art nouveau

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ART NOUVEAU - 110 ANI N ROMNIA

Septembrie 2013 - Muzeul Naional Pele

Texte deRodica Rotrescu,

Mircea Hortopan, Liliana Manoliu,Cornelia Dumitrescu, Macrina Oproiu,

Corina Dumitrache i Izabela Trk.

Design grac i fotograi deAlexandru Du

Traducere de

Irina Voicu

Nicio parte a acestei publicaii nu poate reprodusfr acordul scris al deintorilor drepturilor de autor.

Toate drepturile rezervate.


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VasAtelier european,

circa 1900

VaseEuropean Workshop,

Early 20th

century


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DUBL ANIVERSARE LA CASTELUL PELIORDOUBLE ANNIVERSARY AT THE PELISOR CASTLE

ART NOUVEAU N CASTELUL PELIORART NOUVEAU AT THE PELISOR CASTLE

ARTA 19001900 ART

SUMARCONTENTS

8

16

REGINA ARTIST I CREAIA SA PLASTIC, MANUSCRISUL PE PERGAMENTTHE ARTISTIC QUEEN AND HER PAINTING, THE PARCHMENT MANUSCRIPT

COLECIA DE MOBILIER A REGINEI MARIAQUEEN MARIES FURNITURE COLLECTION

AFIUL ART NOUVEAUTHE ART NOUVEAU POSTER

12

62

80

76

CASTELUL PELIOR - KAREL LIMAN I ARHITECTURA ART NOUVEAUTHE PELISOR CASTLE - KAREL LIMAN AND THE ART NOUVEAU ARCHITECTURE

SOCIETATEA ,,TINERIMEA ARTISTICTHE ARTISTIC YOUTH SOCIETY

PICTORI EUROPENI LA CURTEA REGAL A ROMNIEIEUROPEAN PAINTERS AT THE ROMANIAN ROYAL COURT

22

52

42

ARTA METALULUI N PERIOADA ART NOUVEAUMETALWORKING DURING THE ART NOUVEAU PERIOD

CERAMICA ART NOUVEAUART NOUVEAU CERAMICS

114

136

128

COLECIA DE STICL A REGINEI MARIAQUEEN MARIES GLASSWARE COLLECTION90

SCULPTURA ART NOUVEAUART NOUVEAU SCULPTURE

CATALOG SELECTIV150


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Castelul Pelior a fost construit ntre anii

1899-1902, de ctre arhitectul ceh Karel

Liman (1855-1929) la comanda regelui

Carol I, ca reedin a principilor motenitori,

Ferdinand i Maria.

Inaugurat un an mai trziu, la 24 mai 1903,

castelul pstreaz amintirea pregnant a

celei care avea s devin regina tuturor

romnilor, regina Maria, a regelui Ferdinand

ntregitorul de neam i a copiilor acestora.

n Actul inaugural al castelului, pictat de

Maria pe pergament se consemneaz:

Noi, Carol I, rege al Romniei, cldit-am

aceast cas alturea de falnicul castel

Pele pentru iubiii notri nepoi. Snit debiseric spre a aduce binecuvntarea cerului,

noi, Ferdinand, principe al Romniei cu Maria,

principes primit-am n aceast nou cldire,

cu inima recunosctoare i plin de dragoste.

Intrat-am cu ai notri copii, Carol, Elisaveta i

Maria, n anul mntuirii 1903, iar al domniei

regelui Carol al 37-lea, n ziua de 24 maiu.

Dat-i-am nume, Pelior.

La srbtoarea inaugurrii au fost prezenialturi de monarhi i principii motenitori,

arhimandritul Nifon, oeri superiori ai

armatei romne, personaliti din lumea

politic i cultural, numeroi localnici.

Anii 1900 au constituit pentru Europa artistic

o transformare de mentalitate i o cotitur

important prin apariia unei concepii

stilistice novatoare, stilul Art Nouveau.

Principesa Maria i asum stilul, n esena

sa nonconformist i spectaculoas pn la

a-i crea aura unui personaj Art Nouveau; ea

comand arhitectului Liman i decoratorului

vienez Bernhard Ludwig interioare luminoase,

primitoare, decorate dup gustul noului

stil, cu elemente bizantine, motive celtice,

motive tradiionale romneti i o distribuie

a spaiilor subordonat arhitecturii moderne.

Dup anul 1948, castelul Pelior este

preluat de ctre statul romn, devenind Cas

de creaie a scriitorilor, compozitorilor i

artitilor plastici din Romnia.

Urmare a unei ndelungate cercetri de

arhiv, dup anul 1989, grupul de specialiti

ai M.N. Pele a reuit s reconstituie un

spaiu princiar i regal, pe baza documentelor

fotograce de arhiv i respectnd nbun msur i inventarul iniial, rednd

Dubla Aniversarela Castelul Pelisor

Rodica RotrescuDirector General


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In 2013 we celebrate 110 years since Peles

Castle was inaugurated and 20 years since it

opened its doors to the public as a museum.

Pelisor Castle was built between 1899-1902

by the Czech architect Karel Liman (1855-

1929) being ordered by King Carol I as a

residence of Crown Prince Ferdinand and

Crown Princess Marie.

Inaugurated a year later, on 24th May 1903,

the castle preserves the vivid memory of the

one who was to become the Queen of all the

Romanians, Queen Marie, but also of King

Ferdinand The one who brought unity to his

people and their children.

The Inaugural Act of the castle, painted by

Queen Marie on parchment says: We, CarolI, King of Romania built this residence beside

the towering Peles Castle for our beloved

grandchildren. Holy by the church to bring

the blessings of heaven, we, Ferdinand, Prince

of Romania and Princess Marie have received

this place with a loving and grateful heart.

We entered it, together with our children

Carol, Elisabeth and Marie on the 24th May,

in the blessed year 1903, the 37th reigning

year of King Carol And we called it Pelisor.

The inauguration ceremony was attended

by sovereigns and crown princes, the

archimandrite Nifon, ocers of high rank

of the Romanian army, personalities of the

political and cultural life and many local

people.

For the artistic Europe, the 1900s meant a

change of menthality and an important turn

as a new stylistic concept was born: The Art

Nouveau. The Princess Marie adopted this

style, in her nonconformist and spectacular

essence and thus, she created the aura of an

Art Nouveau character; she ordered architect

Liman and the Vinnese decorator Bernhard

Ludwig to create bright, welcoming interiors,

decorated according to the taste of the

new style, with Byzantine elements, Celticmotifs, traditional Romanian motifs and a

distribution of the spaces submitted to the

modern architecture.

After 1948, Pelisor Castle was taken over by

the Romanian state and became a House of

creation for writers, composers and plastic

artists from Romania.

As a result of a long archive research, after1989, the specialists of the Peles National

Rodica RotrescuGeneral Manager

Double Anniversaryat the Pelisor Castle


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Lamp, detaliuAuguste Moreau,

circa 1900

Lamp, detail

Auguste Moreau,

Early 20thcentury

patrimoniului cultural naional o reedin

de importan istoric. Astfel, spaiul muzeal

romnesc s-a mbogit cu un monument

de art unic n Romnia prin interioarele

sale, decorate n stilul specic reginei Maria.

