ea isi are
adeseori propria sa incinta de zid. alipita incintei prin-
cipale. ~i in uncle cazuri cste prevazuta cu clemente de
fortiAcare49 destinate sa amplifice potentialul defensiv
al asezfuii.
Acelei~i func1iuni de aparare i c datoreazll
probabil prezema in cadrul curtii a tumului de poart1i.
asemanator ca silueta si alcatuire cu tumul-clopotnita
aJ m~astirii. indeplinind, ca si acela, rolul de sem-
nal vizual. dar si de punct de observa1ie al unei
intinse zone inconjuratoare, el ~te prin inill1ime ~ i
masivitate unul dintre volumele reprezentative ale
ansamblului laic.
(around 1640 ): of the church and ruins of the court in
Morunglav. Olt (probably built in 1652): that of the
cellar of the house in Hagi e~ti. lalomita (around
1640). the only evidence of the epoch of construction
of grand treasurer Dumitru Dudescu 's old court: the
po ition of the church and ruin of the bouse of
Datcovici Marco, recorded in acts also as Marco
Annasul. in Sambu~Li. Oft (built ante 1652); the
location of the Biilaceni's court in Balaci, Teleormun
( 1684) - all of them evince similar criteria in choos-
ing the itc. Even more spectacularly located. tower-
ing high cliffs. the old court at Herasti. llfov. belong-
ing to the family of Matei Basarab· wife (ante
1640)40• the one at Coiani-Mironesti, Giurgiu, belong-
ing to Cons[antin Cantacuzino (in existence in 1657).
as well as that of ~1e great governor Mares of Bajesti,
Arges ( 1666). reinforce the belief that this location,
strictly connected wi~l the defensive possibilitie
offered by the forms of relief. is one of the main cha-
racteristics of these compounds.
The rugged land used to secure a more efficient
defence often leads to the construction of wall 5, 6. Biij~i. Arg~
precincts of uneven form plans. on the contours of lncinta pamclisului
which arc disposed the structures making up the cour1 The Chapel Preci ncL~
compounds. Similar to the monastic precincts. the
strong surrounding waJis at Strehaia. Mehedinti
( 1645)-1 1 ~1at dominate the image presented in a dra\'v-
ing by Weiss. an Austrian engineer~. the walls of the
original precincts of the Doice$ti noblemen's court
buill in the same century'13, the enclosure with «three
palms thick wall>> of the houses in Fulga. Pmhovn, of
Prince Grigore Ghica4-1 (probably built between 1660
and 1664. during his first rule), the precincts of the
above-mentioned residence at Baleoi. <<enclosed bv
011e fmhom and a half 1/tick wa/1>> 45 . the walls «ford-
fled with rowers a11d ban/ements>>40 of the already
mentioned cour1 at Blijesti. as well as the towers that
protected in 1654 the house at Gole~ti. Arg~. of Stroe
Leordeanu47 • seem to have been characteristic of this
architecture in the 17th century.
The buildings making up the coun- the hou. e,
the servant ' rooms. the kitchen. other various dome -
tic outbuildings - are arranged along the contour of
the precinct wall. facing the interior space which they
limit. The resemblance with the way of organization of
the element making up the monastic compound is
obvious. Only that whereas the center of the monas-
tic precincts is occupied by the church. the court
buildings surround a free space. Its relatively big sizes
can be explained by its being used to give protection
to animals or village people in case of dangerS.
Naturally smaller in volume and less preten-
tiously treated than the church of a monastery. the
court church is located outside the residential com-
pound It ofren bas its own wall precincts. adjoining
the master precincts, and it is in some cases devised
with fortification elements49 meant to enhance the
defensive poten[iaJ of the settlement.
The same defensive function may have been
prompted the presence in the court of the gate tower.
 ~
.!_~ ~i /} Asigurand cu£1ii un anumc confort. canale din
i r v
t· ·--...;~~/ olane penLru aductiunea apei5t1 dovcdesc o data mai
. .. -
·--f
...., ............. ·. ' mull modul in care acestc a$CZ1iri crau prcgutite pen-
tru a rczista unor eventuale macuri. Nu sutll de negli-
~
jat nici trnditiile locale referitoare Ia existenta. Ia o
cunc sau alta. a unor tunele subterane ce ar fi asiguntt
\ 0~-- retragere.a locuitorilor 1n cazul i.n care nu se mai
putcau apiira. Desi aceste afirmatii sum adeseori evi-
- ¢:"
~
dent exagerate. ele t.rebuie verificate cu atentie.
I
0
I I I
50
, , I I I I
100
I Asemenea formuJe de apiirare nu erau straine Valahiei
epocii: chiar uncle manastiri U7AIU at1it de canale de
aductiune a apei, cat si de galerii subterane de refu-
giu'1 . iar redescoperirea urmclor lor ar comribui Ia
intregirea invenlarului de clemente ce cornpuneau o
eurtc tntditionaHi. cu ca.racter defensiv. din vcacul al
XVfl-lea.
Rezultat al analizei si sintctizlirii unor infor·
matii dimre cele mal diverse. reconstituirea prezentata
este confirmata de imaginile ilustriind amplasarea si
alcaruirea a doua ansambluri rezidentiale. astlizi
disparute. dar penLru care datele cunoscute sum mull
mai complete: eel de Ia Popesti-Leordeni. llfov, si eel
de la Brnncoveni. OIL
Primul se datoreazii lui Leca Rudeanu ~i a fost
L.idit ante 161552• De~i a suferit in timp eel pu(in doua
importantc modificliri. o descriere insotita de totogra-
fii din 193553. imaginea pe care ne-o ofera releveul
publicat in 19455-1. aerofotograma din 198855. precum
~i cercerarea de teren au pus in evidenta cu relativli
usurinta o mare pane a caracteristicilor ansamblului
de Ia inceputul veacului al XVII-lea. Urmarind contu-
rul unei limbi de pfunant, un fel de peninsula ce sur-
montcaza c1impia, puternicn incima de zid inconjura o
tntinsa suprafatii de teren. Zidul, prcviizut cu con-
tmfor1i spre exterior, era intiirit de turnuri cu guri de
tragere, dintre care unuJ se mai pastra tn 1935. Alipite
incintei spre interior crau amplasate ca.~a - ridicmli pe
o pivnita cu o considerabilli lungime (circa 45m ).
boltitll in leagan - si o constructie anexli Beciul unei
alte consrruc1ii. probabil tot o dependinta. a fost de-
pistat prin cercetarea de tcren In zona de esL Este
probabil cii intrarea in incinta se ntcea pe singura
7. 8. 9. Pope~t i-Leordeni, nrov latura usor accesibilit cea de Ia vest. poate chia.r prin
Curtcu de sccol XVU cunea bisericii, 1nclusa In ansamblu, dar separatii cu
The 17th c. Court zid de incinta principal[
, imilar in figure and make to the mona~tery· s steeple.
Fulfilling. just like that one, the role as visual signal
and also as a place to watch a vast surrounding zone.
it is. by height and mass, one of the representative
volumes of the laic compound
Providing a certain degree of comfort for the
court. tile pipes50 prove once more the way ho\\ these
seulemenL~ were prepared to withstand possible
altacks. One should not neglect the local tradition~
either. with reference to the existence in one coun or
another of underground tunnels to secure the resi-
denu.· reLreat when they could no longer defend them-
selves. Although such assertions nre obviously exag-
gerated in many cases, they must be carefully chec-
ked Such defence formulae were not unknown in the
then Walachia, some monasteries even used both pipes
and underground galleries for refuge5 1. The redisco-
very of their traces would help rounding off the inven-
tory of clements that used to make up a traditional
court with a defensive character in the 17th century.
A result of the analysis and synthesis of most
varied pieces of information. the reconstitution
presented here is confirmed by the images that illus-
trate the location and architectural composition of two
residential compounds. now no longer standing. but
for which the known data are far more complete: one
at Pope~ti -Lcordeni , llfov. and the other at Brftn·
coveni. OIL
The former belonged to Lcca Rudeanu and was
built before 161551. Although in time it went through
at least two major changes. a description extended
with pictures dating from 193553. the image given by
the site plan published in 1945>1. the air-survey pho-
tograph of 198855, and the on-site research have easi-
ly brought into bold relief big pan of the characteris-
tics of the early 17th century compound Following
the contour of a land strip, some son of a peninsula
surmounting the plain, the sLrong wall precincts
enclosed a vast are.a of ground The wall. fortified with
butrcsses at the outside, is consolidated with towers
with firing holes, one of which still stood in 1935.
Adjoining the inside of Lhe precincts there were the
house - built upon a cellar of a considerable length
(about 45m ), covered with a barrel vault - and an out-
building. The basement of anOLher construction.
 Ccl de-al doilea ansamblu, «frumosul palm din
Br{mcoreni"56• ridicat pe locul unci cuJli mai vechi de
catre Matci Ba.~arab ante 164057. ne estc redat de
desenelc din vremea ocupatiei austriece asupra
Olteniei. Doar doua edificii din cele prezentate de
ingineml Weiss58 par a apar!inc unor epoci mai tftrli i
-una dintre case. zidita de Preda Brnncoveanu. si
foijorul datorat nepotului ace tuia. voievodul Constan-
tin. mo~tenitor al mo~iei si curtii59. Plasm pe un bot de
deal lnconjurat in mare parte de un canal abatut din
Oltijor $i utilizat atat pentru alimentarea cu apa. cat si
pcnlm ingrcunarea accesului. ansamblul era l(tnchis cu
jd de Cfirlimidii in fonmi de cetiituie... care avea
fonna roumdt1, neregulotii»ro. ln interior. sprijinite pe
rontuml incintei. se aflau «casele sou mai bine ;:is
pafatrtf»6 1, locuin1ele slujitorilor. anexele gospoda-
resti. Un Joe aparte il ocupa cuhnia. Joe de preparare
a hrnnei pentru numeroasele persoane ce locuiau
cunea. Rczolvarea sa constructiva- cu lanternou cen-
trnl suslinut de bolti suprapuse62- prclua probabil
amerioarele modele maniLStircsti. Ca si Ia Po-
~ti-Leordeni. cladirile curtii erau orientate catre
marea suprafara de teren liber pe care o delimitau.
Amplasata in afara zidurilor. se mai pastreaza inca
biserica de curte ridicatii de Matei Basarab in 1634~.
Ea a avul poate propria sa Imprejmuirc, dc~i nu existii
um1e vizibile ale acesteiaCH.
***
Element principal, adapostind functiunea de
locuire n curJii boieresti sau domnesti, casa veacului
al XVII-lea si-a pastrat pana in zilele noastre
phrnitcle. Avand o d~inuire mai lunga dedit ansamblul
din care fiiceau parte. analiza acestora ofera posibili-
tatca de recon tituire a organizarii spariaJ-plani-
metrice a casei.
Rolul predominant defensiv al curlii subordona
lntrcaga rczolvarc si evidentierea functiunii de loeuire
detinea desigur un Joe mai putin imponant in con-
ceperea ansamblului. Sunt de presupus totu~i anumc
carncteristici ale casei ce o diferen~iau de celelalte
cladiri cu caracter gospodarcsc. trasaturi ce pot fi
descifrate mat din studiul beciurilor. cat si din com-
pamrea cu casele manastiresti ale epocii. Nu trebuie
neglijatfi de asemenca sursa de inspirutie pc care o
putea oferi planimetria casei populare pentru locuinta
relativ modesta a curJilor de secol XVD.
maybe another utility structure. was traced following I0. II. Br:inconni. 011
the site research in the eastern zone. The enclosure Curtca
could probably be entered by the only side that was (UC~CIIC.
easy to reach. the western one. maybe even through im:cputul sccolului nl XVlll-lca)
the church yard. included in the compound but sepa- The Court (early I Rth c. dr.ll\ ing I
rated by a wall from the master precincts.
The other compound. «the beautiful palace at
Braucoveni»56• built on the site of an older coun for
Prince Matei Basarab before 161()57. is rendered in the
drawings dating from the time of Austrian occupation
of Oltcnia. Only two of the edifices rendered by engi-
neer Weiss:i8 seem to belong to later epochs - one of
the houses. buih for Preda Brancoveanu. and the
watch-tower built on the instructions of llli grand-
son·s. Prince Constantin. heir to the estate and the
courtS9. Placed on a hillside mostly surrounded by a
canal dedved from the Olti~or stream, used both as
water supply and a.~ a ditch to make it more diflicult
to reach, the compound «ll'llS enclosed with a brick
•mil in form of r1 fortress ... that lrad an irregular. cir-
cular form»&J. Lnside, leaning against the precinct con-
tour. there were «tire houses, better said the palace»61 •
the servants' house . the outbuildings. A ~-pecial place
was held by the kitchen, the place where the food was
prepared for the numerous persons living at court Its
construction - with a central lantern buttressed by
overlapping vaults6L probably borrowed the earlier
monastic models. Buill outside the walls. there still
stands the coun church which Matei Ba arab founded
in 163463. It may have had its own enclosure, although
there are no visible traces of it64.
***
A principal element. accomodating the habita-
tion function of lhc nobiliary or princely court the 17th
century house has retained its cellars to this day. As
they have lived longer than the compound they used to
belong to, their analysis allows for the reconstitution of
the house's spatial-pl<ll1irnetric organizatiort
The prev-.1iling defensive role of the court sub-
ordinated the whole composition and the habitation
function obviously held a less important place in the
conception of the compound However. we may infer
certain characteristics of the house that distinguished
it from other domestic buildings, features that can be
singled out both from the study of tbe basements and
from the comparison with the period monastic houses.
We should not neglect even the source of inspimtion
 ~
/'
Prezentate in Capitolul I ( Plansa I ~j a U-a),
!'-----" pivnitele zidite 'in aceasta pelioada. cu predidere in
1'.
prima jumatate a veacului, contin de regula o singurli
i'ncapere. eel mull doua. Ele au o liitime relativ micii,
0 Pia nul IJII"OJJer datorata acoperirii cu o simpla bollii In !eagan sus~i­
L.u.uJ
-~ Cel :tr plan nuta de arce dublouri, sistem ce nu permitea deschi-
deli mari. Celalalt tip, cu o dubla boltire In leagan
12. Ttirgovi$lc, Dfimbovita
Casa Cantacuzino sprijinita pe arce dublouri si pe o arcada mediana,
Cantac:uzino Rouse mare~ deschiderea ~ i deci $i Ja~imea in plan a con-
structiei. Cu toate acestea, raportul dintre lungime si
liitime ramiine destul de mare. Ambele tipuri
genereaza mponuri asemrmatoare ale planului nivelu-
lui locuibil. de regulii perfect Sl.llprapus peste drep-
tunghiul pivnitei. Forma de phm reznltata sugereaza o
organizare liniill"d a lncaperilor nivelului superior,
asemanatoare cu distributia casei liifanesti: un simplu
tract, in care accesul In carnere se face prin inter-
mediul unei prispe. Acoperirea sa, in general boltita.
se sprijina - spre deosebire de prispa casei populare-
Pldnul ni\'elulu' 'Up!!rinr pe arcade si stalpi sau coloane de zidarie. Cat privestc
l pper lei d pl.m
accesul de Ia nivelul solului, acesta se face pe o scarii
exterioam
Acceptand ipoteza aldituirii liniare a nivelului
locuibil, pot li presupuse - In funclie de planimetria
subsolului - trei tipuri de rezolvfuci:
- eel in care garliciuJ, iesit 'in afara comurului
PhmuiJIIIIIIlcl dreptunghiular al pivnitei, creeaza posibilitatea exis-
Cellar plru tentei suprnpuse a unui foi$or ce formeaza, impreunli
13, 14, 15. Brcbu, Prahovu
cu scara exlerioara. aparatul de intrare. Solu~ia aceas-
ta. adoptata Ia casa din Targov i~te a postelnicului
M5nllstirea, Casu Domncasca Constantin Camacuzino. este relativ contemporana cu
The Monastery,
Titc Princely House
cea asemlinatoare a casei domn~ti di11 ansamblul
given by the planimetry of the common peasant house
for the relatively modest dwelling of the 17th centu-
ry·s courts.
Presented in Chapter T(Plate r and [) ). the cel-
lars built in this period, mainly in the earlier half of
the century. consist. as a rule, of one room or two.
Their height is relatively small. as they are covered
with a simple barrel vaull supported by transverse
arches, a system that would not allow for wider spans.
The other type. with double barrel vaults supported by
transverse arches and a median arcade. increases the
opening. hence the plan width of the construction.
However. the length-width ratio remains rather big.
Both types generate similar ratios of the living level
plan, which, as a rule. perfectly overlaps the ceUar
rectangle. The resulting layout suggests a lineal orga-
nization of the upper level rooms. similar to the dis-
position of the peasant house where the rooms are
entered from a veranda Its cover. generally vaulted,
leans, unlike d1e popular house veranda. on masonry
arcades and supports or columns. As for the access
from the ground level, this is done through ru1 exteri-
or stairway.
By aG<:epling the hypothesis of lineal arrange-
ment of the living level, three types of buildings can
be assumed. in keeping with the underground plani-
metric data:
- the type in which the cellar mouth, projected
outside the rectangular contour of the cellar. allows
for the overlapped existence of a belvedere which.
togeilier with the exterior stairway, make up the
entrance apparatus. This solution. used with the house

manaslirii Brebu. Pledlnd de Ia compunerea planime-
trica similarli a nivelului inferior. se poate presupune
di deasupra pivnitei re~edintei postelnicului exista un
niveJ locuibil cu o aldituire foarte apropiata de cea a
casei de Ia Brebu:
- eel de-al doilea tip. realizat prin includerea
garliciului In volumul paralelipipedic aJ casei, solu~ie
ades folositli (ca Ia Tunari, llfov ~i Dobreni. Giurgiu;
Bnlnci. Teleorman; Tallirani, Prahova: ~a.). uliliza
probabiJ Ia nivelul superior tot o compunere liniara a
tncliperilor. precedate de o prispa inchisa si ea in drep-
tunghiul planuluL Lipsa unor exemple similare Ia
casele manastire$ti lasa deschisa cercetarea in aceasta
direcJie;
- uneori, pentru obtinerea unei la~mi mai marj
a nivelului locuibil, prispa este scoasa in afara drep-
tunghiului planului pivnilei, sustinutii de o arcaturi'i
puternica. allata Ia nivelul solului Este probabil cazul
casei din Coiani-Mirone~. Giurgiu, a aceluia$i
postelnic Cantacuzino. Pusa in evidenta de relativ
reccnte saparuri arheologice65• planimetria pivnitei
sugereaza. impreuna cu parti ale arcelor de Ia nivelul
solulu.i care se rnai pastreazli, o rezolvare a casei
asemanatoare Cll cea. relativ contemporanli, a casei
domne~ti de Ia manastirea Plumbuitu.
Alipita pe o Jatura sau doua z.idului de incinta,
o asemenea construqie avea aproape sigur o fatada
Lungli, oarba sau putin luminata - cea dinspre exte-
rior -, argument ce intar~te ipoteza simplului tract
Latum lunga opusa era ocupalli partial sau total de
prispa, prin care erau accesibile ~i spre care erau ori-
entate incaperile casei. Tratarea volumului, probabil
~ "··~ ~"'"'
in Thgov~te of Constantin Cantacuzino's family, is
relatively contemporary with the similar one at the
princely house in the Brebu monastic compound
Starting from the same planimetric composition of the
lower level. it can be assumed that on top of the cel-
u::n:::m Cl!ll.uplan
0 5
lar of the nobleman's residence there was a Jiving • • • • • Lu.uJ
floor with a structure very close to that of the Brebu 16. Coiani-Miron~ti, Giurgiu
house.
Casa Camncuzino,
- the second type. includes the cellar mouth in Camacuzino House
the parallelepiped volume of the house, a solution fre-
quently used (tike those ofTunari, llfov and Dobreni,
Giurgiu; Balaci, Teleorman: Tiitarani, Prahova). At the
upper floor it employed, presumably, the same lineal
composition of the rooms, preceded by a veranda, it
too, enclosed in the rectangle of Lhe plan The absence
of similar examples among the monastic houses leaves
the research in this direction open
- sometimes. in order to gel a bigger width of
the living floor. the veranda is projected outside the
rectangle of the cellar plan. supported by sturdy arch-
way at the ground level. It is probably the case of the
house at Coiani-Mirone~ti . Giurgiu, owned by the
same nobleman CanLacuzino. Revealed by relatively
recent archaeological dig-s65, the cellar planimetric
disposition suggests, together with parts of the arches
at the grotmd level that still stand, an organization of
the spaces of the house similar to the relatively con-
temporary one of the princely house at the Plumbuita
Monastery.
Adjoining one or two sides of tl1e precinct walL
such a construction is almost sure to have had a blind
or rather dim facade - the ex~erior one -, an argument
Planul rmdulur ,u~nor
lJ ppcr lew I plan
(
( ~
~
Planul phniJ.:r 0 5
Cellur plun LLwJ
17, 18, 19. Plumbuita (Bucur~ti)
ManasLirca.
Casa Domneusdi
The Monasterv.
Titc Princely flousc
 ~
20. Ciimpulung. Arg~
Mfinflslircu. Cw;a Dumnea~cii
The Monu~1~ry. '
The Princely House
sobrli. se reducea de fapt Ia tratarca a maximum trei
fatade. dintre care una singurii complet perceplibiHi si
reprczcntativa pentru functiunea adiipostilii. a~a cum
sugereazli casele domne~ti ale manastirilor de Ia
Cnmpulung (refacerea din secolul al XVII-lea). Brebu
(cca 1650) ~i Plumbuita (1647).
that reinforces the hypothesis of the rooms Lineal
arrangement The opposite long side was partly or
totally taken by the veranda which all rooms of the
house faced and could be entered through. The treat-
ment of the volume. probably sober, was in fact con-
fined to the treatment of three facades at the most. of
which only one was totally perceivable and represen-
tative for itll function. as suggested by the princely
houses on the premises of the monasteries at
Cfunpulung (the 17th century reconstruction). Brebu
(about 1650) and Plumbuita ( HH7).

