Roumania Past and Present by James Samuelson (lightweight ebook reader .TXT) 📖

supporting a series of mouldings which form a square cornice, and crowned with a dome, pear-shaped ornament, and cross, precisely as in the cupolas of the church itself. The windows in the body of the church and on the tambours of the domes are very narrow, and those on the tambours or cylinders of the smaller cupolas are curved and slope obliquely at an angle of seventy degrees, which gives the spectator the impression that they are leaning, somewhat in the same manner as the well-known spire at Chesterfield. The ornamentation on the outside surpasses all powers of description. It comprises a large corded moulding, about halfway between the pediment and the cornice, passing right round the main building; and circular shields above this moulding, which, along with the windows, are decorated with the most exquisite tracery, wherein flowers (chiefly lilies), leaves, and convoluted bands play a conspicuous part. Everywhere, on the cornices, tambours, and balconies, chaste wreaths and crowns of lilies add beauty and lightness to the fabric, and give to the whole the appearance of a fairy structure.

[Illustration: TRACERY ON EXTERNAL SHIELD.]

Within, the building is less interesting; it is dimly lighted by the narrow windows, artificial light being furnished by means of numerous candelabra during divine service. The secondary dome is supported by twelve Arabic pillars, and the walls and domes are decorated with frescoes of the orthodox kind--the Saviour, Virgin, and Apostles, with scenes from the Old and New Testament, also with portraits of princes and bishops of the See. The length of the building inside is about 76 Vienna feet, the greatest breadth 41 feet. The height of the two domes is 86 feet and 81 feet respectively, and of the smaller cupolas 66 feet.

If the architecture and ornamentation of the cathedral are beautiful, the historical records which it contains are even more interesting. It is true that great uncertainty hangs over these, as over all other Roumanian chronicles, but certain facts in connection with the building and its history are well established.

[Illustration: TRACERY ON EXTERNAL SHIELD.]

Its archives have been carried off by the invaders who, from time to time, sacked and plundered its valuable treasures; but several inscriptions inside and outside of the church, some of which are in the Servian and old Slavonian language, and others in Roumanian, throw light upon its history and construction.

First, however, we must inflict upon our readers a little legendary lore, which, although it illustrates the uncertainty of the early history of the country, will give them a glimpse of the national thought and feeling in the past. According to tradition the cathedral was founded by 'Neagu Voda,' of whom we shall speak hereafter; and it is said that whilst he was a hostage at Constantinople he built a magnificent mosque for the Sultan, who allowed him to take away to his own country the surplus materials, and that from these he constructed the cathedral after his own designs. A still wilder legend makes one Manoll or Manole the architect, and it is said that he had several master-masons associated with him in the work, but that the efforts of the combined masons failed to raise the building. Neagu Voda had commanded them on pain of death to proceed with it, when Manole, to save their lives, proposed that they should follow the old custom (legendary let us hope) of building up a woman in the foundation; and it was decided that the woman who first made her appearance with the provisions for her husband on the following day should be the victim. They all swore to keep the fact secret from their wives; but Manole was the only one who kept his word, and consequently his wife Utza was the first to appear.

'He took her by the hand at once
And led her to the building,
Then pointed out where she should stand,
And he began to build:
"Be, my beloved, without fear."
She did not interrupt his discourse.

'The other masons in astonishment
All look at him with terror,
And all stand at a distance,
For they dare not venture near;
When he softly speaks to her,
And with haste builds her up.

'"This joke is not good,
Manole, my beloved;
Reflect that I am a mother,
And that I am bringing up your son."
But Manole still jokes
And hastens as much as he can.

'Up to her breast he had built up,
And she sweetly sings to him;
The strong wall bruised her,
And she swims in tears,
But when he had finished,
The wall more than overtopped her.

'This was the remedy:
And the wall was able to stand;
And after this the monastery
Ceased to fall any more;
The wind, the earthquake do not shake it.
Utza within the wall upholds it.'