Muzeul a fost inaugurat n luna februarie1993.

De dou decenii, Peliorul justic pe deplin

speranele publicului i ncrederea pe care

amatorii de art i-au acordat-o: aici s-au

organizat expoziii temporare, un parteneriat

cultural expoziional cu Muzeul de Art din

Lige - Belgia, manifestri tiinice care au

mbogit prin valoarea lor datele istorice

despre perechea regal Ferdinand i Maria

i au valoricat colecia de art, subliniind

astfel menirea muzeului. Douzeci de ani

reprezint doar un nceput, adevrat foarte

promitor, concludent ns pentru un muzeu

care s-a creat i s-a armat, dovedindu-i

din plin rolul su n educarea i renaterea

spiritual a vizitatorilor.

Cu prilejul acestei aniversri, Muzeul Naional

Pele organizeaz expoziia Art Nouveau -

110 ani n Romnia, o srbtoare a acestui

curent artistic.

Expoziia i propune s reuneasc cele mai

reprezentative piese ce se nscriu n stilistica

Art Nouveau, prezente n coleciile muzeului,

multe dintre ele ind ilustrative pentru

gustul artistic al reginei Maria. Ideile acesteia

privind decoraia de interior au fost puse

n oper de Karel Liman, un arhitect puin

cunoscut n Romnia, dar care este creatorul

unuia dintre cele mai importante ansambluri

monumentale din ar, reedina regal de la

Sinaia.

Stilul Art Nouveau a denit deopotriv

sfritul i nceputul unui secol, conferind

personalitate unei epoci i cuprinznd

toate genurile artistice legate de ambientul

exterior sau interior.


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Museum managed to reconstitute a princely

and royal space by taking into account the

photographic archive documents and, as

far as possible, the initial inventory and

thus, they returned a residence of historicalimportance to the national cultural heritage.

In this way, the Romanian museal space

was enriched with a monument of art which

is unique in Romania due to its interiors,

decorated in Queen Maries specic style.

The museum was inaugurated in February

1993.

For two decades, Pelisor has fully answered

to publics expectations and the trust the art

lovers showed it: there were organized here

temporary exhibitions, a cultural partnership

with the Museum of Art from Liege-Belgium,

scientic events which enriched, by their

value, the historical data about the royal

couple Ferdinand and Marie and focused on

the art collection and thus, highlighted the

main purpose of the museum. Twenty years

mean only a beginning, a promising one

indeed, but a conclusive one for a museum

which opened its doors, developed and

proved its role in the education and the

spritual revival of its visitors.

In order to celebrate this occasion, Peles

National Museum organizes the exhibitionArt Nouveau 110 Years in Romania, a

celebration of this artistic movement.

The exhibition sets to bring together the most

representative pieces of Art Nouveau, which

are part of the collections of the museum,

many of them being illustrative for Queen

Maries taste. These ideas concerning the

interior decoration were included in the work

by Karel Liman, an architect who was hardly

known in Romania but who created one of

the most important monumental ensemble

in our country the royal residence from

Sinaia.

The Art Nouveau dened both the end and

the beginning of a century, gave personality

to an age and included all the artistic styles

related to interior and exterior environment.

Daphn, detaliuIsidore de Rudder,

circa 1900

Daphn, detail

Isidore de Rudder,

Early 20thcentury


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Arta 1900 a norit la rscruce de veacuri,

situndu-se ntre istorismul secolului al XIX-

lea i revoluia artistic a secolului al XX-lea. A

fost o micare autonom, atotcuprinztoare,

de o putere i o amploare rar ntlnite n

istorie. Meritul ei principal a fost acela de

a ncercat s construiasc o nou sintez,

modern a artelor.

Pentru spiritele progresiste ale vremii, copiii

noului veac, toat efervescena noilor

curente artistice era cuprins n vocabula

noul Art Nouveau, Nieuwe Kunst, ea

echivala cu modernismul Modern Style, Stile

Modernista. Ceea ce n gndirea naintat a

vremii era sinonim cu nonconformismul, cu

desprinderea i eliberarea de academismul

istoricist.

Arta anilor 1900, aat sub semnul tinereii,

a cuprins, n numai 20 de ani (1885 1905),

toat Europa i America de Nord, atingnd i

Extremul Orient (mai ales Japonia) i a marcat

puternic tot ceea ce inea de expresia vizual:

arhitectur, arte aplicate i industriale,

pictur, sculptur, grac, decoraie scenic.

Diversitatea titulaturilor prin care se armacest stil demonstreaz marea sa putere

de ptrundere, astfel c n Frana el are

mai multe denumiri: Art Nouveau, Style

Guimard, Style Mtro, Style Jules Verne,

cole de Nancy etc; n Belgia: Coup de Fouet,

Style Horta, Style Belge etc; n Germania:

Jugendstil, Sezession sau Secession, Lilenstil,

Wellenstil, Baudwurmstil; n Austria se va

numi Sezession sau Secession, Wagnerstil,

Homanstil, Wiener Werkstatte; n Anglia:

Modern Style, Morris Style, Liberty Style,

Glasgow Style, Studio Style; n Italia: Stile

Floreale, Stile Liberty, Stile Vermicelli; n

Spania: Stile Modernista, Stile Joventud, Stile

Gaudi; n Ungaria: Szecesszi, Stil Lecchner

dn; n Olanda: Nieuwe Kunst, iar n S.U.A.:

Tiany Style, Saracenic Style; i Japonia:

Nakuba Karai.

William Morris, fondatorul micrii Arts and

Crafts, lansa sloganul arta n toate, cernd

instalarea frumuseii n obiectele de uz

cotidian, dar i n aspectul oraelor, ntre

altele prin arhitectur i ae. Arta aului se

nate n cadrul Artei 1900. Regina Maria era

la curent cu noile tendine artistice, ea ind

abonat la diverse reviste de decoraiuni

interioare ale epocii.

Prin ptrunderea artei n viaa de toate

Arta 1900

Cornelia DumitrescuMuzeograf


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The art 1900 orished at the crossroads of

centuries, between the historicism of the

19th century and the artistic revolution of

the 20th century. It was an autonomous

and comprehensive movement, with a

stength and amplitudine history has seldom

recorded. Its main merit was that of trying to

create a new and modern synthethis of the

arts.

For the progressive spirits of the age,

the children of the new era, the whole

eervescence of the new artistic trendes era

is expressed by the word new - Art Nouveau,

Nieuwe Kunst-which is an equivalent of

modernism-Modern Style, Stile Modernista.

In the cultivated thinking of the age this was a

synonim for nonconformism, the detachmentand release from the historicist academicism.

In only 20 years (1885-1905), being under

the sign of youth, the art 1900 extended

to all Europe and North America, reached

the Far East (especially Japan) and had

a great impact on everything related to

visual expression: architecture, applied and

industrial arts, painting, sculpture, graphics,

stage decoration.

