Romanian Revival architecture

Potlogi (3).jpg|The Potlogi Palace, Dâmbovița County, Romania, 17th century Palatul Mogoșoaia 02.jpg|The main building of the Mogoșoaia Palace, Mogoșoaia, Romania, early 18th century File:4, Strada Stavropoleos, Bucharest (Romania) 1.jpg|The Stavropoleos Church, downtown Bucharest, 1724 Cula Greceanu, sat Măldărești, Vâlcea.jpg|Greceanu Culă, Măldărești, Vâlcea County, Romania, 18th century Romanian Revival architecture is a revival of the Brâncovenesc [brɨŋkovenesk], a style in medieval Romanian art and architecture, more specifically in Wallachia during the reign of Constantin Brâncoveanu (1688–1714). This is because it was seen as the style specific to Romania, which is true. Brâncovenesc buildings are characterised by the use of porticos (mainly the entrances of churches), trilobate or kokoshnik arches, columns (usually Corinthian), sometimes with twisted flutings, and metallic or ceramic tile roof. The main ornaments used for decoration are the interlace and the complex vegetal spiral (aka rinceau). Some of the features of Brâncovenesc architecture derive from Byzantine and Ottoman architecture, and a some can also be found in medieval Russian architecture. Brâncovenesc churches usually have façades decorated with reliefs, most churches being white, while some have elaborate paintings on the façades (like the Stavropoleos Monastery from Bucharest). The walls of their interiors are filled with Byzantine style frescos. Above their main door there is a pisanie, which is an inscribed stone plaque. The inscription usually includes a religious invocation, the name of the founder or founders, the date of construction, the motivation of the building, the circumstances of the time and other data. == Characteristics ==

File:3-5 Strada Icoanei, Bucharest (44).jpg|Polychrome glazed ceramic ornaments - Școala Centrală National College, Bucharest Interior of the Bucharest City Hall (06) (cropped).jpg|Trilobate arches - Bucharest City Hall Minovici Villa Bucharest bells 1.jpg|Tiled roofs - Nicolae Minovici House Bucharest File:6 Strada Constantin C. Nottara, Bucharest (01).jpg|Metal roofs, with diamond-shaped parts - Strada Constantin C. Nottara no. 6, Bucharest 5-7 Strada Biserica Amzei, Bucharest (07).jpg|Complex knots (aka interlaces) - Brătianu Settlements Bucharest 5-7 Strada Biserica Amzei, Bucharest (24).jpg|Complex foliage spirals (aka rinceaux) - Brătianu Settlements 5-7 Strada Biserica Amzei, Bucharest (21).jpg|Elements brought from peasant houses - Brătianu Settlements 5-7 Strada Biserica Amzei, Bucharest (22).jpg|Elements brought from religious architecture - Brătianu Settlements 24 Strada Louis Pasteur, Bucharest (03).jpg|Elements brought from Byzantine architecture (in this case the fish, aka ichthys, an early Christian symbolism) - Strada Louis Pasteur no. 24, Bucharest 14 & 14A Strada Pictor Constantin Stahi, Bucharest (01).jpg|Elements grouped in threes (in this case three arches) - Strada Pictor Constantin Stahi no. 14, Bucharest 54 Strada Grigore Romniceanu, Bucharest (02).jpg|Building structure inspired by cule - Strada Grigore Romniceanu no. 54, Bucharest File:Cantacuzino Castle (April 2023) 09.jpg|Trilobed arches - Cantacuzino Castle in Bușteni The influences of peasant houses were manifested through ornaments and elements used under various interpretations, but which retain their origin. Among the elements are the loggia, the trilobed arch, wooden pillars, a treatment of the cornice as an ordinary eaves of a peasant house, the inclusion of the roof in the image of the facade as an element of ornament, carved wooden awnings, and tiled roofs. Commonly used ornaments are knots and ropes (aka interlace), peacocks drinking symmetrically from a cup, and complex vegetable spirals (aka rinceaux). Some of the ornaments of some Neo-Romanian buildings from the Belle Époque are made of polychrome glazed