Construite intr-o epocli In care clildirile de zid
din Valal1ia erau. cu ntre exceptii. cele milnastirc~ti .
edificiile ridicate Ia porunca lui Petru Cerce166 in efe-
mera sa domnie ( 1583-1585) in cadrul vechii cu11i
din Targoviste miirturi esc intentia de a atribui
re,edintei \'Oievodale caractcrul unui an~amblu de
eAceptie. Desi o repctarc a aqiunilor :.imilare imre-
prinse de dl~i va dintre cei mai ilu~lri predecesori ai
sfii. gestul sau este In acelasi limp rodul unci atitudi-
ni noi. Stabilindu-$i caunul in Targovi~tca lui
Mircea. el isi afirmii inca o data dreptul Ia o domnie
dorita cu ardoare si prcgatita perscverent Dar nu va
locui in «palatul ~·tnimo$ilor siii... de propor{ii mari ,~i
de o arhitectuui ingrijitif»l11, ci va decide sll1.ideasdl
o arhitecturii noua, cxpre ie a stralucirii pe c<~rc voia
sao confere lntregii sale ocarmuiri.
If Pemt I'Oievodul in cele douii::.eci de luui cat a
domnit a fticw Ia Tar,~m·i$1e, tmde ~i al'ea cunea, 1111
pttlm mic dar frumos $i impuniitor pemru cal poate
fttra". cria Jacques Bongars in 1585&. El Ka pus sii
se faai cu mare osteuealcl $i cheltuial<1, pe esplanadii,
11 Jflntfmti... ; principele a pus in ace/o~·i timp sti se
inal(e o biserid1 fmmoasfi a/iituri de palar. astfel eli pe
1111 pod acoperit ... putett imra in bisericli diu camerele
sale forii a fi wi;,lll ... a pus sti se facii apoi Cttfti nes-
pus de mari $i de frtmt()(tSe pemru a (ine Sli/Mticiuni
)i mclndrt griidiui italiene$ti. care erau a$e:ate chiar
/Ougii palaml siiu». relata ecretaml ~i slatuitorul de
tainil at domnitorului. Franco Sivori, martor direct a1
osiirdiei ctitorului69.
Traitor in Stambulul In care opcrcle arti~Lilor
italieni erau cunoscute inca din timpullui M<~homed al
ll-lea. Cuceritorul. - de vreme ce acesta. trecand peste
mterdictiile Coranului. isi comandase propriul portret
vene~ianului Gentile Bcllini 70• iar Ia inceputul veacu-
lui al XVL-lea Leonardo si apoi Michelangelo fuseserii
t:hcma~ cu in istenta pcntru a construi un pod peste
Bosfor71 - . vietuind aici in epoca in care orasul se
imbogatea cu edificiile cu portice ale lui Sinan. eel
asemuit cu Alberti12• lui Petru Cercel nu-i crau
necuno cute nici re~edintele occidentalilor din Pcra73.
Nu se poate ·a-i fi fo 1 necunoscuta nici cladirca
Bogdan Sarai-ului. pe care Pctm Rare~ o impodobise.
se pare. cu o loggic7~. A locuit o vreme in Polonia,
contaminara i ea de programe sj forme renascentiste.
Semnele innoirii -
..
precursoru
Brancoveanului
Signs of Renewal -
Brancoveanu's
Forerunners
Built at a Lime when the masonry buildings in
Walachiu were, but for mre exceptions, monastic, the
structures erected on Petru Cerccl's instruction66 dur-
ing hill short-lived rule ( 1583-1585) at the old court in
Targovi,tc betray the intention to lend to the princely
residence the chamcter of an exceptional compound
Although a repetition of similar actions taken by some
of his most illustrious forerunners. his gesture i.
equally the fruit of a new attitude. EstabiL hing hi
seat in Prince Mircea's Targoviste. he asserteu once
more hi. right to a rule ardently wished for <1nd
thoroughly prepared But he would not live in Kt/te
palace ofhis forefathers ... of big si:.es and neat archi-
tecturei•1. deciding instead to order tl1e building of a
new architecture, an expression of the brilliance he
intended to give to his whole rule.
«Prince Petru, during the fll'enty months when
he ruled. made at TargOI'i$te. where he fwd courr. a
lillie yet fine and impressi1•e palace. considering the
cotmtry's 011'11 resources". wrote Jacque Bongars in
15856S. He «had a founwin built 011 the esplanade. at
great pai11 a11d expense... : the prince also had a heau-
tiful clwrclt built near Ihe palace, .wJ that by a covered
bridge... he could emer the clwrclt unsee11, right from
his rooms... he then had terribly big a/Ill beawiful
cages made, to keep wild animals. a.r well as splendid
Italian gardeiLS right near /tis palate», wrote the
prince's ~ccrctary and confidant. Franco Sivori, an
eyewitness to the founder's endeuvouf9.
Petru Cercel lived in lstambul There. the
Italian artists' works were known as early as the rule
of Mohammed U the Conqueror - given thaL notwith-
tanding the Koran interdictionl.. he had hi own por-
trait paimed by the Venetian Gentile BeUini70• There
too. at the beginning of the 16th century. Leonardo
and then Michelangelo had been insistently invited to
build a bridge across Bosporus71 . Having lived there at
the time when the city was being embellished with the
porticoed ..:dlfices of Sinan. who was likened to
Alberti12, Petru Cercel '~ al. o acquainted with the
Westerners· residences in Pcra71. He must h<~ve known
also the building of Bogdan Saray (the Moldavian
princely residence in Istanbul ), which Prince Petru
Rare~ seems to have embellished with a loggia74. He
lived for a while in Poland. it too, comaminated with

21, 22. Targov~te
Curtea Domneascii,
Biserica si ruinele
palotului lui Petru Cerccl
The Princely Court.
The Church and ihc Ruins
of Petru Cercel Palace
®®
apoi Ia cunca francczii a lui Henrie al lii-Iea, neobosit
participant Ia serbarile regale de Ia Blois ~ i
Chenonceaux: tot asa cum. primit cu toate onorurile
cuvcnitc unui «Princeps et Haeres Magnae Valahiae».
a poposil si In Yenelia75. orasul in care cu numai
unsprezece ani in urm1i, in 1570, Palladia tiparise
prima edilie a celor Patru ciirti de arhitecturii.
Privitii din aceasta perspectiva, initiativa de a
ridica alaturi de rnai vechea casa din vrernea lui Mircea
eel B~tran o nouii resedinta. in spiritul arhitecturii
europcne contempomne. este mai muJt decat fireascii: si
cu at.at rnai remarcabila cu cfu noutatea rezolvarilor se
grefeazii in mod evident pe stntcturile rradiponale.
realizand o sintezii dintre cele mai interesame.
Aflat astlizi in ruioa si purtand unnele uoor
ulterioare prcfaceri, «pala:::.o»-ul occidentalizarului
domn ilustreazii prin caracteristicile saJe - organizarea
indiperilor in dublu tract. aplicarea unor legi com-
pozitionale rcferitoare Ia ordine si simetrie, probabila
prczcntli a unci loggii pc fatada de est76, folosirea unei
decoratii exterioare in care campuri de tencuiala emu
inconjurate de o pictur;i imitand ciiriimida apareotli -
neindoielnica utilizare a unor modele de factum
apuseana Dar, lucru demn de semnala4 dimensiunile
casei nu sunt acelcasi cu cele ale palatelor tn care
principele isi petrecuse o bunli parte a viepi. Casu lui
Petru Cercel pastrcazii scara constructiilor in
apropierea carora este ridicalii. Renaissance programmes and forms. then at tl
Prezenta unci galerii de acces direct catre «tri- French Court of Henry UL. a tireless participant in tl
bww» din biserica tot de el ziditli este si ea o noutate royal feast~ at Blois and Chenonceaux. Just the san1
absoluta in arhitecrura Valahiei; ca si pridvoruJ deschis received with all pomp due to a «Princeps et Haen
al aceleiasi biserici7L spatiu de legaturii dintre interi- Magnae Valahie». he stopped over in Venice75. tl
or si exterior reaJizat «in spirit renascenrist»18. town where only eleven years before. in 157t
· Construirea pridvorului poate sa-i fi fost Palladio had printed the ftrst edition of the Four Bo01
sugerata voievodului de loggiile destinate intrunirilor of Architecwre.
din orasele itaJiene. dar tipuJ de plan ales pentru bi- Viewed from this perspective. the initiative 1
erica line de tradilia deja impamameoita iar have a new residence built. near the older house da
pozi1ionarea unui asemenea loc de intrunire in zona ing from Mircea the Old's Lime. in the spirit of tt
accesulu i in 11icasul de cult poate fi socotita o contemporary European architecture. is but natura
recunoastere a rolului de prim ordin definm i'ncii de and the more remarkable as the novelty of the soh
spatiul religios in via1a comunitara din lumea postbi- Lions is obviously gmfted on the traditional structure
zantinll. Mai mult. insasi rezolvarea si tmtarea prid- the result being a very interesting synthesis.
vorului sunt realiznte in spiritul ~i cu mijloacele artei Now ruined and bearing the traces of subs'
constructive locale. quent transformations, the ~<palazzo» of tt
Westemized ruler iJiustrates by its characteristics - lt
double-side oriented rooms, the application of compc
sition rules referring to order and symmetry. the pre
bable presence of a loggia on the east facade,76 the Ul
of exterior decorations in which plaster panels WCJ
enclosed by a painting that imitated the brick - tl
unquestionable employment of Western models. It
wortl1 mentioning that the sizes of the house were n•
the same as those of the palaces where the prince h~
spent much of his life. Petru Ccrcel's house observf
the scale of the neighbouring construction
The presence of a gallery leading directly to tl
«tribune» in the church. it too. built on his order.

I
0
I I I I
10
I I I I I
20
I

~i
., b••
·~'··
another novelty in Walachia's architecture: and so
the open veranda of the same churchn- a space li1
king the inside to the outside. built in tt
~<Renaissance spirit»1R.
 Gradioilc. fantana. custile pentru salbaticiuni
aflatc tn imediata apropiere a palatului erau toate
aldiruitoare ale unui lux si ale unui exotjsm ce carnc-
terizau resedintelc nobiliare in Occidcntul epocu. dar
principele valah imbogatc te cu cle vechea cetate de
scaun, inscriindu-lc in dccorul cu putemica ampreota
defcnsiva
Toate ace tea nu sc vor li datorat numai uti-
lizarii uoor mesteri autohtoni. Asemenea ahor «ama-
rori de arhitecwra»- amatori nu in sen ul de diletan~i.
ci de comanditari avizali. propunand solulii si par-
ticipand Ia tntocmirea proiectului79- principele trebuie
sa fi fost eel care sa li fumizat modelul si tot el va fi
decis asupra adaptarii acestuia in cadrul oferit de
vechea curte. in asa fel incat intregul ansamblu sa
raspunda si unci functiuni noi. aceea de reprezeotare.
***
Prczcnta In alcatuirea resedintei lui Petru
Cercel. functiunea de reprezentare va inccpe sa capete
importanta de-abia in al cincilea deceniu al secolului
urmator. Nu este vorba inca de o tendintii generalizatil
ci de realizfui izolate promov'Jle de o elit1i. ce isi putea
permite atat aspiratia catre nou. cat si rrujloacele
implioirii acestcia Nici in conccptia de locuire nu se
manifcsta o schimbare fundamcmalll Curtile intarite vor
continua s1i existe si primclc semne de innoire vor apiirea
tocmlli in cadrol unor asemenea ~zan fortificate.
Cauzele acestei schimbfiri. ce va deveni din ce
in ce mai pregnanUl sprc ffirsitul secolului. unt mul-
tiple. Trebuie amintit til in secolul at XVII-Iea se
incheic perioada de constituire a marelui domeniu feu-
daL Cererea din ce in ce mai marc de grane a lmpe-
riului Otoman. ca si posibilitatea de comercializare a
acestui produs in Transilvania au determinat boieri-
mea sa-si extinda terenurile destinate productiei agri-
cole. Prio diver c mijloace - cumparari de ccfunii de
ocinfu>, folosirea dreptului de protimis. acapararea
unor terenuri tanlnesti in schimbul ~tergerii datoriilor,
defrisari de paduri - domeniul feudal i~i creste sub-
stantial suprafe1cle cultivabileSO. Dczvoltarea far1i prece-
dent a producliei agricole este unul dintre motivele
intcresului acordat proprictatii funciare ~i. implicit, cu~j
boieresti ca ceotru adminis1rotiv-gospodiiresc aJ acesteia
1n acelasi timp trebuie semnalata relativa
slabilitate politica din Valahia de dupa domnia lui
Radu Serban. Ca rezultat. cu precadere incepand cu
anii in care Matei Basarab a condus destinele taru
( 1632-165-l ). se poate vorbi de o amp Ia roi~care de
restaurare culturalli81• Pe trnditiile epocu pre.cedente se
grefeaza intluentele umani mului occidental tnlJlsmis
prin spiritualitatea Europei rns1i.ritene81, dar si prin
rela~ile directe cu lumen catolicli, foarte frecvente in
epoca83• Relatii cu aceeasi lume occidemalli pe liliera
disiiritean1i. a Stambulului i~i fac din ce in ce mai mutt
simtitli prezcnta si o anume modemitate incepe sa
marchcze structurile culturale pUitand o intarzialli
pecete feudaJa84.
Este de asemcnea de rcamintit rolul de capital1i
a ortodoxiei pe care 11 arc curtea domnesca a Tiirii
Romane~ti dupa cliderea Consrantinopolului, rol
For the builrung of the veranda the prince may
have looked to the loggias meant for reunions in the
Ltalian cities. but the type of plan chosen for the
church belong to the already rooted tradition. and the
location of such an as embly place in the area of
access to the worship building can be con idered as a
recognition of the outstanding role still assigned to the
religious pace in the community life of the post-
Byzantine world Moreover. the architecture of the
veranda \WS realized in the spirit and with the means
of the local art of building.
The gardens, the fountai n and t11e cages for
wild animals close to the palace were all characteris-
tic of the luxurious and exotic nobiliary residences of
the West at thnt time, but the Walachian prince used
them to embellish the old capital, in a powerfully
defensive environment.
Probably, not all these achievements were due
to the use of local masters alone. Just like other
«architecture amateurs>> - and by this I do not mean
the dilettantes but those knowledgeable persons who
propose solutions and participate in the drawing up of
the project79- the prince must have provided the
model himself and made his own decision on its
adjustment to the framework of the old court. so that
the whole compound should meet also a new func-
tion - the representation.
***
Present in the organi1.ation of Petru Cercers resi-
dence, the representation function would gain impor-
tance only in the fifth decade of the next cemury. It is
not a generalized tendency yet. just singular achleve-
ments promoted by an elite that could afford both the
aspiration for novelty and the means to accomplish it
No fundamental change was manifest in the habitation
conception either. The fortified courts would continue
to exist and the fi rst signs of rene\vaJ would occur pre-
cisely within such fortified settlements.
The causes of this change, that would become
ever more obvious by the end of the century, were
multiple. We should recall that the period of formation
of the big feudal estate ended in the 17th century. The
ever bigger demand for cereals by the Ottoman
Empire as weU as the possibility to sell the products
in Transylvania made the nobility extend the farming
areas. By various means - purchase of (<fathoms of
hairloom». the use of the right of preemption. the
acquisition of peasants' lands in exchange for writing
off their debts. by forest clearing - the feudal estate
considerably increased its farming areaSO. The
unprecedented development of the farm production
was one of the reasons for the interest shown in the
land property and. implicitly. in the nobiliary court as
its administmtive-domestic centre.
At the same time, we should mention the rela-
tive political stability in Walachia after Radu $erban·s
rule. As a result, especially starting witJ1 l11e years
when Matei Basarab ruled the country ( 1632-1654 ),
one can speak of an ample movement of cultural
restoration 81 • The influences of the Western huma-
 ~~
asurnat din cc In ce mai pregnant In acelasi veac al
XVLI-IenM5, cu urmari dintre cele mai semnificative
pentru zonele lnconjurlitoare supuse Portii, dar si
stimulatoarc pcntru aceasta «vreme de apogeu>t a civi-
lizatiei ro m1ine~ti M6.
Un nou mod de viata. detem1inat de dorinta de
afirmarc <l nivclului social ca si de contnctele cu lumen
occidentala. lsi face simtita prczenta incetul cu lncetul
Marcie boicr valah nu mai este lupllitorul epocii lui
Mihai Vitcazul ( 1593-160 I) sau Radu Serban ( 160 I.
1602-1611 ). prezent mai mult pe campul de bataJie si
pentru care o locuill!li comoda sau luxoasa nu consti-
tuie un tel spre care sa nazuiasdi. El este din ce In ce
mai mult marclc latifundiar. dctinand functii in aparat-
ul administrativ. curteanul ce participa alaturi de
domn Ia sfatultarii. dar si Ia marile ospete: din ce In
ce mai domic sa-si ctaleze bogatia si puterea prin
luxul unor straic. dar si al unor interioare bogat
impodobitc in cadrul unor resedintc care sii intru-
ncascii conditiilc a ceca ce astiizi am numi confort.
Arhitectura casei. de obicei a celei de Ia tara. va
li una dintre l'ormele de manifestare a rolului pe care
boicntl il ocup~ in ierarhia curjii domne~ti. ilustrarea
cea mai ev ident~ a puterii ~i bogiifiei proprietarului.
Unii dintre ei, putini Ia numar. sunt oameni de cultura;
ei vor fi cei care vor imprima lntrcgii clase boieresti
dorinta de noutnte. receptivitntea la modele aduse din
Raslirit sau din Apus si asimilnrea lor creatoare. Este
parcursa acum. in privinta construqiilor rezidentiale, a
modului de viatli pc care accstea i1 ilustreaza. o epoca
a inceputurilor, a imprumuturilor; a incerclirilor ce vor
decanta Ia sffirsitul veacului acea locuinta pe care
multi cliliitori ·O vor socoti tipica pentru boierimea
V'cllahii si care va constitui prin unicitatea ei in aria
europeana o laturn imponanta a originalitiitii culrurii
noastrc.
Componenta a unci cuhuri si civiliza~i revigo-
rate. activitatea arhitecrural-constructiva din vremea
lui Matei Basarab este dcparte de a putea fi socotita
conservatoure si flir;i aporturi deosebite. asa cum este
in general prezentata87. In perioada domniei sale se
ponte vorbi atat de pastrarea si chiar amplificarea
carncterului dcfcnsiv Rl unor manastiri ~i biserici88,
dar si despre aparitia unor elememte semnificative in
cvolutia tratllrii cxterioare a bisericilor89, precum si
despre inSU$irea unor clemente preluate din arhitecrura
contemporana a Moldovei ~ i Transilvaniei. Astfel. nu
este de neglijat faptul ca. o data cu zidirea Ia Tar-
goviste a biscricii man~stirii Stelea de ditre mesterii
moldoveni. se asimileaza cu rapiditate. in arhitectura
religioasii munteneascii. o particularilate constructiva:
desdircarea arcelor purtiitoare ale boltilor si rurlelor.
prin intermediul consolelor, direct pe zidurile longitu-
dinale. Mai mult. In domeniul decorului. ancadra-
memele de piarrn ale aceleiasi zidiri vor fi utilizare
curcnt de-acum inainte. devenind componente ale
repertoriului fom1al de Ia sud de Milcov. Asa cum
modelelc vazute de boicri sau chiar de ditre domnitor
in pcrioadelc de bcjcnie in Transilvania au determinru
probabil aducerea de mesteri din acesta zona AcestOra
nism. conveyed not only through Eastern European
channeJsM 2 but also through direct contacts with the
Catholic world, quite frequent thanBJ. developed
against the ex isting traditional background. The rela-
tions with the same Western world through the
Eastern connection of Istanbul were increasingly pre-
sent and a certain modernity started to impress on the
belated feudal culturnl structuresH-1.
It is worth mentioning the role as capital of the
Orthodox world which the princely court of Walachia
had after the f:~l of Con~tantinople. a role increasing-
ly assumed in the same 17th centul) .85 consequential
for the surrounding zones subject to the Onoman
Empire. and also very stimulating for that «heydap• of
the Romanian civilizationU.
A new life style. determined by the wish for
assertion of the social standing as well as by the con-
tacts with the We~tem world would slowly emerge.
The great Walachian boyar was no longer the warrior
he used to be at the time of Michael the Brnvc
( 1593-160 I) or Radu $erban ( 160 I. 1602-1611 ). pre-
sent more in the bauletield. who did not seek for a
convenient or luxurious dwelling. He became more
and more the big landlord. holding ol'lices in the
administmtion, 1he courtier participating along with
the ruler in the country's council but also in the big
feasts; increasingly desirous to show off the wealth
and power through the luxury of his apparel and also
of his residences with lavish interior decoration that
should meet every condition of what we would term
comfort today.
The architecture of the house. the one in the
countryside. as a rule, would be representative of the
role 1hc boyar holds in the princely coun hiemrey. the
most obvious illus1ration of the owner's power and
wealtlt Some of them. not many. were men of cullure:
they would imprint on the whole gentility the wish for
newness. the receptivity to the models brought from
the East or from the West and their creative assimila-
tion. In terms of residential constructions. of the life
style they illustrated. it was an era of beginning. bor-
rowing. of experiments that by the end or the century
would result in the dwelling which many travellers
would consider to be typical of the Walachian boyars
and that, by its uniqueness in the European area,
would account for an important facet of originality of
the Romanian culture.
The building activity at Matei Basarab '!I lime is
far from beeing conservative and lacking in special
contributions a~ it wa.\ sometimes presented87. With
regard to his rule time. one cru1 ~peak both of the
preservation and even enhancement of the defensive
character of some monasteries and churchesss. and of
the emergence of significrull elements in the evolution
of the exterior treatment of the churches89, as well as
of the assimilation of elements borrowed from the
Moldavian and Transylvanian contemporary architec-
ture. Not negligible is the fact that. with the building
at Tiirgovi~te of the Stclea monastery church by
Moldavian masters. the Walachian religious architec-
li ·e dmorcazli decorntiile in piatra inspirate de
·Rena$terea lnjloraUi» a Ardcalului contcmporan1Xl.
precum si utili7.area in arhitectura civila valaha a