The diversity of the names this style is known

by denitely proves its great power; thus,

in France it is known as: Art Nouveau, Style

Guimard, Style Mtro, Style Jules Verne, cole

de Nancy etc; in Belgium as: Coup de Fouet,

Style Horta, Style Belge etc; in Germany as:

Jugendstil, Sezessionor Secession, Lilenstil,

Wellenstil, Baudwurmstil; in Austria it is

called Sezession or Secession, Wagnerstil,

Homanstil, Wiener Werkstatte; in England:

Modern Style, Morris Style, Liberty Style,

Glasgow Style, Studio Style; in Italy: Stile

Floreale, Stile Liberty, Stile Vermicelli; in

Spain: Stile Modernista, Stile Joventud, Stile

Gaudi; in Hungary: Szecesszi, Stil Lecchner

dn; in Holland: Nieuwe Kunst and in U.S.A.:

Tiany Style, Saracenic Style and in Japan:

Nakuba-Karai.

William Morris, the founder of the movement

Arts and Crafts launched the motto art in

everything and asked for installing beauty

in object s of daily use but also in the way

towns look like, by means of architecture

,posters and many others. The poster art

is born within Art 1900. Queen Maria was

aquainted with the new trends in art as she

was subscribed to dierent magazines oninterior decoration.

Cornelia DumitrescuCurator

1900s Art


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Art got more and more into the daily life

and made it more beautiful, pleasant and

comfortable. Therefore, art was meant to

have a functional role which imposed a

balance between form and necessity. And

this led to another principle of the art 1900:utile cum dolci.

The rational aspect didnt have to exclude

the symbolic one, which projected the

artists mood on the objects and thus, gave

them a human dynamism. The symbols are

a manifestation of the human spirit which

expresses, in a distilled form, the aection

and the desire, the known and the desired

ones, the conscious and the unconscious.

The Art 1900 enriches the valences of the

space and changed it in order to meet the

users needs. The invention of electricity,the

extensive use of glass and iron in the interior

decorations bring more comfort and also

admirable aesthetic qualities to the rooms.

As a way of expresssion, the Art 1900 makes

use of the leitmotif of arcs, the arcuate wavy

motion which reminds of maine plants, lianas

and algae, but also of puried rectangular

geometric shapes specic to the School of

Glasgow or the one of Vienna or to some

Scandinavian schools. mile Gall, the

founder of the School from Nancy, gives a

naturalistic, simbolist vision to this style.

zilele, aceasta devenea mai accesibil, mai

frumoas, mai plcut, mai comod. Arta

trebuia deci, s aib o tendin funcional

i pentru aceasta forma trebuia conciliat cu

necesitatea. De aici se nate un alt principiu

al Artei 1900: utile cum dolci.

Aspectul raional nu trebuia s-l exclud pe

cel simbolic, care proiecta asupra obiectelor

starea sueteasc a artistului, animndu-le

cu un dinamism uman. Cci, simbolurile sunt

o manifestare a spiritului uman care exprim,

ntr-o form distilat, afectivitatea i dorina,

cele cunoscute i cele visate, contientul i

incontientul.

Arta 1900 mbogete valenele spaiului,

transformndu-l astfel nct s rspund

ct mai bine nevoilor utilizatorului. Apariia

electricitii, utilizarea pe scar larg a

sticlei sau erului n decoraiunile interioare

confer ncperilor mai mult confort, dar i

admirabile caliti estetice.

Ca form de expresie, Arta 1900 folosete

laitmotivul liniei arcuite, micarea curbilinie,

ondulatorie, ce amintete de plantele marine,

liane i alge, dar i formele geometrice,

rectangulare, epurate proprii colii din

Glasgow, celei din Viena sau unor coli

scandinave. mile Gall, fondatorul colii

din Nancy mbogete stilul cu o viziune

suprasimbolist, naturalist.


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Momentele zileiAlphonse Mucha

The moments ofthe day

Alphonse Mucha


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Arhitectul noului palat de la Sinaia a fost

numit cehul Karel Liman, recomandat de

celebrul su coleg francez, Charles Lecomte

de Noy. Liman studiase la Praga i Mnchen,

mbogindu-i experiena la castelele

Hohenlohe din Jabrino - Tatra i respectiv

Rotschild din Viena. n anul 1894, acesta

iniiaz la Sinaia un program de redecorare,

recompartimentare i augmentare a

Castelului Pele.

Era perioada n care se manifesta distinct

contradicia dintre gustul pentru construcii

greoaie, ncrcate, tributare istorismului i

posibilitile izvorte din avntul noului suu

industrial, de la sfritul secolului al XIX-lea

i nceputul secolului al XX-lea, cnd s-au

impus materiale de lucru novatoare precum

sticla i erul, ce vor inuena ntreaga

viziune arhitectural a epocii.

n construcia Palatului Pelior se simt

deopotriv cele dou orientri. Pstrnd

aspectul exterior al cldirii, n spiritul

arhitecturii specice zonei Pdurea Neagr,

Liman organizeaz spaiul interior conform

noii concepii despre habitat, bazat pe

coordonate ale luminii i aerului ce intr

n relaie direct cu nevoile naturii umane,

devenind deosebit de funcional.

Fiecare din cele 70 de ncperi, au

caracteristici proprii, att din punct de vedere

formal - decorativ ct i structural arhitectonic;

luminatoarele i vitraliile ferestrelor stabilesc

relaia interior-exterior ntr-un joc de umbr

i lumin. Soluiile arhitecturale i inginereti

ale cehului Karel Liman vdesc similitudini

cu inovaiile contemporanului su, arhitectul

belgian Victor Horta. Difuzarea i receptarea

spiritului i conceptelor Art Nouveau a fost

posibil, mai ales prin circulaia publicaiilor

vremii. n biblioteca Muzeului Naional Pele

se pstreaz o mare parte din colecia revistei

de informare i documentare Deutsche

Kunst und Decoration, fondat n 1897.

Dintre interioarele Palatului Pelior se

distinge, cu cert valoare de unicat, Camera

de aur a reginei Maria. Descoperim aici,

emblematic, fascinaia pe care miturile

celtice i scandinave au exercitat-o asupra

Art Nouveauin Castelul Pelisor

Rodica RotrescuDirector General

Camera de joac aPrincipilorCastelul Pelior

The Princesplayroom

Pelior Castle


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The architect of the new palace from Sinaia

was appointed the Czech Karel Liman,

recommended by his famous French

colleauge, Charles Lecomte De Nouy,

Liman had studied in Prague and Munich

and enriched his experience at the castles

Hohenlohe from JabrinoTatra and Rotschild

from Vienna. In 1894, he started in Sinaia a

programme of redecoration, resubsivision

and augumentation of Peles Castle.

It was during a period marked by the

contradiction between the taste for heavy

contructions, tributary to the historicism,

and the possibilities brought by the new

industrial boom blast from the end of

the 19th and the beginnings of the 20th

centuries when new materials ,such as glass

and iron, became popular and inuenced the

whole architectural vision of the age. Both

directions can be noticed in the construction

of Pelisor Castle. Liman preserved the

exterior appearance of the building in the

architectural style specic to Black Forest

area. Yet, he organizes the interior space

according to the new vision on habitat ,based

on the coordinates of light and air in close

connection to human needs and thus, made

it extremely functional.

