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LA ROUMANIE EN IMAGES
AROMANIAIN CHIPURI $1 VEDERI
SHOWING ROUMANIA
www.dacoromanica.ro
RO ANIAIN CHIPURI $1 VEDERI
LA ROUMANIEEN IMAGES
SHOWINGROUMANIA
CVLTVRA NATIONALA
www.dacoromanica.ro
CVLTVRA NATIONAL B U C U R E T I , 1 9 2 6
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PREFATA
ROMANIA IN CHIPURI VEDERI este o incercare de a reds sintetic, imaginea ceamai fidela a tariff noastre cu tot ce are ea mai caracteristic. Cum primul material pentruaceasta lucrare a fost adunat in timpul rasboiului la Paris, trebuie sa multumim in primulrand D-lui Courboin, Conservator al Departamentului Estampelor dela Biblioteca Nationaledin Paris ; D-lui Pierre-Marcel Levy, Director at serviciului Fotografic Cinematografic atArmatei Franceze ; si D-lui Joubin, Director al Bibliotecii Doucet.
Aducem deasemenea marturia recunostintei noastre D-lor Ernest Dubois, jean Le-comte du Nouy, Eugene Pittard, Rene Grivart de Kerstrat, Camille Trubert, Raemeckers SlPierre Betrand.
Casele de Editura Hachette, Bossard si (Nouvelle Librairie Nationale' ; revistele (I'Artet les Artistes'. (La Revue Hebdomadaire', si (L'Illustration'; casele (Siot-Decauville' gi
(Verascope Richard' ne-au usurat intro mare masura sarcina.Datorim iarasi multumiri D-nelor Anna Lahovary, Maria lonescu, Z. de Linche si B.
Vaschide ; D-relor Maria Bengescu, H. Donici, Vlaicu ; D-lor Aristide Blank, General Ru-deanu, V. Dimitriu, A. Bellio, Al. Lapedatu, Tafrali, E. Neculcea, A. D. Atanasiu, I. Oliva,Dragomireanu, Georgescu-Rachtivan, Pion Popescu si Mavrodin.
Trebuie sa aducem multumirile noastre deosebite Arhitectului P. Antonescu, care prinprofunda cunoastere iubire a artei romanesti a fost cel mai pretios colaborator la ale&tuirea acestui volum, si caruia ii revine intregul merit al acestei opere, secondat fiind deD-I G. Raut.
PREFACE
LA ROUMANIE EN IMAGES est un essaide donner synthetiquement de notre paysl'image la plus fidele. La matiere composantce volume a ete reunie a Paris, durant laguerre avec le concours bienveillant de Mes-sieurs : Courboin, conservateur a la Biblio-theque Nationale du departement des Estam-pes; Pierre-Marcel Levy, directeur du ser-vice photographique et cinematographiquede l'armee frangaise ; Joubin, directeur de laBibliotheque Doucet ; auxquels nous expri-mons igi nos sentiments de parfaite gratitude.
Nous devons encore un temoignage denotre reconnaissance a Messieurs : ErnestDubois, jean Lecomte de Nouy, Eugene Pit-tard, Rene Grivart de Kerstrat, Camille Tru-bert, Raemeckers et Pierre Bertrand. II estjuste d'ajouter a ce palmares les maisonsd'edition Hachette, Bossard et Nouvelle li-brairie Nationale"; des revues ,,l'Art et lesArtiste", la Revue Hebdomadaire" et ]'Illu-stration", et les maisons Siot-Decauville" etVerascope Richard" qui contribuerent dansune grande mesure a nous faciliter la tache.
Nos remerciments s'adressent aussi a :M-mes Anne Lahovary, Marie lonesco, Z. deLinche et B. Vaschide ; M-elles Marie Ben-gesco, H. Donici et Vlaico ; M-sieurs AristideBlank, General Rudeano, V. Dimitriu, A.Bellio, Al. Lapedato, Tafrali, E. Neculcea, A.D. Athanasiu, I. Oliva, Dragomireano, Geor-gesco-Rahtivan, Popesco-Pion et Mavrodin,et, d'une facon toute particuliere a l'archi-tecte P. Antonesco qui fut, par la profondeconnaissance et son amour de l'art roumain,notre collaborateur le plus precieux, la che-nille ouvriere avec le concours, de M. S.Raut de cette ouvre dont it a tout lemerite.
PREFACE
SHOWING ROUMANIA is an attempt togive in a synthetic way a most faithful ima-ge of our country with everything that showsher chief characteristics. As the first part ofthe material for this work was collected inParis during the war, our special thanks aredue to Monsieur Courboin, the Keeper ofthe Engravings Department of the Bibliothe-que Nationale of Paris, Monsieur Pierre-Marcel Levy, Director of the Photographicand Cinematographic service of the FrenchArmy and Monsieur Joubin, Director of theDoucet Library.
We also bring the testimony of our gra-titude to Messieurs Ernest Dubois, Jean Le-comte de Nouy, Eugene Pittard, Rene Gri-vart de Kerstrat, Camille Trubert, Raemec-kers and Pierre Betrand.
The publishing houses Hachette, Bossardand (Nouvelle Librairie Nationale'; the revi-ews cL'Art et les Artistes', 'La Revue Heb-domadaire', and (L'Illustration'; the firms'Siot- Decauville' and 'Verascope Richard'have made our task easier to a great extent.
Our thanks are also due to Mrs. AnaLahovary, Maria lonescu, Z. de Linche andB. Vaschide ; To Miss Maria Bengescu, H.Donici Vlaicu ; To Messers. Aristide Blank,General Rudeanu, V. Dimitriu, A. Bellio, Al.Lapedatu, Tafrali, E. Neculcea, A. D. Ata-nasiu, I. Oliva, Dragomireanu, Georgescu-Rachtivan, Pion Popescu and Mavrodin.
We must bring our special thanks to Mr.P. Antonescu, Architect, who, through hisprofound knowledge and love of Rouma-nian art has been the most precious colla-borator in putting together this volume andto whom belongs the whole merit. He washelped in his task by Mr. S. Rautu.
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CUVANT INAINTE
Opinia curenta asupra Romani lor, asupra obarsiei tor, asupra trecutului tor, asuprainsusirilor for etnice si asupra viitorului tor, s'ar putea rezuma in aceste cuvinte
Sunt latini pare-se, dar dintr'o ramura de multa vreme pierduta in Ra-sarit, uitata $i vrednica de uitare. S'au amestecat cu toate rasele, care au trecutpe pamantul for bogat $i hranitor prin vaile pitoresti. Indata, barbaria care-iinconjura a pus stapanire pe acesti exilati, can au cazut in degenerare. BietiPaysans du Danube" degenerati, pe care fratii for din Apus, cu mull mai bineproteguiti de destin, au desigur dreptul sa nu-i cunoasca sau sa-i respinga, chiardata li-se infatiseaza cu dovezi neindoelnice asupra genealogiei tor.
Ei n'au avut istorie, in adevaratul inteles al cuvantului. Vreme de veacuri,nu exista un singur rand scris, asupra vietii for obscure. Ei si-au tint viola de azipe maine, in tine tie ce ascunzis de munte. Si prin aceasta, ar fi sa le facemInca o concesie, caci vedeti d-v, exista $i o teorie strict stiinjifica, dar de un fobsneprevazut pentru rasele vecine rivale $i inamice, teorie dupa care Romanii au plecatpe urmele legiunilor lui Aurelian, care parasiau Dacia, catre al treilea patrar al celuide at III-lea veac. $i apoi, fiindca totusi azi sunt treisprezece milioane de Romanipe malul slang al Dunarii, in campie, in Carpati apoi s'au intors. Oh ! s'au intorsmull mai tarziu; abia in veacul al XIII-lea, in veacul al XIV-lea chiar ! Nimeni nu-ichemase inapoi, nimeni nu se gandia sa le acorde drepturi, privilegii. Totusi deprin-derea de-a pribegi cu turmele tor, i-a readus pe teritoriul fostei provincii a lui Traian.Daca au fost tratati ca sclavi, e fiindca nu meritau alta soarta mai bung.
Un scurt elan catre libertate. Doua principate razboinice, Moldova $i Valahia,n'au limp sa elaboreze o civilizatie. Cultura slava in biserica $i in stat ii im-popotoneaza cu un vestmant strain, de care natiunea nu se va scapa decal dupatrei veacuri. Presiunea otomana zdrobeste energia domnilor romani. Chiar depe la1500, cele doua principate sunt doua provincii turcesti, ca atatea allele.
De atunci, provinciile Sultanului, fragmente ale unei patrii care niciodata nuajunsese sa se consolideze, ar fi trait ca $i celelalte teritorii, supuse Imparatuluipagan. Lumea 15i inchipue in adevar ca, in afara de credinta religioasa care aramas crestina, tot restul ar fi apartinut Turcilor, conducatori stapani $i modele deimitat pentru Romani. Abia in veacul al XVIII-lea, profesori $i secretari francezi,vin ca sa dea o poleiala de civilizatie apuseana boerilor barbari, simple unelteale unui print, el insusi ales printre sclavii greci ai Inaltei Porti sotiilor forliberate mai de grabs de tirania model orientate. Apoi, iata congresul dela Pariscare, autorizand unirea Principatelor pe care Rusia be privia ca pe o prada usoaracreeaza o patrie romaneasca. Asa incat, abia dela 1853 dateaza «eliberarea Ro-manlier., $i a trebuit sa astepte pang la 1878 rezultatele unui nou razboiu ruso-turc pentru a obtine neatarnarea. Unitatea rasei a izvorit in sfarsit, din marelerazboiu pentru libertatile nationale, abia incheiat.
Numai ca toate acestea, desi atat de des repetate de glasuri autorizate, nu suntadevarate. Nu mai adaugam ca, pe deasupra, toate acestea nu sunt nici macar juste.
Cad neamul romanesc cu cele trei-spre-zece milioane care it alcatuesc,$1 carora li se adauga aproape trei milioane de cetateni romani apartinand altorrase este cu adevarat latin, in masura in care nu este trac prin celelalte originiale sale. Vreme de veacuri dela tarmurile Adriaticei pana in Carpati, o lenta$i continua imigratiune a elementelor taranesti, venind din Italia navalita deregimul vilelor elegante $i at importatiunii de grau, a desnationalizat pe Ilirii $i
pe Tracii, care apartineau unor natiuni surori $i a creiat o «Romanie» a Rasari-tului corespunzatoare aceleea din Apus, din care au purces celelalte nafiuni romane.Aceasta Romania a fost slavizata in Balcani, cu exceptia litoralului marei italiene$i a vailor in care s'au adapostit, ca pastori «valahii» sau «vlahii» (cf. Vetches)romani $i albanezi pe jumatate latini. Sub forme patriarhale, cu studs cu «duci»de imitatie carolingiana, natiunea a trait vreme de veacuri, deosebindu-se de popoarele
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vecine prin acest nume de (Romani., care Insemna, fata de statele barbare, libertateadupa traditiile Imperiului.
Apoi, in veacul al XIV-lea, s'au format state, cu caracter popular. $1 teritorial,intr'un chip absolut national, care este pe dea'ntregul modern. Valachia este «Tararomaneasca, ; Moldova este .Tara romaneasca depe valea Moldovei,. Domnii formo$teniau drepturile Imparatului $i, dace au Imprumutat pentru cancelariile tor,slavona care era limba bisericeasca asemeni latinei In Apus, au fost socotiti dupadisparitia statelor grecesti, sarbesti $1 bulgare, ca urma$i legitimi, imbracati $i in-caltati in purpura, Incoronati cu aur, cezari ai Rasaritului. Veacuri Intregi, au fostsustinatorii bisericii ortodoxe, $i cre$tinatatea balcanica a gasit sub sceptrul for unaril. Nu este, in Balcani, nici o viata politics, nici o civili2atie nationals, care sanu fi rasarit pe malurile Dunarii romanesti.