bohilor cu penetrntii.
Cat prh·cste aceasta arhitectura - cea a cunilor
domnesti si boieresti din epoca lui Matei Basarab -.
ea contine germenii unor chimbari de sub. tanUi ce e
\Or lmplini catre sffi~itul veacului.
***
Tnsusi Matei Ba arab este eel ce reface.
de avarsindu-1in 1645. ruinatul palat de Ia Tfirgoviste
zidit de Petru Cercel. In cadrul acestei operatij de
reconstructie. lui i se atribuie adaugirca loggiei de pe
latura de c t~ 1 • Asa cum -a arutat mai sus. coerenta
arhitcctumla a constructiei din 1584 sugereaza exis-
tenta acestui patiu inca din prima etapa92. Chiar ~i in
acest caz. pastrarea sa in vremea lui Matei Basarab
e te semnificativa Autor Still doar utili7.ator al loggiei
de Ia palatul predcccsorului au. Matei Ba arab ii
intclegc si apreciazii in mod evident ro tul in com-
punerea unci re~edinte nobiliare. Loggia ii mijloceste
in acela~i timp relati<~ cu grJdina. alta inovatie a lui
Petru Cercel pc care voievodul ((restaurator» ~i-o
insu~ste. in Limp ce doamna sa, Elina. face apcl La
br~oveni pentru a comanda cmintc de nori «de tor
fe/ul». cl cauta in aceeasi tona un «griidinar de
rrea1Xi»93 ce unna aveghezc asuprn griidinii palarului.
Si tot el foloseste, pentru a accede Ia slujbii. vechea
galcric de legaturii dintre casa si biserica domncascii9-l.
Devine !impede cii piistrarea carncterelor
innoitoare ale anst~mblului lui Petru Cercel ou se
datorcaza doar unor considercnte economice - repara-
rea palatului liind probabil mai pu1in costisitOitre dedit
modlficarea fundamentala a t~lcaruiril sale- ci si recep-
tivilii\ii lui Matei Basarnb Ia modul in care inaint~ul
siluimbogatise arhitectura re~edintci domnesti.
Edificmoare in acest sens este zidirea cunii de Ia
Strehaia, Mchedin!i. $antierul dcschis aici Ia porunca
\·oicvodului trebuie sii li fost contemporan cu eel de Ia
Tlirgovi~te. de vreme ce ambele c incheie in acelasi an
164595. Concomitenta aceasta, alaturatii evidentelor
asemaniiri obscrvabile in cadrul cclor doua an ambluri.
conduce Ia concluzja di gandirca ce a determinat
realizarea de Ia Strehaia sc datoreaza tn buna miisura
unei conceptii arhitcctumle foarte apropiate de cea care
\il fi grudat reconstructia de Ia Tfirgoviste.
Ca si CUJ'lile cu caractcr defcnsiv din categoria
c3rora fiicea parte. ea avea a.~ct de ~<cetate mare». cu
•:.iduri pwemice de incinlli. Cl/ 1111tlte creneluri». cu o
poarta urmontata de un tum%. Sprc deosebire insli de
mcntionatcle cuni intiirite. £jdurilor incimei de Ia Stre-
haia nu li sc mai aliitumu dedit construcpile anexe:
lmpreunii. ele delimitau un spatiu larg in mijlocul crlfllia
se ridicau. dominand imreaga alcatuire. cru a si biserica
Trntalii pentru prima oara ca volum indepen-
dent - desprins de zidul incimei. casa ern zidita den-
supra unor mai vcchi pivni!e boltite, datlind probabil
de Ia s~itul veacului al XVI-Iea, ~ i pe care Matei
Bnsarab le reface, marind In acclasi timp drcptunghiul
rure rapidly assimilated a constructive peculiarity: the
resting of the vault- and belfry-bearing arche. .
through consoles right on the longitudinal walls.
Moreover. in tem1 of decoration. the Mone frames of
the ame building would be in current u. e from then
on. becoming components of the Walachian repertory.
Just like the model een by noblemen or even by the
prince in the periods of exile in Transylvania may
have determined Lhe import of mru.len. from this area
It is they that introduced the stone decorations
inspired by contemporary Tran ylvania'!> <(Flowery
Renaissance»9tl. as well as the usc in the Walachian
civil architecture of the vaults with penetratiort
This ctrdtitecture of the princely and nobiliary
courts of Matci Basarob'!. time conwins lhe genns of
substantive chnnges that would be wrought by the end
of the century.
***
It was Matei Basamb himself that ordered the
ruined palace at Tiirgoviste. built by Petru Cercel,
remade and completed in 1645. He is ·upposeed to
have added the eastern loggia as part of this recon-
slnlction work91. As shown above. the architectural
coherence of the 1584 construction sugge ts the exis-
tence of this space as early as the lir I tage92. Even in
thi case. its p~ervation at the time of Matei Basarnb
i ignificanL Author or only user of the loggia of his
predecessor's palace. Matci Basarnb understood and
obviously appreciated i~ use in a nobiliary residence.
The loggia equally mediated hi~ relation with the gar-
den. another innovation of Petru Cercel. which the
«prince-restorer>, espoused. While hi. lady, Elina,
bought nower . eeds «o.{ el'ery kind» from the Bra~ov
merchants. he looked in the same area for a «proper
gardener»93 to take care of the palace garden He also
used the old gallery that connected the house to the
princely church to allend the religious service94.
Lt is clem that the preservation of the renewing
features of Petru Cercel's compound was prompted
not only by economic reasons - as to mend the palace
was probably less expensive IJ1an to ba.~ically change
it structure - but also by Mmei Basarab's openness
as to the \vay how his forenmners had enriched the
architecture of the princely residence.
A telling example in this re pcct is the building
of the court al Strehaia. Mehedinti. The building site
opened there upon the ruler's order must have been
contemporary with the one at Targoviste. given that
both were completed in the arne year 164595. This
parolJelism. together with the obvious similarities that
can be traced in both compound lead to the infe-
rence that the thought that detem1ined the achieve-
ment at Strehaia comel. to a great extent from an
architectural conception very close to the one that
must have guided the reconstruction at Tfirgovi te.
Just like the defensive cou11s of the same cate-
gory, iL~ look was that of a «big fortress» with <<Strong
precinc/u alls wul numy baulemellls», with a gate with
1
belfry on top.% But. unlike the above-mentioned for-
 ~
23. Strchaia, Mchedinti ·Paoer~ec1'vm< &Tr.RH .. IA·
Vedcn: u cunli
(descn,
inccputul secolului al XV Ill-lea)
View of the Court
(early 18th c. dmwing)
planului de baza la dirnensiuni deoscbit de man pcn-
tru epoca Astfel incat «poland sau personaf»91. supra-
pu) niveJului pivnitelor, ajungc sil aibii ~<camere
nuire{e»9s. organizate probabil in dublu lract si orien-
tate spre toate cele patru fatade. Amplul foisor. vizibil
in dcscnul rac01 Ia inceputul veacului al XVW-Iea99.
pare a fi sus(inut de o arcaturii de zid. unnand modelul
deja conslituit al caselor cpocii.
Volumul impotant al casei a dcterminaL- dupa
opiniile unor cercetatori - nu numai dimensiunile bi-
scricii alaturate, ci si orientarea sa neobisnuita. avand
uxul longitudinal semnilicativ deviat de Ia directia
est-vest 10o. Ympotriva accstor supozitii plcdeaza insa
construirea sa concomitent cu ridicarca zidurilor in-
cintei si a celorlalte edificii componente ale ansam-
blulujiOt. ce ar fi putut fi conformate astfel lncaL ori-
entarea edificiului de cult sa nu aiba de suferiL Solu~a
problemei ne poaLe fi oferita de eviden~erea a douli
observdtii, ambele referitoare Ia amplasarea bisericii:
(l$ezarea sa tn interiorul unci incinte laice - contrar
uzan1elor vremii 102_ ~i pozitia sa in raport cu casa,
impreunii cu care <~clituia o unitate compozi~ionala
foarte asemlinatoare cu cea realizatli de paJatul si bi-
serica de Ia Tfirgovi~te. $i dadi pnn compurare.a pla-
nurilor de Ia Targovi~tc si Strehaia se poate ajunge Ia
presupunerea cii santierul de pc lalomi1a a fumizat
modelul pentru rezolvarea de Ia Strehaia, aceasta
opinie este intiiritii de inca un clement ce poate fi
socotil hotiirfitor. La fel ca Ia Targoviste, accesul dom-
nitorului in bisericli se putea face direct din casu in
«tribuna» bisecicii, de unde accsta putea um1iiri slujba
separat de restul cred incio~i lor.
La cele de mai sus se adauga consemnarea exis-
tentei in curtea de Ia Strehaia a unei frumoase flintfini
«CII apii curgciware.» prezenta poate inspirata de renu-
mita ffintanii cu care Petru Cercel lsi imboga~se
cunea. a gradinilor si a unui izvor alimentand «1111
. hele$teu din apropiere»t03. Prindc astfel contur din ce
in ce mai precis ideea potrivit ciireia, prin intcrmediul
lui Matei Basarab, gfutdirea arhitecturala ce a condus
Ia fastuoasa constructie tfirgovi~teana de Ia sf'~itul
veacului al XVt-lea sc reg~se~te peste sase decenii in
compunerea ansamblului de Ia Strchaiit
De dimensiuni impresionante. curtca lui Matei
Vodli - din care astazi se mai pastreaza doar biserica,
zidurile de incinta cu LUmul si ruinefe pivni(clor casej -
marcheazii prin caracteristicile sale un moment de
referinta al evolu~ei arhitccturii civile de zid din Valahia.
tified courts. appended to the precinct walls at Strehaia
were only the outbuildings: together, they limited a
wide space in the middle of which stood. towering the
whole ensemble. the house and the churclt
Treated as an independent architectural volume
- standing off the precinct wall -, the house was built
upon older vaulted cellars. probably dating from the
end of the 16th century. which Matci Basarab ordered
to be remade. while enlarging the rectangle of the
basic plan to extremely big~si;es for that time. Thus.
«his ow11 palace»97• overlapping the cellar level.
ended by having «grandiose roomS»9~. probably ori-
ented to all the four facades. The big belvedere of the
house. visible in the early 18th century dmwing99.
seem!> to be supported by a masonry arcade, after the
already built model of the period houses.
The impresive volume of the house determined
- :.orne researchers assume - not only the dimensions
of the nearby church. but also its unusual orientation.
with the longitudinal axis obviously divened from the
east-west dircctionHXl. Pleading against this assump-
tion is. however, its building concomitant with the
building of the precinct walls and of the other edifices
making up the compoundtot, that could be conformed
in such a way as not to affect the orientation of the
worship building. The solution of the problem can be
extracted from two observations. both referring to the
church· s location: its place inside secular precincts -
against the routine of the time102_ and its position in
relation to the house together with which it made up a
composition unity very similar to the one attained by
the palace and church at Targoviste. The comparison
of the Tfirgoviste and Strehaia plans leads to the
assumption that the builcling site on the lalomi1a river
provided the model for the configurmion of the com-
pound at Strehaia. This opinion is reinforced by
another clement that can be considered as decisive.
Just like at Targoviste. the prince could go from the
house directly to the church «tribune» where he could
watch the service at a distance from the other believers.
Besides. the Strehaia coun was provided with a
beautiful fountain «with nmning '''ater>> - a presence
which might have been inspired by the famous foun-
tain with which Petru Cercel adorned his coun -. and
gardens along with a source that supplied «a m!llrby
pomb>103. Thus it is clear how it came that through
Matci Basarab the architectural thinking that led to the
magnificent construction at Targoviste at the end of
the 16th century can be traced, six decades later. in the
composition of the compound at Strehaia
Impressive in sizes, Prince Matei's coun - of
which only the church. the precinct walls with the
tower and the ruins of the house·s cellars still stand -
marks a reference point in the evolution of the secular
masonry architecture in Walachia.
Matei Basarnb's receptivity as to the enhance-
ment of the architectural environment was to be
answered later. In 1654, «enclosed by grand buildings
made of stone, which one emers by big gates». the
Targoviste residence of the metropolitan of Walachia
 Receptivitatea lui Matei Basarab Ia im~gatirea ~ . ·' , .
dccorului arllitectural nu rJmane faro ecott In 1654. .. fJ .
"inchisa cu cltidiri mtire(e de piatra Ia care se intra
prin por(i mari». locuinta din Targovistc a mitropoli-
tului Tlirii Romanesti era acccsibila printr-o scar;!
e.~terioarJ i un ((prid1•or mare cu arcade»104 , poate
asemanator cu pridvoarelc caselor lui Matei Basarab
din Brfutcoveni si Strchrua Rcsedinta mru marelui
hisericii v-alahe era compusa din incaperi private. dar
~i din spatii de prirnire. decorate cu picturi in fresca
Suita acestora din unna se incheia cu o ultima «salii
de primire». avdnd un «pridl'or ctt arcade deschise
spre grlidinci,. -in mod evident o loggie. 0 scara con-
ducea de aici in gradina «plcmtatt1 cu l'i(ii de vie ~·i
trandajiri,.. cu pomi fructifcri ~i lcgumc105.
Chiar daca ctitorul accstci construc(ii nu va fi
fosttot Matci Basarab. descrierea nu las~ nici o umbra
de indoiaHi asupm asernanrtrilor cu resedin(ele voie-
vodale deja prczcntute, ce i-ar fi putut fi modeL
Camcteristicile cu tenta de noutate ale palatului dom-
nesc se regiise c in resedinta mitropolitana Relatarea
lui Paul de Alep - singura cc oferJ informatii asupra
ace tui ansamblu astazi disparut - conduce Ia ipoteza
unei pozitionari centrale a casei in cadrul incintei,
similarii cu cea a locuintei basarabesti de Ia Strchrua
Mai mult. existenta unci cuJli onornnd fatada cu
mtrarea principalli a casei. precum si cea a unci grJ-
dini inconjur.ue cu ziduri, catre care se orienteaza
fatada opusa impreuna cu loggia, preligureaza sinteza
hrnncoveneasca a sfiirsitului de veac.
Matei Basarab pare a li fost singurul ctitor care was accessible through an exterior stairway and (<l/ big,
a urmat lndcaproape mijloacele utilizate de Petru arcaded veranda»104, similar maybe with the belvederes 24. Strehaia. Mebedinti
Cercel in incercarea de a-si confom1a resedinta diferit of Matei BasarJb·s houses at Brfincoveni and Strehaia Plan al currii
de cele in cadrul dirora rezolvarea casei era rezultatul The residence of the Walacllian Church leader consisted (desen.
neconditionatei subordonari fata de caracteru1 prepon- of private rooms but also of spaces for reception, deco- lncepuml secolului al XVILI-Ica)
derent defensiv al ansambluluL Trebuie rcmarcat insii rated with frescoes. The series of the frescoes ended with Plan of the Court
di el nu este unicul care sfi-~i fi munifestat vointa (early 18th c. dmwing)
a «reception room» having a <<veranda with ttrcades
aHiturnrii functiunii de reprezentare Ia traditionala opening onto tfte garden» - a loggia o( course. A llight
aldtuire a unci curji. Urmand alte modele, scnsibila Ia of stairs led from there to the garden «cultiv01ed wirh vine
alte lnrauriri. o intrcaga elita ii impWseste vedcrile, and roses» and also with fruit-trees and vegetablcs 105.
initiind chiar inaintea domnitorului zidirea unor Even if this structure was not the same Matei
ansambluri in cadrul carora- mai lirnid sau mai raspi- Basarab's foundation. the description leaves no doubt
cat - noua gftndire este pusa in practica as to the similarities with the already presented prince-
Un monument semnilicativ pentru aceasta ly residences that could have been taken as models.
perioadii este casa de Ia Hernsti. Giurgiu. a lui Udriste The elementS of newness of the princely palace can be
'listurel Despre forma~ia umanista a ciirturarului. trawl also in the metropolitan residence. Paul of
despre intinsele ale rclatii cu lumea europeana s-a Aleppo's description the only one that contains infor-
scris in cateva rfutduril06. Cumnat allui Matei Basarab. mation on this compound. now vanished - leads to the
el este si sfiituitorul acestuia in domeniul culturii: ciici assumption that the hou e was central to the precincts,
\'Oievodul cu putinii stiintii de carte era rcceptiv Ia like B a~arab's house at Strchaia Moreover. the exis-
indemnurile invii(atilor vremii. ca si Ia cele ale sotiei tence of a court emphasizing the facade with the main
sale. educatli alaturi de Udriste Ia curtea parinteasca entrance to lhe house as well as that of a garden
•ot Fierli$ti». enclosed by walls tO\vard which the opposite facade
Casa ridicatii probabil intre 1641 si 1643 de together with the loggia are oriented, all anticipate the
ciitre logofiitul Udri~tc si fratele sau Cazan a facut Braocoveanu-stylc synthesis that would emerge by the
obiectul unor studii ~i al unci restaurlri ce i-a redat end of the century.
infiiti~area originara107. Daca asezarea ei intr-unul din- Matei Basamb seems to have been the only
trc colturile incintei - cca a vcchilor case ce stmjuiau founder that closely followed the means employed by
mal ttl inalt al Arg~u l ui 10~- o incadreaza in tipul stu- Petru Cercel in his attempt to give his residence a dif-
 ®®
dial anterior al curtilor lntarite. daca sistemul de
boltire a pivnitelor este <lcelaJ)i cu eel in general uti-
lizat in epoca, tot restul elementelor ce o cantcteri-
zeaza o disting de constructiile simi lare ale timpului.
Fonna to «L» a planului. distributia simetridi a
spariilor, detenninnt5. de func~iunea. ~ i ea simetridi. ce
trebuia indcplinitfi 109. fac din aceasta casa construitli
din piatra. probabil de mesteri sud-duniireni tro, un uni-
cal al d!rui model nu va mai li reauaL
Cercet<u·ea aLenta a acestci constructii pune in
evidentli diteva observatii relevante pentru mentali-
tatea ctitoruJui si spirituJ epocii Prima se refern Ia
dorinra vlidita a utiliza10rului de a face ape! Ia o arhi-
tectura care, prin singulariratea ei. sa uimeascli si sa
incante ochii vizitatorilor, nu o data de mardi, ce nu
Her~ti, Giurgiu vor li lipsit Ia curtea luminatului carturar 11 1• Totodata,
este de remarcat deschiderea si receptivitatea aceluiasi
25,26,27 pentru un model arhitectural cu repere in alte orizon-
Cusa lui Udri~te Nil.~rurcl
Udriste Nasturel House turi cultumle- alitudine ce trebuie tnteleasa nu numai
In sensu! diutarii noului, ci si ca o expresie a
aspira~iilor spre o locuire pentru care modelul valah aJ
rc~cdintelor relativ modeste. subordonate func~unii
defensive. nu mai poate oferi un liiispuns.
Se impune de asemenea sttblinierca unor par-
ticularitlifi ale re.zolvarii arhitecturale adoptate. Este
evident apelul flicutla reguli ordonatoare ale planime-
P!Jnul nm:lulm triei ~i volumului: tratarea simetricli a celor douli aripi
~uperior ale cHidirii, ritmarea golurilor $i plinurilor pe fatade
l '(lpo:l )~\' • pl. sunt caracteristici ce definesc arhitectura casci lui
Udri$te. Jntriirile. simetrice si ele f<lta de acetasi ax.
sw1t onorate prin lncadrnrea cu elegante profile de
piatrii si decorate cu blazonul fam iliei. Reguli ordona-
toare par a fi determinat si propOttiile lndiperilor.
Noutate absoluta In Tara Romfineasdi, prezenta
scarilor interioare implinc.~te o data mai mutt dorint.a
de confort a marelui logofiit
UnuJ dintre marii boieri ai tarii112, om de casa
Pl3nul 01\ dulu,
at Cantacuzini lor. rnarele ban M are~ zide~te in J666
mrcnor
curtca din Baj~li.
Lower lcvd plan Prin caracteristici le sale- plasarea ansamblului
pe o faleza inalta, zidurile putemke lntlirite cu turnuri
u...uJ circulare de colt ((In forma unei ceta{ui»1Ll, prezenta
w1or guri de tragere si meterczc: alipirea casei la zidul
de incima. cxistenta unei curti separate, si ea fortili-
catli. a biscricii -. curtca lui Mares Bajcscu se inscrie
28, 29.
Cunea in scculul al XIX-h~"
The Court in the 19th c.
ferent configuration than d1e one which resulted from
the unconditional subordination to the defensive charac-
ter of the compound lt should be stressed. however,
lhat he is not the only one to have expressed the will
of adding lhe function or representation to the tradi-
tional organization of a court Taking to other models
and responding to variou~ influences. the el.ite shares
in the reigning prince·s views and starts to build com-
pounds even before him Such buildings show the new
tb.inking put into practice - shyly or overtly.
A significant monument of this period is
Udriste Nasturel"s house at Heriisti. nfov. The scho-
lar"s humanist formation, his vast relations with the
European world are mentioned in several books 106. A
brother-in-law of Matei Basarab, he is also the ruler"s
cultural adviser. since the prince. with but little
instruction, was however open to the suggestions of
the scholars and of his wife. educated together with
Udri$te at the parentS' house at Herasti.
The house. probably built between 1641 and
1643 by Udriste and his brother Cazan. was thorou-
ghly studied and went through n restoration. regaining
its initiallookt07• While located in one of the comers
of the precincts -lbose belonging to an earlier house
standing on the high bank of the Arge$ overlOS_
places it within the previously analysed type of forti-
fied cout1S. whereas the vaulting system of the cellars
is the same as the general one used in the epoch, the
other characteristic elements distinguish it from the
similar structures of the time.
The L-shape plan. the symmetrical distribution
of the spaces, determined by the equally symmetrical
function 01at had to be perlormed 109. make of this
stone house probably built by South-Danubian mas-
ters"o. a unique model. never ever used again.
The careful inspection of this construction
reveals several aspects telling of both the founder"s
mentality and the spirit of the age. One of the owner's
obvious wish to use such an architecture w·as to
impress and delight lhe visitors by its uniqueness:
many of them were important persons. who must have
often called on the enlightened scholar's court1' 1. It is
Wortb mentioning his openess to an architectural
model with origins in other cultural horizons. His at-
titode must be understood not only as the search for
30, 31.• 32, 33.
Ber~ti, Giurgiu

