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Showing posts with label Oradea. Show all posts
Showing posts with label Oradea. Show all posts

Wednesday, February 3, 2010

The Baroque Complex in Oradea

The Baroque Complex in Oradea is composed of the Roman-Catholic Bishopric Palace (or the Baroque Palace, described here), the Roman-Catholic Basilica and the Row of the Canons, three splendid Baroque buildings that once belonged to the same architectural complex. Now, the situation has returned, all three buildings belong to the Roman-Catholic Bishopric of Oradea.


The Row Of The Canons (Şirul Canonicilor Street), represents in fact an architectural complex composed of 57 arches that form a long corridor of over 250 meters uniting 10 buildings. It was built between 1750-1875, after the project of architect Franz Anton Hillebrandt. By 1780 there were erected 7 of the 10 buildings, two buildings were completed in 1863, and the tenth was completed in 1875, more than 100 years of starting construction of the first building. In the initial phase in the complex of buildings had included a Roman-Catholic seminary, but that was not built here. They sheltered the canons of the Bishopric.

Even if not unitary from an architectural point of view, a skillful eye can notice the differences in shape and dimension of the windows that give the aspect of a whole thanks to the archway supported by massive pillars and Bohemian-style vaults. The baroque style is the predominant one, even if there are specialists who assert
that it is more a Transylvanian popular classical architecture. The curious
ones can count the 56 vaults of the complex that, when looked at from an end to the other, give the impression of an endless row.

The Ascension of the Holy Virgin Roman-Catholic Cathedral (Şirul Canonicilor Street) is located inside the park that still shelters the Ţării Crişurilor Museum (the Baroque Palace). The access to the cathedral can be done either on the main gate or on the gate that leads to the nave. It is the masterpiece of the Viennese architect Franz Anton Hillebrandt, the one who accepted Bishop Paulus Forgács’s proposal of building it. It is worth mentioning the fact that, from 1750 until May 1, 1752, when the head-stone was laid, the name of the Austrian architect was omnipresent, but, from that moment on, he disappeared and was replaced by the Italian constructor Giovanni Battista Ricca. A sad fate hung above those whose names were linked to this worship establishment. The Italian Ricca died in 1756. The arrival of a new bishop, Adam Patachich, gave a new impulse to the construction. He arranged that the cathedral be built by the Austrian Johann Michael Neumann under the supervision of the same Franz Anton Hillebrandt, who meanwhile had become chief architect of the Imperial Court. In 1761, Ricca’s plans were replaced by new ones and that is why, instead of a north-Italian Baroque basilica a late-Austrian Baroque building was erected. After several modifications to the plans and hold-backs, works ended in the summer of 1779. One year later, on the 25th of June 1780, the halidom was dedicated.


The altars of the basilica are of classic, reflecting the preference for sobriety and simplicity specific to the late phase of the Baroque. The dimensions of the cathedral are the following: length 68 m, width 30 m, height of dome 24 m, height of tower 61 m. The cupola fresco represents "The Triumph of July heavenly Christ" by John Schopf, in a style called "II Correggro" (1778), others are the work of painter Francis Storno (1878-1880). The main altar is of Carrara marble, carved by Italian foreman Triscornia after the plans of Stefan Toth, in Neo-Renaissance style (1897). The two statues, executed in 1897 by Francis Eberhardt, represents St. Stephen and St. Emeric. The main altar painting, titled "Raising at Heaven of the Virgin Mary" was painted in 1778 the Austrian artist Vincent Fischer, in the style of Giovanni Battista Tiepolo. The two paintings in the secondary naves, representing St. Ladislaus and The Holy Family, were realized by painter Vincent Fischer.


At the side entry of the cathedral there are several funerary monuments from 15th and 16th centuries, in Gothic and Renaissance styles, which belonged to the ancient cathedral of the city. The organ dates from 1780, is the work of Fridolin Festl, and has been given to the cathedral by Empress Maria Theresa of Austria. The Basilica houses the relics of St. Ladislaus.