Timp de aproape cloud veacuri, impotrivirea fata de Turd a fost cea dintaiumisiune a domnilor Moldovei $i a Valahiei. lzbanzi glorioase au semnalat aceastaImpotrivire. Aceste tari n'au sucombat niciodata in fata acestui vrasma$ al religiei$i al neatarnarii for : un tribut la inceput foarte moderat, sarcini de razboiu, pre-zenta soldatilor otomani pe tarmul stang al Dunarii, sunt singurele legaturi dintreRomani $i Turci, care n'aveau nici macar libertatea de a se rugs lui Dumnezeudupe legea tor, pe acest pamant de traditie cre$tina. Dace grecii au fost admisi incomet in biserica in slujbe, este fiindca erau socotiti ca coreligionari $1, candPoarta trimes dragomanii ei ca Domni la Bucuresti Iasi, ace$tia cautauregaseasca stramo$ii in dinastia indigena.
Acest album va arata unui public putin informat $i poate prevenit caromane au fost cinci veacuri caminul unei arte cu totul deosebita, in care se
Intalneau armonios Inrauriri orientate $i apusene, fara sa uitam nota originals a fonduluitaranesc. Aceasta arta a lasat nenumarate monumente In cuprinsul Orel romane$ti au-tonome (care cuprindea de asemeni Bucovina, rapita de Austria in 1775 $i Basa-rabia, pe care Tarul a luat-o in 1812) ca $i in satele acelei Transilvanii, in careau navalit Ungurii dupa anul 1100; $i in cele ale Banatului, rupt din trupul Vlahieimai de curand. Aceasta arta, ca $i arta pe care taranul o practice Inca, este vred-nica de-a fi cunoscuta in adevarata ei inspirafie In legaturile ei cu geniul national.
Satul romanesc a creiat astfel o intreaga opera poetics de balade $i decantece lirice, de legende $i de povestiri, care este departe de a fi cunoscuta.Patura cults, la randul ei, a cultivat Cronica $i Istoria, in vreme ce o bogata lite-ratura religioasa purcedea din manastiri.
Inraurirea spiritului modern nu dateaza de ieri. Transilvania trupe$te robita,a proclamat cu mandrie ideile veacului at XVIII-lea $i boierii moldoveni valahis'au inspirat deasemeni din filozofia veacului. Alaturea de literatura neo-elena, pecare au provocat-o, Incurajat-o $i Imbogatit-o, ei au mai creiat $i o noua literaturacults care, influentata neintrerupt de Apus $i mai ales de Apusul trance?, a fost fac-torul moral in stare sa ne duce, dimpreuna cu sprijinul aliatlior no$tri de acelassange, la unirea principatelor, la neatarnare $i la unitatea politica actual&
A trebuit, credem, sa reamintim aceste titluri inainte de a Infati$a aceste dovezide netagaduit stranse in albumul de fata, care este poate o aparare dar care nuvrea sa fie o pledoarie.
PARIS, 25 Septemvrie 1921 N. IORGA
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AVANT-PROPOS INTRODUCTION
L'opinion courante concernant lesRoumains, leur origine, leur passé, leursqualites ethniques et leur avenir pourraitse resumer dans ces propositions :
Des Latins peut-titre, mais un rameaudepuis longtemps perdu en Orient,oublie et digne d'être oublie. Its sesont mélanges avec toutes les races depassage a travers leur riche terre nour-riciere et leurs vallees pittoresques. Bientotla barbarie environnante se saisit de cesexiles qui devinrent aussi des degeneres.Pauvres <(Paysans du Danube» abatardis,que leurs freres d'Occident, infinimentmieux protégés par le sort, ont bien ledroit d'ignorer ou de repousser, memes'ils se presentent devant eux avec lespreuves douteuses de leur genealogieentre les mains,
Its n'ont pas eu d'histoire, a proprementparler. Pendant des siecles, it n'y a pasune ligne sur leur vie obscure. Its ontdu vivoter dans quelque recoin demontagne. Et ce serait encore une con-cession qu'on leur ferait, car, voyez-vous,it y a aussi une theorie strictement scien-tifique, mais d'un avantage imprevu pourles races voisines, rivalles et ennemies,qui leur fait emboiter le pas apres leslegions d'Aurelien abandonnant la Dacie,vers le troisieme quart du III' siècle.Et puis, puisque tout de meme it y atreize million de Roumains sur la rivegauche du Danube, dans la steppe, dansles Carpathes, its revinrent. Oh, bientard, au XIII' siècle, au XIV' siecle meme.Personne ne les avait appeles, personnene pensait a leur accorder des droits, desprivileges. Cependant, leur manie d'er-rer avec leurs troupeaux, les ramenasur le territoire de l'ancienne provincede Trajan. S'ils furent traitesen esclaves,c'est qu'ils ne meritaient pas mieux.
Un bref élan vers la liberty. Deuxprincipautes guerrieres, Moldavie et Va-lachie, elles n'ont pas le temps d'elaborerune civilisation. La culture slave d'egliseet d'etat les affuble d'un vetement &rangerdont la nation ne se debarassera qu'aprestrois siecles. La poussee ottomane brisel'energie des princes roumains. C'estdéja, vers 1500, une terre du Turc commeles autres.
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The current opinion regarding theRoumanians, their origin, their past, theirethnic qualitieasnd their future couldbe resumed in the following lines:
Of Latin origin, perhaps, but abranchlost long since in the East, forgottenand perhaps rightly forgotten. They havebeen mixed with all the races thathave passed through their fertile nativeland and their picturesque valleys. Soonthe surrounding savagery took hold ofthese exiles, who also degenerated. Poor
Danubian peasants", sunk to a low le-vel, whom their western brothers, infini-tely better protected by Fate, have quitethe right to ignore or push aside, even ifthey present themselves before themwiththe questionable evidences of theirgenealogy in their hands.
Really speaking they did not have ahistory. For centuries there is not aline about their obscure life. They musthave muddled on in some mountain fast-ness, and that much would even be aconcessiofor, youn, see, there is alsoa strictly scientific theory, but of an un-forseen advantage for the surroundingrival and enemy races, which makesthem march lock-step after the legionsof Aurelian leave Dacia, towards thethird quarter of the third century. Andthen, nevertheless, they returned be-cause there are thirteen million Rouma-nians on the left bank of the Danube,in the steppe and in the Carpathians. Oh IThey returned very much later, in theXIII-th or even in the XIV-th century.Nobody called them back, nobody thou-ght of giving them rights or privileges. Ho-wever, their habit of wandering with theirflocks brought them back on the territoryof the old province of Trajan. If theywere treated as slaves, it is because theydeserved no better.
A short impetus towards liberty : twowar-like principalities, Moldavia and Wal-lachia, have no time to elaborate a ci-vilisation. The Slavonic church and stateculture dresss them up in a borrowedgarment of which the nation could onlyrid itself after three centuries. The Otto-man invasion breaks the energy of theRoumanian princes. By 1500 A. D. the
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Depuis lors, les provinces du Sultan,fragments d'une patrie qui n'etait jamaisarrivee a se consolider, auraient vecucomme les autres territoires, soumisl'Empereur paien. On s'imaginerait vrai-ment que, sauf la foi, rest& chretienne,tout le reste aurait appartenu aux Turcs,chefs, maitres et modeles des Roumains.Au XVIII' siècle seulement, des maitresde langue, et des secretaires francais,viennent pour donner un vernis de civi-lisation occidentale aux boiards barbares,simples instruments d'un prince choisiparmi les esclaves grecs de la Porte, eta leurs femmes liberties plus tot destyrannies de la mode orientate. Puis,voici le Congres de Paris qui, en auto-risant l'union des Principautes, dont laRussie se promettait la proie facile, treeune patrie roumaine. De sorte que c'esta partir de 1853 que date la «delivrancedes Roumains», et it fallut attendre encorejusqu'en 1878 les resultats d'une nouvelleguerre russo-turque pour avoir l'inde-pendance. L'unite de la race sortit, enfin,du grand combat pour les libertes na-tionales qui vient a peine de finir.
Seulement, tout cela, bien que reptilesi souvent par des voix autorisees, nestpas vrai. Nous ne dirons pas que, enplus, ce ne pas juste.
Car la race roumaine avec lestreize millions qui la composent etauxquels s'ajoutent aujourd'hui environtrois millions de citoyens roumains appar-tenant a d'autres races est bien latine,en tant qu'elle nest pas thrace par sesautres origines. Pendant des siecles, desrives de l'Adriatique aux Carpathes, unelente et continuelle immigration d'elementspaysans, venant de l'Italie, envahie parle regime des villas et des importationsde ble, denationalisa Illyres et Thracesappartenant a des nations soeurs, et creaune «Romania» d'Orient, correspondanta celle d'Occident, dont viennent les aut-res nations romanes. Cette Romania futslavisee dans les Balkans, sauf le littoralde la mer italienne et les vallees on serefugierent comme patres les «Valaques»ou «Vlaques» (cf. Vetches) roumains etles Albaniens, a demi latins. Sous desformes patriarcales, avec des «juges» etdes «dues» d'imitation carolingienne, lanation vecut pendant des siecles, se dis-tinguant de ses voisines, par ce nom de
two principalities are already two Tur-kish provinces lilt eso many others.
Since then the Sultan'se provinces,fragments of a country which neversucceed de in consolidating itself, appa-rently lived as other territories subjecto the pagan Emperor. People really ima-gine that, apart from the religious faithtwhich remained Christian, everythingelse belonged to the Turks, chiefs,masters and models of the Roumanians.It is only in the XVIII-th century thatFrench teachers and secretaries cometogive a varnish of western civilisation tothe barbarian boyards, mere instrumentsof a Prince chosen fron among theGreek slaves of the Sublime Porte andto their women freed earlier from thetyranny of Oriental fashions in dress.Then came the Congress of Paris, which,authorising the union of the principaliitesin which Russia promised herself ane asyprey, creates a Roumanian country. Sothat is is only from 1853 that the cli-beration of the Roumanians» dates andthey had to wait till 1878 for the resultsof a new Russo-Turkishwar in order tohave their independence. The unity ofthe race emerged at last from the greatwar for the national liberties which hasjust finished.
All these things, however, althoughoften reapeated by so many authorities,are not true. We might add that theyare not even fair.
For the Roumanian race with the 13million which constitute it and to whichare to be added about three millionRoumanian citizens belonging to otherraces is quite Latin in so far as it is
not Thracian by its other origins. Forcenturies, from the banks of the Adriaticto the Carpathians, a slow and continuousimmigration of peasant elements comingfrom Italy, which was filled with elegantmansions and fed with imported wheat,denationalised Illyrians and -Thraciansbelonging to brother nations and treated an eastern Romania correspondingto that of the west, whence come theother Roman nations. This Romania wasslavonised in the Balkans, with the exceptio-nof the coast of the Italian sea and the val-leys where the Roumanian "Wallachiansor Vlachs (compare Welsh) and half la-tinised Albanians took refuge as shepherds.
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Romani, qui signifiait, a regard des Etatsbarbares, la liberty selon les traditionsde l'Empire.