Each of the 70 rooms hs its own feature, both

from the formal-decorative point of view and

the structural and architectural one as the

luminaires and the stained glass windows

create the relation interior-exterior in a game

of shadow and light. The architectural and

engineering solutions of the Czech Karel

Liman prove similarities with the innovations

of his contemporary, the Belgium architectVictor Horta. The distribution and the

reception of the Art Nouveau spirit and

concepts was possible mainly due to the

publications of the time. In the library of the

Peles National Museum there is a great part

of the collection of the magazine Deutsche

Kunst und Decoration, founded in 1897.

Among the interiors of Pelisor Castle, it is

worth mentioning, as a unique piece, Queen

Marias Golden Room. Here we discover

the fascination the celtic and scandinavian

myths brougth upon The Artist Queen, also

called the last romantic by Hanna Pakula;

the interior of the room is marked by vaults

with ogival arches and a luminaire decorated

with a monumental celtic cross (a motif which

is to be found in other rooms, too).

Its artistic solemnity is counterbalanced by

the rhytmic, vegetal-zoomorphic movement

of the entrelacs.The celtic mythology also

inspired another decorative element the

thistle branch which entirely covers the

walls of the Golden Room, a motif made of

gilded gold. Being considered the symbol of

regeneration and eternity in Scotland, the

thistle branch is also the emblem of Lorena,

of the town Nancy, the town of Emille Gall,

the Daum brothers and many outstandingartists of Art nouveau. Many of the decorative

art pieces of the 1900s are decorated with

these elements depicted in the symbolical

space of The Golden Room. Mainly, the

bronze works created by the Viennese artist

Gustav Gurschner, awarded with a silver

medal and a bronze one at the Universal

Exhibition in Paris (1900); in the collection

of the Peles National Museum there is a set

of dishes decorated with the celtic cross,entrelac and zoomorphic motifs. The works of

Rodica RotrescuGeneral Manager

Art Nouveau inthe Pelisor Castle


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Reginei Artiste numit de Hanna Pakula

Ultima romantic; interiorul camerei este

marcat de boli cu arcuri n ogive, ce se mbin

ntr-un luminator, decorat cu o monumental

cruce celtic (motiv reluat i n alte

interioare). Solemnitatea artistic a acesteia

e contrabalansat de micarea ritmic-uent,

zoomorf-vegetal a entrelac-urilor. Mitologia

celtic a inspirat deopotriv un alt element

decorativ - ramura de ciulin - care acoper

n ntregime pereii Camerei de aur, motivrealizat n stuc aurit. Considerat n Scoia

simbolul regenerrii i al veniciei, ramura de

ciulin este de asemenea emblema Lorenei,

a oraului Nancy, oraul lui mile Gall, a

frailor Daum i a altor artiti reprezentativi

ai curentului Art Nouveau. Multe dintre

piesele de art decorativ din anii 1900

sunt decorate cu aceste elemente descrise

n spaiul plin de ncrctur simbolic al

Camerei de aur.

n primul rnd, piesele de bronz ale artistului

vienez Gustav Gurschner, premiat la Expoziia

Universal de la Paris (1900) cu o medalie de

argint i una de bronz; n colecia Muzeului

Naional Pele se a o garnitur de vase

decorate cu motivul crucii celtice, entrelac-

uri i motive zoomorfe. Piesele artistului

austriac se remarc prin imaginaia i

perfeciunea realizrii tehnice, chiar i atunci

cnd atenia sa se ndreapt spre obiecte de

uz cotidian, servicii de birou, coupe-papier-

uri. Simul formei, al modelajului l denesc

pe Gurschner - sculptorul. El alege de cele

mai multe ori n decoraie chipul feminin

delicat i sensibil.

Pe aceleai coordonate stilistice se nscriu

piesele semnate de orfevrul mnchenez

Max Strbl; pocalele sale din argint ciocnit

nnobilate cu pietre semipreioase suntdecorate cu entrelac-uri, aspectul lor

oscilnd de multe ori ntre decorativul laic i

al obiectului de cult.

Se cuvine remarcat serviciul de lavoar al

reginei Maria, atribuit americanului Louis

Comfort Tiany: piesele din aram ciocnit

au forme austere, ordonate, ind decorate cu

motivul crucii gamate, acoperite cu email n

tonuri violente de albastru cobalt i verdesmarald.

n sfrit atragem atenia asupra coleciei

de sticlrie semnat mile Gall. Se a aici

piese remarcabile: delicatul Clair de lune,

datat 1890, precum i Muza paradisiac,

una dintre piesele rarissime ale acestui

magician al sticlei, dar att de reprezentativ

pentru creaia Art Nouveau.

Salon din FalkewoodMacKay Hugh Baillie Scott,

1906

The Drawingroom ofFalkewood

MacKay Hugh Baillie Scott,

1906


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the Austrian artist are outstanding due to the

imagination and perfection of their technical

achievement, even when his attention is

focused on everyday objects, oce services,

coupe-papier. Gurschner - the sculptor - is

dened by the sense of shape and molding.

He often choses the delicate and sensitivefeminine face as a decoration.

The same stylistic coordinates dene the

pieces signed by the goldsmith Max Stroble

from Munich.His knocked silver goblets

embellished with semiprecious stones are

decorated with entrelac and their appearance

is often somewhere between the secular

decorative and the object of worship..

We ought to notice Queen Maries toilet set,

attributed to the American Louis Comfort

Tiany: the hammered brass pieces have

austere, orderly shapes and they are

decorated with the motif of the bent cross

and covered by email in vivid shades of

cobalt blue and emerald green.

Finally, we focus on the collection of

glassware signed by mile Gall. We display

remarkable pieces: the delicate Clair de

lune, dated 1900 and Heavenly Muse, one

of the extremely rare pieces of this magician

of glass but a very representative one for the

Art Nouveau creation.

Budoarul RegineiMaria

Castelul Pelior

Queen MariesBoudoir

Pelior Castle


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Faada de sudCastelul Pelior

South facadePelior Castle


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n memoriile pe care regina Maria le-a redactat

i publicat la vrsta maturitii, suverana i

amintea cu neplcere de aspectul rece i

aparent auster al reedinelor regale din jurul

anului 1890. Maria de Saxa-Coburg-Gotha

(1875 -1938), duces de Saxa i principes

a Marei Britanii i Irlandei, era obinuit din

copilrie cu confortul cminelor englezeti.n ceea ce privea decoraia de interior a

Palatului Regal de pe Calea Victoriei din

Bucureti, reedina de iarn a regelui

Carol I sau a Castelului Pele de la Sinaia,

reedina regal estival, tnra principes

motenitoare a Romniei a fcut un efort

de adaptare la ceea ce ea numea stilul Alt-

Deutsch, pe care l respingea funciar.