Cu.'ill lui Udri~te Niisturel

Udri~tc Nibturel House
 ~
34. Baj~i. Arg~
Cunea
l11e Coun
(o. - a a u u a a
I
o
I
10
I I
;m
I I
30
I
in cadrul alcatuirilor defensive. de factura tradit-ionala
In mare masura insi ea sc difcrcntiazii de acestea din
urma prin cateva llisaturi ce par a fi 0 materializare a
caracterului reprezemativ pe care il prcsupunea
resedinta unui mare ban.
Pe de o parte se observi'i ordonarca trascelor
zidurilor celor doua incintc alipite: cca a casei. de
forma rcctangulara. si cca a bisericii. in care un ax de
simetrie longitudinal determina mu numai incinta. ci ~i
umplasarea bisericii. Mai mult, axinlitatea menponatii
cstc sustinuta si de o anumitli cxprcsivitate a formei.
deloc uzuale, pe care o urmarestc in plan puternicul
Lid vestic, sprijinit de contrafoJ1i114.
Prezeo1a uoui helesteu in imediata apropiere a
cur~ii. in mijlocuJ caruia se ridica. pe statpi de zidlirie.
un foisor accesibil direct din curte printr-un «pod de
aramii, a$e:at 101 pe stfllpi de piatra, pe care se
preumbla :isul Mare,f cu familia sa ~i pri1•ea Ia
mul(imea ~·i frumuse{ea pestilor" 115• indica pe de altii
parte dorinta comunic11rii cu natum inconjuriitoare, a
perce~rii acesteia ca decor vrcdnic de a fi admiral
Ln plus. existenta unci bai - prcvazuta cu canale
pentru apii calda si rece - . detalii ale casei de tipul
acelor «tocuri de piatravfil/{iui scipata» ce mai existau
indi Ia s~itul veacului trecutllb. sunt alte indicii ale
intentiei de a concepe o resedintii care sa rlispunda mai
mult decat obisnuitelor utilitati. lesirea din rieoriJe
impuse de fortificarca cu11ii se face cu oa~care
timiditate. dar semnele orienwrii catre un nlt ideal de
vietuire sunt evidcnte. Astfel incat se poate afirn1a di
zidirea ansambluJui de Ia Bajesti - din care astiizi sc
rnai piistreaza illdi spectaculoasc portiuni ale zidurilor
incintei. pivnita casei $i biserica - constituie un nou
pac; flicut pe linia evolu1iei ciitrc o locuire imboga~ ta
cu clemente care sa-i confere confort si un caracter
reprczentativ.
novelty but also as an eX"pression of the aspirations for
a dwelling for which the Walachian model of the rela-
tively modest residences. subordinated to the defen-
sive functions. could oo longer offer a solution.
Some peculiarities of the endorsed nrchitecturnl
..olution also deserve emphasis. Rules of pl:mimetric
and volumetric disposition were obviously observed:
the symmetrical treaunem of the two wings of the
building. the harmony of the facade hollows and mass
are characteristic of the architecture of Udri~te ·s
house. The entrances, both symmetrical as to Lhe same
axis, were emphasized by framing with elegant stone
profiles and decorated with Lhe family coal of am1s.
Rules seem to have dictated also tl1e proportions of the
rooms. The presence of interior s1airs. never mel
before in Walachia, satisfied the great nobleman ·s
wish for comfort too.
Governor Mares- one of Lhe coumry·s great
boyars 11 ~. a close friend of Lhe Cantacuzino family -
founded the court aL Bajesti in 1666.
Mares Bajescu's coun belongs to the category
of traditional defensive structures. defined by the fol-
lowing features: the location on a high cliff, the strong
walls consolidated with circular comer towers (<just
like afortress>> 113• the Gring openings and battlements.
the integration of the house within the precinct wall.
the separate. fonified yard of the church. But it differ:
from the traditional one-S to a great extent. by se\'eral
features that seem to be a materialization of the repre-
sentative nature entailed by the residence of a governor.
On the one hand. we should mention the dispo-
sition of the two adjoining precincts· walls. The house
precincts have a rectangular form. The shape of the
other ones and the position of the church are deter-
mined by a longitudinal symmetry axis. On the other
hand, this disposition according to an axis is also sus-
tained by a certain expressiveness of Lhe unusual fonn
evinced in plan by the sturdy western wall of the
enclosure. supported by buttresses 11 ~.
The presence of a pond near the court. in the
middle of which a pavilion built upon masonry sup-
ports could be reached directly from the yard by «a
copper bridge, resting also on sTOne suppons. where
Mare$ and his family used to walk and IVmch the Jmd-
titude and beauty of the jislm115 , is indicative of the
wish 10 communicate with nature, of its perception as
an environment worthy of admiratioJt
Besides. the existence of a bathroom - pro-
vided with hot and cold water ducts -. details of the
house, like the «frames of carl'ed ••inlet-blue storre»
till existing at Lhe end of last centuryll6. are also
indicative of the intention to conceive a residence
that should satisfy more than the u!\ual utilities. The
departure from the rigors imposed by the fortifica-
tion of the court is somewhat shy. but the tokens of
lhe orientation towards another ideal of dwelling
are obvious. Thus. we can state that the building of
the compound at Bajesti - of which spectacular
pam of the precinct walls. the house cellar and the
church still stand - was yet another step ahead
Pb ul nnd
lo\ler lt\el pi n
Promotorii cei mai de seamrt ai acestuj pro-
grnm SUO! insa Cantacuzinii- nici ci boieri de rand
ci flicfind parte, ca si Udri~te Nasturel. din ace~
~ublire elitli a stiutorilor de carte-, cu intinse rela1ii
111 afnrn fruntariilor tiirii. reccptivi In valorile cul-
turalc ale Apusului. dar si Ia cele ale Bizantului din
a~ carui basilei declarau cii descindll7. si prin ele
dm nou Ia cele ale Occidentului bizantinllK. Oameru
a caror experientii traitii pe alte meleaguri le deter-
mini! nspiratia ciitre un mod de viata si un decor
?rhi~ec:ural .ade_cvat ace_srui~, diferite de ccle deja
rmpamantenl!e m Valahra; sr - mai presus de toate
- avand resursele materiale necesare implinjrij
accstci aspiratii, Ca.ntacuzinii vor li cei care isi vor
zidi locuinte de o amploare si o stralucire
ncmniintaJnite in contemporaneitatel19. conducand
Ia mutatii importante in arhitectura reziden~iala a
timpului.
Numarul mare de constructii 7jdite de catre
mcmbrii ace tei bogate si influente familii de-a lumwJ
a aproape aptezeci de ani - si pentru care cercetMea
a s~os Ia iveata date ce completeazii infonnatiile
ofente de construc~iile insesi sau de minclc acestora-
~eprez.i nta un b~ga~. material de studiu120_Din pacate,
mvesllgarea cdtficulor cantacuzine nu s-a extins si
asupr:n ~nsamblurilor de ctute run care laceuu parte,
ru.tliz1 drsplirute. aslfel indit suntem pusi in ituatia de
a presupune doar - pe baza observatiilor de teren, a
conliguratiei beciurilor. a planurilor ce c mai
pllstreazli si a cfuorva dcscrieri emnilicative - felul in
care casele se inscriau in aJcatuirile arhitecturale ale
curtilor.
Analiza muterialelor existente ilrnta eli uncle
dintrc ctitoriile cantacuzine erau ridicate dupa modelul
tmditionaJ defensjv. avand probabil casu. de drnensi-
uni relativ modeste. adosata zidului de incinta - usa
cum ar indica pivnita casei zisa «a .wolnicului» din
Tdrgoviste (cca 1640 ). ruvelol inferior al casei de Ia
Coiani-Mironesti. Giorgio. (casli existentli Ia 1657) -
ambele lacand parte din constructii zidite de ditre
marele postelnic Constantin Cantacuzino -. sau chiar
casa din Dr;iganesti, Prahova (cca 1650) a lui ~erban
Cantacuzino, astlizi imbr;icatii in hruna unci arhitecturi
de secol XlX
. Nu ~celasi luc.ru se poatc spunc despre
rc_~d m1a dm Bucuresu a postelnicului Cantacuzino
(deceniul al treilea al veacului al XVII-Iea), devenjtli
Pl:mul m 0 !\
l rJll:r lc\ eJ piJJl
u.u..u
towards a residence enriched with elements that 35, 36, 37. Fili~tii de Tiirg, Prahova
should confer comfort and representative charncter on it
Casa Cantncuzino
The most outstanding promoter of this pro- Cantacuzino Hou)c
gramme, however, arc the Cantacu:zinos. who were
~ot c.ommon. noblemen either, since they belonged.
JUSt like Udnste Nasturel, to the rarefied elite of lite-
~tes; havin~ wide relations outside the country' fron-
uers: receptive to the cultural values of the We t and
als? of B~z~tium. from whose emperors they
clrumed therr lmeage 117• and through them aoain to
those _of the Byzantine WestliS. People whose ~xperi­
ence 111 other lands determined their aspiration for a
corresponding life style and architectural decoration
different from those already established in Walachin:
and, above all. having the material resource required
for the .accomplishment of that aspiration, the
Can~acuzmo ~o~ ld order residences of which pro-
porttons and bnlllance were matchless at the timelt9.
leading to important mutations in the then residential
arcru lecture.
The big number of constructions erected by the
members of this rich and influential famil y along
almost seventy years, for which the investigation has
revealed data that. adding to the infonnation inferred
from the buildings themselves or from their mins.
?ffer ~ ri~h material for study' 20• Unfortunately. the
mvesttgauon of the Cantacuzino constructions did not
cov~r also the court compounds they belonged to, now
vanished, so that we can onJy guess - from on-site
ob ervations. the cellar configuration, the plans still
preserved and .everaJ telling description - the way
how the houses fitted in the architectural organization
of the courts.
The analysis of the extant material shows that
some of the Cantacuzino foundations were built
according to the traditional defensive model. probably
having the relatively modest house attached to the
precinct \V'JII - as wouJd be inferable from the cellar
of a house they buill at Targoviste (around 16-W). the
lower lev~l of t~e hous~ at Coiani-Mironesti. Giurgiu
(a house 111 ~x 1 stence tn 1657) - both belonging to
structures butlt for tbe great landlord Constantin
Cantacuzino -.or even ~erban Cantacuzino's house in
Dr~gline~ti , Pra11ova (around 1650), now wearing the
aUtre of the 19th century architecture.
Things were different with the Bucharest resi-
dence of Constantin Cantacuzino {the third decade of
 tOO
ulterior casa Dudescu. Este probabil cu distribuTia
Br
incllperilor nivelului locuibil sa fi fost in dublu tract,
tinnnd com de dimensiunilc muri si de rapottul mic
intrc laturile drepLunghiului ( 15m I 23m) in care se
inscrie nivelul inferior. singuru1 cunoscuL Cum insa
invcstiga(ia arheologica ciireia ii datoriim informa~iile
P.JmJJ eUijulm nl d01l dcsprc aceasta constructie nu elucidcaza problema
Sc.-cond lloor pi legata de amplasarea casei in incinlli. ccle afmnate
r:iman Ia nivelul supoz.hiilor.
Zidirea curtii de Ia Filipcsti1 de Tilrg, Prahova
( probabil in anii 1641-1642) de ciitre acelasi mare
postelnic deschide seria ansamblurilor rez.identinle ale
caror principale caracteristici planimetric-spatiale par
a li rezultatul a ceea ce s-a numit «eliberarea de
pecetea curtinei» 121 . cu aile cuvinte. a desprinderii
casei de z.idul incintei.
In !ipsa oriciiror date rcferitoare Ia nlcatuirea
unsamblului, analiza terenului. cca a ruinclor existente
si mai ales atenta observare a relcvcului consllllcliei in
Pt mJ 1 ~ulut eiJ. starca In care se glisea in 1939 112 sugereazii ampl~­
First lloor plan sarea si tratarea casei ca elemem principal al curtii. In
acest sens plcdeaz.ii atat dimensiunile mari ale plana-
lui si mai ales raportul mic dintre lungimea si liitimea
acestuia, pem1itand organizarca incaperilor nivelului
locuibil de jur imprejurul unui amplu spa~iu central.
cat si orienta rea lor clitre toate cele patru fatade. Reali-
zarca unor goluri de ferestre de dimensiuni egale. a
c~ror pozitionare unnare~te evident obrinerea unui
anume ritm. sustine ipoteza conceperii constructiei ca
un volum echilibrat. de sine ~tatiitor. ale ciirui fatade
pot fi percepute integral ~i pentru care zidu1 de incinta
constituie probabil acum doar un decor. cadru de
desta~umre a fastului vietii cotidiene.
Mai mull decat atat. se poate afirma eli eel care
a conceput re~edin~a ·postelnieului a profitat din plin
de a~mtaje le modifidirii pozHiei casci in raport cu
Pl<~mJI Jl.lllcrtJhu
zidurile imprejmuitoarc. In randul accstor cfu)tiguri
Grnund floor pia~
trebuie Lrecutii prezen~a unor spa1ii de degajare inte-
rioara ce fac posibila utilizarca concomitenta a
diferitelor indiperi. ca si arnplasarea pe fiecare fatada
a cfite unui element de comunicare cu exteriorul.
Mijloace diverse sunt puse in slujba acestei rezolvliri
de remarcabilii valoare arhitecturalli- fie o simpHi usa
conducand ditre o scarl ce coboarii catre nivelul solu-
lui, fie cele doua foisoare $i ampla loggie dubl5. Si
dadi foisoru l a fiintat si in arhitectura rczidentiala pre-
mcrg1itoare z.idlrii de Ia Filipesti, suprapunerea a doua
loggii pare a fi un element cu totut nou..
Tot In randul noutatilor trcbuie trecuta dublarea
sciirii exterioare de acces cu una interioara, a clirei
prezenta poate fi pusa in legaturii cu scam interioara ce
se zidca in acelasi Limp Ia casa lui Udriste. Asa cum. tot
un caracter de premierii are ~i acopcrirea tuturor
spa1iilor nivelului locuibil. inclusiv a celor deschise. cu
0 5 bol1i cu muchii intrate. str:ipunse de luncte.l23
L.u.I.LJ Cat despre nivelul inferior. acesta are in com-
punere o pivnit5 adanca- a direi bolta in !eagan. cu o
38. 39, ~o. ~ 1. deschidere de 8.5m. constituic un record absolut In
Miigurcni, Prahom
ana constructiva a timpului - inconjurata de
Casa lu1 Or.ighici Cantacuzino incaperi anexe. accesibile direct de Ia nivelul solu-
Dr.'!g.hici Can1acu1ino Hou~ lui. acoperite insa cu tavane din lemn.
the 17th century) that subsequently became the
Dudescu house. TI1e living level had probably the
rooms oriented on the four facades of 1he house. con-
sidering the big sizes and the small ratio between the
sides of the rectangle ( 15m / 23m) of the lower level
plan. the only one knowa But, since the archaeologi-
cal investigation that provided pieces of information
about this construction does not explain the position of
U1e bouse within the precincts, this remains only a guess.
The coun at Filipestii de Tiirg. Prahova. built
for the same nobleman. (probably in 164 1-1642)
opens the series of re.~idential compounds whose main
planimetric-spatial characteristics seem to be the
result of what was called «gelling rid of the
precincts>>l21, in other words tl1e detachment of the
house from the enlosure wall.
In the absence of any data referring to the orga-
nization of the compound. the analysiJ. of the land. of
the ruins and especially the careful observation of the
ground survey of the consllllction as it was in 1939 111•
suggests the location and treatment of the house as a
principal element of the court The assumption is sus-
tained both by the big sizes of the plan and. especial-
ly. by the small ratio between its length and width.
allowing for the organization of the rooms of the li-
ving level around a wide central space. and their ori-
entation toward all the four facades. Window hollows
of equal sizes. whose position obviously 'vas meant to
produce a certain rhythm. sustains the assumption that
the structure was thought as a well-balanced. self-rely-
ing volume. whose facades can be perceived integral-
ly and for which the precinct w.ill now had probably
only a decorative role as enviromnent for the splendor
of the everyday life.
Moreover, one can state that the master who
planned the residence took fuU advantage of the
change in the position of the house in relation to the
surrounding \V'JIIs. Among these advantages one
should mention the presence of interior clearing
spaces that allow for the concomitant use of U1e vari-
ous rooms, as well as rhe existence of an clement of
communication with the exterior on every facade.
Various means are employed for this resolution that
bears remarkable arehitectuml value -either a simple
door leading to stairs that go down to the ground level.
or the two belvederes and the large superposed two
loggias. The belvedere existed in the residential archi-
tecture also prior to the building of the Filipesti house.
whereas the overlapping of two loggias seems to be a
completely new element
Another novelty is the doubling of the exterior
staif\vay by an interior one. the presence of which can
be associated with the interior stairs built m the same
time for Udriste's house. There is newness in the co-
vering with vaults with penetrntions of all the spaces
of the living level, the open ones included, as we1JI 23•
The lower level is made up of a deep cellar-
the barrel vault of which. with a span of 8.5m sets an
absolute record in the building an of the time - sur-
rounded by auxiliary rooms. covered with wooden ceil-
ings. that can be entered right from the ground Je,·cl
 Rclunta in pane de edificii ulterioare. si ele
camacu7ine. aceeasi conceptie arhitecturnla a du. Ia
reali!Area unor cladiri ce vor ccistaliza incetul cu ince-
tul modclul re~edintei de tara
Aslfel, casa de Ia Magureni. Prahova, ( 1667-1671)
a lui Drlighici Canlacuzino pare sa li continuat, intr-o
geometric marcata insa de o anumilii rigoarc- ab. enta
Ia Filipesti -. directia deschisa de constructia postcl-
nicului
Chiar daca urme ale incintei nu mai exbta nici
aic1. alcatuirea casei, recon tituita in 1916. sra
rruirturie unci pozitii centrale a acesteia in cadrul
curtii 1 ~~- Ridicat deasupra unei mari pivnite ale direi
bolti cu muchii iesite vor face scoata o bunii bucata de
vremc 125• spatiul locuibil estc rezolvat aici pe doua
nivele. legate intre ele printr-o scara interioara.
Complexitatca organizlirii interioare lrebuie pusa in
legaturil cu dimensionarea si tratarca difcrita a
inciiperilor componente. presupunand destinatu
diferite ale acestom Prezenta probabila a unui tum
incununat cu o loggie . au un foi~or. boltiJe utilizate ca
unicii forma de acoperire a tuturor patiilor casei. pre-
cum si luxoa~a si strillucitoarea decorarie intcrioarniM,
sculptura in piatra a ancadramcntclor si coloanelor 117,
toate acestea situeaza edificiul de Ia Magurcni in frun-
tea const111Cjiilor civile ale epocii.
Anata in imediata vecinatatc a curtii can-
tacui'.ine din Filipestii de Tllrg. Prabova. casa Filipescu
a fost ziditll - dupa opiniile unor cercetatori - in
acel~i timp cu re~edinta lui Drlighici128. Dacli. asa
cum se arlita in Capitolul l. organizarea spaJiala si
tructurala a pivnitci urmeaza indeaproape alcatuirea
nhelului inferior at Cll! ei de Ia Magurcni. planimetria
nhelului locuibil pare sa preia. cu oarecare modestie
~impliflcatoare, clemente prezente in compunerea
Clbci postelnicului. Casu Filipcscu este una dintre
putinele construc!ii nlc secolului al XVLI-leu ciireia i
s-a redat prin restaurare iofati~area originadi.
Scmniflcativd din punct de vedere al sistcmului
de bohirc utilizat Ia acoperirea pivnitelor 119. c~a lui
Toma Camacuzino din Filipestii de Padure. Prahova.
(1685 ). an alii intr-o stare avan alii de ruina. nu ofern
date ~uflciente privitoare Ia organizarea initia11i a
ni\elului locuibil.
Foane intcresanta pare sa fl fost si ultima ctito-
rie civilrt cantacuzina a ecolului al XYII-Ica, ~i
anume cunea de Ia Afumati. llfov, a stolnicului
Constantin (cca 1690 ).
In mod inexplicabil. personalitatca a pre ti-
gioasli nu a fo 1 pusa in legatura decat arareori - si
atunci tangential doar - cu zidirea ansarnblului de Ia
Afuma1i. Surprinzator este si dezinteresul manife tat
de cercetatori. urmat firesc de absenta aproape totala a
mformatiilor rcferitoare Ia arhitecturd curtii. mai ales
in rnport cu aten1ia ce a fost acordata unor edificii
zidite de alii mcmbri ai familiei tolnicului.
Faima de constructor rafinat ~i de preg1ititor sau
chiar autor al sintczci arhitecwrale brfmcovcncsti a
rost intotdcauna pusii in seama spatarului MihaL Cu
The same architectural conception - panty bor-
rowed by later structures present in IJ1e Cantacuzinos·
courts -led to buildings that would slowly crystalliLc
the model of the country-side re idence.
Thus. the house of DrJghici Cantacuzino at
Magureni, Prahova ( 1667-1671) seems to have fol-
lowed. within a geometry marked by a certain rigor -
absent at Filipcsti -. the direction opened by the con-
truction of his father. the great landlord Constantin.
Even if traces of the precincts have vani hed.
the structure of the house. reconstituted in 1916.
tands proof to itll central po ition inside the coun'~"'.
Rai ed upon a big cellar. the groin vault of which
would set the tune for a long time 115• the living space
is disposed here on two level~. connected by an inte-
rior stairway. The complex interior organization
should he associated with the different sizing and
treatment of the component rooms, entailing different
uses. The probable presence of a tower topped by a
loggia or belle vue. the vaults used as the only means
to cover aJI spaces of the house. as well as the elegant
and brilliant interior decoration 116. the stone carving
of the framework. and columos 127• place the edifice at
Magureni on top among 01e period secular construc-
tions.
Standing very close to the Cantacuzino court
at Filipe$tii de Tfirg, Prahova. the Filipescu house
was built -some researchers assume- at the same Plan nl\elmfmor
Lime with Draghici's resideoce 1 ~s. A!. shown in
Lo\\ l:r k I plan
Chapter L the patial and tructuraJ organization of
the cellar closely follows the make-up of the lower
level of the house at Margureni Tbe planimetric 42•.u. 4-l. 45. Fili~ii de Targ.
disposition of the living level seems to have bor- Prahora
rowed at the same time. with a certain simplifying ea~ Filipescu
modesty, clements from the composition of Filipcscu l:lousc
Constantin Cantacuzino's neighbouring house. The
Filipescu house is one of the few 17th cemury
constructions which, following restoration,
regained its initial look.
The vaulting system u.ed on cellar covering129
at Toma Cantacuzino·s house at Filipe~tii de Piidure,
Prahova ( 1685). ruined by now to a great extent. doe
not offer enough data regarding the initial organiza-
tion of the living level. ll II•..: ru\'elulUI locu .,
The last secular Cantacuzino foundation of the uv111g le\('( \Jull\
17th century. namely the court at AfumaJi. Ilfov
(around 1690) of the foreign affairs minister.
Constantin. seems to have been very interesting.
It is hard to explain why his prestigious per-
sonality has but mrely and incidentally been associa-
ted with the building of the compound at Afumati. h
i also surprising the researchers· lack of interest. nat-
urally resulting in the almo. t complete ab eoce of
information regarding the court architecture. especial-
ly as compared with the auention paid to edifices
erected for other members of the foreign affairs mi-
nister"s family.
The fame as a founder of refined building work
and as having paved the way for or even authored the
 ~~
toate acestea. catevn argumente pledeaz.ii in favoarea
socotirii stolnicului ca unul dintre cei ce vor fi con-
tribuit substan1ial. poate decisiv, Ia cristalizarea mode-
lului re~ed intelor nobiliare ale stiu~itului de veac valah.
Catre aceastli concluzic nc conduce mlill de
toate arhitcctura casci. Dc~i marcatli de transformlirile
suferitc in secolele XIX ~i XX. sufocata de adiiugiri
succesive, constructia ridicata de Constantin Canta-
cuzino stolnicul dezviiluie totu$i Ia o analiza atcntli
catcva camcteristici ineditc.
Situat pe un tcrcn in apropierea apei. fCpa/a-
tu/»130 uvea accesul rezolvat prin traditionalul foisor
cu scar;i extcrioara 131 • Modul de organizare a spatiilor
niveluJui locuibil, asupm diruia utilizatorii din secoluJ
al XIX-lea nu par sa fi intervenit decal inchizfutd o
probabilli loggie. sugereaza absenta oridiror coostrftn-
geri impuse de caracterul defensiv. Ceca ce frapeaza
insii este neobisnuita alclituire a nivelului inferior.
ocupat de regula de functiuni anexe. Studii receme132
au demonstrat ca. aHituri de pi,•nita mare - rezolvata
si boltita «clasic» - au fost constmitc cateva ~patii 133,
dcstinute sii complctczc functiunile nivelului superior.
Astfcl. oriental spre npa, un portic amplu, acoperit cu
bolli in cruce, realiza accesul ditre o incapere cu
fuoctk de pantclis1.J.I. Prezente ne~teptate in arbitec-
lUr.t epocii, pamclisul pozitionat in chiar corpul casei
si porticul carc-1 onorcaz.i conduc catre imaginea unei
case mai putin legata de anterjoara experienta con-
structiva cantacuzinU.
Punerca in prim plan a frumuse\ii arhitecrurii in
dircctli rclatie cu natum inconjurutoare. a comodiflitii
locuirii. alcatuirea unui cadru propice desf'll$urlrii
-16. Fili~ili de Piidu.re, Prahova
Bohile pivnitci
The Vaults of the Cellar
Brl ncoveanu architectural synthesis has always been
attributed to Constantin's brother, Mihai. However,
several arguments advocate Constamin Cantaculino
as being one of those who must have made a substan-
tive. maybe decisive contribution to the crystallization
of the model of nobiliary residences of the Walachian
end of the century.
Above all the architecture of the house leads to
this conclusiort Although marked by the changes it went
through in the 19~1 and 20th centuries. suffocated by suc-
cessive extensions. the structure mised for the foreign
affairs minister. Constantin Camacuzino, still reveals- if
carefully examined - sevemJ peculiar characteristics.
Placed on a ground near water. the ~<palace»JJO
had its access provided by the tntditional belvedere
with the exterior stainvny13 1. The way of organization
of the spaces at the living level. that the 19th century
users just interfered by closing a loggia that might
have been ~1crc. ~uggests the absence of any con-
stntint imposed by tbe defensive character. But what
strike~ is the unusual organizaiton of the lower level.
occupied. us a rule, by utility functions. Recent stu-
diesm have demonstmtcd that, along with the master
cellar - organized and vaulted in the «classical>~ man-
ner- several spaces were built to complete ~1e func-
tions of the higher lcvell33. Facing the wmer, an ample
portico. covered with groin vaults, was leading to a
room that was used as a chapeJil-1. An unexpected
presence in the period architecture. the chapel built
inside the house along with the portico preceding it
lead to the image of a house less related to the previ-
ous Cantacuzino constructive experience.
unui fast ce lmbrilca toate manifestarilc vietii cotidi-
enc. ca si pe acclea ocazionate de primirca arblito-
reasca a unor oaspe~ par a fi fo t influcntate de alte
modele- poate venete- pe care tolniculle cunoscuse
oemijlocit: si a diror evolutie o urmarea in continuare.
de vreme ce In biblioteca sn se gasea, printre alte dirti
ce sugcreazil consmntul au intcrcs pentru Jumca in
care i~i flkuse ~1udiile, un «Trauaro de 'fuochi ltrtifi-
ciali per solennita e ricreazioni»135•
in aparenta contradiclie cu caracterul {{deschis)>
aJ cac;ei, diteva portiuni din vechea lmprejmuire de t id
-l'xistentli inca Ia 1873 136_ indica mentincrea rolului
de aparare al incintei. Aceasta adaptare Ia conditiile
conjuncturale locale nu pare a fi fost fiicuta insa fiira
oinfom1are prealabila care sa-i premita stolnicului sa
fie in pas cu comemporanii siii occidentali. Nu stim
cum va fi aratat incima fortificata a palatului. dar este
posibil ca o cerCCLare arheologidi si arhitectumHi sa
releve asemanarea olutiei adoptate cu modele oferite
de un alt tratat allat in po e ia lui Constantin
Camacuzino: •Architeuura mifitare e Jonijicajone
modema»137•
Resedinta principam, locul ce adlipostea celebra
sa biblioteca. si in care probabil si-a scris operele ~ i
ampla corespondent[ cu cfuturari din zone neastcptal
de indcpilrtate ale Europei. cunea ridicata Ia porunca
fo tului student al Universitatii padovane trebuie sa fi
ilustrat - chiar in mai mare masura dedit celelalte
~inte cantacuzine - aspiratiile omului de culturii.
dorintele de fast ale tnaltului dreglltor. dar ~i modul de
a concepe o locuinta a unuia dintre cei mru avizati
cunosdltori ai rcalitiitilor vremii in care traia
The emphasis on the beauty of architecture in
dkect relation to Lhe surrounding nature, of tbe com-
fort of habitation_ the adequate framework for dis-
playing the pomp that characterized all events of the
everyday life. as well as those occasioned by the fes-
tive reception of guests. seem to have been inOuenced
by another model. It may be the Venetian one. which
Constantin bad known directly and whose evolution 0
he must followed. since, among other books telling of l.u.uJ
hi constant interest in the world where he had taken r\ \clu m mnr
his education. his library wa'i the repository of such Ill I l\\er k~d
writings as «Tmumo de 'fuochi artificiali per solenni-
ta e ricrea:ioni» 135• 47. Afumali, lifo''
Apparently contradicting the «open» character
Casa
of the house. everal parts of the enclosing old mason- Molnicutui Constantin CamacuLino
ry - still standing in 1873 136 - is indicative for the Tile House of the Foreign Ministry
maintenance of the defensive role of the precincts. Constantin CantacuLino
This adjustment to the local conjunctural conditions
does not seem to have been made without a previous
information that allowed the foreign affairs mini tcr to
keep with llis western contemporaries. We do nor
know how the fortified precincts or the palace looked
like. but it is just possible that an archaeological and
architectural research should reveal a similarity of the
solution with models offered by another treati e in
Constantin Cantacuzino's libmry: «Architetlllra mi-
liwre e for1i/ita:ione modema» m.
The main residence. the place that sheltered hi
famous library and where he must have written his
works and rich correspondence with scholars from
unexpectedly far pans of Europe. the coun built on
the order of the former student of lhe Padua
University must have illustmtcd - even more than the
other Cantacuzino residences - the aspirations of the
man of culture, the wish for pomp of the high digni-
tary. yet also the way of conceiving a dwelling of one
of the best connoisseurs of his time.
 CAPITOLUL 3
ARHITECTURA v