Des Etats se formerent ensuite, au Ca-ractere populaire et territorial, d'une ma-niere strictement nationale, qui est touta fait moderne, au XIV' siecle. La VA-LACHIE c'est le «pays roumain*, laMOLDAVIE, le «pays roumain de lavallee de la Moldova». Leurs princesheritaient des droits de I'Empereur et,s'ils emprunterent pour leur Chancelleriele Slavon qui eta la langue de l'eglise,comme le Latin en Occident, its furentconsideres, apres la disparition des Etatsgrecs, serbes et bulgares, comme les con-tinuateurs legitimes, vetus et chausses depourpre, couronnes d'or, des cesars d'O-rient. Pendant des siecles, its furent lessoutiens de l'eglise orthodoxe, et la chre-tiente balkanique trouva sous leur sceptreun asile. Il n'y a pas, dans les Balkans,une vie politique, une civilisation natio-nate, dont les premiers stages ne se fus-sent passes sur le Danube roumain.
Pendant presque deux siecles, la re-sistance conte les Turcs fut la principalemission des princes de Moldavie et deValachie. Des victoires glorieuses la si-gnalerent. Ces pays ne succomberentjamais devant cet ennemi de leur reli-gion et de leur independance un tributd'abord tres modere, des charges deguerre, la presence de soldats ottomanssur la rive gauche du Danube sont lesseuls liens des Roumains avec ces Turcs,qui n'avaient pas meme la liberty deprier Dieu a leur maniere, sur cette terrede tradition chretienne. Si les Grecs fu-rent admis dans le commerce, dans l'e-glise, dans les fonctions, c'est qu'ils eta-lent consideres comme des coreligion-naires et, lorsque la Porte envoya sensanciens drogmans comme Princes a Bu-carest et a Jassy, ceux-ci cherchaient aretrouver leurs aieux dans la dynasticindigene.
Cet album montrera a un public matinform& et prevenu peut-titre, que lespays roumains surent pendant cinq centsans le foyer d'un art tout particulier,dans lequel se fondaient harmonieusementdes influences orientates et occidentales,sans oublier la note originate du fondspaysan. Cet art a laisse d'innombrablesmonuments a tracers le pays roumain
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The nation lived for centuries underpatriarchal government with judges* and«dukes» imitating those of the Carolin-gians, distinguishing itself from its neigh-bours by the name of Romani, which,with relation to the barbarian States, itmeant liberty according to the traditionsof the Empire.
Thereafter, in the XIV-th century, stateswere founded in a strictly national andin a thoroughly modern way, that is witha popular and territorial character. WAL-LACHIA is the Roumanian Country*;MOLDAVIA the Roumanian countryin the valley of the Moldova». Theirprinces inherited rights from the Emperor,and, if they borrowed for theirc hancel-leries the Slavonic language, which wasthe language of the church, as Latin wasin the west, they were considered, afterthe disappearance of the Greek, Serbianand Bulgarian states, the legitimateinheritors of the Caesars of the Orient,clad and shod with purple and withcrowns of gold. During centuries theseRoumanian states were the support ofthe Orthodox church, and Balkan Chris-tianity found an asylum under theirsceptre. In the Balkans there is nopolitical life and no national civilisationwhich did not develop in its first stageson the Roumanian banks of the Danube.
During nearly two centuries theresistance against the Turks was theprincipal mission of the Moldavian andWallachian princes. Glorious victoriesmarked it. These countries never suc-cumbed to this enemy of their religinoand of their independence : a tribute,at first very moderate, war contributions,the presence of Ottoman soldiers on theleft bank of the Danube without eventhe right to pray to their god in theirown way these are the only ties ofthe Roumanians with the Turks in thisland of Christian tradition. If the Greekswere admitted to trade, to the church,and to public functions, it was becausethey were considered as coreligionariesand, when the Porte sent its formerdragomans as Princes to Bucarest andJassy, these tried to find their ancestorsin the native dynasty.
This album will shew to a public, notvery well informed and perhaps pre-judiced, that the Roumanian lands were
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autonome (qui comprenait aussi la Bu-kovine ravie par l'Autriche en 1775 etla Bessarabie, que le Tsar s'appropriaen 1812) de meme que dans les villa-ges de cette Transylvanie, envahie parles Magyars, apres l'an 1100, et du Ba-nat, separe de la Valachie a une épo-que plus recente. Cet art, reuni a celuique le paysan pratique encore, merited'etre connu dans la verite de son in-spiration et dans ses attaches avec legenie national.
Le village roumain a cree ainsi touteune oeuvre poetique de ballades et dechansons lyriques, de legendes et de con-tes, qui est loin d'etre connue. Les cla-sses superieures, de leur cote, cultiverentla Chronique et l'Histoire, alors qu'uneriche litterature religieuse surgissait descloitres.
L'influence de l'esprit moderne ne datepas d'hier. La Transylvanie physiquementet sclave, proclama hautement les ideesdu XVIII° siecle, et les Boyards molda-ves et valaques s'inspirerent aussi de la
philosophie>> de l'epoque. A cote de laliterature neo-hellenique qu'ils provoque-rent, encouragerent et enrichirent, ils
creerent une nouvelle literature cultiveequi, sans cesse influencee p'ar l'Occident,surtout par l'Occident frangais, fut le fac-teur moral capable de conduire avecI'appui des amis du meme sang, a l'u-nion des principautes a l'independanceet a l'unite politique actuelle.
II a fallu, croyons-nous, rappeler cestitres avant de presenter les preuves in-contestables qui suivent dans cet album,qui est peut-titre une defense, mais de-daigne d'être une plaidoit ie.
N. IORGA
during five hundred years the home ofan art totally apart, in which easternand western influences mingled harmoni-ously, not forgetting the original noteof the peasant basis. This art has leftinnumerable monuments scattered acrossthe autonomous Roumanian countries(which also comprised Bucovina, snatchedaway by Austria in 1775, and Bessa-rabia to which the Tsar helped himselfin 1812) as well as in the Transylvanianvillages, invaded by the Magyars after1100, and of the Banat, separated fromWallachia at a recent epoch. This art,together with that still practiced by thepeasant, deserves to be known for thesincerity of its inspiration and in itsconnections with the national genius.
The Roumanian village has alsocreated a whole poesy of ballads andlyrical songs, of legends and tales, whichis far from being known. The upperclasses, on their part, occupied themselveswith chronicles and history, while arich religious literature poured out fromthe monasteries.
The influence of the modern spiritdoes not date from yesterday. EnslavedTransylvania proclaimed aloud the ideasof the XVIII-th century, and the Moldavianand Wallachian boyards drew inspirationfrom the (philosophy) of their epochBesides the Neo-Hellenic literature whichthey instigated, encouraged and enriched,they created a new literary culture which,unceasingly influenced by the West,especially the French West, has beenthe moral factor capable of leading,withthe help of the friends of the sameblood, to the principalities, to theindependence and to the political unityof to-day.
It has been necessary, we think, tohave these facts recalled before pre-senting the indisputable evidences whichfollow in this album, which are perhapsa defence, but which disdain to be aplea for indulgence.
N. IORGA
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ARTA POPULARA $1 ARTA ISTORICA A ROMANILOR
Arta populara $i arta istorica a Romani lor nu alcatuesc doua domenii deo-sebite, fiecare cu obarsia $i cu conceptia sa proprie. Aceste arte purced din fazelesuccesive ale unei sinteze, care se urmeaza de multe veacuri; ele manifest fiecarepotrivit cu Pinta sa $i in marginile mijloacelor sale aceia$ psihologie a rasei subinraurirea mediului de civilizatie pe care-I intalneste dela o epoca la alta.
Facand o simpla comparafie intre caracterele artei preistorice din regiuneaDunarii $i Carpatilor $i intre caracterele distinctive ale podoabelor camasilor $isorturilor, pe care le poarta azi taranii romani sau care se pot vedea pe covoarelelor, de o atat de bogata varietate de tonuri $i de desenuri, de o atat de libera$i frumoasa originalitate, podoabe pe care le tes mainile agile ale tarancelordela un capat la celalt al tarii ; constati indata punctele esentiale ale acesteiiden Mali.
Nu trebuie, de sigur, sa impingem prea departe acest studiu comparat ; daransamblul, nota dominants, atmosfera de arta raman mereu aceleasi. Natura estilizata; ea pierde contururile proprii, care n'ar putea fi variate la infinit, casa treaca la multiplicitatea capricioasa a liniilor representative pe care fiecare sufletrustic, plin de o poezie indrazneata $i gingasa in acela$ timp, le poate schita, in-lantui $i orandul dupa voia lui Nu mai exists floarea de camp, iarba potecii saurazorului, arborele din livada, insecta care sboara, animalul obisnuit, chipul $itrupul omenesc, casa taraneasca; dar ochiul priceput descopere indata Coate acestelucruri in liniile for esentiale, in intortocherile in care trasatura rectilina se imbinacu paralelogramul, cu zigragul $i cu spirala, cu crucea nuantata sau simpla. Sichiar daca nu descoperi ceeace artistul anonim a vrut sa infatiseze, culorilecare izbucnesc biruitoare sau care se topesc intr'o dulce armonie, iti dau impresiaexacta a acestei naturi, care nu se intuneca de fel, dar nici nu striga cu indraz-neala nearmonioasa frumoasa limpezime a coloritului sau.
Or, acest prim strat al artei romanesti apartine unei rase, care acoperia odi-nioara cu ramificatiile ei, cu «natiunile» ei vorbitoare ale aceleiasi limbi, toataPeninsula Balcanilor, insulele Arhipelagului $i o mare parte din Asia Mica: Tracii,carora li se adaugau, prin limba care le fusese transmisa, Ilirii de pe tarmurileAdriaticei. Insusirile acestor credinciosi in nemurirea sufletului, insusirile acestorrazboinici de un entuziasm nebun ce trebuia temperat de puternica discipline acolonizarii romane se vad in sinceritatea, in insufletirea, in frumosul capriciu alacestor improvizatii artistice de o uimitoare varietate de linii $i culori.
Este foarte probabil ca aceiasi «barbarl», a caror cultura populara poate fipuss alaturi de aceia, atat de desvoltata totus, a Galilor au dat formula in-variabila in fond, de o incalculabila multiplicitate in formele care, de sigur, dinmilioane de cazuri n'au fost niciodata repetate formula casutei taranesti. Cli-matul vailor carpatine $i balcanice cerea acoperisul mare $1 concav cu jgheaburilelate, cu creasta din mici olane aliniate sau formand o cuirass, care prin spatiilede ventilare ingadue utilizarea podului ca deposit de carnuri, de fructe conservate,$i lase sloboda iesirea fumului ce inconjura cu o ceata albastrie acest acoperis inegrit$i aproape unificat de ploi $i de puternicile imbratiseri ale soarelui de vara. Tot dinpricina climatului, s'a creat peristilul aerisit, bancul de pamant intarit care alca-tueste temelia zidurilor, care to pofteste la vorba in timpul lungilor $i blandelornopfi ale anotimpului frumos sau care iti darueste putinta de a dormi in aer liber,in cantecul greerilor din camin $i al ierbei $i in usoara fosnire a arborilor din jur.