ceramic, as is the case of the Școala Centrală National College in Bucharest. Considering the fact that most Romanians were and are Orthodox, the architects sometimes added Byzantine-inspired elements (like the two peacocks drinking from a cup) or with Christian significance. A characteristic of the style is the use of elements grouped in threes (for example a row of three windows), which refers to a Christian concept, representing the Holy Trinity (Father, Son and Holy Spirit). The buildings often have a medieval castle or fortress look, with turrets and parts of the structure on different levels. This thing is inspired by the cule, a type of semi-fortified construction, specific to the 18th century, spread throughout the Balkan space, including Romania, especially in Serbia and Albania. In essence, the cule were the dwellings of the boyars, built for the defense of the owner and their family members against invasions. == Representative architects ==

The first generation of Romanian architects, creators and promoters of the Romanian Revival style, is composed of Ion Mincu (1852–1912), Ion N. Socolescu (1856–1924) and Grigore Cerchez (1850–1927). Ion Mincu 5-7, Strada Ion Movilă, Bucharest (Romania).jpg|Lahovari House, now in the courtyard of the Cantacuzino Hospital in Bucharest (1885-1886), Strada Ion Movilă no. 5 3-5 Strada Icoanei, Bucharest (48).jpg|Central Girls' School in Bucharest (1890), Strada Icoanei no. 3-5 Biserica Stavropoleos din Bucuresti - Curtea cu lapidariul.jpg|The Cloister of the Stavropoleos Monastery in Bucharest (1899–1910), Strada Poștei no. 6 File:Design for the Bucharest city hall of Bucharest, by Ion Mincu, 1900.jpg|Design for the Bucharest city hall (1900) 1, Piața Romană, Bucharest (Romania) 8.jpg|Nicolae Petrașcu House (1900–1904), Piața Romană no. 1 Grave of Ghica Family in the Bellu Cemetery in Bucharest, Romania (17).jpg|Ghica Family Tomb in the Bellu Cemetery in Bucharest (unknown date) Grave of Gheorghe Grigore Cantacuzino in the Bellu Cemetery in Bucharest, Romania (14).jpg|Cantacuzino Tomb in the Bellu Cemetery (unknown date) Grave of Georgiev Brothers in the Bellu Cemetery in Bucharest, Romania (01).jpg|Gheorghieff Brothers Tomb in the Bellu Cemetery (unknown date) Grave of Iacob Lahovary in the Bellu Cemetery in Bucharest, Romania (09).jpg|Iacob Lahovary Tomb in the Bellu Cemetery (unknown date) His first attempts in Bucharest, after his return from studies in Paris, were the (1884–1886), the (1889–1892) and the Central Girls' School (1890–1894). They effectively marked the birth of Romanian Revival architecture with all the persistence of eclectic or, in general, historical tendencies. From this point of view, the Buffet is very characteristic, being one of the most successful buildings (initially designed as a Romanian pavilion at the 1889 Paris Universal Exposition), which is, on the whole, in line with the balance of Brâncovenesc architecture. Its most expressive element remains the gazebo: eight wooden pillars, connected with wooden beams, support a large masonry superstructure (trilobate arches in the shape of braces/kokoshniks and a complete entablature). The impression is also accentuated by the strong embossed ornamentation, made of polychrome glazed ceramics. Above the protruding cornice of the ceramic entablature, wooden pieces appear again: the ends of the transverse beams and the corbels that hold the very wide eaves of the roof. And as important spaces remain visible between the beams and corbels, the roof - large, high and covered with tiles - seems suspended. Eclectic elements appear in the ceramic ornamentation: Classicist geometric motifs or Renaissance floral motifs (but interpreted wavy, in the Art Nouveau spirit), which cover the entire surface of the gazebo masonry and the technique itself, of the high relief, colored in white, blue and ocher, of the Luca della Robbia type, contrasts