A
LAICA V

BRANCOVENEASCA
 ~®
Domnia $i personalitatea lui Constantin Brd:n-
covcanu au fost tratatc lntr-o bibliografie extrem de
bogatii 138• Lucrarca de faHI se rezuma doar Ia a sem-
nala dlteva aspecte. aparent disparate, ce par a fi fost
hot<lriitoare pentru activitatea de clitor a voievodului.
Prczcnta In preajma Cantacuzinilor a tfiniirului
Constantin Brftncoveanu ii vu deschide ucestuia calca
sprc invil!ilturJ. sprc aprccicrea vnlorilor Lradirionale,
dar $i a tot ceca cc insemna noutate in epocli. Nepot
de sor;I a! spiitarului Mibai ~i al stolnicului Constantin,
c:lliiuz.it de acestia inaime, dar $i in limpul domniei
ale. el v-J deveni principclc luminaL iubitor de cfu1i si
dirturari. ncdezmintit lauritor de acte cuhurale.
inclinarea sa spre intelegerea si aprecierea cul-
turii apuscne se datoreaz.ii In mare masurli acelorasi
CantacuLini. ce studiaserli Ia Padova si pastrau in
bibliotecilc lor Lratate. scricri. {(i:::voade» itatiene139.
Dcvcnit domn. Brnncoveanu se va inconjura. tndernnat
probabil tot de rudele sale, de o intreaga suita de
trJluchi dlrturari provcniti din orientuJ cresti:n. dar si
din occident Bartolomeo Ferrati. Antonio Maria del
Chiaro - sunt nume care lri1deazii obfirsia italiana a
purtiitorilor lor. tinuti Ia Joe de cinsre Ia curtea bran-
coveneasc1tl~0: Pcsena Levino, mester pietrar lnmor-
mantat Ia Brancoveni, sau Nicoli! da Porta si Jacopo
Pilarino, profesori Ia Acadcmie. provin si ei din
aceeasi Lon a a latlnitatu 141 : in timp ce Sevastos Chi-
menitul, Hrisam Nottara si loan Comnenul, ~i ei pro-
fesori ai inaltei scoli bucurestene. crau greci ce
inviitaserii Ia Padova142. Cut despre tinerii ce urmau
cursurilc accleiasi institutii. cei mai merituosi dintre ei
primeau burse acordate de catre domnitor pentru a-si
desava~i studiile Ia Padova sau Venetia14J.
La lndemnul Cantacuzinilor si aliituri de ei.
Briincoveanu va initia sau va participa Ia acte de cui-
turn cc vor marca civiliLatia rornfuteascli. Academia
domneasca de Ia Sffuttul Sava se va ana Ia Joe de
fmntc intre preocuparile acestora «Stolnicul Ia
fnceput, domnul concomitent cu e/ ~i mai apoi singur,
au inzestrm insrinl{ia cu danii bogate, aduclitoare de
venituri care satisfliceaunevoi/e cotidiene» 144. Reorga-
nizarea nccleiasi Academii in 1708 va fi insii doar
opem domnitorului. lncununare a unci activitiiti de
suslinere a culturii inccputa o data cu asumarea rolu-
Jui de ispravnic al tiparirii BibDiei de Ia Bucure~ti,
poruncita de catrc Serban Cantacruzi no 1 ~s.
0 renectare a aceleiasi motabile impletiri pe
taram culluml a initiativelor lui Brancoveanu cu ccle
camacuzine este activitatea in domeniul arhitecturii.
Astfel. tanliml Constantin a fost ispravnjc alJucrfuilor
de Ia mana.stirea Cotroccni a lui Serban Voievod1 46:
apoi, ca domn. ctitor aliituri de Mlhai Cantacuzino
spatarul Ia mrmastirea Rfunnicu-Sliratl-17. Acclasi
Mihai Cantacuzino va fi. sub domnia lui Briincoveanu.
ispravnic a! cut1ii domnesti din Tiirgovistel48.
Rodul unci colaborJri similare va li si zidirea
miiniistirii Hurezi, inceputii sub supr.lVegherea unui
ispravnic tot cantacuzin - Piirvu. mare stolnicl-19.
Aceastli din urma ctitorie va da adevarara miisurJ a
Constantin Brancoveanu·s rule and personality
have been approached in an extremely rich bibliogra-
phyDB. This study emphasizes only several aspects,
apparently not connected. that seemto have been deci-
sive for the prince's activity as a founder.
The presence of the young Constantin Briinco-
veanu in the Cantacuzinos' company would open for
the future ruler the wJy to education. to value the rradi-
tion and whatever meam novelty at the time. A nephew
of Mihai and of the foreign affairs minister, Constantin,
guided by them before and during his own mle. he
would become an enlighted prince. keen on books and
scholars. the faithful founder of cultural acLc;.
His inclination for the understanding and appre-
ciation of the Western culture is greatly due to the
same Cantacuzino family. that had learned at Padua
and were keeping in their librariel> Italian treatise-S.
writing!.. «SOt/fees»131J. When he became the ruling
Prince of Walachia. Brancoveanu kept around himself.
encouraged probably by his relatives. a great number
of illustrious great scholars coming from both the
Christian East and West Bartolomeo Fcrrati, Antonio
Maria del Chiaro are names that betray the Italian o-
rigin of their bearers, held in respect mBrancoveanu's
court 140; Pcsenu Levino, a stone carver buried at
Briincoveni, or Nicola da Porta and Jacopo Pilarino.
professors at the Academy, also came from the same
zone of Latinityl-11: whereas SevJStos Chimenitul,
Hrisant Nottara and loan Comncnul. other professors
with the high Bucharest school. were Greeks who had
learned at Padua 142. As for the young people who
auended the Academy. the best of them were granted
cholarships by the Prince to accomplish their educa-
tion at Padua or Vcnicel-13.
Encoumgcd by the Cantacutinos and together
with them, Briincoveanu would initiate or participate
in acts of culture that would mark the Romanian civi-
lization from then ort The Princely Academy at SL
Sava was among their major preoccupations. The
foreign affairs minister Constantin Cantacuzino "in
the beginning, the prince concomiwmly with the latter
and all by himself later on, made generous donaTions
to the inslitmion, 111hich genermed beneji1s allowing it
10 cope 1vith the daily needs»144. The reorganization of
the Academy in 1708 was however the achievement or
the ntler alone, the climax of an activity for promoting
culrure that he had started earlier as responsible for
the printing of the Bucharest Bible ordered by Prince
Serban Cantacuzino 145.
The activity in architecture mirrors the same
notable blending in the cultural field of
Brancoveanu's and Cantacuz.ino's initiatives. The
young Constantin was the manager of the works at
the Cotroccni monastery ordered by Prince
Serban 1-16: then. as a ruler. he founded. together with
Mihai CantacuLino the Ramnicu-Sarat monasteryJ.I7.
The same Mihai Cantacuzino would manage the
reconstruction of the princely court at Tiirgoviste
under Brancovenanu's ruJel48.
puternicei personalitati a principelui. Caci. format de
ci.tre Camacuzini ~i ulaturi de ei. Brancoveanu va fi
eel care va deslivarsi opera innoitoare inceputa de
I!Cl~tia. dctenninand chimbiiri esentiale in concep~a
whitecturall'i a timpuJui - rnanifestate pentru prima
data in rnodul de aJclituire a rnarii rnl'inl'istiri oltenesti.
***
Cercetl'itori ai epocii brfincovencsti au pu in
evidemii faptuJ ca. «in domeniul culturii, de(inm pauli
lamij/owl secolului a/ XV/1-/ea in exclusi1•itate de bi-
lt!Jict7»151J se con tata o «laici:are a gclndirii»151. Nu
este insli vorba doar de faptul di «mica fume a oste-
mrori/or in tome domeniile cllllllrii ~·i artei:» din vre-
mea domniei lui Bn1ncoveanu incepc sli fie compusli
preponderent din laicPS2, ci de un fenomen genera-
lizat, hotarfitor pentru civilizn1ia romaneasdl
Cu rcferire Ia arhitecturl'i. aceastli laicizare a
cullurii pare sli lie ilustrnta. pc de o pane. de «timptd
secund»in care «iJisericalnso(e~te uneori efortul con-
smtct/1•»153 In cadml unui :msamblu - ca Ia Afumati,
unde pamclisul cuJ1ij a fost ridicm dupli zidirea
iliiS3ITlblului re,edintci cantacuzinc154, sau cain cazuJ
bisericii Sf. Gheorghe din Bucurc~ti, reflicutli de
Brftncoveanu dupa cc ridicasc din nou cliidirile incon-
jur.itoare aJe miinl'istiriP 55. Totodatli. trebuic rcmarcat
mtere ul ridicat ce se acorda acum tratarii arhitec-
turale a ace tor componente manastiresti - ciUdiri
anexe ale celor direct destinate cultului -,in rapon cu
epocile anterioarc. Asa cum aratii cronicarul. tot Ia Sf.
Gheorghe. « ... apucatu-s-au milriitt sa cu multli
nel'oin(ii ~·i rumare chelruiala de au flic/11 ... alw rlindu
de chilli foarre btme ~·i boltite jur lmprejur ~i case
patriar~e~ti deosebi. ~i a/tu rclndu de case egumene~ti
foarte btme cumsecade...» 156. Atitudinca remarcata aici
nu este lntampllltoare de vreme ce si ansamblul de Ia
Ramnicu-Sarat si mai ales eel de Ia Hurezi ilustreaza
cu prisosintli dorinta de punere in valoare a tuturor
elementelor alciituitoare.
Pe de alta parte, lmpodobind bisericile epocii.
noile pridvoare cu lurgi dcschideri ~i frumoase
coloane de piatrJ sculptata - ce vin sa inlocuiascl'i
masivele coloane ale pridvoarelor biscricilor lui Matei
Basamb - par o «e.t:tindere a spa(iului proftm, o
anmsare agresi1•ii a acestuia In raport cu sacntl»157.
Si nu In uJtimul rand. aceastli lnclinare spre laic
estc ilustrata de deja citata crestere emnificativa a
numarului resedintclor nobiliarc si a rolului de prim
ordin pe care incep sa-l detina in arhitecrura. culrura
si civilizatia epocii.
A similar collaboration would re ult in the
building of the Hurezi monastery. started under the
supervision of another Cantacuzino - Parvu 1 ~9. This
foundation would how the real measure of the
prince's strong personality. Trained by the Cantacu-
zinos and together with them. BrJncoveanu would
complete the renewing work they staned, determi-
ning essential changes in the then architectural con-
ception expres ed for the first time in the ~tnJcture
of the great monastery in Oltenia
***
Researchers of the Brfulcovcanu epoch have
singled out the fact that «in cu/wre. a realm that by the
mid-17th cenrury belonged exclusively to ihe
clwrclz»150 , a «secularhatiun of tlte thought»151 was
occudng. This does not only point to the fact that «the
small world of rlze people of culwre and arts» at
Brancoveanu's Lime had started to be preponderantly
one of laicsm. but to a generalized phenomenon.
decisive for the Romanian civilization.
In the realm of architecture. this secularization
of culture scent to be illustrated. on the one hand. by
the «second time» at which «the church is sometimes
marchi11g the construcril•e effort»153 within a com-
pound- as it was the case of Afuma1i. where the coun
church was erected after the building of the
Cantacuzino residence compound I>I, or the case of the
St George Church in Bucharest. remade by
Brncoveanu after he had raised again the surrounding
buildings of the monastery 155. One must also point to
the great interest now paid to the architectural treat-
ment of these monastic components- buildings annexed
to those that were clearly meant for worship- in rela-
tion to the previous epochs. As the chronicler says, at
SL George's, «...!tis highness swned, ar grelll pain and
expense, the consrmction of .. another row of cells,
)lery good and \'0/tlted all around, as well as nice
patriarchal hmms, and another row of vel)' good,
proper houses for fathers s11perior...» 1S6. The attitude
highlighted here is not a chancy one, since the
Rfunnicu-Sarat compound as well. and especially the
one at Hurezi. amply demonstmte the wish to enhance
all constituting elements.
On the other hand. while adorning the churches
of the time. the new porches with wide openings and
fine columns of carved stone - that take the place of
the sturdy columns of Matei Basarab's church veran-
das - seem to be «an extension of the secular space,
irs aggressi1·e adl'(lnce 0\'er the sacred» 151.
Last but not least, this inclination for the secu-
lar is illustrated by tl1e already mentioned significant
growth of the number of nobiliary residences and by
the imp01tant role they started to play in the architec-
ture. culture and civilization of the epoch.
 Arhitectura
promovata de catre
Constantin
Brancoveanu
The Architecture
Promoted by
Constantin
Brancoveanu MomcntuJ Hurezi
Zidita din temelii incepand cu anul 1690, renu-
mita ctitorie domneasdi ofcrii analizc.i clemente ce o
situeaza in posmrn de unicat In arhitecturu valaha ~i
chiar in arhitectura europeana a epocii.
Constmqie ampla, ridicata din dorinta de a
aftnna odata mai mull adez.iunea dom.neasdi Ia cultul
de cit bizantln, dar $i de a marca importan1ascaunului
valah in lumea ortodoxiei epocii, mliniislirea Hurezi
•,..,. este primul ansamblu ce miirturi se~te prin imreaga sa
alciituire o reconsiderare a acestui tip de program arhi-
I a tectuml.
-18, -'9, SO. Hurezi, Valcea Spre deosebire de ansamblurile miinaslircsti
anterioare, curtina noii ctitorii u Br5.ncovcauuJu.i va
M:'inllslirea
The Monastery inchide intrc z.idurilc sale - ce singure pastreaz1i, Ia
exterior doar, imaginea unei constroctii defcns1ve -
volume a diror organizare si trata..re rezultli fil.rii
tndoiala dintr-o noun concep~e arhitecturala, raspun-
zand cu preponderentu functiunii de reprezentare.
Eleganta. luxul strlill!citor. fastul ambiantei. boga~ia
decorului - sunt toate comandate de acesta noua cali-
tate de «mlinastire reziden1iala» domneasca pe care 11
indeplineste ansamblul de Ia l:turezi.
Rezultat al unei conceptii unitare a clirei
intentionalitate nu poate li pusa Ia tndoiat:l- gand.it ca
un intreg ale carui componente se supun unor reguli
refcritoare Ia ordine, simetrie, ritm, echilibru de mase:
avand ca efecte o spatialitate remarcabila ~i ceea ce
am numit o «trnnsparenta» unica; utilizand contrastul
ca pem1anent dialog intre rnonotonie si altemanlli.
lntre plin $i gol. intre plin si pasul unor cursive ~i por-
tice suprapuse. intre ritmul acestora si accentele volu-
meLrice si decorative, inlre axialitate $i personalizarea
volumelor - ansamblul de Ia Hurez.i alatun1 jocului
volumetric. sub o lumina unificatoare. un lmreg inven-
tar morfologic ce nu-$i gase~te egal In nici o alta con-
structie anterioarii Mai mutt dedit atat, conceptia
spa~ia l planimetrica, repertoriul formal precum ~i uti-
lizarca unor noi sisteme de boltjre a spatiilor vor
reprczenta de aici inaintc un izvor de inspimtie. mereu
redescoperit. pcntru zidirile monaslice. dar si penlru
cclc rez.iden~iale ale epocii.
Tbc Hurczi Moment
The famous princely constrUction, whose buil-
ding started in 1690, offers certain clements that make
it a unique piece of Walachian and even European
architecture at U1e time.
An ample construction. erected with the wish ro
assert once more the princely adhesion to the
Byzantine rite, and also to mark the importance of the
Walachian throne in the then Orthodox world, Hurezi
is the first compound whose entire structure betrays
the reconsideration of this type of architectural pro-
gramme.
Unlike the previous monastic compounds, the
precincts of Brfulcoveanu·s new foundation would
enclose withi.n its walls - which. they alone, preserve,
on the exterior only. the image of a defensive con-
strUction -volumes the organization and treatment of
which undoubtedly result from a new architectural
conception, meeting mainly the representation func-
tiort The elegance. resplendent luxury. the pomp and
lavishness of the decoration - all or them are com-
manded by this new role as princely «residential
monastery» for which the Hurezi compound was builL
The Hurezi compound is in fact of an unitary
thinking whose intentions can not be questioned The
components of the compound follow certain order,
symmetry. rhythm, volume equilibrium rules: they
generate a remarkable spatiality and what r caU a
unique «transparency». By employing a permanent
contrast seen in t11e dialogue between monotony and
discontinuity. between hollow and mass. between the
mass and the rhythm of the superposed arcades,
between the latter and lhe decoralive and volumetric
emphases, between ax:iality and the organization of
the volumes, the Hurezi compound unifies an unprece-
dented and complete morphological inventory.
Moreover, the spatial-planimetric thinking. the
fom1 repertory nnd the use of new v-aulting systems of
spaces will stand for stet1dy inspiration source from
then on, in both monastic and residences buildings.
 51. Planul nhdului 'uperior
The upper bel plan

52. Plunul niv~:lului inferior

l11c ltlwcr level plun

53. Delaliu de arcatura

Arc:1de d~tatl

51. 53.
5-1.
52. 55.

Boltile casei domn~ti

The Vaults of the Princely House
54. Nivclul ~uperior
Th~ upper level
55. Nivelul inferior
The lower le\ el

0
I
i 10
I I I I I I I,,
 ®@
Trasecle principclui
Penrm o mai profunda intelegerc a arhitecturii
promovate de Brancoveanu, trebuic pornit de Ia con-
suuarea, ilustrata in cronici, ca .ddirile sale sc consti-
tuie intai de toate In simbolurilc unui parcurs. deseori
rcpetat de catre bogatul principe si suita sa domneasdi.
Cascle din BucUJ'C.Sti. Potlogi. Obile~ti. Bfc111coveni.
Targo'i~te. Pitesti. palatele de Ia mruJfuitirile Hurezi si
Dintr-un Lemn. mai apoi cele de Ia Mogo~oaia si
Doiccsti ~unt Iocurile de popas. mai scurt ~au mai
lndelungat. pe traseuJ unei aproape continue deplasan
a domnitomlui. indeplinind fiecare pe rand functiunea
de decor in cadrul diruia se de~ra~ura vin(a <(printufui
(1111'11/ui» ~i a alaiului sau15K. Nu mai estc vmba de un
«COIUicit» cu corturile intr-un loc detenninat de
lungimca unui dmm hotarat pe n~teptatel59, sau de
popasuri imfimplatoare pe Ia cunjJe unor boieri160. ci
de preocuparea vadita de a crea un cadru construit apt
a rlispunda unor necesitati specifice.
Nemaiintiilnita panii acum in istoria Tfirii
Romancsti, aceasta viata itinemntfi a cuqii isi uvea
etapele sale nnuale ilinaintc stabilite. cu un ceremoni-
al ce trcbuia indeplinit mra gre~ si a cilrui etkhcrli
lnsusi domnul nu uita niciodnta sa o rcspccte. Astfel,
dadi intreaga curte pendula intre Bucuresti ~i Tfugo-
vi~te - oras in care domnul era primit cu mare alai.
asa cum Ia Bucuresti bubuiturile de tun li anuntau
venirea. unnata intotdeauna de •clifu1nirea» de catre
Brdncoveanu a caimacamilor curtii161 __ casele de Ia
Doicesli si cele run dealurile Pitestilor emu vizitaie In
vremea culesului vulor. Potlogii ~i Mogosoaja.
Brancovenii. Obilestii. manastirea Hurezi. precum si
mai vechea ctilorie de familie - ManfiMirea Dintr-un
Lcmn - erau locuri de preumblare si odih nn a dom-
nului. iar casa de Ia Sfunbata de Sus fuscse Lidita pen-
tm a adfiposti in caz de pericol lurcesc pe domnescul
oaspete. Parcursul Podului Mogosoaiei. taiut de Ia
casele l>ale din Bucure~ti spre mosia pe care unna sa
l.e ridice Ia 1702 palatul princiar. face pane ~i el din
itinerarul de ceremonial al alaiului ee-l lnso~ea pe
domn.
Dcsigur, ceca ce ne intereseazli nu este atat
motivatia acestei neob~nuite manifestari. ci consta-
tarea sa ca o particularitate semnificativa a vietji de
curte din indelungata domnie a lui Brfincoveanu, pre-
cum ~i - mai ales - ilustrarea acesteia in edificarea
cadrului construit ce constituia decorul acestei vie~i
itinerante.
Ceca ce unii autori au numit. referindu-se Ia
zidirile voicvodului. «sime~ braf/cOI'ef/eascif» 161 este
o adec\'are inteligema a programului re~edintei
boieresti tradilionale. a celui initiat de Matei Bnsamb.
Udri~te Nasrurel si Cantacuzini, Ia exigentele gustului
mfinat. dar ~ i Ia necesitll~ile programului diferit -
purtund amprenra etichetei si fastulu i ccrcmoniilor -
pe care ~i-1 propune Bmncoveanu. Nu este vorba de o
impiU prelucrare a valorilor arhitecturale ale cpocilor
prccedentc. ci de o sintezli mai larga. expcrirnentata
maj lntai Ia ansamblul de Ia Hurezi si reluata - tinand
cont de ~pecificul laic - Ia ctitorirea resedintelor
The Prince's Itineraries
For a deeper understaniling of the kind of archi-
tecture promoted by Brincoveanu, we should start
from the fttct. illustrated by chronicles. thttt his foun-
dations account, above all, for symbols of an itinerary.
often repeated b) the rich prince and his l.Uite. The
houses in Bucharest. Potlogj. Obile~ti. Brfincoveni.
Targoviste. Pitcsli. the palaces at the monastcrie~ of
Hurezi and Dintr-un Lemn {Made from One Trunk).
U1en tholle of Mogosoaja and Doice~ti. are places for
horter or longer stopovers along the itinerary of an
almost pennunent move of the prince. fu lfilling by
tum the function of environment for U1e Life of the
«prince of gold» and of his swtelss. No more camping
witn tents in a place determined by the length of a
travel decided all of a sudden 159. or chance stopovers
at noblemen's courrs 160, but an obvious preoccupation
to create a built framework apt to cope with specific
neces~i tie~
Never met before in Walacrua's h1stol). thi
itinemnt life of the court had its annual stages, sche-
duled in advance, with a ceremonial that had to be
minutely observed, and the etiquette of which the ruler
himself would always respecL Whereas the whole
coun would shuttle between Bucharest and Targoviste
- a cit) where the prince used to be received with
great pomp and, just like in Bucharest. cannons u~ed
to be fired to announce his arrival. always followed b)
the •ifrocking» b) Brnncoveanu of the Jwymakams
{court administrators in his absence )161. The hous~ at
Doice~ti and those on the Pitesti hills were visited at
vintage time. Potlogi and Mogo~oaia. Brnncoveni.
Obile~li. Hurezi Monastery and lhe older family foun-
dation - Dintr-un Lemn Monastery - were places
where the prince used to walk and rest. while the
house at Samb~ta de Sus had been built to give the
prince shelter in case ofTurkish danger. The course of
the Podul Mogo~oaiei. cut to link his houses in
Bucharest up to the Mogosoaia estate where the
princely palace would be built in 1702. was included
in the ceremonial itinerary of the suite that accompa-
nied the ruler.
Of course, we are not much interested in tl1e
reason of this unusual manifestation. but in its being a
significant peculiarity of lbe coun life during
Brfincoveanu's long rule. as well!ll>. and above all. its
representation in the built framework that made the
environment of this itinerant Life.
What some authors called the «BnlncOI'eamt
synthesiS>Il61 with reference to the prince's founda-
tions is an intelligem adjustment of the programme of
tradilional nobiliUJ) residence. initjated by Matei
Basarab, Udri~tc Nasturcl and the Cantacuzinos. to the
exigencies of the refined taste and also to the necessi-
ties of the different programme - marked by tl1e eti-
quette and pomp of ceremonies - pursued by
Brnncoveanu. This does not involve a mere processing
of the architectural assers of the previous epochs. but
about a wider synthesis. first tested with the Hurezi
compound, U1en replicated - taking account of the se-
domnC$li. Sintezii realizata, asa cum este de blinuit. ~i
prin asimilarea unor modele noi, ce par a (i inOuen1a1
nrhitectura cunilor voicvodului.
De Ia ~ctitor» ~i «albumele de modele»
Ia re~din tele Briincoveanului
fn !ipsa altor izvoare. diteva referiri ale croni-
carilor ~i unele comrncte ale vremii conduc catre o
necesarli definire a nOliunii de ctitor. Comanditarul si
- In cazul ~edin(elor nobiliare - chiar beneficiarul
lucr1irii. finantatorul acesteia. ctitorul pare sa fi avut in
!!pod ~i un alt rol, acela de deci.zie asuprn modului de
rezolvare practica, de organizare planimetric-spatiaHi
~i decorativa a ansamblului sau construc~ei comandate163.
Folosind ca intennediar lntre el si mestcri cute
w1 ispravnic- nu neapi'irat un specialist in construqii,
ci mai curfmd eel care «isprii1•ea orice ponmci1 dom-
nenscii»1&l, antreprenor al lucraru -. ctitorul era eel
care dadea «invii(dlllrli»165 acestuia pemru felul in
care trebuia executata zidirea.
Caracteristice pemru epoca. cele de mai sus pot
sugera, in cazul re$edin(elor ce m1 corespund tiparului
rradilional- cum ar fi exemplele identificate ca nova-
toare din secolul al XVD-lea si mai ales constructille
Brancoveanului -, nu numai probabilitatea folosirii
unor modele sau mesteri strdini. ci mai ales o
«comanda speciala» a ctitorului, ce trebuie sa li indi-
ca! printr-un «izvod» atilt tema, cat si mijloacele de a
o realiza, diferite de cele ale zidirllor anterioare sau
chiar comemporane.
Legal atat de notiunea de ctitor - furnizor a1
temei-program dar ~i almodelului ce trebuia unnm -.
cat si de modificarile de substanta pe care activitatea
construct iva patronatli de catre Constantin Brancovea-
nu le produce in gandirea arhitecturalli a epocii sale,
exista temeiuri sa presupunem participarea nemijloci-
t1i a voievodului Ia stabilirea concep1iei arhitecturale a
re~edin1elor sale.
S-a atirmat nu o data ca arhitectura brancove-
neascii a fost influentalit de modele provenite din nor-
dul peninsulei italice. zona cu care relatille voievodu-
lui au fost deosebit de tr1inse. AfinnatiiJe sunt !nsa in
genere declarative sau susUnute doar prin eviden1ierea
asemanarii unor elememe de decor. aducand prea
pu~nii lumina privitor tocmai Ia lnriluririle ce vor fi
determinat schimblirile fundamentale ale arhitecturii
edificiilor comandate de principe. Cu atat mai pu1in
sum lamurite dtile pe care aceste innuen1e au patruns
'in Tara RomaneasciL precum ~j modul in care au fost
ele asimilate pe fondul unor deja existente traditii ale
arhitecturii reziden1ale.
lnca de Ia s!a~itul veacului aJ XV-Iea, rasunetul
Renasterii strllbate teritoriul Europei, si arhirecti italieni
sunt chemati sa confere stralucire unor ansambluri sau
edificii, uneori In zone a ciiror departare culturalii o
dep~este chiar pe cea geograficii. Din ce mce mai
ades. pe parcursul secolelor XVl-XVU. principi ~i
nobili - de Ia regii Fran(ei Ia 1a1ii Moscovei. de l<t
«amatorii de arhitecturn» din vremea Elisabctei <1
cular specific - on the building of the princely re. i-
dences. lt may be assumed lhat the synthesis was
achieved also through the assimilation of new models,
that seem to have lent their ma[k to the architecture of
lhe prince's courts.
From <<Founder» and «Pattern-books»
to Briincoveanu's Residences
In the absence of 01 her sources. several details
provided by chroniclers and contracts of the time lead
to a neces ary definition of lhe tem1 of founder. The
person who ordered and - in the ca~e of the nobiliary
residences - even used the building, who fmanced it.
the founder seems to have had also another role in the
epoch. namely to decide on the way of planime-
tric-spatial and decorative organization of the com-
pound or structure of tl1e building he ordered163.
Using a manager- not necessarily an expen in con-
struction. bur rather the one who <<implememed a11y prince-
ly order>> 1&l, the undertaker of the job- as an interme-
diary between him and the master builders. the
fou nder was the person that would give him «instruc-
tion>> 165 as to the way the building should be made.
Characteristic of the epoch, this mjght suggest.
in the case of residences that do not lit in the tradi-
tional pattern such as the examples singled out as
innovating in the 17lh century and especially lhe
Brancoveanu buiJdings - . not only the probability that
foreign models or masters were used. but also of a
«specia.l order» by the founder. who must have indi-
cated by a «deed» both the theme and the means to
accompli Ish it. different from those of the previous or
even contemporary constructions.
Considering both the notion of founder - sup-
plier of the building programme and also of the model
to be used -. and the substantive changes generated by
the constructive activity under Constantin Brnncovea-
nu 's patronage generated in the architectural thinking
of his lime. we have reasons to assume that the ruler
participated directly in e tablishing the architectttral
conception of his residences.
It has been stated more than once that the
Brlincoveanu architecture was intluenced by model
comi11g from the northern parts of !he Italian peninsu-
la. a Lone with which the prince had very close tie..
The statements are generally declarative or supported
only by pointing to similarities of elements of decora-
tion, while less precise as to the influences that must
have induced the fundamental changes in the architec-
ture of lhe buildings ordered by the prince. The ways
of penetration of these influences in Walachia as well
as the way how they were assimilated against the
background of already extant traditions of residential
architecture are even less accounted for.
As early as the end of the 15th century. the 56. PoUogi, Diimbovi ~a
Rennaissance reverberated all over Europe and Italian Pnlmul lui
architects were called upon. to give brimance to com- Consl<lntin BrJncoveanu.
pounds or edifices. sometimes in areas where the cul- Decora1ie in pinlnl
tural distance was even greater than the geographic Constantin Brnncovcanu Palace.
Carved Stone Decoration