$1 sufletul rassei da acestei cladiri de caramida, de lemn $i de pamant aceainsufletire, acea fluiditate in contururi, acea eleganta in infatisare care amintesc peciobanul fluera cantecul in urma oilor, pe plugarul ce trage incetinel brazdain zori de zi, insotit de saltaretele capricii ale ciocarliei. Din acest suflet izvoraste,
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cu deosebire, facultatea de a crew neincetat, de a Puri, fard istov dar si fara arasa sa se intrevada cel mai mic efort, variantele fard sfarsit ale acestui tip, care
cu toata asemanarea, in raporturile esenjiale, cu locuintele tuturor vecinilor, mos-tenitori ai aceleiasi rase, Sarbi, Bulgari, Ucraineni si chiar, uneori, Maghiari devechi sange slay, deosebeste totus casa romaneasca.
Roma n'a dat nimic, nici in stilul arhitectural, nici in podoaba costumului(nu este nevoie sa mai vorbim de covorul, care-5i are corespondentul in Suedia,Got ii fiind vreme de cel putin un veac vecinii apropiati ai Tracilor, nu insa inItalia) nici in arta ceramicei, in afara poate de formele, de un nobil caracter antic,ale unora dintre vase.
Dar Roma noua, aceea din Bizant, realizand o sinteza dintre cele mai inte-resante $i dintre cele mai fecunde intre mostenirea elena trecuta prin simplificarearomana $i intre inspirajiile, de un cu totul alt stil, din Asia Mica, din Siria, dinEgipt, chiar din regiunile asiatice launtrice, a dat artei romanesti, ca $i artei po-poarelor slave care au trait sub conducerea administrative a Bizantinilor, a douasa asezare istorica.
Aceasta a doua asezare avu loc trite() epoca destul de tarzie, c5ci Wilelocuite de rassa noastrd au trait vreme de veacuri o vieata patriarhala, plina detraditii imperiale, dar fara incoronarea unei vieti de Stat. Abia in cel de al XIV-leaveac, principatul Tarii Romanesti numit vulgar «Valachia», «Tara Valaha., «Via-hia», «Tara Vlohilor», de catre Slavii care au Imprumutat aceasta denumire delaGermani pentru Galo-Romani $i Romani, a putut avea monumente in piatra,costume de Curte, un prestigiu al bo,gajiei $i at solemnitatii, o «majestate» carecerea serviciile artei.
Dinspre Salonic $i Macedonia, pe de o parte, asa a fost mai ales cu fru-moasa $i vechea biserica domneasca dela Arges «Curtea de Arges», dela MunteleAthos de alts parte, au purces spre Miaza-Noapte, care nu cunoscuse pang acumacest fel de a cladi, bisericile in forma de trifoi, triconcha, cladite in caramizi lipitecu ciment, cu turnuri joase $i puternice, cu acoperisurile in forma de cupola, cupicturi de veche tradijie iconografica $i de o tehnica imemoriala. Iar dela Con-stantinopol $i dela Curjile slave de imitatie, purcede fastul $i aurul bogatelorcostume purtate azi de simplele tarance de pe valea Argesului $i dela isvoareleDambovitei.
Dace rasa ar fi fost nu atat de vivace, nu atat de inventiva; dace spiritulei ar fi ramas inchis influentelor straine ; dace nu ar fi pastrat in sufletul ei aceastaforta misterioasa care singura poate topI elementele imprumutate din strainatate;
s'ar fi oprit numai la atat. Ar fi fost, ca in Serbia, cateva frumoase asezamintedomnesti, din piatra sculptata sau de un bogat vestment de costisitoare picturecare niciodata n'ar fi putut fi puss la nivelul milioanelor de tarani care traiau insate in aceea credinta religioasa ce sugereaza nevoi artistice. Dar, dace inMoldova, cel de al doilea principat, intemeiat mai recent tot in cursul celui de atXIV-lea veac, dela inceput anume conditii de arta populara s'au impus in chipimperios, transformand biserica goals $i trista, severe $i intunecata, a manastirilordela Athos intro capela cu zidurile polihrome, tarcata cu rosu, cu cenusiu, cualbastru, cu galben, cu verde, prin alternarea pietrei curate cu caramida netencuita,cu caramida lustruita, cu discurile ce purtau ciudate figuri mitologice $i heraldice ;in urma, in a doua faza, acoperita $i pe zidurile exterioare de nenumarate picturiaproape surazatoare ; apoi influentele occidentale au contribuit $i ele, in ambeleprincipate, pentru a complica mai mult Inca formula artistica.
Pentru a fixa aceasta a treia laza a desvoltarii sale, am avut doua curentede origins geografica $i spirituals diferita.
Mai intaiu, cel din Italia, venit prin Dalmatia $i prin regiunile Serbiei mari-time pe care $i le-a castigat in mare parte. Piatra devenita document istoric, sedatoreste acestui nou aport, cu toate detaliile acestei sculpturi exterioare, care pre-.cedeaza in Wile romanesti cu multa vreme opera abundenta, luxurioasa a picto-rilor alcatuind o adevarata scoala care trebuia sa dureze mai.mult de patru veacuri.
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Tot deacolo vine basorelieful cutarei porti, in care chipurile de sfinti o Vestirea Sfintei Fecioare foarte ginga$ infati$ata, un slant rasboinic amintesc traditiuni denaturalism cu totul straine tinuturilor noastre.
Tot dead, in sfarsit, vine in domeniul sculpturei, maniera mai vie, atitudinilemai realiste, gesturile mai libere, maniera pe care o intalnim in cizelarea uneiparti din argintaria valaha din veacul al XVI-lea. Aceasta inraurire se resimte chiarin caracterul latin, venetian al inscriptiilor de pe frontispiciile bisericilor si de pemorminte.
Occidentalismul german, care vine cuceritor prin Polonia cu °rase germanice,prin Transilvania burghezilor saxoni, bogati in aptitudini artistice, castiga maimult teren, mai ales in Moldova, pe care a dominat-o cel putin vreme de un veacsi jumatate.
Aceasta in a dat cadrurile ferestrelor $i usilor, care se taie in «arc braesau se oranduesc in gergevele rectilinii, ca $i caracterul ornamentului floral $i cel alinscriptiunilor de pe mormintele printilor $i ale boierilor; aceeasi influents s'aexercitat intro masura oarecare asupra scenelor infatisate pe legatura Evangheliilor,asupra vaselor bisericesti. Inspiratia generals insa in ceeace priveste argintaria,perdelele altarului, pietrele funerare, a ramas de obarsie bizantina. Pans tarziu detot, in Valahia, mai ales catre sfarsitul celui de al XVII-lea veac, sub domnia bo-gatului $i magnificului print Constantin Brancoveanu (1688-1714), argintarii delaSibiuHermannstadt $i dela BrasovKronstadt lucrau pentru asezarile domnestiobiecte minunate, dar uneltele for se conduceau totdeauna $i in chipul cel mai strictdupa desenurile trimise dela Targovi$te sau Bucure$ti de catre Voevodul donator.
Renasterea n'a avut decat o slabs inraurire asupra tarilor romanesti, a carorepoca de neatarnare politica $i de mare desvoltare comerciala trecuse deja. Acestnou curent occidental se recunoaste numai in detaliile de ornamentare, cum sunt
de pilda florile de o linie mai larga $i mai libera de pe pietrele sepulcrale.Astfel: pe lespezile mormintelor, pe care rasboinicul mort, domn sau boier, e in-fatisat calare, cu coroana sau cu casca pe cap, manuind armele sau silind cuvarful sulitei sau al spadei, pe cutare vra$mas War sa descalece in vreme ce sa-getile vra$ma$ului, in caderea lui, se risipesc (la Arge$, la Viero$, la Stanesti). Darin aceste parti niciodata antichitatea n'a fost imitata in ciuda originilor romane, acaracterului latin al limbei.
Un al patrulea factor de sinteza a fost mai adanc imprimat : acela al Orien-tului musulman, care a exercitat o influenta ce totus nu poate fi de fel comparatacu aceea a suzeranitatii politice.
Cand la Dragomirna, la Putna, marile manastiri ale Bucovinei, vezi spiraleleincalcite care urmeaza linia indrazneata a boltilor, acoperita cu flori si stele mul-ticolore ; cand mormintele fondatorilor, in loc sa fie insemnate printr'o simplapiatra plata, se ridica deasupra lespezilor sub un fel de capac pe care reliefurilese intretaie ca niste panglici ; cand florile larg deschise sunt oranduite ici $i colo,pe liniile nervurilor gotice ; trebuie sa recunoastem inspiratia moscheelor in carestapanii tarii se rugau lui Dumnezeu altfel decat noi. Este un Orient de un lux, impinsin chip pretentios pans la cel mai mic detaliu; aceasta a dat marei biserici TreiErarhi din Iasi acele pietre sculptate cu flori aurite, fiecare in alt fel.
Si, acelas lucru, in Valahia din cel de at XVII-lea veac, unde cadrele fere-strelor sau ale usilor sunt sculptate cu tulipe, cu frunze stufoase, cu toata acesinflorire ce to mans catre arta Persiei, mama oParadisului», a gradinilor divine.Cutare mica biserica din apropierea Bucurestilor, la Fundenii Doamnei, are orna-mente exterioare in stuc, infatisand arborii tipici, pauni asezati fats in fats, candeleatarnatoare elemente ale acestei arte persane iar in casele boierilor $i aleDomnitorilor aceasta mods orientala se va invedera in stucaturi. Si se va gasiaceea$ noua deprindere in miniaturile, atat de variate, ale manuscriselor epocei. inliterile ornate ale documentelor valahe din a doua jumatate a veacului, cu florilefor larg deschise ce ies dintr'un bogat frunzis. Imprimeria care incepuse cu for-mete venetiene in veacul al XVI-lea, ca sa adopteze tipurile Renasterei introduse
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la Rusii din Polonia, la cei din Moscova si la Transilvaneni, ia forme fermeca-toare, dupa aceleas cerinte ale model, sub conducerea calugarului Antim din Iberia,ajuns arhiepiscop al Valahiei.
Italia aceleiasi epoci, Franta lui Ludovic XIV n'au dat nimic mai mull decalacea Vestire unica sculptata in marmura pe poarta de intrare a bisericii Golia dinIasi. Cu totul altfel este Venetia, Inca izbanditoare, din sfarsitul acestui al XVII-leaveac. De acolo nu atat din Orient, ia, sub Brancoveanu, sculptura deco-rativa cu canaturile, capiteluri!e, coloanele canelate, rampele scarilor, pietrele fune-rare locul pe care nu-I avusese niciodata pang atunci; in biserici $i in palate, totuleste acoperit cu ornamente datorite noilor mesteri ai daltei. La Mogosoaia, langaBucuresti, casa de yard a printului Brancoveanu, cu acele loggie indrcptate spregrading sau spre raul ce strabate verdele livezii, to crezi la Asolo sau aiurea inimprejurimile Venetiei, intre casele patricienilor. Ins pictura, pe !impede fondalbastru, purcede din invataturile mesterilor venetieni.
Si forma definitiva fiind opera unei lungi stradanii a inteligentii si a gustuluidesavarsita de o rasa incapabila de izolare, incapabila sa se inchida in formeimuabile, aceasta opera se raspandeste in sute, in mil de edificii de cult, pangin cel din urmd catun mandru de biserica lui cu capiteluri ornate, cu bogatepicturi de o fermecatoare polihromie. In felul acesta, opera originals prin caracterul
nou al ansamblului ajunge nationala prin aceasta facultate de a deveni universal-populara, scoborind ca o rasplata spre acele masse din care pornise in adancu-rile istoriei romanesti cea dintaiu initiative de arta $i care, in forme simple, ii
mentinea cu gelozie traditia cea mai pure.