with the relative sobriety of the old Romanian architecture from which, obviously, it started. Thus, the Buffet has a happy, lively and, especially, Romanian air. Petre Antonescu Petre Antonescu - Studiu de arhitectura romaneasca.jpg|Study of Romanian Revival architecture for the Exhibition of Artistic Youth (1904) 47, Bulevardul Regina Elisabeta, Bucharest (Romania).jpg|The Bucharest City Hall (1906-1910), Bulevardul Regina Elisabeta no. 47 Navigation Palace in Galați.jpg|The Palace of Navigation in Galați (1912), Strada Portului no. 34 2, Strada Poenaru Bordea, Bucharest (Romania).jpg|The Oprea Soare House in Bucharest (1914), Strada Poenaru Bordea no. 2 4, Strada Doamnei, Bucharest (Romania).jpg|Part of the façade of the Marmorosch Blank Bank Palace in Bucharest (1915–1923), Strada Doamnei no. 2-6 Catedrala Arhiepiscopala din Galati.JPG|The Saint Nicholas Orthodox Cathedral in Galați (1906–1917), with Byzantine Revival influences One of the most vigorous and typical representatives of Romanian Revival architecture was Petre Antonescu. He studied (1893–1898) at the Beaux-Arts de Paris, then became a professor, and later rector of the Academy of Architecture in Bucharest. His works include houses, such as the Vintilă Brătianu House (Strada Aurel Vlaicu no. 19) or the Oprea Soare House (Strada Poenaru Bordea no. 2), all built in Bucharest before World War I; and more extensive programs such as the old Ministry of Construction (the current Bucharest City Hall, Bulevardul Regina Elisabeta no. 47) or the Marmorosch Blank Bank Palace (2-6 Strada Doamnei). It combines a series of elements that belong to either the international or the local repertoire: monumental plinths with large bossages, massive pieces (columns and corbels, and keystones, oversized) often with a purely decorative function, suggesting archaic or rustic buildings; reliefs mix national inspiration (Moldovan window ornaments, capitals and balustrades of Brâncovenesc inspiration, etc), with those of the symbolic European heraldic repertoire (shields, dragons, eagles, griffins, shells, etc); as well as traditional forms of gaps, trilobate or in brace/kokoshniks, mixed with other ones, semicircular, retreating portals, of Romanesque or Renaissance proportions and profile, etc. This process does not completely protect the work from eclecticism, but the ansamble still tilts the balance towards a national physiognomy. == In other art media ==

Romanian Revival display cases in the George Severeanu Museum.jpg|Romanian Revival display cases in the George Severeanu Museum, Bucharest, in which Ancient ceramic is exhibited, unknown designer, unknown date, wood and glass Romanian Revival frame sold in the Dimitrie Gusti National Village Museum.jpg|Picture frame sold in the Dimitrie Gusti National Village Museum, Bucharest, unknown designer, unknown date, wood File:Romanian Revival coffee table from early 20th century, sold in the Cesianu-Racoviță Palace.jpg|Coffee table, unknown designer, early 20th century, wood Romanian Revival desk, at sale in the Cesianu-Racoviță Palace in Bucharest (02).jpg|Desk, unknown designer, early 20th century, wood Proiect pentru mobilierul și decorația unei sufragerii, de Nicolae Ghica-Budești.jpg|Design for living room furniture, by Nicolae Ghica-Budești, 1906, ink on paper Curtain design, by Ion Theodorescu-Sion, unknown date, watercolour.jpg|Curtain design, by Ion Theodorescu-Sion, unknown date, watercolour Illustration for the Ileana magazine, by Ludovic Basarab.jpg|Illustration for the Ileana magazine, by Ludovic Basarab, unknown date, ink on paper Apcar Baltazar - Decorator - Proiect de ulcior decorat.jpg|Vessel design, by Apcar Baltazar, unknown date, watercolour Romania 1906 1b Carol 1 25 years kingdom.jpg|Stamp with king Carol I, unknown illustrator, 1906, ink on paper King-Karl-I (3).jpg|Stamp with king Carol I, unknown illustrator, 1906, ink on