"'-· ~
57. Potlogi, nlimbovita
Palatul lui Constantin Briincoveanu.
Octaliu de stucannii
Constantin Briincoveanu Palace.
Stucco Detail
@~
Angliei Ia contemporanul domn onodox Petru Cercel,
de Ia locuitorii Perei consrantinopolitane, Ia preaputer-
nicii Ponii Otomane- vor face ape! la arhiteqi si mo-
dele provenite din ltalia penLru a-si ridica re..c;edintc
luxoase ce um1au sli conttibuie Ia afirmarea stallltului lor
social.
Poate singurul gest unificator aJ unei Europe
adapostind civilizatii de facturi fu ndamental diferite,
aceasta extraordinara riispandire a programului rezi-
den~ial nobiliar a fosl sustinulii. prinlre allele. de o
nebanuit de ampli'i circulatie a unor <<car~i» si <<tmtate»
de arhitecturat66. Opere ale unor arhitec~i de notori-
etate. ele au constituit ~ i sursa de inspira~ie pentru mai
modestele «albume de modele» In fapt caiete conli-
nand atat copii ale planuri lor unor construc~i i devenite
celebre, cal si interpretliri ale acestora, intocmite de
mesteri plecali in diutare de comenzi sau de ditre
antreprenori locali.
Circulatia unor asemenea «albume» In unele
zone ale Europci - constiruind ofcrta flicuta Ia cererea
viitorului utilizator- este relativ cunoscuta 167. Relatio-
narea unora dintre desenele ce s-au mai pastrat cu lec-
tura atentii a corespondentei reteritoa.re la edilicarea
unor ansambluri reziden1iale, ca ~i constatarea necon-
cordan~el or existente intre «model» $i construcliile
rezultate au pus in evidenta implicarea major;! a
comanditarului tn luan~a deciziei arhilecturaJe168.
***
0 sugestiva paraleta cu prelucrarea unor mo-
dele provenite din aceea~i lume a peninsulei italice ne
ofera domeniul nu mai pu~in semnificmiv al Prognos-
ticelor sau Calendarelort69.
Poarte raspandite In vremea Brfincoveanului,
asemenea Almanacchi Veneti 170 erau in fapt prezi-
ceri astrologice fl!cute poate Ia comanda si in orice
caz pentru uzul unor «illustrissimi eJ eccelentissimi
signori» - precum «Giorgio Corner» sau <<Polo
Dona de S. Leonardo Procurmore» -. sau inalte per-
sonaje ca «Sua aftezza serenissima if signor principe
Eugenio di Savojmi. carora le erau dedicatel1l.
Ajunse in Tara Romaneascli fie sub forma de
«hmario» - calendar astrologic anual -. lie in for-
mula, ~i ea uzitata. de «Afmwwcco perpemo», in
care «datele calendaristice $i a/tete sunr l'alabile
pentru mai mulfi ani, cu discontinuiJate»112 , ele au
stat Ia baza calendarelor lui Constantin Voda
Brancoveanu.
Cunoscutc sub numclc de Fuferul Novel,
intocmite in mare parte - in perioada ani!or 1693-1704-
de ditre loan Romanul'73, (/prognosticefe>>romane~ti
nu sunt doar copii talmiicite ale scrierilor unor
«astrologhi osebi{i iwliani»174, ci illterpretari ale aces-
lora. «prejifcwe penn·u.folosinra proprie, nemijloci-
tif>l115 a principelui.
Cu aJte cuvinte, o buna parte a informatiilor
cuprinse in Folewl Novel sunt prelucrari ale unor date
ce puteau fi de interes pentru domnitorul ciiruia ii erau
destinate. Caci dacii voievodul comanda - poate. pen-
tru tnceput, Ia indemnul stolnicului Cantacuzino -
calendarele venetiene. nu este mai putin adevarat ca el
one. Ever more often, during the l6th-1701 centuries,
princes and noblemen - from the kings of France to
the tsars of Moscow: from the «architecture amateurs»
at the time of Elizabeth of England to the contempo·
rary Orthodox prince Petru Cercel; from the Pera resi-
dents of Constantinople to the Ottom11n Empire rulers
- all would use architects and models from 1taly in
order to raise for themselves plush residences that
would help promoting their social status.
Maybe the only unifying gesture of a Europe
that sheltered fundamentall y differing civilizations.
this extraordinary dissemination of the nobiliary resi-
dential programme was sustained. among other things,
by an extremely ample circulation of a rchitectu ~
«books>> and «treaUses» 166. Authored by reputed
architects, they were also the source of inspiration for
the more modest «pattern-books» - actually albums
containing both copies of p.lans of buildings that had
become famous, and their interpretations, drawn up by
masters looking for orders or by local entrepreneurs.
The circulation of such ~<pattem-books>• in
some areas of Europe, as the offer presented on the
future user's request, is relatively known167. By auen-
tively con·oboraring some of the drawings still pre-
served with the correspondence regarding the building
of residenlial compounds, and highlighting the dif-
ferences between the «model» and the resulting
buildings, we can infer the major contribution of
the person who ordered the building raised in ma-
king the architectural decision 168.
***
A sugge-stive parallel to the processing of mo-
dels come from the same world or the Italian penin-
sula is offered by the no less significant domain of
Forecasts or Calendars 169.
Widely disseminated during Brancoveanu's
age. such Almanacchi Yeneti 170 were in fact astrologic
foretellings made, probably. on the order and, anyw·Jy.
for the use of «illustrissimi et eccelentissimi si!!nori»
- like «Giorgio Comer» or «Polo Dona de S.
Leonardo Procuratore» -, or important characters like
«sua afteu.a sereni.uima il signor principe Eugenio di
Savoja», to whom they were dedicated 171• Brought to
Walachia either in fom1 of «lzmario» an annual astro-
logical calendar. or in the equally used fom1 of
<<Aimanacco perpelllo», where «the calendar dara and
other ones are valid for several years, with discontinu-
iry»112, they were used for prince Constantin
Brancoveanu's calendars.
Known as Foletul Novel, drawn up mosUy -
in 1693-1704 by loan Rom1inuP 73, the Romanian
<iforecasrs» are not only translated copies of writ-
ings or «owsranding ira/ian asrrologer.1·>> 114, but also
interpretations, «changed for the very own use» m of
the prince.
In other words, much of the information included
in Foletul Novel are processed data that could be of
interest to the ruler for whom they were meant Since
ir the ruler ordered maybe, for the beginning. advised
by foreign affairs minister Cantacuz.ino the Venetian
:s. ii cere intocmitorului variantelor romanesti ale acesto-
to ra a aleaei\ i a decodifice infomlatiile •<11111/Ja/
acelia pre f,,{eles nmuine~te» 116.
o-
li· ***
IS Cum bine se poate deduce. copul ace tei
m parnnteze de domeniul i toriei litcmre e te acela de a
at alatura douli manifeMiiri de culturl.i datomte lui
BriincO\·eanu. $i dadl. de Ia Almanacchi Veneti.
Je printr-un procc. de intcrpretarc ~-a ajuns. Ia dorinta
L\. expresi'i a domnitorului. Ia Folelul N01·el - opera
;j. socotita a con titui « 1111 intreg capitol... of istoriei cul-
lllrii romline~·ti» 171-. poate di un proces asemiinator de
~­
re asimilare ·electiva. trecuta prin filtrul unci deja con·
!d slituite cxpcriente, dar si prin acela al deciziei cti-
or wricesti, asc 11 pctrecut $i In clabornrca a ceca ce va
OS dcvcni sintc:w brancovcncasca. manLfestatii cu
ld predileclie in cadrul arhitecturii rezidentiale.
Jy in accst context trebuie privite. credem.
izbitoarele a em~n~ri ale inovatiilor pe care Branco-
in veanu le aduce deja emancipatei resedinte cantacuzine
1e cu tcxtcle- si in parte cu planurile- continute in cele
n- Patm ciir{i de arltitecturii ale lui Palladia. Suntem ast-
e· fcl condu~i Ia prcsupunerea di principele -a folosiL
lg daca nu de lucrarea acestuia, de albume iru.pLrate din
f. opera 'icentinului. adaptfuld - conform uzantelor
Jg vremii. dar si propriei ale vointe - modelele oferite.
of lata cateva elememe care atrag atentia in acest
a- ens.
* In Cartea o doua a lui Palladia se trateaza
despre fel ul cum trebuie ales amplasamentul unei case
o- nobiliarc de tara, despre necesitatea ca arhitectul ·a
n- caute 1(('/1/0atii ravna ~i osteneala ... 1111 toe confortabil
of ~·i stiniitos. Daa1 se m pmea construi pe 1111 rliu 1·a fi
,1·i fmmos si practic... apa ln.w1.yi ar fi folositoare tre-
's bllrilor casnice ca $i animate/or. r,, afanl de fapwl ccl
ic ar fi 11111ltc1 rcicoare vara, ar oferi o fotme fmmoasii
y. priveliste... }/178. Amplasarea similara a caselor bran-
i)) covenesti - pe malul unci ape - . piird5Lrea pozitiei
s. inalte. cu rol strategic, tipica resedintelor intarite ale
(e secolului al XVII-lea, en si celor contemporane can-
di tacu7jne au basarabesti. poate fi datomta modelului
to palladiatt
()-
of * •Douci fel11ri de clcidiri SIII/I necesare Ia (arii.
uJ 1111a pentr11 loc11in(a stiipamtlui $i familiei sale si alta
U· pemru SllfJflll'egherea ,fi odiipostirea produselor ~;ani­
10 male/or de pe mo$ie. De aceea /oc111 treb11ie impiir[it
in a~a fel. inclit nicimw din dcidiri sii 1111 steo in ca/ea
celeilalte»119• Dadi pentru curtile domnitorului de Ia
10 Bucure ti. Tfirgoviste ~i Bn1ncoveni este vorba despre
I· amplificarea sau modificarea unor construc~ii ante-
rioarc, daca ansamblurile de curte de Ia Obilesti.
Samb~ta de Su si Pitcsti ne ofera inca prea putine
date. curJile de Ia Potlogi ~i Mogosoaia, zidite in
intrcgime de Bnincoveanu. aduc infOimatii pretioase
despre modul de ald1tuire a incintei. Planurile ucestor
curti indica !impede nu numni separarea cladirilor
unexelor gospoduresti de edilit:iul destinat locuintei
nobiliare, dar ~i amplasarea acesteia din unna In
calendars. it is equally true that he asked the author of
their Romanian versions to elect and decode only the
infonnation (<that makes sense in Romanian»116.
***
The purpose of this parenthe is pertaining to
the domain of literary hbtory i~. as it ma) be well
inferred. to associate two cultural munife~tations owed
to Brancoveanu. If. from Almanacchi Veneti. a
process of interpretation. at the prince·~ emphatic
wish, led to Folelul Nol'el n work con. idered to ac-
count for «n whole chapter... of the history of Roma·
nian ctdlllre» 11L, mabyc a ~imilar process of selective
assimilation. filtered through an ttlready constituted
experience and also through the founder' decision,
occured also in the elaboration of what would become
the Brancoveanu synthesis, primarily munifcsted in
the residential architecture.
Tt is in this context that must be regarded, we
believe. the striking similarities of the innovations
Brancoveanu applied to the already emttncipated
Camacuzino residence. with the tex~ - and partly also
the plans comprised in the Four Books ofi\rchitectllre
by Palladio. We arc r hu~ led to the as~umption that the
prince used, if not Palladia'!. work proper. at least
albums in pLred from hil> wor~. adju ling according to
the then customs but to hi!> own will as well - the
offered pauems.
Here are several elements that arre 1 the atten-
tion in this respect
* Palladia's Second Book deals witl1 the way the
place of a nobiliary country house has to be chosen, the
necessity that the architect should search «wilh all effort
and dilligence ... a comforwble and healthy place. II
would IJe nice and pmctic:al, if possible, w build by a
river ... the wmer itse({ would be usefid in household
chores and for animals. Apan from the fact thm there
would be fresh air in stmunertime, it u•ould also offer ll
nice sight...»m. The similar location of Briincoveanu·
house.~ -on river banks - tl1e abandonment of the ele-
vated position with a str.ttegic role. typical of tl1e forti-
fied residences of the 17th century and of tJ1e
Canracuzino or Ba~ arab contemporary ones. may have
been prompted by the Palladio model
* «Two kinds of buildings are necessary in the
cotmtl)'-side. one for the du·ellin~ ofthe master and his
family and tmother for wmching and sheltering the
estate products and animals. Therefore, the place m11st
be divided in such a way that the buildings should be
no hindrance w one another» 179• Whereas the prince·
couns in Bucharest. Targovi~te and Briincoveni were
enlarged or changed earlier buildings. whereas the
court compounds at Obile~ti , Sambata de Sus and
Pite~ti still provide scarce data, the courts at Pollogi 58. Potlogi. Dlimbovita
and Mogosoaia - entirely buill upon Brl ncoveanu 's Palatul
instruction - provide valuable infonnation on the lui Constantin Brfincoveanu,
manner of organizing the precincts. The plans of these Dcraliu de stucnrwii
courts clearly indicate not only the separation of the Cons1an1in Bnincovc:mu Palace.
domestic outbuildings from the edifice meant us a S1ucco Dclllil

59. JJoUogi, O§mbo\•ila
Palatul
lui Constwnin Brnncoveanu.
Detaliu d~ ~tucaturl
Constantin Brnnco\eanu Pnlace.
Stucco Detail
~
pozi1ia cea mai favorabila, atilt din puncn de vedere al
perccpcrii volumului. cat si din aceta al orientarii
incaperilor catre pcivel.istea fmmoasa oferita de rftu ~i
grad ina - precepte continute in opera scrisa <t vicentinului.
Mai mull. sustinerca acestei separitri a zonclor
functionale se face - asemenator de asta data cu uncle
dintrc excmplele oferite de planurile prezentate de
Palladia - si prin prezenta unui Lid ce separa curtca in
doua zone: cea prin care sc accede si care cuprinde
totodata si anexclc. si cea de-a doua. incluzand o parte
a casei si grlidina.
* Aceleasi planuri pall<tdienc releva existenta.
lara exceptie. a unui ax de simetrie cliruia i se subor-
doneaza inlregul ansamblu.
Acuzatii in mod hotarat in arhitectura maniistirii
Hurezi. simetria poate li remarcala in bunli miisurii in
planurile casei de Ia Pollogi - prima zidita de
Brancoveanu in noul <(stil» -. mai ales in ce priveste
organizarea subsolului ~i a piirtii dinspre griidina a
nivelului locuibil Desi a~ezal asimetric pe fatada
principaliL foi$orul cu scara de acces se ana to~i
in axul por~i de intrarc in incinta - pozitionare cc
poate fi citita ca o preluare a axialitatii din
proiectele palladiene.
* Loggia aceluiasi ediliciu nu este o noutate in
arhitectura rezidentiata din Valahia Dar asezarea sa in
axul de simelrie al constructiei si mai ales dublarea ei
cu o aha loggie Ia nivelul inferior. accesibila de Ia
nivelul solului. par a fi carncteristici in~']>irate din cele
Pamt ciir(i. abundand in exemple de acest fel
Limitarea loggiei Ia planul fatadei, precum si
amplasarea simetrica. de o parte si de alta a ei, a unor
mici incnperi-anexa pol f1 regasite in caleva dintrc pla-
nurile nobilelor resedinte de tura prezentate de
Pallndio 1M.
* Pozitionarea si tratarea volumului casei pen-
tru a dcveni element dominant at compozitiei arhitec-
turnle; organizarea interioarii realizatii in asa fel incat
sa permita un trai «Cat mai practic si mai comod»:
folosirea bollilor cu «hmete» si a calotelor sferice pen-
tru acoperirea incaperilor: diularea unor clemente «de
eJect» in decorarea caselor: inten~ia de malerializare a
notiunilor de fast. eleganUi. annonieiSL iatu diteva
idei ~i rezolviiri palladiene ce par sa-~i ti g~sit ecoul
in arhitectura reziden~iala promovatii de Brancoveanu.
Dadi uncle dintre aceste caractcristici sunt
incipient prezente in cadnd unor constructii zidite
anterior epocu principclui, cle par a fi legate acum
intr-un sistem coerent. intr-o gandire unitarii ce
inglobeaza si relarioneaza ansamblul si clementele
ale alcatuitoare.
Pede alta parte. in!atisarca palatelor voievodu-
lui muntean este vadit diferilii de cea a viJelor lui
Palladia.
ExplicabiJ desigur prin departarea fatn de sursa
de inspimtie. prin ulilizarea unor «Caictc» mai mull
sau mai putin fidele operei palladienc. ca si prin exis-
tenta unci deja constituite traditii mhitecturale
romanesti. modul diferit de tratare a constructiilor
nobiliary dwelling. but also the Iauer's holding the
most advantageous position both in lcrms of percep-
tion of the volume and in terms of orientation of the
rooms toward the nice sight offered by the river and
the garden, tenets included in the written work of
Palladia.
Moreover, this separation of the functional
areas is made -similar this time to some of the exam-
ples offered by the plans presented by Palladia - also
by a wall that separates the court into two parts: the
one from which all outbuildings arc entered and which
encloses them, and the other. including a part of the
house and the garde1t
* The same Palladian plans highlight the exis-
tence. without exception. of a symmetry axis to which
the whole compound is subordinated
Definitely obvious in the architecture of the
Hurezi monastery. the symmetry can be traced to a
great extent in the plans of the house at Potlogi - the
first one buill by Brftncoveanu in the new c<style» -
especially as regards the organization of the basement
and of the part of the living level that faces the garde1t
Although placed asymmetrically on the main facade,
the belvedere with the slairway still falls on the axis of
U1e gate of the precincts - a position that can be read a
borrowing the axial disposition from Palladia's design
* The loggia of the same building is not a no-
vel!) in the residential architecture in Walachia But
its position on the symmetry axis of the construction
and especially its doubling with another loggia at the
lower level. accessible from the ground level, seems to
be u characteristic inspired from the Four books thut
are full of such examples. The confinement of the log-
gia to the plnn of the facade, as well as the small utili-
()' rooms placed symmetrically on its sides, can be
seen also in several plans of the country residence
presented by Palladiotso.
* The placement and treatment of the house
volume so as to make of it the towering clement of
the architectural composition: the interior organiza-
tion allowing for an «as practical and comfortable»
living as possible; the use of the vau lts with
(<lunettes» and of the spheric domes 10 cover the
rooms; the search for <(striking» clements in the deco-
mtion of lhe house: the intention to show off the
pomp. elegance and harmonyiRI - here nrc several of
Palladio·s ideas and resolutions that seem to have
found reverberation in the residential architecture
promoted by Brftncoveanu.
Whereas some of these characteristics are pre-
sent only in embryo in structures erected prior to the
prince's epoch, they seem now to be bound in a cohe-
rent system, in a unitary thinking that incorporates ;md
connecL~ the ensemble and ils components.
On the other band. the look of the Wulachian
prince's palaces is obviously different from that of
Palladia·s villas.
E~plicable of course by the distance from the
ource of inspimtion. the use of ((pauem-books» more
 brilncovene ti poate ti ~i rezultatul interven1iei mode-
latoare <I principclui asupra «tiparului» ce-i fuse.<>e
oferiL
j Asa cum tacu ern predecesori ai iii din alte
f zone europene. ~a cum cl insusi procedase in dome-
niul Prognosticelor. domnitorul pare sa-si fi manifes-
tat cu hotarnre optiunile arunci cand. avfmd in fata
((caiete de modele» pome chiar de el comandate. le-a
modificat dupa propria sa dorinta. tran formfmdu-lc in
«b·od $i uu1surc1»1R2 pentru ispravnicii si me~terii ce
urmau ii rid ice strJiucitclc ansambluri de Ia Potlogi s:i
Mogo,oaia.
Fire~te. nu pot li negate influentele venite din
Transilvania contemporanu. cultivand inca clemente si
fom1e rennscentistc, nici posibi lele lmprumuturi din
nrhitectura Constantinopolelui turcesc. inraurita la
rilndul ei de prernergatoarele construclii bizanline, ca
~i de contnctelc constant intretinute cu lumen occiden-
tal[ Estc insii nproape o certitudine faprul di ace.~tea
s-au decantat in arhitectura valahii in pcrioada ante-
rioara domniei lui Brfmcoveanu. constituind fondul pe
care s-au putut grefa deciziile modelatoare ale
principelui.
r be impressed on.
Cur~l e brancoven~ti
An amblurile cuf'lilor brancovenesti reprezintii.
farJ doar si poatc, momentul de culme. de maxima
inflorire a arhitecturii laice culte din Tara Rorna-
neasdi. Fiinddl, dadi in evolu!ia acestei arhitecturi.
zidirea palatului lui Petru Cercel in erie un moment
aparte. daca epoca lui Matei Basarab si cea ulterioara,
de pana Ia snlrsitul veacului al XVTT-Iea. ar putea (j
camcterizata ca o ((explozie)) a construqiei de cuqi
boiere~ti pe intreg teritoriul Yalahiei -in cadrul careia
apar. ici $i colo, inlluente venite de aiurea. grefate pe
o arhitectura ce isi urma dmmul imitlirii formelor
devenite tradilionale -, in acest context deci. epoca
brancovcncasdl pare sa sintetizeze, cristali'land in
fonne proprii. experienta constructiva a veacului
Ra~onalitatca alcatuirii. cchilibrul maselor. armonia si
eleganJa formelor ~i volumelor - enuntate deja in lee-
turn ansamblului de Ia Hurezi - sunt priocipalele
caracteristici ale arhitecturii resedintelor brancove-
nesti Timp de mai bine de jumatate de secol. curtile
boiercsti vor prelua. dovcdindu-le viabilitatea. prin-
f cipiilc compozitionale si uncle clemente de morfolo-
gie ale arhitccturii laice patronate de Brancoveanll
Conccptia spa1ial5 a unci a emenea resedinte
pare sa-i fi fos1net conturnta accstuia inca de Ia 1698
- anul zidirii primei cuf'li. cea de Ia Potlogi -.conside-
rata optima, capabiHi sa rd5punda modului de viara pe
care o asemenea rescdintii trebuia li-1 serveascli.
lmbogatindu-1 totodat1i cu rJspunsul Ia dezideratele
unui trai domnesc. Dac1i duprt construirea palarului de
In Mogosoaia ( 1702 ), atat de ascmani'itor cu eel de Ia
Potlogi. s-ar mai putea punc In lndoialii intenlionnli-
tutea gcstului conslructi v al lui Constantin Branco-
veanu, rcluarea deliberatii si dccisa ;1 unor principii ~
clemente cu cnractcr de noutate In epoca in cadrul
or less truthful to Palladia·s work as well as by the exis- < ,
tence of an already con tituted Romanian architectural
tradition. the different treatment of the Brfulcoveanu
tructure may be also the result of the prince's active
intervention on the «pauem» offered to him.
Like some of his predecessors in other Euro-
pean areas had done. like he had done himself with
the Forecasls, the ruler seems to have stiongly stated
his choices when, having before him the ((pattern-
books>'. maybe ordered right by himself. he changed
them to fit his own wi.h, turning them into modelsl81
for the managers and masters that would build the
respl.cnding compounds mPo1logi and Mogosoaia.
Naturally. we cannot deny the influences come
from contemporary Transylvania that . till cultivated
Renaissance elements and forms, or the possible bor-
rowings from the Turkish Constantinople architecture.
influenced in tum by the preceding Byzantine con-
structions, as well us by tl1e permanent touch with the
Western world However. it is almost sure that tbey
were assimilated in the Walachian architecture in the
period prior to Brnncoveanu's rule. making up the
stock on which the prince's modelling decisions could
Brancoveanu's Courts
The compound!~ of Brancoveanu ·s courts
undoubtedly account for the climax of the thriving of
the cultured ecular architecture in Walachia For.
whereas in 1he evolulion of this architecture Petru
Cercers palace marks a particular moment, whereas
Matei Bas arab's epoch and the sub equent one. until
the end of the 17th century. could be termed as an
«explosion» of the building of nobiliary courts across
Walachia - within which alien influences show up
here and there. impressed on an architecture that fol-
lowed ils wuy of imitalion of patterns that had become
traditjonal -, well, in this context, the Brancoveanu
epoch seems to synthetize, crystaUiz.ing in own fonns.
the conslructive experience of the century. The ratio-
nality of the organization. the equilibrium of tl1e mas-
ses. the ham1ony and elegance of forms and volumes
- already mentioned on the presentation of the Hurezi
compound - are the main features of the arcbitecture
of Brfmcoveanu's rc idences. For more than half a
century. the nobiliary courts would employ. proving
their viability. the compo ition principle and some
elements of morphology of 1he secular architecture
promoted by Brnncoveanll
This spatial conception seems to have been clear
in his mind already in 1698 - the year of construction of
the first court, at Potlogi - considered as optimal. apt to
meet the life style that such a residence wru expected 10
serve, also improving it with the answer to the aspira-
tions. of a princely living. If after the building of the
palace at Mogo~oaia ( 1702), resembling so much the 60. Potlogi, Damhovi~'l
Potlogi one. the purposefulness of Constantin Palatul lui Constnmin Brancovcunu.
Bruncoveanu·s constructive gesture could still be ques- Detaliu de stucruunl
tioned, then 01e deliberate and lim1 use of principles and Constantin Briincovcanu Palucc,
Stucco DeUlil