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Din aceasta arta populara si, mai ales, din mestesugarii acestia chiar ta-
ranii $i din inspiratoarea for natura acestor tinuturi de un caracter atat departicular; trebuia sa isvorasca mai de grabs decat din amintirile istoriei si dintraditiunile artei culte faza moderns a desvoltarei artistice in Romania.
In epoca in care Bucurestii si celelalte orase valahe se alcatuesc din cladiride moda veche, marl. curti boieresti, cu multimi de sclavi tigani $1 de servitori,clienti in jurul casei stapanului, cu un luminos peristil ; din bisericute care cuprindenciclopedia artei acestei Pi; din casute de mahala svelte si surazatoare in mij-locul gradinitelor ingrijite cu dragoste in lunile de vara; in epoca in care inMoldova, alaturi de dughenele evreesti de moda galitiana, patrundea casa frantuzeascadin veacul al XVIII-lea in ulitile principale, aceasta casa confortabila, comodasi modest& cu veranda $i balcon, cu un mare salon ce se rotunjeste asupra par-cului secular $i asupra helesteului cu barca primblarilor romantice ; in epocaaceasta apare pictura noua.
Unul dintre fauritorii ei, Theodor Aman, studiaza cu pasiune in Franta, in
Parisul atelierelor $i at retetelor. De acolo, se intoarce atotstiutor in ceeace privestetehnica corecta $i eleganta si zugraveste tablouri marl cu lupte, cu tragedii dom-nesti, cu scene oficiale din lumea contimporana. Pitorescul it atrage: tdranul cucaciula, femeea cu iie, tiganul care isi taraste ursul dupa el. Dar toate acestea inafara de notiunea precise de rasa $i de mediu.
Nicolae Grigorescu, fost zugrav de manastiri, este cel care a descoperit acesteelemente esenfiale. $i el si-a facut pelerinajul sau parizian, dar s'a oprit la scoalaaerului liber, in epoca unui Corot $i Millet, in padurea dela Fontainebleau, la
Barbizon. Franta it inspira si Grigorescu redd colturi din Bretania, intimitatea ca-sutelor burgheze, poezia subiectului comun intro lume de veche oranduiala, cetrece dela o generafie la alta. Intors acasa, Grigorescu se afunda in azurul cerurilorimense, se pierde in colbul aurit al drumurilor, urmareste pasul incet al boilorsarmati injugati la carele preistorice, se opreste prietenos in fata taranului care seduce la targ si priveste ironic pe micul evreu care se ia la harta cu musterii lui
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dela tars, in piata unui targusor moldovenesc ; surprinde pe tanarul cioban manan-du-si prin vai oile albe ; $i, mai ales, adora alba silueta a fetei care toarce, cuochii pierduti departe $i inecati in vis.
Adevarata arta romaneasca se nascuse in pictura. Altii, ca Andreescu, mai tristsi nu atat de poet in conceptia sa asupra vietii taranesti ceeace inseamna, infond, mai departe de adevarul intim al lucrurilor ; ca Luchian, care aruncaluminile nesfarsite ale paletei sale, ca un reflex al ironicului sau suras de ombolnav, peste lucruri comune, case vechi, flori mangaietoare, chipuri de fiinte iubite ;ca Verona, de o atat de abundenta creatie; ca Grant, autorul peisagiilor romantice ;ca D. Stoica, pictorul istoriei $i al rasboiului; ca Petrascu, maestrul tonurilor duresi brutale ; ca Stoenescu, autorul portretelor de o fina psihologie; ca Steriade,de o productie atat de feline; ca Horatiu Dimitriu, Schweitzer-Cumpana ; aucontinuat acest curent care din nefericire, se va ineca in formulele la mod&care pot fi cel mull daca sunt sincere. indicatii pentru viitor. Dar sculpturaunui Storck, Severin, Jalea, Han, Hette, fara a mai vorbi de indraznetele incercariin ireal ale Iui Brancus abia daca va atinge in treacat o realitate, pe care n'aprins-o Inca delicata vigoare a mainilor creatoare.
Cat despre arhitectura ale carei reguli au fost deja stabilite de un Anto-nescu sau Mincu ea rataceste Inca in trecutul, pe care 11 copiaza prea adesea,ca sa descopere o formula pe care n'o pot reprezenta doar balcoanele cu coloaneornate, ferestrele de capela funerara, acoperisurile deschise in afara din olanetarcate, nici turnuletele can cer altceva decat teoria monotona a frontonurilor dinmarlie orase. Ar trebui, drept cadru, curtea-grading si, pentru cetatea moderna,ceva in genul acestui stil francez adaptat care a furnizat atat de frumoase aleisenioriale oraselor boierimei moldovenesti.
N. IORGA
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ART POPULAIREET ART HISTORIQUE DES
ROUMAINS
L'art populaire et l'art historique desRoumains ne forment pas deux domainessepares, chacun ayant ses origines et sesconceptions differentes. Its partent desphases successives d'une synthese qui sepoursuit depuis de longs siecles et mani-festent, chacun d'apres ses buts et dansles limites de ses moyens, la meme psy-chologie de race sous l'influence dumi-lieu de civilisation qu'elle rencontre d'uneépoque a l'autre.
On n'a qu'a faire une comparaisonentre les caracteres de l'art prehistoriquedans les regions du Danube et desCarpathes et entre ceux qui distinguentles ornements des chemises et des tabli-ers port& aujourd'hui par les paysansroumains ainsi que ceux qu'on peut ob-server sur les tapis, d'une si riche va-riete de tons et de dessins, d'une si libreet belle originalite, que tissent les mainsagiles des femmes de la campagne rou-maine d'un bout du territoire habite parla nation a l'autre, pour constater despoints essentiels d'identite.
11 ne faudrait pas, sans doute, poussertrop loin cette etudecomparee, mais l'en-semble, la note dominante, l'atmosphered'art restent toujours les memes. La natureest stylisee ; elle perd ses contours aelle, qui ne pourraient pas etre varies al'infini, pour passer a la multiplicite ca-pricieuse des lignes representatives quechaque ame rustique, empreinte d'unepoesie hardie et delicate en meme temps,peut tracer, entrelacer et arranger a saguise. 11 n'y a plus la fleur des champs,l'herbe du sentier et de la pelouse, l'arbredu verger, l'insecte qui vole, l'animalfamilier, la figure et le corps humain, lamaison villageoise ; mais l'oeil expert endevine aussitot sur ces tapis les lignes es-sentielles sur ces meandres dans lesquelsle trait rectiligne se mete au parallelogramme, au rhombe, au zigzag et a la spirale,A la croix, gammee ou simple. Et, memesi on ne devine pas ce que l'arlisteanonyme a voulu representer, les cou-leurs qui &latent victorieuses ou qui sefondent dans une douce harmonie don-
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THE PEASANT AND THEHISTORICAL ARTS
OF THE ROUMANIANS
The peasant and the historical artsof the Roumanians do not form twoseparate domains, each having its ownorigins and conception. They start fromsuccesive stages of a synthesis whichfollows for many centuries shewing (eachaccording to its own scope and withinthe limit of its means) the same racepsychology under the influence of thecivilisation of the environment which theyfind from one epoch to another.
One has only to make a comparisonbetween the characteristics of the pre-historic art in the Danubian and Car-pathian regions and those that mark theornaments of the shirts and aprons wornto-day by the Roumanian peasants as wellas those seen on the carpets, of such arich variety of tones and design, of such afree and beautiful originality, woven by theagile hands of the women of the country-side from one end of the territory inha-bited by the nation to the other, in orderto ascertain the essential points of identity.
No doubt this comparative study shouldnot be pushed too far, but the ensemble,the dominant note, the artistic atmosphereremains always the same. Nature isconventionalised ; it loses its own outlines,which could not be varied ad infinitum,in order to pass to the capricious multi-plicity of representative lines which eachrustic soul, stamped at the same timeby a bold and delicate poetry, can draw,intertwine and arrange in its own way.There is no more the field flower, thegrass of the path or of the lawn, theorchard tree, the flying insect, the domes-tic animal, the human body and face, thepeasant house; but the expert eye disco-vers at once on these carpets the essentialbases, on these meanderings in which thestraight line is intertwined with the rhomb,with the zigzag and with the spiral, withthe simple or the double cross. And evenif one doesnot guess what the anonymousartist wanted to represent, the colourswhich flash out victoriously or melt in asweet harmony, give the exact impressionof this nature which neither effaces itself
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nent l'impression exacte de cette naturequi ne s'efface nullement, mais ne damepas avec une hardiesse disharmonieusela belle nettete de ses couleurs.
Or cette premiere couche de l'artroumain appartient a une race, a unegrande et. forte race, qui couvrait jadisde ses ramifications, de ses «nations»,parlant la meme langue, toute la peninsuledes Balkans, les Iles de l'Archipel et unegrande partie de l'Asie Mineure : lesThraces, auxquels se rattachaient, par lalangue qui leur avait ete transmise, lesIllyres des rives de l'Adriatique. Les qua-lites de ces croyants a l'immortalite del'am, de ces guerriers d'un fol enthousias-me qui devait etre tempere par le bonsens et par la puissante discipline de lacolonisation romaine se rencontrent dansla sincerity, dans l'elan, dans le joli capricede ces improvisations artistiques d'uneeffarante variety de lignes et de couleurs.
Il est tres probable que les memesbarbares" dont la culture populaire peut
etre mise a cote de celle, si developpeepourtant, des anciens Gaulois, ont donnela formule invariable au fond, d'uneincalculable multiplicite dans les formes,qui, certainement, sur des millions de cas,n'ont jamais ete repetees, de la maison-nette rurale. Le climat des vallees car-pathiennes et balkaniques demandait legrand toil concave aux goutieres prolongues, la 'time' de petits bardeaux,allignes ou faisant cuirasse, qui par sesinterstices de ventilation permet d'em-ployer le grenier comme depot de viandes,de fruits conserves et donne passage ala fumee qui entoure d'une buee bleuatrecette couverture noircie et presqu'unifieepar les pluies et les forts embrasementsdu soleil d'ete; c'est de lui que vient leperistyle aere, le banc de terre durciequi forme la base des murailles, invitantA causer pendant lec longues et doucesnuits de la belle saison ou offrant unsommeil a l'air libre as chant des grillonsde l'atre et de l'herbe et au lent bruis-sement des arbres amis. Mais lame dela race est celle qui donne a cette con-struction en briques mêlées de Plancheset de terre une legerete d'elan, une fluiditede contours, une elegance d'alltres quirappellent le patre sifflant sa chanson der-riere les brebis, le laboureur creusantallegrement son sillon a l'aurore, accom-
nor spoils the beautiful clearness of thecolours with striking dissonances.
However, this first layer of the Rou-manian art belongs to a race, to a verygreat and strong race, the Thracians (abranch of which were the Illyrians fromthe banks of the Adriatic sea to whomthe language was handed down) oncecovering with its ramifications, with its«nations» speaking the same language,the whole of the Balkan peninsula, theislands of the Archipelago and a greatpart of Asia Minor. The qualities of thesebelievers in the immortality of the soul,of these warriors with a mad enthusiasmwho were to be tempered by the commonsense and the powerful discipline of theRoman colonisation, are found in thesincerity, in the outpour, in the beautifulcaprice. of these artistic improvisations ofa bewildering variety of lines and colours.