Monday, January 25, 2010

Oradea Fortress

The first documentary mentioning of the name of the town (Varadinum) shows up in 1113 though it seems that its foundation has been set on the bank of the Crişul Repede River, a long time before that year.


In 11th century, King Ladislas the First (1077 – 1095) built a fortified monastery with Virgin Saint Mary as patron. Later, he lays the foundations of the Roman-Catholic Bishopric of Oradea within the fortress. In June 27, 1192, Pope Celestinus III sanctified King Ladislas I. This act and the very occasion made the fortress a continuously prestigious pilgrimage place. Between 11th – 12th centuries, the fortress was a fortification (castrum), made from earthen walls and stockade, some stone walls and several wooden watch towers at the gates and the corners of the inner fortress.


In 1241, Master Ruggero di Puglia describes in the famous poem Carmen miserabile the conquest and setting on fire of Oradea Fortress, during the Tartar-Mongolian invasion. In February 1245 was the sequel to the Lyon Council – where the draft of a coherent policy of Catholic states against the Tartar threat is put forward – a wide reconstruction process starts in Oradea as well, thanks to a series of facilities given to the city. Around 1290, Roland, son of Toma - from the ruling family known as Borşa of Transylvania – has a family conflict with the royalty, to which the bishops of Bihor were loyal. As a result, he attacks the fortress under reconstruction and causes great damages.

The new medieval fortress, in heptagonal shape, was erected in 14th century; the precinct was irregularly towered and embattled. The gate was protected with two solid towers; to the south, a Gothic Bishopric Palace was erected, whose outer wall is also a siding. On the south-western side of the wall is found the second entrance to the Fortress. An impressive Gothic cathedral was erected between 1342 – 1370, with three aisles and an octagonal altar, a facade with two towers and massive abutments; ample decoration work is done inside and various altars are built.


Between 1360 – 1370, brothers Martin and George from Cluj build the statues of the three Canonized Hungarian kings: Stephen I, Ladislas I and Emerick. They will remain inside the Fortress. In May 20, 1390, the same sculptors uncover the equestrian statue of King Ladislas I, in natural size and entirely gilded, erected at the order of King Sigismund of Luxembourg (1387 – 1437). In August 25, 1401, Pope Bonifacius IX confers a privilege to the fortress cathedral, bringing it to the same rank as San Marco Church of Venice and Santa Maria Portiuncula of Assisi. Thus, the cathedral becomes a pilgrimage place for Christians from all over Europe.

In 1427, the Oradea fortress Bishopric had its own corps of troops (banderia), which consisted of 500 riders and as much infantry, recruited especially from among Romanian kings of Bihor County. The bishops Giovanni de Dominis da Arbe, leader of Varna Crusade (1444) and Perenyi Ferenc (Mohacs Battle, 1526) fell on the battlefield leading this corps. For two weeks, around Easter (March 1412), King Vladislav Jagello of Poland, accompanied by King Sigismund of Luxembourg, arrive to the fortress. Their close relationship was also facilitated by Mircea cel Bătrân, King of the Romanian Country.


Between 12th – 15th centuries, 7 royalties are buried inside the cathedral or in its churchyard: King Ladislas I, Andrew II, Stephen III, Ladislas IV the Cuman, Queen Beatrix, Queen Mary, and Sigismund of Luxembourg - Hungarian King and German Emperor. In 1367 follows Elisabeth, wife of Duke Ladislas of Opulia, the Paladin of Hungary, daughter of Nicolae Alexandru Basarab.

In 14th–15th centuries, the bishops of Oradea fulfill diplomatic assignments for Hungarian Kings at various European courts, such as: Andrew Bathori (1329 – 1245) for King Charles Robert of Anjou in Italy, at the Naples court (1333); Demetrius (1345 – 1372) for King Louis the Great at the Romanian Country kingly court - Nicolae Alexandru Basarab and in Italy at the Naples court; John Filipecz Pruis for King Matia Corvin in Italy, at Naples (1476), Urbino and Rome (1482), Milan (1487).