61. PotJogi, Dfunbo,ita
P.dlaiUIIUl Constantin BriincoYeanu.
~-comtic in piatrJ
ConMnntin Brfulco,eanu Palace,
Caf'\ed Stone Decomtion
®®
unor curti mai vechi - cum ar li Ia Bucuresli. Targo-
viste, Doice~t i - duce Ia concluzia ex:istentei unui
model conceptual care va fi dirijm activitatea de ctitor
a domnului.
Pure a fi vorba de consacrarea In cadrul arhi-
tecrurii rczidcntiale a unor valori legate de o locuire
rafinata ce implica fast. ceremonial. eticheta - con-
dudind Ia o utilizare deloc statidi a spa~i ilor cu11ii. Se
poate vorbi probabil de trasee prestabilite, cu opriri si
clc dinainte hotariite, to care echilibrul dintre decoruJ
interior si eel exterior este in comioua schimbare. in
care surpriza unci noi imagini este atenuata de armo-
nia forme lor si a culorilor - unsee niciodata monoto-
ne ~i care structureaza intreg spa1iul delimitat de
:ddurilc incintei.
De Ia distan1ii. Lidurile inalte si rnarea poartli
semnaleaza. pentru alaiul domnesc pomit in ~<:prim­
blare». locul popasului. Odatii deschisii poana.
principelc sau vizitatorul trebuie sa poata sa surprinda
~i sa fie surprins de calitiilile arhitecturii cladirii prin-
cipale - casa sau palatul - ce se oferii dintr-o data
privirii
Ridicnta pe pivnitc inalte, casa Brfulcoveanului
este o «casu spre care se urea». Existenta. a~a cum am
vl'i.zut, si in arhitecturn cpocilor amcrioarc, inlilrarca
casei - accentunta acum- pare sa fie rodul deciziei de
a lungi acest purcurs ceremonial cu dublu seus, to care
scara si foi~orul reprezintii mai mull dec at o rezolvare
a acccsului. Elc par a constitui tmpreuna un ansamblu
«de aparat>>strict necesar unci riguroase eticbete de
care prineipele nu se dezice nicidlnd Astfel, domnul
il asteapta in ca~a de Ia Bucurc~ti pe lordul Paget, ce
cstc •suit... prtuii sus in cas(i» de caLre coconii
domncsti. i(ptuui s11s Ia foi~or ad11ctmdu-/ pre scara
cea mare»IM3. Vizita domnului Ia casele coconilor-
•palaml fiber» in care este gazduit acelasi Paget 18-1_
se desfllsoar;i dupa un all ritual legal de aceleasi ele·
mente arhitceiUrale. Lordul Paget. «carele Ia scara
( treapta - n.a) cea mai de jos ie~·ind11 inaintea miiriei
sale». urea impreuna cu domnul in casa. pentru ca. la
incheierea vizitei. Paget - personaj important. dar evi-
dent de rang mai mic - sa-l conducii pe Brflncoveanu
«po,qor(illdii-.WI» impreuna ~i asistfind Ia plecarea
dilare a domnitorului'85. Suiri $i coborari usupra
detnliilor carora cronicarul insista186• sugerand un ritu-
al respectat cu stricte1e, in cadml diruia scara si
foisorul constituie suportul material. scenografia.
lncaperile nivelului Jocuibil coruaituie si ele
posibile popasuri pe trnseul unui parcurs interior ce se
deruleaza concomitcnt cu schimbarca dccorului exte-
rior. mercu altul in func1ic de fatadele spre care sunt
orientale inciipcrile. «Din ftifli se deschide as11pra 1mei
griidini mari $i aripa dreapti1 dli imr-a/ta cera mai
micii... •. scrie secretarul lui Paget despre casa in care
sum gfizduitil87. sugernnd aceastli continua schimbare
de priveliste.
Loggia. sau «foi~oru/ eel mare despre
griidinif>; ISR, ordonuta ca si foisorul de acces de fru-
moase arcade sus1inute de coloane de piatrli. este un
nou loc de poaps. «foe desflitm». ce pare sa li inspirat
elements U1a1 were new :11 the time. within older courts
- such as those in Bucharest. Targoviste. Doicesti -
lead 10 U1e conclusion thut a conceptual model must
have guided the ruler's activity as a founder.
It seems to be about the consecration within the
residential architecture of values associated with a
refined habitation emailing pomp. ceremonial. etiquette
- leading to a dynamic use of the court spaces. There
may have been scheduled itineraries. with scheduled
halts. in which the equilibrium between the interior and
exterior environmem i~ pennanently changing. in
which the surprise of a new image is cushioned by the
harmony of forms and colours - itineraries which were
never monotonous and upon which the whole space
enclosed in the precinct \v..tlls was structured
From a distance. the tall walls and the big gate
announce for the «trarelling» prince!) suite the halting
place. Once the gate opens. the prince or visitor must be
given the possibility to see and be surprised by the qua-
lities of the architecture of the centml building - the
house or palace- which offers itself to the sight at once.
Raised upon high cellars. Brincoveanu's house
is a «house to which one goes up». Existing, like it was
showed before, also in the architecture of the previous
epochs, tl1e elevation of tl1c house - even more empha-
sized now - seems to have been prompted by the deci-
sion to extend this two-way ceremonial passage. in
which the stairway ;md the belvedere represent more
than a solution for U1e access w·c~y. They seem to make
up together an «apparatus» ensemble strictly necessary
for a rigorous etiqueue which the prince would never
give up. So. the ruler waits at his home in Bucharest for
lord Paget. who is c<seett ... 11p m tire house» by the
princely offspring. «to lite bell~edere they led him up
tlte big stairs»18>. The ruler·s visit to his children·
houses - «the spare house>>where the same Paget was
accommodated 18-l. proceeded according to another ritu-
al associated with the same architectur..tl elements. Lord
PageL «who, coming to welcome his Highness by the
lowest stair». went up together with the prince to the
house. whereas at the close of the visit. Paget - an
important character. but obiviously lower in rank - saw
Briincoveanu out, «gelling down» together with him
and watching the mler ride away1M5. The chronicler
insists on these goings up and down and their details186.
suggesting a ritual strictly observed. within which the
stai.Iwc~y and belvedere make up lbe material support,
tbe stage setting.
The rooms at the living level are. they too. pos-
sible stopovers along an indoor itinerary that runs con-
comitant with the change in the exterior environment,
ahvc1ys different according to the facades to which the
rooms are oriented «The from opening oven•iews a
big garden and the right wing leads to an01her one. a
/irrle smaller...», writes Paget's secretary about the
house where they were hostedlli7. suggesting this per-
manent change of view.
The loggia, or (<the big belvedere overlooking the
garden»188. lined just like the acces.~ belvedere by fine
arcades supported by stone columns. is another halting
notiunile de <.cibal'li>~ ~i «pril•eafti»189• Loggia. impre-
una CU foi~orul. «liSigur(t C0/11111/icarea Cll 0 /UIIItr£i
rarionali:ma, redusci Ia comli(ia de grlidinti» 190_
Grndina de pre care cronicarii si clil:itorii nu uita sa
amime:llica. prczen1a oelip~ita din compunerea cunilor
br.incovene~tjl9l. Ea «oferii dupii cum vrei umbra ~;
frwd$ ,.erde»l91_ Chiar faptul eli Ia Potlogi si
Mogo oaia grndina e tc itOiata printr-un zid de resrul
curtii - izolare cc poate sa li fast inspirata din arhi-
tcctura palladianli - vorbc~tc de Ia sine despre intere-
ul pc care il acorda Brancovcanu acestui spatiu.
Grndina trebuie sii lie orient:uii pre o apa curglitoare
sau un hele~teu. pre care sli-$i indrepte p3$ii.
oprindu-se poate Ia foisor, domnul $i apropiatii iii.
Ciici foisorul - de data asta o construclie izolata. un
all "foe de privcalii» - este ~i el un loc de popas, de
sfaturi de taina sau chiar de pranzit in zilele
dilduroase. Un asemenea cdicul. construqie ordonata
de coloane si arce. ordonatoarc Ia randul ci a naturii
inconjuratoare si a pcrcepcri i ace teia. apare pcntru
prima datl't in arhitectura brnncoveneasca Ia casele de
Ia Pitesti ale voievodului 193• Etapa a unui po ibil par-
curs. foisorul curtii de Ia Tiirgoviste. acel «ciudat» 19~
•cltiO$C de pi{lfrii»195 ce inlocuia un mai vechi foisor
de lemnl%. pare 5-i fi imprcsionat pc contemporani.
Con truirea si Ia curtea din Bucure ti a unui foisor «CII
llalpi de piwrii siipa(i. /ucru foarte iscusi1 $i mimmm».
impodobit cu «~Jtgnirele mat pe dinltilllllrtt cat $i pti
dinaforii»197. au a celui - unicul plistrat pana azi-de
Ia Hurezi accentueazli ideea unor componente obliga-
torii ale programului re$edintelor domnesti.
Spre frumoasele pivnitc cu tfilp central si aree
dublouri ce sus1in patru mari calote sferice- spa(iu cu
proportii neblinuit de fru mouse. sugerand folosirea sa
nu numai ca Joe de pastrare a vinurilor - se coboarli
scara gfuliciului. Un alt traseu. un nit sens. ce tine
poate mai mull de via1a «de casu» a domnitorului.
Si nu In uhimul rand trebuie men1ionatli
prezenta, in afara incimci principale, a biseridi, llicas
de cult spre care se lndreapta - in zilele de slirbatoare
si Ia orele slujbci - alaiul domnului.
Asa cum ugereaza dindurile de mai us. e
poate alciitui un inventar al constructiilor si chiar al
elemcntelor lor componentc tipic pcntru cuf1ile brnn-
covenesti. A tfel. casa - cu scara. foisor si loggie:
pivnitele inalte cu stUip central si calote sferice - .
gradina - cu helf_$leul ~i ro~orul -. biserica. precum
~i anexelc (depozitele. grajdurile, cuhnia. baia ) unt
clemente ce se rega~e c in compunerea cuf1ilor
voievodului. Cat de pre poziliile lor relative In cadrul
an amblului. acestea sunt si ele in mare parte asema-
niiloare de Ia o curte Ia alta. $i atunci cand. in cadrul
unci cut1i mai vechi devenitli proprietatea lui Voda.
Jipse.sc clemente din invemar au asezarea lor e
~nest1buitci» . cut1ilc sunt «prefoc/1/e» dupii modelul
promovat de domn 198. Voin1a lui de a construi un
decor adecvat vielii de fast desfllsurata dupa anume
canoane nu se lasa niciodata infranta
place. «a deliglujitl place». that seems to have inspired
the notions of «leisure» and «comemplmion»189. TI1e log-
gia. together with the belvedere. (<ensure 1he cOIIIImmica-
rion 1rith a rationali::.ed IUIIIWe. reduced to 1he com/ilion
ofgorden» 1oo. Agarden which the chroniclers and travel-
lers never forget to mention, alway~ pn..~nt in the com-
position of the Br.incoveanu courts191• It «offers shadow
and greenfolliage as you please». 192 Even the fact that at
Potlogi and Mogosoaia the garden i. fenced by a wall
from the rest of the court - an isolation that might have
been inspired from the Palladian architecture - speaks by
irself of Lbe interest shown by Briincoveanu in this space.
The garden must be oriented to a river or pond. to which
the prince and his uite could stroll. stopping maybe at
the gazebo. For, the gazebo. this lime an isolated struc-
ture, another <<place of contemplation» - is another place
for a halt. secret talk or even for having lunch on the hot
days. Such an edicule. a stmcture ordered by columns and
arches, which, in tum. imparts order to the SlllTOUnding
nature and its perception. appears for the first time in tl1e
Brfulcoveanu architecture at the prince's houses at
Pitestil93_A stage of a possible itinemry. the gazebo of
the court at Tiirgovi te. that «strange>• 1'J.l «swne kio.llo>.l95
Lbat replaced an older wooden pavilion 196, seem to have
impressed the contemporaries. The building at the court
in Bucharest too. of a gazebo (<with can•ed stone sup-
pons. a 1•ery refined and womleiful thing», dccomted
with ,c,m/1 p<Timing both inside and owsidtm197• or of the
gazebo at Hure1j - the only one prc.<.ervcd to this da) -
emphasizes tbe idea that such a structure \V'JS a regular
presence in the programme of princely re idences.
The cellar mouth leads down to the line cellars
with a central pier and transverse arches that upport
four big domes - a space with extremely beautiful
proportions, leading to the m;sumption that it was not
used only as a place to keep the wine. Another itineru-
ry. another direction maybe associated more with the
ruler's «dornestio> life.
Last but not least, we must mention tl1e pre-
sence. outside the main precincts. of the church. the
place of worship where the prince· s suite goes daily.
at the service hours.
It appears from all this that one can draw up an
inventory of the structures and even of their elements
typical of the Brnncoveanu couns. So. tl1e bouse -
with stairs. beh·edere and loggia: the tall cellars with
central pier and spherical domes - . the garden - with
the pond and gazebo -. the church. as well as the
outbuildings (stores. barns. kitchen. bathhouse) are
elements that make up Lhe prince· courts. As for their
relative positions within the compound. they are to a
great extent similar in all courts. And when. in an
older court tl1at later on became the ruler's property.
some clements were missing or «misplaced», the
courts were ~<changed» according to the model pro-
moted by the ruler19R_ His will to build a setting lit for
the life of luxury proceeding according to specific
rules was never bent.