It is very probable that the same «bar-barians», whose popular culture can beput side by side with that of the old Gaulsin spite of the advanced development ofthe latter, have given the invariable for-mula for the plan of the small ruralhouse, which lending itself to an incal-culable variety of forms, certainly inmillion cases has never been repeated.The climate of the Carpathian and Balkanvalleys demanded the great concave roofwith the prolonged gutters, the roofmade of thin planks, aligned or arrangedlike a cuirass, which by its interstices ofventilation allow it to be used as agranary, as a deposit of viands or ofpreserved fruits and gives outlet to thesmoke which surrounds this blackenedroof with bluish steam, weatherbeatenby the rains and the strong glowing ofthe summer sun ; it is from this climatethat comes the aerated peristyle, thehardened earthen stoop forming the basisof the walls, inviting to gossip during thelong and sweet nights of the beautifulseason or offering a sleep in the openair to the music of the cricket of thehearth and of the grass, and to thesluggish rustling of the friendly trees. Thesoul of the race is what gives to thisconstruction of bricks, mingled with planksand earth, a delicate line, a fluidity andelegance reminding one of the shephardpiping his song behind the sheep andthe husbandman gaily digging the fields
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pagne par les sautillants caprices aeriensde l'alouette. Et c'est surtout de la quevient la faculty de creer sans cesse, dedonner naissance, sans se lasser, maisaussi sans que paraisse le moindre effort,a des variantes sans fin de ce type qui,au premier aspect, malgre la similitudesous les rapports essentiels avec l'habita-tion de tous les voisins, heritiers de cettememe race, Serbes, Bulgares, Petits Rus-siens et meme certains Magyars d'anciensang slave, denote la maison du Roumain.
Rome n'a rien donne, ni dans le stylede l'architecture, dans l'ornement du co-stume pas n'est besoin de parler dutapis, qui a son correspondant en Suede,les Goths ayant ete pendant au moins unsiecle les voisins immediats des Thraces,mais pas en Italie , dans l'art de la cera-mique, sauf peut-titre la forme, de carac-tere noblement antique, de certains vases.
Mais la Rome nouvelle, celle de By-sance, realisant une synthese des plusinteressantes et aussi des plus fecondesentre l'heritage hellenique passé par lasimplification romaine et entre les inspi-rations, d'un tout autre style, de l'AsieMineure, de la Syrie, de l'Egypte, des re-gions asiatiques interieures memes, adonne a l'art roumain, ainsi qu'a celuides peuples slaves vivant ceux-la sous ladirection administrative meme des Bysan-tins, sa seconde assise historique.
Elle fut posee a une époque asses tar-dive, les pays habites par notre race ayantvecu pendant des siecles d'une vie pa-triarcale, pleine de traditions imperiales,mais sans le couronnement d'une vied'Etat. Ce n'est qu'au XIV-e siècle queIa principaute de ° toute la Terre Rou-maine", appelee vulgairement la Vala-chie, «le pays welche"; le Valais", la«Wallonie", le «Wales' par les Slavesayant emprunte cette denomination pourles Gallo-Romains et les Romains auxAllemands, put avoir des monuments enpierre, des costumes de Cour, un prestigede richesse et de solennite, une «majeste»qui demandait a etre servie par l'art.
De la region de Salonique et de Ma-cedoine, d'un cote comme surtout pourla belle ancienne eglise princiere d'Arges,de la .Cour sur l'Arges" , du MontAthos de I'autre vinrent donc vers leNord, qui ignorait jusque la cette faconde batir, les eglises en forme de trefle,
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at the dawn accompanied by the aerialspringing caprices of the skylark; andit is mainly from there that comes thefaculty of creating unceasingly, of givingbirth untiringly but with apparent ease,to endless variants of this type, distingui-shing the Roumanian house at the firstglance, in spite of ifs likeness in theessential points to the dwelling of allthe neighbours, heirs of the same race,Serbians, Bulgarians, Ukrainians and evencertain Magyars of old Slavonic blood.
Rome has given nothing, either in thestyle of the architecture or in the or-namentation of the costume (there isnot the least necessity of talking of thecarpet which has its correspondent inSweden, the Goths having been the im-mediate neighbours of the Thracians for atleast a century. though not in Italy) neitherin the ceramic art except, perhaps, incertain vases of noble antique shape.
But the new Rome, Bysantium, attai-ning one of the most interesting andmost fruitful synthesis between the Hellenicheritage (simplified by Roman influence)and the inspirations of quite anotherstyle coming from Asia Minor, Syria,Egypt, even from remote Asiatic regions,has given Roumanian art its second his-toric basis as well as to the Slavonicraces who lived under the direct admi-nistration of the Bysantines themselves.
This basis was laid at a rather lateepoch, as for centuries the countriesinhabited by our race had seen apatriarchal life, full of imperial tradi-tions, but without the crown of anorganised state. It is only in the XIV-thcentury that the principality of «all theRoumanian lands (popularly called Wa-lachia, le pays welche., «Wal-lonie», "Wales., the Slays borowing thisdenomination from the Germans whoused it for the Gallo-Romans and theRomans) could have monuments instone, Court costumes, a prestige ofwealth and solemnity, a «Majesty, de-manding to be served by art.
Fromthe regions of Salonica and Ma-cedonia, on the one hand, (as espe-cially in the case of the beautiful prin-cely church of Argesh, of "the Courton the Argesh») , of Mount Athos onthe other, there came to the Northwhich did not know till then that type
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etriconque», baties en briques noyeesdans le ciment, avec leurs tours basses etfortes, leurs toits en coupole, leur pein-ture d'ancienne tradition iconographiqueet de technique immemoriale. Et c'est deConstantinople et des Cours slaves d'imi-tation que derivent la pompe et l'or desriches costumes porta aujourd'hui parde simples paysannes dans les vallees del'Arges et de la Dambovita superieure.
Si la race avail ete moins vivace etmoins inventive, si son esprit s'etait fermeaux influences etrangeres, si elle n'eutpas conserve dans son ame cette forcemysterieuse, qui seule peut fondre les em-prunts faits a l'etranger, on se seraitarrete la. Il y eut eu, comme en Serbie,quelques belles fondations princieres, depierre sculpt& ou d'un riche vetementde peinture coUteuse, qui n'auraient ja-mais pu etre mises au niveua des millionsqui dans les villages vivaient dans lameme foi qui suggere des besoins d'art.Mais, si, en Moldavie, la seconde princi-paute, de fondation plus recente au coursdu meme XIV-e siecle, des le debut cer-taffies conditions de l'art populaire s'im-poserent d'une facon imperieuse, trans-formant l'eglise vide et triste, severe etobscure, des couvents athoniques dansune chapelle de polychromie exterieure,barictee de gris, de rouge, de Brun, debleu, de jaune, de vert par l'alternancede la pierre franche avec la brique libre,avec la brique emaillee, avec les disquesA figures bizarres, mythologiques et he-raldiques, puis, dans une seconde phase,recouverte de multiples peintures pres-que souriantes a l'exterieur aussi, des in-fluences occidentales travaillerent bientot.dans les deux principautes, pour compli-quer encore la formule roumaine de l'art.
Pour fixer cette troisieme base de sondeveloppement, on a eu deux courants,d'origine geographique et d'esprit biendifferents.
D'abord celui de l'Italie, venu par laDalmatie et par les regions de la Serbiemaritime qu'elle s'est gagnees en grandepartie. La pierre «historiee» est due a cenouvel apport, avec tous les details decette sculpture exterieure qui precededans les pays roumains de longtempsl'oeuvre abondante, luxurieuse des pein-tres formant une vraie ecole qui devaitdurer plus de quatre siecles. De la aussi
of construction of the churches in the styleof the clover, «trifoliate built of brickdeeply embedded in ciment, with theirlow and strong towers, their dome-shapedroofs, their painting using immemorialtechnique of ancient iconografic tradition.It is to Constantinople and to the SlavonicCourts, by imitation, that the simple pea-sant women of to-day, inthe valleys of theArgesh and upper Dambovita, owe thepomp of gold on their rich costumes.
If the race had been less vivacious andless inventive, if its spirit had closed itselfto foreign influences, if it had not prese-rved in its soul this mysterious force whichalone can assimilate the foreign borro-wings, it would have stopped there ; asin Serbia there would have been a fewbeautiful princely foundations in sculp-tured stone, or covered with costly pa-intings which could never have beenwithin the reach of millions who livedin the villages, in that same faith, thewhich suggesst the need of art. If inMoldavia, the second principality (foun-ded more recently during the XIV-thCentury) certain conditions of the pea-sant art imposed themselves in an im-perious way, transforming the emptyand sad churches, severe and obscure,of the convents like those of MountAthos, into a multicoloured chapel, varie-gated with green, red, brown, blue,yellow, green in alternance with ap-parent stone and brickwork, with bricksenamelled in discs representing strangemythological and heraldic figures, andthen in a second phase, covered onthe outside also with multiple gay pain-tings, western influences were soon atwork again in the two principalities ofcomplicate the Roumanian formula of art.
In order to fix this third basis of de-velopment there have been two currentsof entirely different geographical originsand conceptions.
First of all that of Italy, come throughDalmatia and the regions of maritimeSerbia, in which Italy acquired the grea-test influence. The decorated stone isdue to this new contribution, with allthe details of a new external sculpture,long preceding in the Roumanian pro-vinces the abundant and the luxuriouswork of the painters forming a realschool that was to last for more than
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vient le travail en bas-relief de tette portedont les figures de saints, une Annon-ciation de la Vierge, tres gentiment pre-sentee, un fringant guerrier sacre, rappel-lent des traditions de naturalisme tout afait etrangeres a nos regions. De la enfin,dans ce domaine de la sculpture, la ma-niere plus vivante, aux attitudes plus rea-listes et aux gestes plus libres, dont estmartelee une partie de l'argenterie va-laque du XVI-e siecle. Celle influence seressent meme dans le caractere latin, ve-nitien des inscriptions sur le frontispicedes eases et sur les tombeaux.
L'occidentalisme allemand, qui con-quiert, par la Pologne aux villes germa-niques, par la Transylvanie des bourgeoissaxons, riches en aptitudes artistiques,gagne plus de terrain, surtout en Mol-davie, qui en fut dominee au moins unsiecle et demie.
Il a donne les encadrements des porteset des fenetres, qui se coupent en arcbrise ou s'ordonnent en meneaux recti-lignes, ainsi que le caractere de l'or-nement fleural et des inscriptions sur lestombes des princes et des boiars, un peuaussi celui des scenes representees sur lesreliures des Evangiles, sur les vases duculte, l'inspiration generale restant nean-moins, pour l'argenterie comme pour lesrideaux d'autel, pour les couvertures despierres sepulcrales, celui de l'ancienne directrice qui est Byzance. Jusque bientard, en Valachie aussi, et surtout auXVII-e siecle finissant, sous le regne duriche et magnifique prince ConstantinBrancoveanu (1688-1714), les orfevresde Sibiiu- Hermannstadt et de Brasov-Kronstadt travaillalent pour les fondationsprincieres des objets admirables, mais leurpoingon se dirigeait invariablement et dela fagon la plus stride d'apres les dessins,envoyes de Targoviste ou de Bucarestpar le, Voevode donateur.