La Sinaia, tnra principes Maria a sositpentru prima oar n vara anului 1893, n

compania soului ei, principele motenitor

Ferdinand de Hohenzollern (1865-1927),

viitorul rege Ferdinand I al Romniei (1914

-1927). Ei i-au petrecut prima vacan de

var mpreun, iar btrnul rege Carol, att de

mndru de Pele, ctitoria sa cea mai drag, s-a

strduit s ofere motenitorilor tronului cel

mai bun apartament din castel, apartamentul

principal pentru oaspei, aat la etajul I pe

latura de sud. n acel cadru eclectic, realizat

de rma de decoraiuni interioare Isaac

Daniel Heymann din Hamburg (Germania),

care crease la cererea suveranului i a

principalului su consilier artistic - sculptorul

Curii regale Martin Sthr, un ambient de

sorginte neo-renascentist german, s-a

desfurat primul sejur n staiunea de lapoalele Munilor Bucegi. Tot aici principesa

motenitoare Maria avea s dea natere, la

16 octombrie 1893, principelui Carol (1893

1953), viitorul rege Carol al II-lea al Romnei

(1930 -1940).

ns amplasarea tinerei familii princiare n cel

mai spaios apartament al Castelului Pele nu

a fost dect o soluie tranzitorie: necesitile

de reprezentare i gzduire a reedineiregale pe de o parte, precum i nevoia de

intimitate i de un cmin propriu al tinerilor

Ferdinand i Maria, l-au determinat pe

regele Carol s renune la folosirea vechiului

pavilion de vntoare numit Foior, aat

nu foarte departe de Pele, n favoarea

principilor motenitori. Este foarte probabil

ca n vederea schimbrii destinaiei micului

chalet, s se recurs la serviciile unor rme de

decoraiuni interioare cu care Administraia

Castelul Pelisor - Karel Limansi arhitectura Art Nouveau

Mircea HortopanDirector Adjunct


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In the memoirs that the Queen Marie

wrote and published at a maturity age, the

sovereign remembered, unpleasantly, the

chilly and apparently austere look of the

royal residences around the year 1890.

Marie of Saxa-Coburg-Gotha (1875-1938),

Duchess of Saxa and Princess of Great Britain

and Ireland, got used from childhood to thecomfort of British homes. Regarding the

interior decoration of the Royal Palace on

Victoria Avenue in Bucharest, the winter

residence of King Carol I or the Peles Castle,

the summer royal residence, the young

Crown Princess Romania made an eort to

adapt to what she called the Alt-Deutsch

style, which she rejected fundamentally.

The young princess Marie, arrived for the rsttime in Sinaia, in the summer of 1893, in the

company of her husband, the Crown Prince

Ferdinand of Hohenzollern (1865-1927), the

future King Ferdinand I of Romania (1914-

1927). They spent their rst summer vacation

together, and the old King Carol, so proud of

Peles, his most dear construction, strived to

oer the best apartment in the castle to the

heir to the throne, the princely apartment for

guests, located at the rst oor on the south

wing. In that eclectic setting, made by Isaac

Daniel Heymanns interior decor company

from Hamburg (Germany), company that

created, at the request of the sovereign

and his main art counsellor the sculptor

Martin Sthr, an ambience of German neo-

Renaissance origin, unfurled the rst stay in

the resort at the foot of the Bucegi Mountains.

It is here that the Crown Princess Marie gives

birth to Prince Carol (1893-1953), the future

King Carol II of Romania (1930-1940), on

16th of October 1893.

However, the location of the young princely

family in the most spacious apartment of Peles

castle was only a temporary solution: on the

one hand, the necessities of representationand hosting of the royal residence, as well

as the need for privacy and that of a home

for the young Ferdinand and Marie, made

King Carol renounce in favour of the Crown

Princes to the usage of the old hunting lodge

called Foisor, located not far from Pele. In

order to change the destination of the small

chalet he may have appealed to the services

of some interior decor companies that the

Administration of the Royal House worked

Mircea HortopanDeputy Manager

The Pelisor Castle - Karel Limanand Art Nouveau architecture


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Scara principalCliveden House

The main staircaseCliveden House


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Victoria-Melita(Ducky) pe scara

principalCastelul Pelior

Victoria-Melita(Ducky) on the main

staircasePelior Castle


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Casei regale colaborase pn atunci, precum

rma citat mai sus sau rma August Bemb

din Mainz (Germania). n perioada de

redactare a primei monograi a Castelului

Pele i a reedinei regale de la Sinaia (1892

-1893) de ctre bibliotecarul regelui Carol I -elveianul Lo Bachelin, autorul monograei,

amintete de lucrrile de mrire ale vechiului

Pavilion de vntoare, realizate dup

proiectele arhitecilor Eisenlohr i Weigl din

Stuttgart (Germania). Astfel, din vara anului

1894, Foiorul a devenit reedina estival

a principilor motenitori, unde avea s se

nasc, la 12 octombrie 1894, cel de al doilea

copil al cuplului, principesa Elisabeta (1894

1956), devenit prin cstorie regina Greciei.n anii urmtori principii motenitori aveau

s foloseasc Foiorul, ns i aceast soluie

a fost una tranzitorie ndat ce condiiile

nanciare au fost prielnice, regele Carol I a

comandat pentru viitorii suverani o nou

reedin de var, foarte aproape de Pele,

ce avea s e amplasat chiar pe cursul unui

mic pru, auent al rului Pele Peliorul,

de unde i numele viitoarei reedine.

Din analiza documentelor din Arhiva Biroului

regal de Arhitectur de la Sinaia, precum

i a unor gravuri din jurul anilor 1885

1893, observm o mare similitudine ntre

planul la sol al primei cldiri administrative

a Domeniului regal, Casa de Economie (sau

Economatul), realizat n aceeai perioad ca

i Castelul Pele, dup indicaiile arhitectului

Johannes Schulz von Strassnitzky. Facem

aceast armaie, dei compararea peisajului

din zona acestei cldiri cu cel actual s-a

schimbat mult schimbrile nu au fost ns

fundamentale ntre perioada inrii primului

Economat i cea a edicrii castelului Pelior.

Acestea au intervenit mult mai trziu, poate

dup 1910, cnd mprejurimile Peliorului

sunt reamenajate, ind plantai i arbori care

astzi, la peste un secol, constituie o cezur

vizual serioas a peisajului, ntre aleea de

acces ctre terasele castelului Pele i faada

de est a castelului Pelior.

Un alt argument ce poate susine aceast

ipotez este ns compararea amprentei la

sol a primului Economat i cea a castelului

Pelior. Cu o marcat latur de est, dezvoltatn ax pe direcia sud-nord, corpul principal

al vechiului Economat se continua spre vest,

dup un plan n form de L, cu latura lung

pe axul est-vest i cu latura scurt pe direcia

sud-nord, ca o contrapondere la corpul de

est, cu care era aproape paralel. Aceast

latur scurt este continuat cu un mic corp

perpendicular pe ea, dezvoltat din nou pe

axa est-vest.

Un plan deci destul de centrifug, fr un

punct central, fr un reper anume, generat

cu siguran de conjuncturile terenului i

mai ales a stabilitii acestuia, care n zona

Domeniului regal este destul de precar pe

alocuri, dar i de utilitile pe care cldirea

cea mai important cldire anex a Peleului,

n perioada 1883 -1899, le impunea. Aceast

dezvoltare planimetric dezvoltat n mare

pe direcia est-vest, putea da impresia unei

improvizaii arhitectonice, dar constructorii

au tiut, cel puin la rezolvarea faadelor, s

dea un aspect uniform construciei, mai ales

c aceasta era perfect vizibil din imediata

proximitate a castelului Pele. Aceast

rezolvare a constat n tratarea soclului cu

piatr fuit, la nivelul fundaiilor, iar la

nivelul parterului pe laturile de est, nord i

sud, de prezena unei colonade din lemn,

n maniera arhitecturii de vilegiatur, de

sorginte rustic, ce a marcat aspectul oraului

Sinaia, dar i al localitilor nvecinate,

precum Buteni, Azuga sau Comarnic. La

nivelul etajului, colonada era surmontat de

panouri din lemn, traforate, integrndu-se

fericit n aspectul general al reedinei, mai

ales datorit similaritilor cu plastica de pe

faada de sud a castelului Pele.