Thus far the poet;[43] but the legend does not end there. The boasts of the masons were so arrogant after the cathedral was completed that Radul, or Neagu (for he is called by both names), gave orders for the scaffolding to be removed, and left them to die of hunger on the roof. Manole and his companions sought to save themselves by constructing parachutes of light wood, but as each attempted to descend he was dashed to the ground and turned into stone. Manole himself was the last to make the attempt, but when he approached the parapet he was horror-struck at hearing the plaint of his wife as he had heard it when he was building her up in the foundation, and, losing all sense and power, he fell to the ground. From the spot where he fell dead a spring of clear water gushed forth, and a fountain which was erected there is still known as Manoll's.

And now to pass from fiction to fact. According to the inscription upon a tablet outside of the church, it was founded by Neagu Bassarab, a prince of Wallachia, to whom we shall refer hereafter in our historical sketch. He is reported to have been very pious and patriotic, to have founded many monasteries and restored the cathedral of Tirgovistea. He died about A.D. 1520, and was buried in the church at Ardges.[44] He did not, however, live to complete the cathedral, for another tablet within the church says that John Radul, or Radul d'Affumaz, to whom reference will also be made in our historical summary, caused the paintings to be executed in 1526.[45]

During the sixteenth and seventeenth centuries the church was desecrated and plundered by ruthless invaders, Christians (Hungarians) as well as Mohammedans, who carried off its treasures, which are said to have been of great value. In 1681, however, Prince Serban Cantacuzene, of whose good deeds we shall speak hereafter, completely restored the cathedral, as appears from the Roumanian inscription on a tablet outside near the portal. This inscription is quaint and interesting, and deserves a place in any work professing to deal with the history of the country. After a number of deeply pious and moral reflections it goes on to say:--

'Therefore Nyagoe Voivode Beserab, of happy memory, the great
grandfather of my wife on the mother's side, who was a pious and
God-fearing man, when he was invested with the government of
Wallachia, did, amongst many other good deeds, cause to be erected
a large and splendid monastery in this town of Argesia, along with
the other cloister buildings in the vicinity, for the worship of
God and in honour of his sainted mother; which monastery, as it may
readily lie imagined from the high wages paid to the workmen
engaged in its erection, must have been a very costly undertaking.
After a considerable period the foundation and steps began to give
way, either through some error of the builders or owing to the damp
caused by long-continued rains which loosened the stones. About
that time I, Johann Scherban Kantakosino Beserab Voivode, in the
name of God, was entrusted with the government of my ancestors. As
soon as I became acquainted with the dilapidation of the monastery,
I at once resolved to restore the building of my ancestors in order
that the memory of that famous prince (Nyagoe) might not be
forgotten, and I sent our boyard Dona Pepano as superintendent with
numerous workmen, and thereupon restored the whole building where
it had suffered damage, and bolted with iron the stones which had
loosened, that they might thus continue to hold together, and then
I further determined to endow the sacred monastery with the income
from the hill[46] of Menesti, near Ardges, to hold and enjoy its
entire revenues. These shall be in support of the holy monastery
and in eternal remembrance of us and our ancestors.

'In the year 7190, the 26th August.

'This happened under the Metropolitan Kyr Theodosius.'

At the close of the eighteenth century Ardges was constituted a bishopric, and at the beginning of the present, Bishop Joseph was at great pains to renew and restore several portions of the cathedral. The inscription commemorating this event is brief:--

'To the glory of the Holy Trinity, to the glory and praise of the
Holy Virgin Mary the Mother of God, this church was restored where
it was injured by the rain. Where, however, the colour was only
obliterated, it was repainted; at the instigation of Joseph the
first Bishop of Ardges, in whose time also other work was done,
under the Metropolitan Dositheos and Prince Constantine Ypsilanti.
The superintendent of the work was Meletin (of the Monastery). In
the year 1804, 25th October.'

Besides having suffered at the hands of barbarians of various nations, this beautiful fabric has from time to time been injured by earthquakes; but it has survived all these calamities, and has been frequently repaired, restored, and beautified since the beginning of this century. The property and incomes of monasteries have been largely applied to secular purposes, and amongst those whose resources have been much curtailed is that of Ardges. It is to be hoped, however, that, either through State support or private benevolence, this beautiful monument of