paper Queen-Elizabeth-of-Romania.jpg|Stamp with queen Elisabeth, by C. Stengel, 1906, ink on paper Queen-Elisabeth-Weaving.jpg|Stamp with queen Elisabeth weaving, by C. Stengel, 1906, ink on paper Magazine of the holy synod, an example of Romanian Revival graphic design, from March 1927.jpg|The Magazine of the Holy Synod from March 1927, unknown illustrator, ink on paper In addition to architecture, the Romanian Revival style manifested itself in other media, including graphic design, pottery, furniture and illustration. There are good examples of Romanian Romanian furniture in the George Severeanu Museum in Bucharest, mostly display cases, where ancient Greek and Etruscan vessels are exhibited. Besides buildings, architect Nicolae Ghica-Budești also produced Romanian Revival furniture. His example followed by artists like O. Roguschi, Gh. Lupu, A. Clevel, Hugo Storck, who made furniture in this style. During the 1900s, Apcar Baltazar is preoccupied with the creating a new Romanian style in decorative arts. In November 1908, an essay called "Spre un stil românesc" (Towards a Romanian style) is published in the Viața Românească (Romanian Life) magazine. Using example from world art history, he tries to find ideas for his creation and for how an authentic Romanian style should look like. As a key feature of this style, he recommends elements of Byzantine art, present in medieval Romanian architecture. He was an advocate for introducing them in an harmonious way, not straight up copying. Baltazar was also an admirer of both peasant and religious art. A motif he used in multiple designs is the stylized rooster. Al. Tzigara-Samurcaș was a militant for the conservation of traditional peasant art. He was also an influence for Apcar Baltazar. ==Periods==

In general, architectural styles popular in a period tend to influence each other, sometimes leading to mixes. The Romanian Revival is no exception. Because of this, the year when many buildings were erected can be approximated more or less easily. Early (before 1906) 3-5, Strada Icoanei, Bucharest (Romania) 1.jpg|Entrance of the Central Girls' School, Bucharest, by Ion Mincu, 1890. Notice the pediment above the door, that makes this entrance similar with one of a Neoclassical building Folk Art Museum (Constanța, Romania).jpg|Folk Art Museum, Constanța, Romania, 1893 unknown architect. The complex foliage spirals (aka rinceaux) may have been inspired by Islamic architecture 13 Strada Polonă, Bucharest (02).jpg|Strada Polonă no. 13, Bucharest, 1900, unknown architect. Notice how highly decorated this house is. Also, the small brown wooden pediment above the door is fully Neoclassical 42 Strada Grigore Alexandrescu, Bucharest (01).jpg|Strada Grigore Alexandrescu no. 42, Bucharest, 1900, unknown architect. This house is a mix of Romanian Revival and Beaux-Arts architecture. The shape of the windows may have been inspired by the Islamic the world 2A Strada Franzelarilor, Bucharest (03).jpg|Strada Franzelarilor no. 2A, Bucharest, unknown architect, 1900. This house stands out through its polychrome glazed ceramic ornaments, similar with the ones of some churches from Moldavia, like the Saint Nicholas Princely Church in Iași Diamandi House on Strada 11 Iunie in Bucharest, Romania.jpg|Diamandi House, Bucharest, unknown architect, 1900. While all the ornaments are Romanian Revival, the structure of the house is specific to the Belle Époque: a house with three or two windows towards the street, garden, entrance in the garden, and only one story high Base of a Romanian Revival lighting pole at the intersection of Streets Popa Tatu and Mircea Vulcănescu, in Bucharest (01).jpg|Base of a Romanian Revival lighting pole at the intersection of Streets Popa Tatu and Mircea Vulcănescu, Bucharest, unknown architect, 1900 The Belle Époque is the period in which the style was created. Because it was not fully defined