Cldirea a fost probabil dezafectat nainte


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with till then, such as the mentioned above

company or the August Bembe company from

Mainz (Germany). During the writing period

of the rst monograph of the Peles Castle

and of the royal residence from Sinaia (1892-

1893) by King Carol Is librarian the SwissLo Bachelin, the author of the monography,

mentions the works of extension of the

old hunting lodge, made according to the

projects of the architects Eisenlohr and

Weigl from Stuttgart (Germany). Therefore,

from the summer of 1894, Foisor became the

summer residence of the Crown Princes, the

place where, on 12th of October 1894, the

second child of the couple was born, namely

the Princess Elisabeth (1894 1956), whobecame, by marriage, Queen of Greece.

In the following years the the Crown Princes

used the Foisor, yet this solution was

temporary as well as long as the nancial

conditions allowed it, King Carol I ordered

a new summer residence for the future

sovereigns, a residence very close to Peles,

which was located on a brooks course,

tributary of the Peles river Pelisor, thus the

name of the future residence.

By analysing the documents from the

Archive of the Royal Bureau of Architecture

from Sinaia, as well as some engravings

around 1885- 1893, a great similarity can be

noticed between the ground plan of the rst

administrative building of the royal Estate,

the House of Economy (or the Economat),

constructed in the same period as the Peles

Castle, according to the remarks of the

architect Johannes Schulz von Strassnitzky.

We make this claim, although the comparison

of the landscape around the area of this

building with the present landscape changed

a lot the changes were not fundamental

between the period of existence of the rst

Economat and that of Pelisors construction.

The changes appeared much later, after 1910,

when Pelisors surroundings were readjusted

by planting trees, that nowadays, a more

than a century later, represent a serious

visual caesura of the landscape, between the

access alley to the terraces of Peles Castle

and the east front of the Pelisor Castle.

Another argument which can hold up this

hypothesis is the comparison of the ground

print of the rst Economat and that of the

Pelisor castle. With a pronounced east side,

developed in axle towards south-north

direction, the main body of the old Economat

continued towards the west, according to a

plan of an L shape, with the long side on the

east-west axle and with a shorter side on the

south-north direction, as a counterweight onthe east body, to which it was almost parallel.

This short side is continued by a small body

perpendicular to it, also developed on the

east-west axle.

Thus, a quite centrifugal plan, without a

central point, without a certain reference, a

plan surely generated by the conjunctures

and especially the stability of the eld,

which in the area of the royal Estate was

quite precarious here and there, but also by

the utilities which the building the most

important annexe building of Peles, during

the 1883-1899 period, imposed.

This planimetrical development mostly

on the east-west direction, could give the

impression of a architectural improvisation,

yet the builders knew, at least in the making

of the frontage, how to render an even

appearance to the construction, especially

that it was perfectly visible from the direct

proximity of Peles Castle. This making meant

processing the socle with coping stone, at the

level of foundations, and at the ground oor

on the east, north and south sides, by the

presence of a colonnade from wood, in the

style of the holidaying architecture, of rustic

origin, which marked the appearance of the

town Sinaia, but also of the neighbouring


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de anul 1899, cnd au nceput lucrrile de

edicare a noului castel pentru principii

motenitori. ntr-o scrisoare din anul 1900

adresat de principesa motenitoare

Maria, mamei sale, ducesa Maria de Saxa-

Coburg-Gotha, se face meniunea construirii

la Sinaia a unui nou castel, destinat cusiguran perechii princiare, dei regele

Carol pstra nc discreia asupra viitoarei

destinaii a cldirii. Aceasta gureaz pe

planurile pstrate la Biroul de arhitectur,

ca Prinzenbau (Cldirea principilor). Acest

termen generic amintete de palatul pe

care, n calitate de prini de Hohenzollern,

Leopold (fratele regelui Carol I) i Antonia

de Portugalia, prinii principelui motenitor

Ferdinand al Romniei, l ocupau n miculora de reedin a familiei, Sigmaringen.

Cldirea Prinzenbau din Sinaia, ridicat n

perioada 1899 1903, trebuia probabil s in

seama de traseul preexistent al fundaiilor

vechiului Economat, descris mai sus. Dei

n scrisoarea citat, tnra principes Maria

meniona ca autor al planurilor pe arhitectul

francez Andr Lecomte du Noy, putem

lesne identica n seturile de planuri i

plane ale Biroului de arhitectur, exactitatea

matematic i complexitatea detaliilor

de arhitectur datorate lui Karel Liman.

Este evident c, nc n jurul anului 1900,

arhitectul Lecomte du Noy, un apropiat al

regelui Carol I, avea un cuvnt greu de spus

asupra destinului Domeniului regal de laSinaia. Preferina principesei motenitoare

pentru arhitectul apropiat al familiei, pe care

l ntlnea probabil la Curte, cnd acesta i

petrecea serile alturi de btrnul suveran

la partidele de biliard, erau poate expresia

acestei apropieri i familiariti pe care

restauratorul Mnstirii Argeului o avea cu

Familia regal. Acesta fusese i cel care, cu

puin timp n urm, coordonase (avizase)

lucrrile pentru ridicarea Juniperus, miculpavilion excentric al principesei, Casa din

copac, una dintre primele originaliti

arhitectonice datorate Mariei. Se poate ns

prezuma, datorit studiilor recente, faptul

c arhitectul Liman era nu numai prezent

la Sinaia n acea perioad, dar coordona

nemijlocit, la faa locului, lucrrile de

construcie sau amenajare de pe Domeniul

regal.

Faada de sud, planKarel Liman, 1903

South facade,blueprint

Karel Liman, 1903


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towns, such as Busteni, Azuga or Comarnic.

At the oor level, the colonnade was

surmounted by wood panels, fretworked,

becoming integrated into the general

appearance of the residence, especially due

to the similarities with the plasticity on the

southern frontage of the Pele Castle.

The building was probably disused before

the year 1899 when began the construction

works of a new castle for the Crown Princes.

In a letter from the year 1900 addressed

to her mother, the Duchess Marie of Saxa-

Coburg-Gotha, by the Crown Princess Marie,

there is the mention of the erection of a newcastle in Sinaia, a castle surely meant for

the princely pair, though the king Carol kept

discretion about the future destination of the

building. This is among the plans preserved

in the Bureau of architecture, as Prinzenbau

(The Building of the princes). This generic

denomination reminds of the palace the

Princes of Hohenzollern, Leopold (the

brother of Carol I) and Antonia of Portugal,

the parents of Crown Prince Ferdinand of

Romania, had in the small town of residence

of the Sigmaringen family.