In 15th century was the „Golden Age” of the fortress, as it becomes an important center of Humanism and Renaissance in Central and Eastern Europe. The most important bishops of the time were Andrea Scolari, also known as „The Florentine” (1409–1426), John Vitez of Zredna (1444–1465) and Sigismund Thurzo (1506–1512). The illustrious physicist of Vienna university, Georg Peuerbach (1423-1461), builds an astronomic observatory in Oradea and, establishing the zero meridian here, calculated the sun and moon eclipses in his work, “Tabulas Varadienses”. The Canonical lecturer Vepi Peter reorganized the Capitular School of Oradea (1439–1440) and created a foundation for its students.

In February 7, 1474, the Pasha of Simendria, Ali Oglu Malcovici, perform a rapid attack on Oradea Fortress in the winter, robbing it without notice.

Gheorghe Doja's rebels armies attacked the citadel (1514) but failed to occupy it, thanks to the incoming support of the captain of the city of Făgăraş, Tomori Pál.


After the fall of the feudal Hungarian Kingdom and its division between Turks and Hapsburg, Oradea fortress was disputed (1526-1538) between Ferdinand of Hapsburg, self-declared King of Hungary, and King John Zapolya. The peace of Oradea (February 24, 1538), was the first international treaty that consecrated total separation of Transylvania from Hungary. In April 10, 1557, the fortress of Oradea was retaken from the Hapsburg by the army of Principality of Transylvania, led by Tamás Varkocs, with a mission to defend the western border of the Principality.

The political and military climate in Central Europe have imposed the building of a new fortification, adapted to the military needs. The Transylvanian princes employed Italian military architects, who produced the new pentagonal fortress, with towers on corners and defensive ditch water, in later Renaissance style.

During the Ottoman siege (September 25 to November 3 1598), Michael the Brave sent a detachment of 1500 horsemen led by Aga Lecca in support of Oradea Fortress. The Hapsburg sent also a detachment of about 2000 infantry man and 500 cavalry under General Melchior von Rodern. The Vienna Imperial Court recognized Bocskai István as Prince of Transylvania and yield it the Oradea Fortress (June 23, 1606).


After a difficult siege, which lasted 46 days (August 27, 1660), with a report of 45,000 Turkish forces against 850 defenders, due to a betrayal, the Ottomans take Fortress of Oradea and installed here the headquarters of a Pasha, that will last for 32 years. Count Ladislaus Rakoczi attacked by surprise the citadel in May 1664, in the market day, with 200 soldiers disguised as peasants, but the attempt failed when Rakoczi was shot on city walls. The Imperial army encircle the fortress and begins a long siege (July 1691-28 May 1692), completed by the surrender of the Ottoman garrison to General Donath Heissler. Between 1692-1695, the fortress was rebuilt after the plans of military engineer Baron Ernst von Borgsdorf. In the Autumn of 1693, an auxiliary group of Tatars of the Ottoman army led by grand vizier Mustafa Bozuklu tried unsuccessfully to capture the garrison of Oradea in a surprise raid.


Between 1703-1710, the Oradea fortress was unsuccessfully besieged during the conflict between rebels led by Francis Rakoczi II and Hapsburg. In 18th century, although the citadel was only a military garrison, the Austrians will continue to pay attention and to undertake major repairs and refurbishments campaigns in 1725, 1754-1755 and 1775-1777, the last finalizing all the architecture that can be visited today.


In 1793, in the fortress were imprisoned 450 French prisoners. In 1836, a great fire destroyed much of it. During the Revolution of 1848-1849, the fortress was an important headquarter of the revolutionaries. In May 16, 1857, Emperor Franz Josef I canceled by decree the military status of the fortress, but will continue to be used as auxiliary military objective and will receive compensation in the years 1883-1887.


Between WWI and WWII, it was the seat of a police school. In 1947-1952, was used as a transit (the northern wing). Between 1945-1989, the fortress was still a military objective, used both by the Ministry of Interior and the Ministry of Defense. Unfortunately, the process of degradation continues now and the authorities need substantial funds for restoration.