until the 1906 General Romanian Exhibition in the Carol Park, Romanian Revival buildings before 1906 can look quite different one from another, especially those of the 1890s. Architects looked for inspiration in multiple sources. Some were inspired by the Islamic world, more specifically by the Ottoman influences on traditional Romanian architecture. Others were influenced more by the Brâncovenesc style, popular in Wallachia in the early 18th century. In his creations, Ion Mincu mixed intentionally or not intentionally Neoclassical, Beaux-Arts and Gothic Revival elements. For example, the Central Girls' School has an entrance with a pediment above it, similarly with what you would find at a Neoclassical building. The Romanian Revival of the Belle Époque is also more decorated compared to the later phases of the style. Mature (1906-early 1930s) Palace of the Arts, built for the 1906 General Romanian Exhibition in Bucharest, Romania.jpg|Palace of the Arts, part of the 1906 General Romanian Exhibition in the Carol Park, Bucharest, by Victor Ștefănescu and Ștefan Burcuș, 1905-1906 Grigorescu hall of the Palace of the Arts, built for the 1906 General Romanian Exhibition in Bucharest, Romania.jpg|Interior of the Palace of the Arts, by Victor Ștefănescu and Ștefan Burcuș, 1905-1906 1 Strada Doctor Nicolae Minovici, Bucharest (01).jpg|Nicolae Minovici House, today the Nicolae Minovici Folk Art Museum, Bucharest, by Cristofi Cerchez, 1906-1907 60 Bulevardul Dacia, Bucharest (08).jpg|A. Mincu House, Bucharest, by Arghir Culina, 1910 18 Bulevardul Eroii Sanitari, Bucharest (03).jpg|Door of the Laurențiu and Louise Steinebach House, Bucharest, by Alfred Popper, 1915-1916 18 Bulevardul Eroii Sanitari, Bucharest (07).jpg|Byzantine Revival window detail of the Laurențiu and Louise Steinebach House with peacocks drinking from a cup, by Alfred Popper, 1915-1916 54 Strada Grigore Romniceanu, Bucharest (02).jpg|Strada Grigore Romniceanu no. 54, Bucharest, unknown architect, 1920 56, Bulevardul Dacia, Bucharest (Romania).jpg|C.N. Câmpeanu/Alfred E. Gheorghiu House, Bucharest, by Constantin Nănescu, 1923 Blocul de apartamente construit de Societatea Comunală pentru Locuințe Ieftine pentru Casa Autonomă a Monopolurilor în Piața Lahovary din București.jpg|Apartment building built by the Communal Society for Affordable Housing for the State Monopoly Company in the Lahovary Square, Bucharest, by Lucian Teodosiu, 1926-1929 218 Calea Griviței, Bucharest (05).jpg|Saint George Grivița Church (Calea Griviței no. 218), Bucharest, by Constantin Pomponiu, 1926-1931 1, Bulevardul Hristo Botev, Bucharest (Romania).jpg|Communal Society for Affordable Housing Building in the C.A. Rosetti Square, Bucharest, by Virginia Andreescu Haret, 1927 39 Strada Louis Pasteur, Bucharest (02).jpg|Cezar Golici House, Bucharest, by Virginia Andreescu Haret, 1928 To celebrate the 25th anniversary of the coronation of king Carol I of Romania, 40 years of his reign, 25 years since proclamation of the Kingdom of Romania, and 1800 years since the Romans came in the Dacian province, the General Romanian Exhibition took place in the Carol Park (Park of Freedom) of Bucharest in 1906. Most of the pavilions of the fair were temporary structures, the only ones that survived being the Silver Knife Church, the Roman Arenas, the Filaret Electricity Station, small pavilions, the Mining Ministry fountain, and the water tower, designer to look like a medieval relic from the time of Vlad the Impaler. The 1906 General Romanian Exhibition is important because this when the style started to be fully developed. Buildings from this phase have a consistent look. The 1920s was the peak of popularity, multiple schools, houses and institutions built after WW1 being Romanian Revival. Sometimes it was mixed with Art Deco, a style equally popular in the 1920s. Late (late 1930s and 1940s) Old photo of the Casa Albă Restaurant