The Prinzenbau building from Sinaia, built

between 1899-1903, probably had to take

into account the pre-existing route of the

old Economats foundations, described

above. Though in the mentioned letter, the

young Princess Marie mentioned the French

architect Andr Lecomte du Noy, as the

author of the plans, we can easily identify

in the sets of plans and plates of the Bureau

of architecture, the mathematic exactness

and complexity of architectural details due

to Karel Liman. It is obvious that, around

the year 1900, the architect Andr Lecomtedu Noy, a close person to the King Carol I,

played an important role in the destiny of

the royal Estate from Sinaia. The preference

of the Crown Princess for the architect, who

was a close acquaintance to the family, that

she probably met at the Court, when he

spent the evenings in the company of the

old sovereign during the billiard game, was

probably the expression of this proximity

and familiarity that the restorer of the Arges

Planul casteluluiPelior

Karel Liman, 1903

Pelior Castleoorplan

Karel Liman, 1903


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Realizarea Prinzenbau a fost aadar avizat

de arhitectul Lecomte du Noy, dar planurile

i detaliile de execuie au fost cu certitudine

elaborate de Karel Liman. Aici este

momentul s marcm nc o dat importana

traseului preexistent al fundaiilor, pentru

a putea explica alegerea fcut de Liman

n elaborarea planurilor. Ediciile pe care

Liman le realizase deja ca arhitect principal

(ne referim la casa de vntoare a Familiei

princiare de Hohenlohe, la Javorino, sau

la palatul Rotschild de la Viena), arat

predilecia acestuia pentru faade principale

simetrice, echilibrate, elaborate ntr-o

ordonan clasicizant, subordonate unui

punct central de interes. La Prinzenbau

situaia se schimb radical datorit att

terenului pus la dispoziie, ct i cerinei

comanditarului de a integra noua cldire n

peisajul natural subalpin i notei generale

a arhitecturii componentelor parcului regal,

unde, desigur, reperul central era castelul

Pele, n varianta sa de la 1883.

Plastica faadelor s-a dovedit a extrem

de complex i elaborat. Nu numai

c volumetria cldirii a dictat aceast

complexitate, dar i elaborarea planurilor,

cu diversele destinaii date spaiilor, care

au generat soluii pentru deschideri ui

i ferestre, nu de puine ori dublate pe

faad de balustrade, balcoane, terase, logii.

Pentru o mai armonioas integrare a noului

ediciu n trama arhitectonic a reedinei

regale, arhitectul Liman a propus i a aplicat

cteva soluii ce constituiser elementele

caracteristice ale vechiului Pele utilizarea

fachwerk-ului pentru faadele de la nivelul

etajelor, cutarea ct mai multor rezolvri i

ancadramente din lemn (mici logii, balcoane,

galerii), dar mai ales introducerea temei

turnului. Turnurile de la Pele ddeau ntr-

adevr aspectul general de cldire elansat,

dezvoltat n primul rnd pe vertical. Dou

astfel de turnuri marcau plastica faadelor

Peleului turnul principal de pe laturade sud (ce avea s e civa ani mai trziu

supranlat i s primeasc ceasul mare),

de seciune ptrat, i turnul de pe colul de

nord-est, de seciune circular.

Interesant este faptul c arhitectul Liman

apeleaz, pentru noul castel, la amplasarea

a dou turnuri pe faad. Acestea se ridic

pe latura de sud a micului castel, cel de

pe colul de sud-est, de seciune ptrat,

masiv, dnd cldirii un aspect monumental

i adpostind o ntreag suit de ncperi,

la nivelul parterului, etajului I, etajului II i

mansardei - mult mai nalt ns dect corpul

principal al cldirii (la fel ca i turnul central al

Peleului), acesta se continu pe vertical cu

o ncpere supraetajat, ancat de o galerie

acoperit, imediat sub nvelitoarea strpuns

de lucarne. Cel de al doilea turn, amplasat pe

colul de sud-vest, este de seciune circular,

el neind altceva dect un adaos fericit la

faad, genernd n plan, la ecare nivel, mici

coluri intime ale camerelor de pe acest col

al cldirii.

Modelul Peleului este deci prezent n

tratarea faadelor noului castel. Profuziunea

fachwerk-ului pe latura de est, care se

vrea faada principal a Prinzenbau,

se contrapune utilizrii mai echilibrate a

procedeului amintit la faada de sud, n

favoarea unor suprafee ceva mai pline,

care la nivelul parterului devin echilibrate,

uor monolitice, prin utilizarea zidriei i

a pietrei la parament i ancadramentele

ferestrelor. Aceast aproape insesizabil

dihotomie, foarte bine disimulat de

arhitect prin amplasarea volumului masiv

al turnului mare, amintete i ea de plastica

faadelor Peleului, unde bogia lemnului

de pe faadele de est i de sud las loc unei

oarecari sobrieti pe faada de nord, tratat

ca faad secundar.

Tocmai soluiile abordate de Liman la Pelior

fac nu numai ca aspectul general al ediciului

s e unitar, dar las privitorului alegereaunui unghi predilect pentru contemplare.


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Convent had with the Royal Family. He was

also the person who coordinated (notied)

the works for the construction of Juniperus,

the small eccentric lodge of the Princess,

the house from the tree, one of the rst

architectural originalities due to Maria.

However, due to recent studies, it can be

presumed that architect Liman was not only

present tin Sinaia during that period, but he

also coordinated directly, on the very spot,

the works of construction and adjustment of

the royal estate.

Thus, the building of Prinzenbau was

achieved by the architect Lecomte du Noy,

but the plans and details of construction

were certainly made by Karel Liman.

It is important to emphasize once again the

importance of the pre-existing route of the

foundations in order to explain the choice

made by Liman in the drafting of the plans.

The buildings that Liman already created

as main architect (we refer to the hunting

house of the princely family of Hohenlohern,

to the Javorino, or the palace Rotschild

from Vienna), show his predilection for

main, symmetrical and well-balanced

fronts, made in an orderly and classical way

subject to a central main point of interest. At

Prinzenbau the situation radically changes

thanks to the eld at disposal but also to

the limited partners request to integrate

the new building into the natural landscape

and into the general architectural mark ofthe components of the royal park, where,

of course, the main landmark was the Peles

castle in its 1883 version.

The plasticity of the frontages proved to be

extremely complex and elaborated.

Not only buildings volumetrics dictated

this complexity, but also drafting the plans,

with varied destinations given to spaces,which generated solutions for openings

doors and windows, and which were often

doubled on the frontages by balustrades,

balconies terraces and loggias. For a more

harmonious integration of the new edice in

the architectural frame of the royal residence,

Liman proposed and applied few solutions

which were the characteristic elements

of the old Peles the use of the fachwerk

for the frontages from the oors levels,

the search of many solutions and wooden

frames (small loggias, balconies, galleries),

but mostly the introduction of the theme of

the tower. The towers from Peles gave the

general appearance of slendered building

mostly developed vertically. Two such towers

marked the plasticity of Peles frontages

the main squared tower on the southern

side (which few years later will be extended

and get the big watch), and the north-eastern

circular tower.