La Renaissance n'a eu qu'une faibleprise sur les pays roumains, dont l'e-poque d'independance politique et degrand developpement commercial avaitdéjà passé. On reconnait ce nouveaucourant occidental seulement dans desdetails d'ornamentation, comme dans lesfleurs d'une ligne plus large et plus libresur ces pierres tombales. Aussi sur quel-ques pierres sepulcrales oil le guerriermort, prince ou boiar, figure a cheval,
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four centuries. From there also came thework in basso-relievo of a certain gatein which the figures of the saints, anAnnunciation of the Vergin, very nicelypresented, a lively sacred warrior, recalltraditions of naturalism entirely alien toour provinces. It is from there, at last,that came in this sculptural domainthe more vivacious manner, the morerealistic attitudes and the freer gestu-res seen in some of the Wallachianhammered silver of the XVI-th century.This influence is felt even in the Latin-Venitian character of the inscriptions onthe frontispice of churches and tombs.
The German occidentalism, rich inartistic qualities, which dominated Mol-davia for at least a century and a halfgains more territory through the Transyl-vania of the Saxon burghers and throughPoland with its German towns.
The latter has given the embrasuresof the windows and the portals of thegates outlined in broken arches orarranged in straight mullions as well asthe character of the floral ornament ofthe inscriptions on the tombsof theprinces and of the boyards, a little alsothat of the scenes represented on thecovers of the Gospels, on the churchvessels, the general inspiration remainingneverthelless for silver, for altar curtainsas well as for the covers of the tomb-stones, that of the old directress whichis Bysantium. Till very late, in Wallachiaalso and especially during the XVII-thcentury, ending under the reign of therich and magnificent Prince ConstantinBrancoveanu (1688-1714), the silvers-miths of Sibiu Hermannstadt and of Brasov-Kronstadt worked admirable objects forthe princely foundations, but their punc-heons were invariably and strictly directedafter the designs sent from Targovisteor from Bucarest by the princely donor.
The Rennaisance had only a feebleinfluence on the Roumanian provinces,for their epoch of political independenceand of great commercial developmenthad already passed. One can onlyrecognise this new western current indetails of ornamentation, as in flowersof a larger and freer line on certaintombstones. Also on certain other tomb-stones where the dead warrior, princeor boyard, is represented mounted,
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couronne ou casque en tete, brandissantla masse d'armes ou bien faisant descen-dre de selle, du bout de la lance ou del'epee, tel adversaire tatare, dont lesfleches, dans sa chute, s'eparpillent Ar-ges, a Vieros, a Stanesti). Mais jamais itn'y eut de ce cote, en depit des originesromaines, du caractere latin de la langue,une imitation de l'antique.
lln quatrieme facteur de synthese futsensiblement plus marque: celui de l'O-rient musulman, qui exerca cependant,toujours, une influence nullement compa-rable a celle de la suzerainete politique.
Lorsque, a Dragomirna, a Putna, lesgrands monasteres de la Bucovine, onvoit les boudins enchevetres qui suiventla ligne hardie des voiltes, toute couverted'etoiles et de fleurs multicolores, lorsqueles tombeaux des fondateurs, au lieud'etre marques par une simple pierre plate,se presentent au dessus des dalles, sousune espece de couvercle enrubanne demoulures, lorsque des fleurs largement é-panouies sont plaquees ci et la sur leslignes des nervures gothiques, it faut bienreconnaitre l'inspiration des mosquees oules maitres du pays priaient Dieu d'uneautre fagon. C'est un Orient de luxepousse pretentieusement jusqu'au moindredetail qui a donne a la grande eglise desTrois Hierarques de Jassy ses pierres dontchaucune est sculpt& de fleurs dorees,d'une fagon differente.
Et, aussi, lorsqu'en Valachie du XVII-esiècle les cadres des portes, des fenetressont ornees de tulipes, de feuillages touf-fus, de toute cette floraison qui renvoiea l'art de la Perse, mere des =paradise,des jardins divins. Telle petite eglise enmarge de Bucarest, a Fundenii Doamnei,a des ornements exterieurs en stuc, offrantles arbres typiques, les paons affrontes,les lampes pendantes de cet art persan,et dans les maisons des princes et desboiars it n'y aura dans la stucature quecette mode orientate. Et on retrouveracette meme coutume nouvelle dans lesminiatures, si variees, des manuscrits del'epoque, dans les lettres ornees desdocuments valaques de la seconde moitiedu siècle, avec leurs fleurs epanouiessortant d'une riche feuillage. L'imprimerie,qui avait commence par des formesvenitiennes au XVI-e siècle pour adopterles types de la Renaissance introduits
crowned or helmeted, brandishing wea-pons or dismounting his Tartar adversarywith the end of his spear or sword whosearrows are scattered in his fall (at Arges,at Vieros, at Stanesti). But there neverwas in these parts an imitation of theantique, in spite of their Roman origins.
A fourth factor of the synthesis wassomewhat more remarkable : that of theMoslem East which, however, alwaysexercised an influence incomparably in-ferior to the political sovereignty.
When one sees at Dragomirna, atPutna (the great monasteries of Bucovina)the entangled toruses which follow thebold line of the vaults, which are coveredwith stars and multicoloured flowers,where the tombs of the founders insteadof being marked by a simple flat stone,shew over the slabs raised above thelevel of the pavement a sort of canopydecorated with twisted ribbon-like moul-dings, where flowers in full bloom arestrewn here and there on the lines ofthe Gothic ribs, one must recognise theinspiration of the mosques where themasters of the country prayed God in
another fashion. It is the luxurious East,pretensiously pushed to the smallestdetails, which has given to the greatchurch of the Three Hierarchs of Iassyits stones of which each one is sculpturedin a different way with gilt flowers.
And similarly when in Wallach is ofthe XVII-th century the portalsof thegates, the embrasures of the windowsare orna mented with tulips, with clus-tered leaves, of all the blossomingwhich reminds us of the Persian art,mother of "paradise' and of divinegardens. A certain small church on theoutskirts of Bucarest, at Fundenii Doamnei,has external ornaments in stucco, offeringthe typical trees, the daring peacocks,the suspended lamps of this Persian art,and in the houses of the princes andboyards one will only find stucco worksin this Eastern style. And one will againnotice this same new style in the minia-tures, infinitely varied, of the manuscriptsof the epoch, in the ornamental lettersof the Wallachian documents of thesecond half of the century, with their fullbloomed flowers amid rich foliage. Theprinting press, which was originally set inVenitian type in the XVI-th century, and
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chez les Russes de Pologne, chez ceuxde Moscou et chez les Transylvains, seplie, dans des formes charmantes, auxmeme exigences de la mode, sous la di-rection du moine Anthime d'Iberie, de-venu archeveque de Valachie.
L'Italie de cette meme époque, laFrance de Louis XIV n'ont rien donne,sauf cette Annonciation unique sculpt&en marbre sur la porte d'entree de re-glise de Golia a Jassy. II n'en est pas dememe pour la Venise, encore triom-phante, de la fin de ce XVII-e siecle. C'estde la, et pas autant de l'Orient, que, sousBrancoveanu, la sculpture decorative,des encadrements, des chapiteaux, descolonnes canelees, des rampes d'escalier,des pierres tombales prend une placequ'elle n'avait jamais eue auparavant etque tout, dans les eglises et les palais,est reconvert de la parure due aux nou-veaux maitres du ciseau. A Mogosoaia,pres de Bucarest, maison de plaisance duprince Brancoveanu, avec ses loggiedirigees vers les jardins ou vers la rivieretraversant la verdure des vergers, onse croirait a Asolo ou ailleurs dans lesenvirons, pleins de maisons patriciennes,des environs de Venise. La peinture elle-meme, sur le clair fond bleu, derive deI'enseignement des maitres venitiens.
Et, la forme typique avant ete form&par une longue oeuvre de travail, d'in-telligence et de gout, accompli par unerace incapable de s'isoler, de se figerdans des formes immuables, elle se repanddans des centaines, des milliers d'edificesdu culte, allant jusqu'au dernier hameau,fier de son eglise aux chapiteaux ornes,aux riches peintures d'une charmantepolychromie. De cette facon, ce qui etaitoriginal par le caractere nouveau de l'en-semble arrive a etre aussi national par cettefaculty de devenir universellement popu-laire, descendant, remunerateur, vers cesmasses dont &all partie, au fond de l'his-toire roumaine, la premiere initiative d'artet qui, dans des formes simples, en mainte-naient jalousement la tradition la plus pure.
De cet art populaire, et surtout de sesartisans meme, les paysans, et de soninspiratrice, la nature de ces contrees d'uncaractere si particulier, devait sortir plus
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later adopied the type setting of the Ren-naissance, introduced also to the Russiansof Poland, to those of Moscow and tothe Transylvanians, lends itself charmiglyto the same requirements of fashion underthe direction of the monk Antim ofIberia, later Archbishop of Wallachia.
Italy in the same epoch, France underLewis XIV have given nothing except theunique Annunciation sculptured in marbleon the entrance door of the church ofGolia at Iassy. This is not the case withVenice, still triumphant, in the XVII-thcentury. It is from there, and not somuch from the East that under Branco-veanu, the decorative sculpture, theborders, the capitals, the fluted columns,the balustrades, the tombstones take aplace which they never had before,and that all the walls of the churchesand palaces are covered with ornamentsdue to the new mastersof the chisel. AtMogosoaia, near Bucarest, the pleasure-house of prince Brancoveanu, with itsloggie directed towards the gardens ortowards the river flowing through thegreen of the orchards, one feels as if atAssolo or perhaps in the suburbs of Ve-nice full of patrician houses. Paintingitself, on clear blue background has its ori-gin in the teaching of the Venitian masters.
The typical form having been evolvedby the prolonged effort of labour,intelligence and taste, accomplised bya race incapable of isolating itself, ofcongealing in unchanging forms, spreadsitself in hundreds, in thousands of placesof worship, going to the least hamlet,proud of its church with ornamentedcapitals, with rich, charmingly variedpaintings. In this way what was originalby the new character of the ensemblecomes to be also national by the facultyof becoming universally popular, des-cending profusely towards these masses,whence, from the beginnings of theRoumanian history, started the first ini-tiative of art, which, in the simple formsjealously maintained the purest tradition.
II
From this art of the people, and espe-cially from the peasants, its very artisans,and from its inspirer the nature of the coun-try, which has very marked characteristics,
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que des souvenirs de l'histoire et des tradi-tions de l'art cultive, la phase moderne dudeveloppement artistique des Roumains.
A une époque ou Bucarest et les villesvalaques etaient composees de batisses al'ancienne facon, grandes scours" deboiars, retenant tout un monde d'esclavestziganes et de serviteurs, de clients,autour de l'habitation au lumineux peris-tyle du maitre, eglises de petites dimen-sions, mais contenant l'encyclopedie d'artdu pays, maisonnettes de faubourg, svelteset riantes au milieu des fleurs soigneesavec amour pendant les mois d'ete, etotl, en Moldavie, l'habitation frangaisedu XVIII-e siecle s'introduisait le longdes rues principales et a cote des bouti-ques juives a la galicienne, cette habita-tion de luxe a l'aise, commode et sanspretentions, avec son porche et son bal-con, son grand salon arrondi s'ouvrant surle verger seculaire et sur la piece d'eauou attendait la barque des promenadesromantique, la nouvelle peinture parait.
Tel de ses createurs, Theodore Aman,etudie avec passion en France, dans leParis des ateliers et des conventions. 11en revient savant en fait de techniquecorrecte et elegante et brosse de grandstableaux de luttes, de tragedies princieres,de scenes officielles dans le mondecontemporain. Le pittoresque l'attire: lepaysan au bonnet de laine, la femme ala chemise brodee, le Tzigane trainantson ours enchain& Mais tout cela endehors de la notion precise de la raceet du milieu.
