Churches in Romania (31)

The Saint Nicholas Church of 'Şcheii Braşovului,' believed to date back to the 13th century according to tradition, played a central role in the spiritual, cultural, and artistic life of the Romanians in Ţara Bârsei. Archaeological excavations and historical documents indicate that the present-day structure replaced earlier wooden (1399) and stone (1440) buildings, funded by donations from Moldavia and Greater Wallachia princes, notably Neagoe Basarab (1512-1521). The current appearance of the church reflects extensive renovations during the 18th century, led by chronicler dean Radu Tempea IInd (1691-1742). Notable additions included the expanded triconical nave (1740) and two lateral oratories: Buna Vestire (The Annunciation) on the northern side (1733-1734) and Înălţarea Domnului (the Ascension of Our Lord) on the southern side (1750-1752). The interior was adorned with mural paintings by Grigore Ranite of Craiova (1738-1740) and Ioan, Iancu, Constandin, and Irimia (1752), influenced by the Hurezi School, a significant post-Brancoveanu art hub. In 1751, a clock tower was constructed on the western side of the church, financed by a donation from Tsarina Elisabeta Petrovna of Russia. Further modifications were made based on requests from voivodes across the Carpathians, Grigore Ghica and Constantin Mavrocordat. In 1940 and 1946, the ancient frescoes inside the church were replaced with a mural assembly by painter Costin Petrescu. Additionally, the post-Brancoveanu style iconostasis from the 18th century was gifted to the church of Predeluţ.

The Sainte Trinity Orthodox Church, also known as the 'Greek' Orthodox Church, is located at George Bariţiu Street no. 12. It holds the distinction of being the initial orthodox church in the 'Stronghold' area, and its construction occurred between 1784 and 1787. The funds for its establishment were generously contributed by Greek merchants, as well as the noble families Brâncoveni, Văcăreşti, Şuţu, and Mavrocordat of Walachia, during their period of exile in Braşov. The Sainte Trinity Orthodox Church blends traditional post-Byzantine elements with late Viennese Baroque motifs, particularly evident in the façade design. The belfry of the church is situated within the Glove Makers Tower, an integral part of the initial fortified enclosure of medieval Brasov. Additionally, the church's graveyard is a remarkable repository of historical lapidary items.

The Black Church, also known as the parochial church of Saint Mary within 'Brasov's Stronghold,' is believed to have been built around 1383 under the direction of priest Thomas Sander. It was constructed on the site of an ancient place of worship. The name 'The Black Church' was given to this structure after a significant fire in 1689. This church stands as the quintessential Gothic monument in this region of Europe, showcasing a cohesive architectural and sculptural design, particularly in the ancient part of the monument known as the church's choir. The choir features statues of saints adorning the arched buttresses, reflecting the Central-European style typical of Parler's stone masons family. Construction of the church began but was interrupted by a Turkish invasion in 1421. It resumed in the mid-15th century, resulting in a hall-like structure with three aisles, lateral stands, and two towers on the west side. Only the southern tower surpasses the building's height. During this phase, five portals of carved stone were added, crafted by stone masons brought from the building yard of Saint Elisabeth Church in Košice, Slovakia. The western portal is considered a reference to late Gothic architecture in Southeastern Europe. Above the southeastern entrance's tympanum, there is a preserved image of Virgin Mary with the Child, flanked by Saint Catherine and Saint Barbara, showcasing the artistic mastery of King Mathias Corvinul's era (1458-1490). The painting is protected by a threshold with a wooden door bearing the inscription '1477,' signifying the completion of construction works. Following the devastating fire in 1689, the interior of the Black Church was reconstructed in the Baroque style. This phase saw the addition of arches, the richly adorned lateral stands with arcades featuring sculptures, a painted wooden pulpit, and choirs associated with the artisans' guilds. In the Black Church's present-day courtyard, named after the humanist Johannes Honterus (1498-1549), a central figure in the religious Reform in Transylvania, the medieval graveyard once existed. It was enclosed by several now-vanished constructions, except for the parochial church (first documented in 1379 and expanded in 1776) and remnants of Saint Catherine chapel (1388), likely situated on the site of a premonstratensian monastery documented in 1235. This monastery's name is linked to the initial historical mention of Braşov.