Wednesday, January 13, 2010

Art Nouveau stained glass in Oradea

The echo and influence of the artistic movement that took place in 1900 brought a new spirit in all modern creation, which in a fact is a final blow to the academic eclecticism, removing its canons and a chivvying through invention originality a great artistic diversity.

The stained glass, the opaque and colored glass that is still preserved in the staircases or the people's houses are of great elegance and equilibrium due to its line which draws with precision spatial transparent moving, in a graphic language of rare elegance, in which big spots of color represent dominant compositions of good quality decorative conception, in harmony with the architectural style. As an architectural expression, the ornament as structural symbol, on the one hands, and the qualities of the glass on the other one, benefits by the intimate the relation that will determine the form, that's the symbol of the object which acquires artistic value. Here are some stained glass decorations from famous Art Nouveau Style buildings in Oradea:


Black Eagle Palace (Komor Marcell & Jakab Dezsö, 1907-1908)



Black Eagle Palace (Komor Marcell & Jakab Dezsö, 1907-1908)



Vágó House (Vágó Jozsef & László, 1905)



Vágó House (Vágó Jozsef & László, 1905)



Ertler House (Mende Valer, 1909)



Elixir Pharmacy



Ullman Palace, (Löbl Ferenc, 1913)



Ullman Palace, (Löbl Ferenc, 1913)



Park Hotel



Dr. Nemes House (Mende Valer, 1909)



Darvasy Palace (Rimanóczy Kálmán Jr, 1910)



Darvasy Palace (Rimanóczy Kálmán Jr, 1910)



Darvas La Roche House (Vágó József & László, 1911-1912)



Darvas La Roche House (Vágó József & László, 1911-1912)



28-30, Libertăţii Street



28-30, Libertăţii Street



5, Vasile Alecsandri Street



5, Vasile Alecsandri Street



2, Avram Iancu Street



2, Avram Iancu Street


From here>

Secession Style in Oradea

In the early 20th century, in Oradea is spreading a new style, creating a stylistic diversification based on assumption of inventions and originality. The new style, Secession, had two great periods - the curvilinear and floral one, and a second with simpler geometric forms. The most important architects of this current were: Komor Marcell, Jakab Dezsö, Sztarill Ferenc, Mende Valér, Vágó József & Laszló, Rimanóczy Kálman junior. Their works were inspired by the Munich, Berlin, Vienna and Budapest Secession.


Black Eagle Palace (Komor Marcell & Jakab Dezsö, 1907-1908)



Rimanóczy Jr. Palace (Orthodox Bishopric Palace; Rimanóczy Kálman Jr, 1912)



Advocates' Association House (Rimanóczy Kálman Jr, 1909)



Markovits Mathezer House (1911)



Bölöni House (Cercul Militar; Rimanóczy Kálman Jr, 1912)



Moskovits Palace 1 (Rimanóczy Kálman Jr, 1905)



Moskovits Palace 2 (Vágó Jozsef & László, 1910-1911)



Darvas La Roche House (Vágó Jozsef & László, 1910-1911)



Vágó House (Vágó Jozsef & László, 1905)



Ullman Palace, (Löbl Ferenc, 1913)



Deutsch House (Sztarill Ferenc, 1906-1910)



Poynar House, (Sztarill Ferenc, 1910-1911)



Sztarill Palace (Emke Café, Hotel Astoria; Sztarill Ferenc, 1902-1906)



Rimanóczy Sr. Palace (Rimanóczy Kálman Sr.)



Apollo Palace (Rimanóczy Kálman Jr, 1912)



Stern Palace, (Komor Marcell & Jakab Dezsö, 1904-1905)



Adorján House 1 (Komor Marcell & Jakab Dezsö, 1903)



Adorján House 2 (Komor Marcell & Jakab Dezsö, 1904-1906)



Fuchsl House (Komor Marcell & Jakab Dezsö, 1904)



Camera de Comerţ şi Industrie (Komor Marcell & Jakab Dezsö, 1906-1907)