Ces elements essentiels c'est NicolasGrigoresco, ancien peintre d'eglise, quiles decouvre. II a fait aussi son pelerinageparisien, mais s'est arrete en plein air,a l'epoque d'un Corot et d'un Millet,dans la foret de Fontainebleau, a Barbizon.La France l'inspire, et il en rend les coinsde Bretagne, l'intimite des petites maisonsbourgeoises, la poesie du sujet quelconquedans un monde de tres ancien arran-gement qui passe d'une generation al'autre. Revenu chez lui, it plonge dansl'azur des ciels immenses, il se perd dansla poussiere doree des routes, il suit letrain lent des boeufs sarmates atteles auxchariots prehistoriques, it s'arrete amica-tement devant le paysan qui se rend aumarche et it observe d'un pergant regardironique le petit Juif qui se chamaille
was destined to issue the modern phaseof the artistic development of the Rou-manians, rather than from historical sou-venirs or the traditions of cultured art.
The new painting arrived at an epochwhen Bucarest and the Wallachian townswere composed of old fashioned buil-dings, great courts of boyards, retaininga whole world of gipsy slaves and ser-vants, of clients, round the master's housewith its well lighted peristyle, churchesof small dimensions containing the artenciclopedia of the country, small subur-ban houses, slender and gay in themidst of flowers lovingly tended duringthe summer months, and when in Mol-davia, the French dwelling of the XVIII-thcentury was introducing itself along theprincipal streets near the Jewish shopsbuilt in the Galician fashion, that con-fortable luxurious mansion, commodiousbut unpretensious, with its porch, bal-cony and great round drawing roomopening on the century old orchardand on the pond, where boats were mo-ored ready for romantic promenades.
One of its founders, Theodore Aman,studied with passion in France, in theParis of studioes and conventions. He re-turned, master of a correct and eleganttechnique, and executes large pictures ofbattles, princelly tragedies, official scenesof the contemporary world. The spictu-resque attracts him : the peasant with thewoolen cap, the woman with the embroi-dered shirt, the gipsy leading his chainedbear. All these, however, apart from a pre-cise conception of race and environment.
The latter essential elements are re-presented by Nicolas Grigorescu, for-merly a church painter, who perceivesthem. He has also made his Parisianpilgrimage, but has stopped in the openair, in the forest of Fontainebleau, at Bar-bizon, during the epoch of Corot andMillet. France inspires him and he paintsthe corners of Brittany, the intimacy ofthe small middle class houses, the poetryof some subject in a world of ancestralhomes. On his return he plunges intothe azure blue of the immense skies, heloses himself in the golden dust of theroads, he follows the slow train of theSarmatian oxen drawing prehistoric cha-riots, he stops in a friendly way beforethe peasant who goes to the market, and
27
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avec sa clientele rurale dans la placeencombree d'une bourgade moldave; itsurprend l'ephebe pastoral menant parles vaux ses brebiettes blanches, maissurtout it adore la blanche silhouette dela jeune fille devidant, les yeux versl'irreel qui les remplit de reve, le fit delaine de son fuseau.
Le vrai art roumain etait ne dans lapeinture. D'autres comme Andreesco, plustriste dans sa conception de la vie pay-sanne et infiniment moins poete cequi signifie, au fond, plus loin de la veriteintime des choses comme Luchian,jetant les lueurs infinies de sa palette,comme le reflet de son sourire ironiquede valetudinaire, sur les choses indiffe-rentes, vieilles maisons, fleurs consolai-rices, portraits d'etres aimes, commeVerona, d'une si abondante creation,comme Grant, aux paysages romantiques,D. Stoica, le peintre de l'histoire et de laguerre, Petrascu, aux durs tons heurtes,Stoenescu, aux portraits d'une fine psy-chologie, Steriade, d'une production sichatee, Horace Dimitriu, Schweizer-Cum-pana, continuerent ce courant qui, mal-heureusement, ira se perdre dans desformules de mode qui peuvent etre toutau plus, si elles sont sinceres, des indi-cations d'avenir. Mais la sculpture d'unStorck, d'un Severin, d'un Jalea, d'unHan, d'un Hette, sans parler des hardistatonnements dans l'irreel d'un Brancuseffleurera a peine une reality dont ellene s'est pas encore saisie avec la delicatevigueur des mains creatrices.
Et, quant a l'architecture, dont lesregles etaient deja posees par un Anto-nesco et un Mincou, elle fouille encoredans le passé, qu'elle copie trop souvent,pour decouvrir une formule que nepeuvent pas representer seulement desbalcons aux colonnes ornees, des fenetresde chapelle funeraire, des grands toits&vases recouverts de tuiles bariolees, niles tourelles qui demandent autre choseque la theorie monotone des fronts degrande ville. II faudrait comme cadre laville-jardin et, pour la cite moderne,quelque chose dans le genre de ce stylefrancais adapte qui a fourni de si bellesallees seigneuriales aux villes de boiariemoldave.
N. IORGA
he notices with a piercing ironical eyethe small Jew, wrangling with his ruralcustomers in the crowded market place ofa small Moldavian town; he comes unex-pectedly upon the young shepherd drivinghis white sheep through the valleys but es-pecially he adores the white silhouette ofthe peasant girl daydreaming while shewinds the woolen thread on her spindle.
The real Roumanian art owes its birth inpainting. Other artists, such as Andreescu,sadder in his conception of the peasant lifeand infinitely less poetical (which meansin fact a greater distance from the intimatetruth of things), such as Luchian, throwingthe reflection of his ironical valetudinariansmile from the infinite glitterings of hispallet on various objects, old houses, con-soling flowers, portraits of beloved friends;such as Verona, with such an abundantcreation, such as Grant with romanticlandscapes; such as D. Stoica, the painterof war and history, Petrascu with the hardand rough tones ; Stoenescu with his por-traits of a penetrating psychology, Steriadewith his finely shaded productions, Ho-race Dimitriu, Schweizer-Cumpana, follo-wed this tradition which unfortunatelyis losing itself in fashionable formulaswhich can be, at the utmost, indicationsfor the future, if they are sincere. But theSculpture of a Storck, of a Severin, of a Ja-lea, of a Han, of a Hette (without speakingof the bold outreaching towards unrealityof a Brancus) will hardly arrive at a realitywhich it has not yet been seized withthe delicate vigour of creative hands.
And as for architecture, for which therules were laid down by an Antonescuand a Mincu, it is still looking towardsthe past, which it copies too often, inorder to find a formula, which can beexpressed otherwise than by balconieswith ornamented columns, windows ofmortuary chapels, large overhanging roofscovered with multicoloured tiles, or byturrets which demand something elsethan a monotonous theory for the fa-cades of a great city. The garden-cityshould be taken for a background, andfor the modern city, something in thatadapted French style which has givensuch beautiful seigniorial alleys to thetowns of the Moldavian boyards.
N. IORGA
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ARTA VECHEART ANC IEN EARLY ART
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TEZAURUL DELA PETROASA COSULETE POLIGONALE IN AUR MASIVMuzeul National din Bucureati
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DATES STATISTIQUES DATE STAT I ST I C E STATISTICS
Suprafata totaldSurface totale
299.250 Km.Total Area
Populatia Romoniei dela 1877-1923
Population de la Roumanie 1877-1923
Population of Roumania from 1877-1923
Nouile provincii
Les nouveaux territoires The new provinces
000000
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8
1877 1887 1897 1907 1915cs
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Textiles Textile Textiles
Production Productia Production
Surface Suprafata Area
204.000 HI.
0
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in
178.753 Ha
88.000 Ha.
\-\
Numar de locuitoriNombre des habitants Number of Inhabitants
17.000.000
Repartitia terenurilor in anul 1923-1924Repartition des terrains en 1923-1924
Distribution of area in 1923-1924
OgoareJacheresFallow land
PosuniPoturagesPasture lands
Fonete naturalePrairies naturellesMeadows
SadiriPlantationsPlantations
Balt', ApeLacs, fleuvesLakes, Rivers
Alte terenuriAutres terrainsOther areas
Semanoturisofa
Sowings
PaduriForetsForests
134.000.000 HI.
Productia cerealelor in Hectolitri
Production des cereales per Hectolitres
Production of cereals in Hectolitres
Suprafata culturii cerealelor in Ha.
Surface de la cultures des cereales
Area cultivated with cereals
Jr/0/4'
ow;
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Cereales : Cereale: Cereals:
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0
5.000.000 Il"1
35 .000HI.
r1.
Cs in
0
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0
0
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0
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Productia subsoluluiProduction du sous-sol Mining output
Petro le Petrol oil Charbons Carbuni Coal Sel Sore Salt
Tone Tonnes Tons
O
0go;
ci
1920 1922 1924
Debit $i consumatia gazului metanDebit et consommation du gaz methan
Supply and consumption of natural gas
144.242.000 m' i I
00go
361.672.000 m'
..'mA F.; Rc, A
cn
247.487 tone
11.649 tone
Cresterea vitelorElevage du betail Cattle rearing
C)
CoO
1916 1923
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6 3 A- 2 6 0 'CI a 2' aozmoocno.ii or tno ow a D.
0 S 1f7
Production du petrole brut Productia petrolului brut Crude oil output
Industria zandruluiIndustrie du sucre Sugar Industry
Sucre fabrigue Zahar fabricat Sugar produced
Sucre importe Zchar importat Imported sugar
28.000.000 Kgr.
5.370.000 Kgr.
0
Ncy
n 17.165.000
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F.,
1915 1920 1924
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1910/
1916
1921
1924
1910
1915
1924
1910
1915
1923
1909
1915
1922
Cai de comunicatiiVoles de comunication Means of communication
I 3393 Km.
3702 Km.
Chemins de fer Calle ferate Railways
110.578 Km.
Mijloace de transportMoyens de transport Means of transport
Nombre des wagons Namur de vagoane Number of railway cars
Nombre des voyageurs Num& de cab:Mori Number of passengers
1 10.233.000
12.056.000 47.202.000
Voies et routes Drumuri Roads
1 26.445 Km.
1 44.574 Km.
1 80.778 Km.
Importation Import Imports Exportation Export Exports
Tonnes Tone Tons Tonnes Tone Tons
484.368 tone
RWIR 771.516 tone
1 2.984.859 tone
111.200 Km.
703.274 tone
1 4.488.628 tone
4.878.210 tone
- 0
1
I
-
1 18.676
1 25.790 95.534
1 .
1
1
I
,0
0
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Importation Import Imports
1923
1885
1921
1900
1921
Textile, etc.Matieres textilesTextiles
Meta le, etc.MetauxMetals
Marini, chimicalii si medicamenteMachines, produits chimiques et medicamentsMachines, chemicals and drugs
Produse ale soluluiProduits du solProducts of the soil
1 135.244
Exportation Export Exports
1923
Produse ale subsolului CerealeProduits du sous-sol Urea lesProducts of the subsoil Cereals
Produse ale subsolului Petroleu si derivateProduits du sous -sol ({ et ses derivesProducts of the subsoil Oil and its derivatives
Anima le si produse animateAnimaux et produits animauxAnimals and animal products
Produse combinateProduits combinesMixt products
Invatamantul primarEnseignement primaire Elementary schools
Nombre des eleves inscrits Numarul elevilor inscrii Number of pupils enrolled
Inveltamantul secundar si profesionalEnseignement secondaire et professionnel Intermediate and professional schools
I10.232
1
115.891
1.533.191
Numarul elevilorNombre des eleves inscrits Number of pupils enrolled
1
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