on Aleea Privighetorilor in Bucharest, Romania (01).jpg|White House Restaurant (Aleea Privighetorilor no. 31-35), Bucharest, by Octav Doicescu, 1930 Bucuresti, Romania, Paraclis si Resedinta Patriarhala; B-II-m-A-18571.03 (detaliu 6 prim).JPG|Palace of the Patriarchate, Bucharest, by George Simota, 1932-1936 Pavilionul Romaniei la Expozitia de la Paris din 1937.jpg|Pavilion of Romania at the 1937 World Exhibition, Paris, by Duiliu Marcu, 1937 Pavilionul Romaniei, vedere spre Casa romaneasca (restaurant romanesc), medaliata cu medalia de argint a orasului New York (02).jpg|Romanian restaurant at the 1939 World's Fair, New York, by Octav Doicescu, 1939 Under the pressures of Modernism, the style became more and more simplified. Initially, the supporters of the Romanian Revival style rejected Modern architecture. They saw Modern buildings as creations that lack a local spirit. However, their opposition faded with time, leading to mixes of the two movements. Multiple architects, without dropping elements inspired by local tradition, will adopt new materials and techniques. Romanian Revival proportions and volumes were kept, but ornaments were highly simplified or sometimes were just nonexistent. Buildings were reduced to essences. == Notable examples ==

, Constanța, by Victor Ștefănescu, 1912-1921, with the Statue of Ovid in front of it Romania • Alexandria • (Strada Independenței 7-9) • Bucharest • Nicolae Minovici Villa (Strada Doctor Minovici Nicolae 1) • Sector 1 Town Hall (Bulevardul Banul Manta 9) • Gheorghe Tătărescu House (Strada Polonă 19) • Hagi-Theodoraky House (Șoseaua Kiseleff 57) • Romanian Peasant Museum (Șoseaua Kisseleff 3) • Dissescu House (Calea Victoriei 196) • Amza's Church (Strada Biserica Amzei 12) • Lahovari House (Strada Ion Movilă 5) • Oprea Soare House (Strada Poenaru Bordea 2) • Kiseleff Palace (Strada Barbu Ștefănescu Delavrancea 6A) • Gheorghe Petrașcu House (Piața Romană 5) • Interior of the Ion Mincu House, its exterior being just Eclectic (Strada Arthur Verona 19) • Central School (Strada Icoanei 3-5) • Elie Radu House (Strada Alexandru Donici 40) • Bucharest City Hall (Bulevardul Regina Elisabeta 47) In addition, there are areas in Bucharest where most houses are Romanian Revival, such as Cotroceni and Dorobanți. • Brașov • Brașov Opera (Strada Bisericii Române 51) • Brăila • Palace of Agriculture (Calea Călărașilor 52) • Bușteni • Cantacuzino Castle (Strada Zamora 1) • Buzău • City hall (Piața Daciei 1) • Constanța • Constanța History and Archaeology Museum (Piața Ovidiu 12) • Constanța Museum of Popular Art (Bulevardul Tomis 32) • Craiova • Former Pallace Hotel (Strada Cuza Alexandru Ioan 1) • Museum of Oltenia (Strada Popa Șapcă 8 - Sciences of Nature, Strada Madona Dudu 14 - Archaeology, Strada Matei Basarab 16 - Ethnography) • Galați • Palace of Navigation (Strada Portului 34) • Iași • Sonet Villa (Strada Rece 5) • Oradea • Iuliu Maniu Greek Catholic College (Strada Iuliu Maniu 5) • Ploiești • Ion Luca Caragiale National College (Strada Gheorghe Doja 98) • National Bank (Strada Tache Ionescu 1) • Sibiu • Oașia Building (Strada Turnului 23) • Faculty of Orthodox Theology (Strada Mitrolopiei 20) • Gheorghe Lazăr Boarding School building (Strada Turismului 15) • Târgu Jiu • Tudor Vladimirescu National College (Strada Unirii 13) • Timișoara • Romanian National Opera arcades (Strada Mărășești 2) Moldova • Bălți • Saint Constantine and Elena Cathedral • Residence of the Bishop of Hotin (Strada Visarion Puiu 7) • Tighina • Mulmana Hospital Albania • Sarandë • Nicolae Iorga House (Rruga Mitat Hoxha), headquarters of the former Romanian Institute in Albania Bulgaria • Silistra • Regional History Museum Ukraine • Khotyn • House of Culture (Vulytsya Nezalezhnosti, 19-17) • Chernivtsi • St. Nikolai Church • Holy Apostles Peter and Paul Church • Palace of the border guards • Priests' dormitory building == See also ==