62, 63, 6-1. Potlogl. Dlimb01ita
Pa.hnul lUI ConMnntin Briincovcanu
Coruaanun Bnincoveanu Palnce
Plan n1 ~ un·:m
U l\\<:1' lcwl plan
65.
Foi~rul palatului ( dctalm l
Tile Pn.lacc Bclvc!lcrc (detail)
@)®
Modclul Potlogi
Suportul arhitectural al accstui mod de vial!i se
bazea1Jl Ia rfindul sau pe o conceptie spuliulfi bine
dclinita. ce apare cu pregnanta in intreaga alclituire a
ansamblului de Ia Potlogi. prima ~i cea mai semni-
ficattva rcalizare a lui Constantin Brlncoveanu in
domcniul retidential
Marca incima rectangularii de Ia Potlogi
dovede~tc indepanarea de forma neregulata ~i total
inchisa. ca ~i de amenajarile defensh·e ce caracteri7.au
ansamblurilc curtilor din epocile precedcnte. Curtea
principelui, inconjurara de ziduri pc trei dintre laturi,
se deschide pc cea de-a patra laturl! spre o apa
curgatoare.
Casu Briincoveanului. foarte amplli - palalul
7idit Ia 1698 - este de acum deliberat dc!\prinsa de
zidurile incintei. Ea constituie. prin amplasare. pro-
gr.un ~i tratare arhitecturalii. centrul de intcres. domi-
nanta ordonatoare a imregului ansamblll Asezarea
con~trucJiilor anexe pe latur.t cu intrarea a primei
curti. relativ !\imetric de o parte ~i de alta a portii.
rezolvarea lor in volume simple. de plan rectangular,
dovedcsc grija de a nu altern snu concuru imaginea
casei. Separarea cu un zid a casei si grlidinii de rcstul
ansamblului marturiseste o datu in plus lncercarea de
a izola ~i de a pune in conditii deoscbitc casa, cu
runqiunea sa de locuire reprezentativli pc care trebuia
sa o indeplineasdi lzolata vizual de inaltul zid al
incintei principale. biserica ridicata cu saisprczece ani
mai dcvreme se subordoneaza si ea pretentei impo-
zante a palatului domnesc.
0 5
Departc de a fi o copie a arhilecturii promovate
Lw.U de Cantacutini. casa de Ia Potlogi intnme~tc calitllli cc
trebuie reliefate. Dublul lmct. existenta unci sali cen-
trale distribuitoare. foisorul ~i loggia. tipurilc de bolti
utiliLate in ucoperirea nivelului ~uperior, precum si
decom1ia de swc ~i pialrii sculptata pot proveni
intr-adevlir din arh.itectura caselor cantacuzine. Fclul
in care ace~te clemente intrli in aldituirea palatului de
Ia Potlogi denota insa urm5rirea unci linalitilli de cu
totul alla facruni, ce pare sa se bazezc pe o conceptic
spaJiala modern11 - aceea de continua corelure a unci
complcxe rczolv<1ri funcWonalc intcrioarc cu lmaginea
cocrcntfi si cxpresiva a volumului casei. In care
ordinea si simetria, aanonia proportiilor sum reguli ce
c cautll a li respectate.
incadmrea indiperilor casei intr-o forma de
plan stmpla. dreprunghiularn. larJ ca acea.~ta sa impi-
etcLe asupra bunei functionliri interioare: plasarea lor
imetrica Ia primul nivel. ca si In partca din!~pre grlidi-
nli a nivclului superior. crearea unui volum coercnt, cu
fatade a caror valoare rezida mai ales In rapoartele
obtinute lntre in~l~ime si !Uti me. intrc zonelc de plin si
bandoul orizontal al goluriJor ferestre lor: asezarea
ordonata. ritmata a golurilor pe fatade. corespunzand
evident unci gandiri arhitectumle ce stabilea corecte
relaJii intre necesitatea de iluminare a spa~iilor inte-
rioare si raportul plin-gol al imaginii exterioare:
prezenta. pe liecare dintre cele patru faJade a cate unui
elemem - subansamblu arhitcctuml - cu rol de accent
The Potlogi Pattern
The architectural support of this way of living
rests in turn on 11 well-defined spatial conception that
is obvious in the whole organization of the Potlogi
compound. the tirst and most significant residential
achievement of Constantin BrfuJcoveunu.
The great rectangular precincts at Potlogi stand
for a departure from the irregular and complete!)
closed form a.~ well as from the defensive character of
tl1c court compounds in the previom. epochs. The
prince's court. enclosed by walls on three of its sides.
opens on the fourth side toward a river.
Brfincoveanu's house. very ample- the palace
built in 1698 - is delibemtely not allached to the
precinct wall~ By its position. progmmme and architec-
tural treatment. it is the center of intefe.'>t. the towering
element that dictates the organization or the whole
compound The position of the outbuilding~ along the
side with entrance of the first yard, relatively sym-
metrical on either side of the gate. their :.imple vol-
umes on a rectangular plan prove the concern that this
building:. should not alter or compete with the image
of t11e house. The fencing of the house and garden
from the other parts of the compound by a wall
betrays once more the intention to isolate the house
and place it to advantage. with il~ representative habi-
tation function. Even the church. built ~ixteen years
earlier and screened b) the wall of the mam precinctS.
is subordinated to the commanding presence of the
princely palace.
Far from being a replica of tbe architecture
prommcd by the Cantacuzinos, lhc house at Potlogi
has features thut need emphasis. The existence of a
centml distribution hall, the belvedere and loggia, the
types of vaulL'> used for the covering of the upper
level. as well as the stucco and carved stone decora-
tion may have their origin in the Cantacuzino archi-
tecture. The way these clements are used in the com-
position of the palace at Potlogi however betray a
quite different purpose. that seems 10 have relied on a
modem spatial conception - meaning the continuous
correlation of a complex interior functional solution
with 1he coherent and expressive image of the volume
of the house. in which the order and symmetry, tl1c
harmony of the proportions were the rules to be
observed.
The disposilion of the rooms or the house in a
simple. rectangular form. which still secured a proper
interior functioning: their symmetrical disposition at
the first level and in the part overlooking the garden
of the upper level: the creation of a coherent volume.
with facades whose value restS especially in the
height-width ratio. in the relation between the plain
zones and the horizontal band of the window hollows;
the rhythmic disposition of the hollows on the racadcs.
obviously corresponding to an architectural thinking
that establi!>hed corn~ct relations between the necessi-
ty to let the light inside and the plain-hollow ratio of
the exterior image: the presence. on every one of the
four facades of an element with a decorative role yet
decorativ, dar si de relufionare directli cu exteriorul;
contrastul maxim rezultnt din ~ezarea intrc plinuri a
loggiei duble ce nu depa~e~te dreptunghiul planului;
echilibrul pe care il stab ile~tc volumul foisorului pe
fa\Jida principalii: utilizarea In pivnita plincipala a
unui isrem de boltirei99 ce duce nu numai Ia ob~nerea
unei spatialita~i remarcabile a acestei incaperi. ci si Ia
inaJtarea spectaculoa a a lntregului edificiu - toate
acestea sunt caracteristici ce definesc arhitecrura casei
de Ia Potlogi ca diferita de cea a precur orilor lui
Brancoveanu.
Discretia decorului In stuc ce omeaza fatadele
sub corni~~. ca si delicatetea elementelor sculptate In
balustradele si elansatele coloane de piatrii dovede.sc o
rafinare a gu tului, stiipanirea unui limbaj morfologic
ce nu-si gaseste ega! dedit in anterioara experienHi
construcliva a ansamblului de Ia Hurezi. ~i tot ansam-
blul de Ia Hurezi pare sa fi sugerat utilizarea arca-
turilor in ob[inerea efectului de transparenta pe care il
regasim Ia loggia si foi~orul palatului de Ia Potlogi
providing also the direct relation with the exterior; the
utmost contra<5t resulting from the position, between
plain zones, of the double loggia that is confined to
lhe rectangle of the plan; the equilibrium established
by the volume of the belvedere on the main facade;
the employment in the master cellar of a vaulting sys-
tem199 that results nor only in a remarkable spatial
composition of lhal smtcture, but also in a spectacular
elevalion of ttue whole edifice - here are the charac-
teristic features of the Pollogi architecture as differing
from that of Brancoveanu ·s forerunners.
The subtle stucco decoration that omates the
facades under the cornice. as well as the delicate
carved elements on the rails and the slender stone
columns prove a refinement of ti1e taste, the mastering
of a morphologic language matched only by the pre-
vious con tmctive experience of Lbe Hurezi com- 66.
pound The same flurezi compound seems to have Loggia (dcudiu)
been the source of inspiration for the use of arcades in The Loggia (detail )
order to obtain the transparence effect of lhe loggia
and belvedere of the palace at Potlogi.
66.
67. 68.
67. Cuhnia
The Kitchen
68. Cunea
lui Constantin Brllncoveanu
The Coun of
ConMantin Briincoveanu
 ®®
.\-_
...-=
""""'~-
~ Raspandirea modelului Potlogi
=~--<
·:~ ,
. '·.,...
-~-
~14:;_ ...... • r ·-·- lmpactul produs asupru boierimii limpului de
~·. "!\ alcatuirea cuttij si casei de Ia Potlogi trebuic sa fi fost
foarte puternic, de vreme ce modelul este preluat cu o
repeziciune uluitoare chiar pemru zilele noastre.
Lncinta rectangulara ce tnchide o suprafa1a mare
de teren devine tipidi pentru oricare resedinta
boiereasca sau domneasca, de oras sau de tara. !neon-
jurat «Cit zid»2fX1 sau cu «trttllchiuri groase ,1·i rot1mde
de stejar, l11alte de sase pemli Ia sapte brate. si mat de
* ...-:z::-'- bi11e lmbinate lntre ele, di pot dura treizeci ~·i patru-
69. Crniova, Dolj zeci de cmi»201• a.nsambluJ unei asemenea resedinte va
contine de-acum casa. intr-o pozi~ie centrala ~i ono-
Curtca Biinici rantiL si va li separat in curte - partea din fala a inc-
The Governor Court
imei. conlinand anexcle gospodaresti - ~i gradina.
Miirturii ale unor dilatori. precum si constructii ca.re
au supravie!uit pana in zilele noastre ne dau masum
l!xpansiunii rapide a modelului de organizare a curti i
stabilit Ia Potlogi.
Astfel, tn 1699, doar un an dupa zidirea palaru-
lui brfincovenesc de Ia Potlogi, se rid ica Ia Craiova
casa .Biiniei. ocupand o pozitie ccntralli tn cadrul mare-
lui dreptunghi delimitat de zidurile incintei. AlipiHi
acesteia se afHl incinta mai modestli a bisericii de curte.
In 1700, marele ban Cornea Brailoiu isi !'ace
«temei» Ia Viideni. Gorj, <(Cit cc1se de piatf·ii ,fi pivni1e
~ ~- -----. ior de piatrcl. ~·i cu bisericti ~i alte drese ce trebuiesc
io
I I1I imprejuruf casefor» 2m. Tmaginea curtli. redata de
I
I
l
I
sapiiturile arheologice, aminteste surpinz1itor de mo-
!
I
D L delul de Ia Potlogi.
I Domnitorul insusi reia. in 1702 Ia Mogo~oaia,
II llfov .. acela~i tip de organi7..are a a.nsamblului, iar un a.n
I
I
I
I
Do mai Hirziu cumpara ~i incepe sa transforme dupa pro-
pria sa concep~ie spatiaJa vecbea curle din Doicesti,
I Prahova,203 a dl.rei con.structie se in.cheie probabil Ia
LJJ.J40 170620-l. 0 casii noun va ti ll$ezat1i in centrul incintei
de zid. un helesteu va intregi decorul cUitii, iar biseri-
70. Viideni, Gorj ca din afara zidurilor va completn in final tntreaga
alcfuuire205.
Curtea lui Cornea Brliiloiu
Cornea Brlliloiu Court in anuJ z.idirii palatului de Ia Mogosoaia.
Edmund Chishull remarca prezenta in Bucure~ti. in
jurul curtii domn~ti. a unor < (Cttse mai lmne». avand
«Cilr{ile ,~i gradinile fntotdeauna foarte 'intinse. lmprej-
muite cu mmchiuri lntregi de stejar, a,sezate dt1 se
pollle de aproape unele de altele»106. in 1708,
~~~on ieromonahul lpolit Yisenski vede tot in Bucure~ti
«palate ji'tonoase» ~i «mltlte curJi lnconjurate de
zid»W7. Secretar domnesc intre 1710 ~i 171 6, Anton
[JY Mada del Chiaro relateazii ca fiecare casa din
Bucuresti are «curtea ei cu buciitclrie ~i grajd $i
D8\£HBR ~ ,--- deosebit, grtidi11a ei cu diferi(i pomi»2o( sugerfind
prin aceast:ii descriere reluarea modelu lui de Ia
/
~0
--=-==-50 Potlogi Ia re~edin1ele de ora~ ale boierimii. «Nu
existti palm lwieresc Ia rar£1, S0/111 -,~i aihi1laCIII Slllf
dataror de pe,ITe»109 , remarca acelasi autor. Sunt deci
acom case boiere~ti ce pot aspira Ia numele de palat.
7J. Mog~oaia, Ufov iar aldiruirea curtilor acestora cuprinde elementele
Curtea lui Constantin Brancoveanu deja consacrate de Brancovca.nu iin arhitectura
111e Court of Constantin Briincovennu r~edintelor sale.
Dissemination of the Potlogi Model
The impact of the court and bouse at Potlogi on
tbe tl1en nobility must have been very strong, since the
model was taken over with an amazing rapidity even
for our days.
The rectangular precincts enclosing a wide area
becomes typical of any nobiliary or princely resi-
dence, in town or at the country-side. Enclosed ~<witlt
wal/»200 or with «thick and rou11d oak tm11ks, sLr-to-se-
ven arms tall, and so ll'ell joined tltattltey can las/Thir-
ty aiUI forty years»20 '. the compound of such a resi-
dence would from now on include the house, in a cen-
tra.! and commanding position, and would be sepa.ra-
ted into the yard the front part of the precincts, con-
taining the outbuildings and the garden. Testimonies
or trdvellers as well as structures that have survived to
this day give Ul> the measure of the fast expansion of
the court organiZ<IIion model set at Potlogi.
lu 1699. only one year after the building of
Brancovea.nu's palace at Potlogi. the governor's house
was built at Craiova. that occupied a central position
in the big rectangle enclosed by the precint w·dl.ls. The
smaller precincts of tl1e court church were adjoined toiL
In 1700, governor Cornea Br;tiloiu «set/led>> at
Vadeni. Gorj, <<witlt stone houses and also stone cel-
lars, and with church and other facilities necessOI)'
around the lwuses» 102• The image of the coun.
revealed by archaeological digging. is surprisingly
similar to the Potlogi model.
The prince himself would use the same type of
organization of the compound in 1702 at Mogosoaia.
llfov. and one year later he bought and started chan-
ging the old court al Doice$li , Prabova.203 according to
h.is own spalia.L conception; its building was probably
completed in 17062().1. A new house would be placed
at the center of the masonry precincts. a pond would
be added to the court. and the church outside the walls
would round off the whole compounu205.
In the year of construction of the palace at
Mogo~oaia. Edmund ChishuU noticed the presence in
Bucharest. around the princely court, of «better houses»
having «yards and gardens always very large. fenced
with whole oak tmnks. placed as close to one another
as possible»106. ln 1708. the prior Ipolit Vl~enski too,
saw in Bucharest «fine palace.'i"» and «111(111.)' courts
e11closed by wal/~)>2D1. Secretary to the ruler between
1710 and 1716. Antonio Maria del Chia.ro reported
that every house .in Bucharest has «its yard with
J.dtchen and bam and, apart from it. its garden ll'i/h
various trees» 208, suggesting by that description the
replicas of the Potlogi model in the town residences of
the nobility. <<There is no nobiliary palace at the coun-
try-side not to have its fish pond»2fl9. the same author
notes. So, there are now nobiliary houses that can
claim to be palaces, and the organization of their
courts comprises the elements already consecrate-d by
Bmncovea.nu in the architecture of his residences.
Probably buill at the beginning of the 18th cen-
tury. the courts of the Dudescu family ar Fnr nzao~ti ,

Zidite probabil la inceputul ve<1cului aJ XVJJJ-Iea.
curtile Dude tilor de Ia Frunzline~ti. ll fov.~ 10 si de Ia
Dudesti-Cioplca (azi in Bu cure~t i )~ 1 1. curtea
«nouii»m de In Popc~ti-Lcordeni. llfov. reiau modelul
de aldituire de Ia Potlogi. Alaturi de ace. tea pot li
citatc cUilea lui Parvu Dru!!anescu de Ia Floresti-Sto-
enesti. Dlimbo' ita ( 1724 -au 1731-1735 ):m curtea
marelui stolnic lordachc Micsune cu din Micsunestii
Mari. llfov, ( 17-l3 )213; cea a boierilor Baleni din
BaJeni, Prahov-.1. probabil rcfllcuta in spiritul epocii in
acecasi pcrioadam.
Curtile rcspcctand acelea~i principii de organi-
zare trebuic sii fi fost dcosebit de numeroase. ridicate
®11
llfov210, and at Dude$1i-Cioplea (now in Bucha-
re t )~ 1 1 . the 1<new» court!!! at Pope~ti-Leordeni. llfov.
replicated the make-up model of Potlogi. Be ides. we
can quote the court of Parvu Druganescu at Floresti-
Stoene$ti. Dambovita ( 1724 or 1731-1735 )~ 1 3: the
court of lordache Mic~une cu at Mi csune~tii Mari.
llfov ( 1743 )2P; the court of the Baleanu boyars· fami- -
ly at Brueni. Prnhova, maybe remade in the spirit of
the epoch in the same pcriodm.
0
The courts obeying to the . arne principles of
organization must have been extremely numerous.
both in town and at the country-side. built by a nobili-
ty willing to imitate, even though with more modest 0 10

means, the prince's splendid foundations. Along with L....J

Ia ora~ sau Ia I<Hii de ciitre o boierime dornidi de a
imita. chiar cu mijloace mai modeste. stralucitele
zidiri ale domnitorului. Marturic in acest sens sum.
alaturi de relntlirile epocii. numeroasele ruine sau parti
ale unor ansambluri, ca si numarul relativ mare de
the period writings, there stand proofs the numerous
ruins or pans of compounds, as well as the relatively
big number of vaulted cellars with four spherical
I
domes each, supported by pendemivcs, double arches I

pivnite boltite cu cate patru calote sfcrice prijinite pe and a central pier - a constructive solution never I
I
pandantivi. arce dublouri si ·taJp central - rezolvare applied before 1698. I
I
I
inexistentli inainte de 1698. *** I
I

***
in pnvmta rezolviirii spatial-planimelrice a
As regards the spatial-planimetric organization
of the houses. the few example preserved to this day,
I
I
L._ _____ r:
even if altered. are indicative of the seduction the
casclor. putinele exemplare pfu.trate. chiar transfor-
palace at Potlogi must have had on the contempo·
c::::>
mare. sugereaza capacitatea de eductie pe care pala-
tul de Ia Potlogi trcbuie -o fi cxcrcitat asupra coo- raries. 0 25
Built in 1700. as shown above. «tfre oft/ nobifi- L....J
temporan ilor.
llf)' palace of the govemor>>~ 16 at Viideni. Gorj. eems
Zidit Ia 1700. asa cum -a arJtat mai sus.
*''echiul palm boieresc a/ banului»2tfl din Viideni.
to have been erected upon the older «SlOne celfar of 72. Ood~ti-Cioplca (Bucnrc,sti)
Barbu Cluceruf»117 - an inference based on the exis-
Go~. pare sa fi fost asezat pc mai vcchea «pinmira cea Curtea boierilor Dudescu
de pimrli a fui Barbu Cfuceruf»211_ presupunere
tence of a vaulting system not at all typical of the Dudescu Coun
bazatii pe prezenta unui si tern de boltire deloc tipic epoch. within a compound that bears an undeniable
epocii , in cadrul unui ansamblu cc poartii o Brancoveanu mar~. The master-builder must have 73. Frunzlin~ti. Ufov
been very skillful in order to include the old cellar in
netilgMuiu1 amprenta brancoveneasca. Includerea C11nea Oude~ti lor
vechii pivnite in volumul unci case ce trebuia sa tie pe the volume of a bouse that had to be up to Cornea
Dudcscu CoLLrt
masura inaltei funclii, de prim sfetnic al domnului, pe Briiiloiu's high office as prime confidant to the ruler.
It must have been very successful indeed, since the
care o indeplinca Cornea Brailoiu, a cerut desigur
constructorului o deosebita priccpere. Reusita pare sa current traces indicate an organization of spaces of the
fi fost dcplina totu~ i . caci actualele unne indica o
bouse at Viidcni very similar to that of the Potlogi
rezolvare a casei de Ia Vadeni foarte asemiinlitoare cu palace.
cca a paJatului de Ia Potlogi.

74. Pope$1i-Leordtni, llfo,

Cunea
The Court

75. Florc,sti-Stoen~ti, Dambo\•ita

Curtea Drugan~tilor
Druganescu Court

76. Mi~unc~tii Mari, Jtrov

I0 I I I
20
I II I
ro Curtea lui lordache Miq unescu
lordache Mic~one.~u Court
 ®~

Astfel. dreptunghiul planului de Ia Vadeni
cuprinde. aliituri de vechca pivnita. pe latura dinspre
grndinli a casei, doua lndiperi situate Ia nivclul solu-
lui. ~ezate aproape simetric de o parte ~i de alta a
unuj spatiu ce ar fi putut fi o loggie sau un portic.
Amplasatii pe verticala unuia dintre :dduiile ce delim-
iteaza acest spa~iu , o coloana angajata gasita In parn-
memul etajului este o dovada in sustinerea existentei
unci loggii duble. Scoaterea Ia iveala prin cercetarea
arheologicam a fundatiilor unor foisoare si sciiri pe
celelaltc trei laturi ale dreptunghiuJui planului
accentueaza asemiinarea cu modelul brancovenesc.
Alaturarea planurilor palatelor de Ia Potlogi ~i
Mogosoaia cste sulicienta pentru a demonsrra eli aces-
ta din urnu1 respectii aproape cu strictete conccptia
planimetric-spatiala a celui dintaP 19.
The rectangle of the plan at Vadeni includes,
along with the old cellar. on the side of the house facing
the garden. f~so two rooms at the ground level. almost
symmetrically placed on either side of a space that could
ha\'e been a loggia or a portico. Placed on lhc vertiral of
one of the walls delineating thi!i space. an engaged co-
lumn found in the wull of the lloor is a proof of the exis-
tence of another loggia, overlapping lhe ground level
one. The existence of foundations of belvederes and
stainvays on the otl1er three sides of the plan rectangle.
revealed by archaeological invcstigation218. increases lhc
similarity with the Brfulcoveanu model
Suffice it to compare the plans of lhe Pollogi
and Mogo$oaia palaces to demonstrate !hat the second
almost strictly observes lhe spatial-planimetric con-
ception of the first119.

l -..;;l

LJ..uJ,J b\e- k"ic 1 plan

77, 78, 79,!10. Viideni, Gorj

.I Casa lui Cornea BrJiloiu

Comen Brlliloiu House
I

77.
78. 81.
79.
80. 82. lB.

81, 82, 83. Mog0$011ia, urov

PalalUIIui Conl>tantin Briincovcanu l'lan niwl ~upenor Plan mvl!l intcrill
0 5
Constantin Brfulcoveanu Palace Upper 1~'1!1 plan Lover le\'el plan Lu.uJ
 n hJhJ inlen r
er c:l pi n
0 menUunc specialn trcbuie fl!cu1n <!Supra zitlirii
de clitre Mavrocordali a casei domne~ti din incinta
m~nlistirii Vlic~re~ti ( 1719 ). Urmand indeaproape
principiile ordonatoare ale caselor Brnncoveanului.
pala!UI de Ia Vadire ·ti es1c inclu in volumul con tru-
it al manastirii. in plus. rc~cdinta acestor principi. ce
~-au dorit continuatori ai domnului ucis Ia Stambul.
este imbogii\itii cu o dccora(ie sculptata de o marc
\'llrietate. nemaiintalnita nici inainte si nici in epoca
uhcrioara Sobrietatea ~i stapanirea prezente in decorul
sculptat de Ia Potlogi sunt inlocuitc de famczia ~i
explozia luxuriantii a motivclor vegetate utili7.ate.
lnceputa Ia Mogosoaia. aceastd baroc1zare a decorului
ij1 glise te deplina inflorire in arhitectura palatului
domne c de Ia manasurea Vacare~ti.
Numeroa e par sa 1i fost casele cc. dupa 1698
i pana pe Ia jumatatca vcacului al XVII I-lea. au avut
en model zidirea de Ia Potlogi. Urmele rlimase inca -
ph nite acoperitc cu calote sferice, uneori aflate in
cadruJ unor construclii ce ~i-au modilicnt in timp
nlcatuirea nivelului uperior atesta schimbarea de
optic:i, modul diferit de n conccpe o rcscdint1i dom-
neascii sau boiereasca ce inccpc sa se manifcstc o durn
cu edilicarea de catre Brancovcanu a rc~cdintelor sale.
lnfluenta acestora. foartc putcrnicii in Tara
Romaneasca. dcp~c~te chiar hotarcle acesteia Ea
po:ue li constatatn Ia constructii apanimind veacului al
X\flil-lea. in Moldova. Ia casa de Ia P~ani a
Cantacuzinilor!~11 i Ia cea din Pribe~ti a lui lordache
Ruset~ 1 •
Plm nl\ d ~upenur
L'ppt!! • ~· I I
84, 85, 86. Bucur~ti
Mll.ntl.~urea, Vadlre$U,
Palatul Mavrocordatilor
The V~c~li Monastery.
Mavrocordat Princely Palace
Special mention must be made of 1hc princely
hou e built by the Mavrocordut family in the precincts
of the Vaciire.\)ti monastery ( 17 19). Closely following
the ruling principle of BrJ.ocovcanu 'l. houses. the
Vacare Li palace is included in the built volume of the
monastery. The residence of those princes. who wan-
ted to take on to Briincoveanu. 1 enriched with a
carved decoration of a big variety. never matched
before or after thal The ~obriety and moderation pre-
sent in the carved decoration at Potlogi were replaced
by the fantasy and luxuriant ewtosion of vegetal
motifs. Begun at Mogosoaia. this Baroque orientation
of the setting finds full thriving in the architecture of
the princely palace at the Vaclircsti monastery.
The houses that took the Potlogi compound ::L\
a model after 1698 and by the end of the 18th centu-
ry seem to have been numerou~ The tnlces that ~till
exist - cellars covered with spherical dome!., ~ome­
times to be found with structures that have changed in
rime the organization of the higher level testify to the
change of view. the different way of conceiving a
princely or nobiliary residence that starts being mani-
fest with Brnncoveanu 's building his residences.
Their influence. very powerful in Walachia.
goes even beyond its frontiers. It can be traced with
tructures belonging to the 18th centul). in Moldavia.
with the Camacuzino~ · house at P~cam.2211 and '' ith
lordache Ruset·s house at Pribesti ~ 1 .
87, 88. Flor~ti-Stocn~li,
Diimbovita
Casa Drugane~cu
Drugll.nescu House
P n Rl\clllll:fiOr
Lm~r l ~\d pi
0 men~iune specialrt trebuie tacurn asupra zidirii
de caLre Mavrocordati u casei domn~ti din incinla
m~nastirii Vadre ti ( 1719 ). Urmand indeaproape
principiile ordooatoare ale caselor Brfulcovcanului,
palatul de Ia Vadire~ti estc inclus in volumul conslru-
it al manastirii In plus. re~edinta acestor principi. ce
~-au dorit continumori ui domnului ucis In Stambul,
cstc imbogiititii cu o decoru~ie sculptatii de o marc
varietatc. nemaiintrunita nici inaime ~i nici in epoca
ultcrioan'l. Sobrietatea si stiipanirea prezente in dccorul
sculptat de Ia Potlogi sum inlocuite de fantcZJa ~i
~l;plozia luxuriama a motivelor vegetale utiliLate.
lnccpmala Mogo~oaia. aceasta barocizare a dccorului
i~i g(L~c~rc deplina inllorirc in arhitectura palatului
domnesc de Ia maniistirea Vi'icilrcsti.
Numeroase par sa fi fast casele ce. dupa 1698
~i panii pc Ia jumatatea vcacului a1 XV Ill-lea. au avut
ca model zidirea de la Potlogi Urrnele riimase inca -
prvnite acoperite cu calote sferice, uneori anate in
cadrul unor construc(ii ce ~i-au modificat in limp
alciituircn nivelului superior atesta schimbarea de
optica, modul diferit de a concepe o re~edinta dom-
nen!icli sau boiereasdi cc inccpe ase manifeste o data
cu cdificarca de catrc Brnncoveanu a r~intelor sale.
lnnueiJla ace 10ra. foane putemrcil in Tara
Romancascli, dep~e$tC chiar hotarele ace!.leia Ea
poatc li constatatii Ia constnrclii apaf\inand veacului al
XVIII-Iea. in Moldova. Ia casu de Ia Pascani a
Cantacui'inilor1111 si Ia cea din Pribesli a lui lordache
Ru~t221 •
Plan m\el 'upcnor
Upper lc ·I piJI
~.85,86. Bucur~i
Mdnastirea, V~u.
Palntul Mnvroconlatilor
The Vacaft!$Li Mona.,tcl).
Mavrocordat Prince!) Pnlncl!
Spc~.,;ial mention must be made of the princely
house built by me Mavrocordat family in the precincts
oflhe Vilcare~ti monastery ( 1719). Closely following
me ruling principles of Brancovcanu's hou es. the
Vacare~ti palace is included in the built volume of Lhe
monastery. The residence of those princes, who wan-
ted to take on to Brancoveanu, is enriched with a
carved decoration of a big variety. never matched
before or after thaL The sobriel} and moderation pre-
sent in the carved decoration at Potlogi were replaced
b) Lhe fantasy and luxuriant explosion of \'egetal
motifs. Begun at Mogosoaia, this Baroque orientation
of Lhe setting linds full thriving in the architecture of
lhe princely palace at UJe Vadire~Li monastery.
The houses that took the PoLlogi compound as
a model after 1698 and by the end of the 18th centu-
ry seem to have been numeroul>. The trace Lhat still
exist - cella!b covered wim ~pherical domes. some-
times to be found wim structure that have changed in
time the organization of me higher level testify to U1e
change of view, the different wa) of conceiving a
princely or nobiliary residence that stan~ being mani-
fest with Brnncoveanu' building hill residence
Their innuence. very powerful in Walachia.
goe even beyond its frontie~ It can be traced with
structures belonging to U1e 18th century. in Moldavia.
with the C~unacuzinos' house at Pa~can i.nJ and with
Iordache Ruset' house at PribestiZ~I.
87, 88. Flore~ti-Stoen~ti,
Dfi mhovi~a
Ca.lill Drugfulcscu
Drugdn&u Hou-.t