The Church of Saints Mina, Victor, and Vicentie in Galati is located at Str. Tecuci, no. 202. Construction of this parish church began in 1994 and continued until 2002, with the painting works still underway at that stage.

The Church of St. Peter and Paul in Brașov is a remarkable Roman Catholic edifice, distinguished by its unique Baroque architecture. It stands as one of the city's most renowned landmarks. Historical Background: This church, as it exists today, was constructed in the latter half of the 18th century. It was built upon the grounds of an ancient Dominican monastery dating back to 1342. The original monastery church was designed in the Gothic style, with its altar facing east, in contrast to the current church, which features a west-facing altar. Following the Reformation in the 16th century, the monastery was disbanded. The choir of the old Gothic church was repurposed by the Hungarian Lutheran community, while the nave and other monastic structures were utilized as storage facilities. In 1711, the monastery was reestablished under the patronage of Franciscan monks, and by 1716, it came under the ownership of the Jesuits. The transformation of the site began in earnest in 1766, with the demolition of the original Gothic church. In 1773, Priest Ignatius Wagenseil sought the support of Empress Maria Theresa of Austria for the church's reconstruction. On June 3, 1776, the official construction work commenced, supervised by the architect Karl Joseph Lamasch, resulting in the splendid Transylvanian Baroque structure that stands today. On September 29, 1782, the new church was consecrated by Bishop Ignaţiu Batthyány of the Diocese of Alba Iulia, with the final touches completed in 1787. In 1840, a Roman Catholic gymnasium was established adjacent to the church. Located in the heart of Brașov's historic center, the Roman Catholic Church of St. Peter and Paul is the city's sole monument built entirely in the Baroque style. A noteworthy architectural feature is the tribune along the nave, adorned with an arched balustrade parapet, accessible via stairs integrated into the thick masonry. On the side of the nave facing the street, intricate stucco decorations grace the walls. The triumphal arch in the middle section of the church displays the coat of arms of Brașov and Transylvania, along with the year of the church's completion. Biblical scenes are depicted in medallions painted on the vaulted ceiling, a renovation project undertaken at the outset of the 20th century. The side chapels house historical altars and confessionals, while under the two symmetrical canopies on the triumphal arch, you'll find the pulpit to the south, a creation by János Kupcsay (1840-1910), and a unique piece of Baroque furniture, a painting of Mary Protectress from Passau ⁠( de ) to the north. The chancel, constructed in the Gothic style, features a pentagonal octagonal closure. The cylindrical vault with pointed-arch openings in the apse is supported by Corinthian engaged columns, embellished with wooden statues of various saints, including St. Peter, St. Paul, St. Francis, and St. Anthony. Ogival windows pierce the side walls of the choir, adorned with stained glass from the early 19th–20th centuries, crafted in the workshop of Ede Kratzmann in Budapest. Additionally, sacristies with floors and an oratory were annexed to the northern and southern sides of the choir. Access to the upper floors of these structures is provided by stairs linked to the triumphal arch, with rooms on the first floor opening onto the choir, featuring parapets with balustrades and twin windows.

In the Middle Ages, the entrance to 'Brașov's Stronghold' from the 'Old Town' was through the Monastery Gate, situated along what is now Mureșenilor street. This street was originally named after the nearby Dominican settlement, which was first documented in 1342. Following the establishment of the Hapsburg Empire in Transylvania, the Roman-Catholic Church Saints Peter and Paul was constructed on the site of the former monastery. This impressive church was built between 1776 and 1782, based on the architectural plans designed by Karl Joseph Lamasch. The project received direct financial support from Empress Maria Theresa. The church's vaults are renowned for their Baroque architecture, making it one of the most representative Baroque constructions in Brasov. In the early 20th century, the interior of the church was further embellished with religious scenes painted in medallions, and the windows were adorned with stained glass panels commissioned from Budapest.

Nestled at the base of 'Cetățuia' hill, historically a place of refuge for the city's residents, this exquisite church took shape between 1934 and 1937 along the thoroughfare bearing the name of the renowned historian, Nicolae Iorga. To its right, it shares its border with the road leading to 'Cetătăuie,' while to the left stands the parish house, a contemporaneous construction. The church received its consecration from Metropolitan Dr. Alexandru Niculescu in the year 1937. The architectural design for both the church and the parish house was the handiwork of Octavian Smighelschi, while the construction itself was entrusted to the skilled engineer, Wildmann, hailing from Braşov. The church exemplifies a pure Byzantine style, constructed using a combination of brick and granite stone, its roof adorned with tin. The intricate iconostasis, crafted from carved wood, was a generous donation from the 'St. Nicolae' parish in Şcheii Braşovului, a gesture made in the spirit of religious unity. The church measures an impressive 24 meters in length and spans 19 meters in width.

N the year 1829, a small chapel dedicated to the 'Assumption of the Virgin Mary' was consecrated in a room. The first minister of this chapel was Priest Vasile Greceanu, who served until 1866 when Priest Toma Vasiliu passed away. In 1866, due to structural damage, it was decided to close the small chapel in Cetate, and its affiliated Christians started attending services officiated by Priest Bartolomeu Baiulescu at 'St. Trinity.' On June 9, 1895, after significant efforts led by Priest Bartolomeu Baiulescu, Archbishop Miron Romanuli laid the foundation stone of the church for 463 souls and 113 heads of families. This church, under the leadership of Parish Priest Bartolomeu Baiulescu, was consecrated by Metropolitan Ioan Mețianu on June 18, 1899. The church, constructed in a Byzantine style, features a central dome and a bell tower. It has a length of 26.6 meters and a width of 12.3 meters. A tower facing the square was added later but collapsed during the 1940 earthquake. It was reconstructed in 1973 by Engineer Victor Buta during Father Nicolae Coman's pastorate. The temple's intricate carvings and gilding were crafted by artist J. Kuptsay, the director of the sculpture school in Brașov, who designed the pulpit, the bishop's chair, the iconostasis, and the galleries on the choir loft. The interior painting was executed by A. Demian in 1937, and the iconostasis was painted by Hans Bulhardi in 1898. The initial restoration of the painting was undertaken by painter Iosif Vasu between 1965 and 1966. Subsequent cleaning and restoration took place in 1985 and 2005. The most recent restoration was carried out by restorer-painter Mihai Stinghie.

The parochial church of 'Ancient Brasov,' situated near Sprenghi Hill, is the oldest historical monument in the town. It was rebuilt after the Tartar invasion of 1241 and combines early Gothic architectural elements with a basilica-like layout, featuring three connected aisles, a transept, and a choir with a polygonal apse. The church's sanctuary and extensions exhibit characteristic narrow windows with circular poly-lobe rosaries and carved stone details in the Cistercian architectural style. Ottoman attacks in 1421 and 1438 led to the reconstruction of the vaults in the aisles and transept. Further renovations occurred between 1634 and 1663, and two towers were initially planned on the western side, with only one being completed in its current form in 1842. Additionally, a neo-Gothic parochial house was constructed in 1905.

Mavromol stands as a former monastery, with its name translating to 'black rock' in Greek. Erected in 1669, it was originally dedicated to the Assumption by George Ducas (died 1685) and his son. Extensive reconstruction occurred between 1700 and 1703. However, during the 1821 revolution, the church endured destruction by fire at the hands of the Turks. The existing structure, which adheres to the original blueprint, was constructed from 1858 to 1861. The years 1973 to 1975 saw the restoration of interior murals and other valuable elements. Notably, the church's monks were instrumental in teaching at Galați's inaugural school in 1765, conducting classes in Greek. (By 1803, teaching switched to Romanian under the directive of Constantin Moruz.) The Russo-Turkish War (1768–1774) and the Russo-Austrian-Turkish War (1787–1792) inflicted damage on Mavromol church, leading to a halt in teaching until 1803. Designed in a basilica style with projecting apses, the church features a hand-carved wooden icon of the 'Virgin Mary' originally from the church of St. Sava Monastery in Bucharest. Its ceiling comprises three distinct sections divided by paired arches. The entrance, situated on the southern side, is marked by an icon and heraldic symbols: a bull's head and two lions. Additionally, the southern side showcases the coat of arms of Moldova, intricately carved into a stone medallion. Unfortunately, during the era of communist rule, the church suffered improper appropriation due to its sacred nature.