Quite interesting is the fact that for the new

castle, Liman resorts to the placement of

two towers on the frontage. These are being

built on the southern side of the small castle,

the one on the south-eastern corner of a

squared section that gives a monumental

appearance and has a sequence of rooms at

the ground oor, rst oor, second oor and

the attic yet much higher than the main

body of the building (as well as the central

tower of Peles), it continues vertically with

a multilayered room with a covered gallery

right under the cover pierced by skylights.

The second tower, located on the south-

western corner, has a circular section and itis just a fortuitous addition to the frontage,

which, according to the plan, generates, on

each level, small private corners to the rooms

on this side of the building.

Peles model is observed on the facades of

the new castle. The richness of the fachwerk

on the Eastern side, regarded as the main

front wall of the Prinzenbau, diers from

the moderate use of this technique on theSouthern facade, and provide more busy


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Dei latura de est, la intrarea cu peron,

se vrea faada principal, dimensiunile

reduse ale corpului de cldire, prolarea

din laterala dreapt a corpurilor secundare

ce se dezvolt ctre vest, nu pot susine

aceast intenie. Cea mai important faada cldirii, prin dimensiuni i prin amplasarea

celor dou turnuri la coluri este cea de

sud, ns absena deschiderilor importante

i monumentale, precum i asimetria celor

existente, lipsa unui punct central de interes

nu reuesc s fac nici din aceast faad,

frontul privilegiat. Acesta nu poate dect

colul de sud-est al ediciului, direcie

din care privitorul poate cuprinde ambele

faade, fcnd practic din turnul central (cuadaosurile sale), punctul central de interes.

Sub acest aspect, noul castel se deosebete

fundamental de castelul Pele. Dei acelai

aspect general este cutat i realizat (trebuie

amintit faptul c transformrile pe care

tot arhitectul Liman le-a operat n decada

1903 1914, au modicat fundamentalaspectul faadelor Peleului), reedina

principilor motenitori apare ca o vil de

loisir, fr pretenii de monumentalitate i

reprezentativitate, fr un punct central de

referin, fr a privilegia o faad sau alta.

Este poate tocmai aspectul pe care i tnra

principes motenitoare Maria l atepta de

la o reedin la poalele Carpailor, rezultatul

ind menionarea Peliorului ntre casele

sale de vis.

Din analiza schielor de faade aate n

fondul documentar al Muzeului Naional

Pele, reiese intenia unor soluii plastice

elaborate, ce ncercau s dea Peliorului

o not suplimentar de monumentalitate.

Interesant este plana n care arhitectul

Liman propune pentru rezolvarea corpului

central al faadei de est, deasupra intrrii

principale, la nivelul etajului II, amplasareaunui attic polonez, structurat pe dou

registre, cel inferior cu trei deschideri, cel

superior cu o singur deschidere. Dei

aspectul zidriei era oarecum compact,

acesta era contrabalansat de mulurile i

volutele corniei, fcnd n ansamblu corp

comun cu latura de est a turnului mare, cu

deschiderile sale mici, n masivul de zidrie.

Soluia propus de arhitect ddea faadei

de est un aspect mai sobru, clasicizant, ndefavoarea fachwerk-ului, care totui a fost

n cele din urm preferat. Pentru c tema

atticului polonez a fost se pare drag

arhitectului, acesta avea s aplice o astfel

de soluie pe faada de sud a Peleului,

civa ani mai trziu, la redecorarea acestei

faade, unde, peste corpul ce adpostea

sala maur, s-a adugat o mansard n care

au fost amenajate ncperile secundare ale

apartamentului imperial, n anii 1905 1906.

Camera de aurCastelul Pelior

The Golden RoomPelior Castle


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33

surfaces, that become more balanced,

slightly monolithic, on the ground oor

due to the use of masonry and stone in the

parament and window frameworks. This

sensible dichotomy, well dissimulated by

the architect with the location chosen forthe massive big tower, also reminds of Peles

walls architectural appearance where the

abundance of wood on the Eastern and

Southern facades make room for a soft

sobriety on the Northern wall regarded as a

secondary one.

Limans solutions for Pelisor give a unitary

look to the edice, and also allow the viewer

to choose a contemplation angle of theirpreference. Although the Eastern side with

the platform entrance is looked at as the

main facade, the reduced dimensions of

this building, and the secondary bodies

from the right side that develop Westward,

cannot support such a consideration. Taking

into account the size and location of the

two corner towers, the most important

facade of the castle should be the Southern

one, but the absence of any signicantand monumental openings, as well as the

asymmetry of the existing ones, and the

lack of a focal point cannot make this the

privileged contemplation point. This is none

other than the South-Western corner of the

castle because, from there, the viewer can

admire both front walls, thus, turning the

central tower (its additions included) into the

focal point.

In this regard, the new castle is fundamentally

dierent from Peles. Although a common

general appearance was intentional and

achieved (we need to remind that the

transformations made by Liman between

1903 1914, have essentially modied

Peles facades aspect), the residence of the

main heirs resembles a loisir chateau with

no claims of monumental representation,

and no focal point or a favoured front wall.

This is possibly exactly what Princess Marie

expected from a residence nestled at the

foot of Carpathian Mountains, and, in the

end, she considered Pelisor among her

dream houses.

Further analysing the facades designs kept

in Peles National Museum library, we notice

some elaborate solutions that are meant to

render additional monumentality to Pelisor.

There is a very interesting sketch where

Liman suggested to place a two level Polish

attic, the inferior one with three openings

and the superior one with a single opening,

above the main entrance, at the second oor.

This attic was designed to shape the centralbody of the Eastern front wall. Although

the masonry aspect looked compact, it was

counterbalanced by the mouldings and

volutes of the cornice, and it made a unitary

body with the Eastern side of the big tower

with its small openings in the mason giant.

The solution proposed by the architect gave

the Eastern facade a more classic and austere

look compared to the fachwerk, which was

preferred, eventually. It is said that the Czecharchitect was very fond of the Polish attic

theme and, thus, a few years later, he added

one to the Southern wall of Peles castle while

redecorating this part. During 1905 1906,

an attic was added over the body that hosted

the Moorish hall, and secondary rooms for

the imperial suite were installed there.

The 1905 1910 transformations have

marked out Peles metamorphosis, andthe rise of Pelisor castle. The latter was

inaugurated on May 24th 1903, and would

become the summer residence of the young

royal family, and maintained its status after

King Ferdinand was crowned on October 6th

1914. Further researches have established

the exact time when these alterations were

made. Thus, a compact body is built on the

Southern facade and attached to the Western

wall of the big tower. A small open terrace is


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34

Transformrile din jurul anilor 1905 1910

aveau s marcheze nu numai metamorfoza

Peleului, dar i amplicarea castelului

Pelior. Acesta, inaugurat la 24 mai 1903,

avea s devin reedina de var a tinerei

familii princiare, pstrndu-i statutul i

dup urcarea pe tron a regelui Ferdinand, n

octombrie 1914. Cercetrile ulterioare vorstabili cu precizie data acestor transformri,

care la nivelul faadei de sud se traduc

prin construirea unui corp compact, adosat

zidului de vest al turnului mare. La nivelul

parterului apare o mic teras descoperit,

cu balustrad din er forjat susinut de

stlpi masivi de zidrie placat cu piatr

i o mare fereastr cu u, ce pare dublura

marei ferestre de la acelai nivel de pe turnul

mare. La etajul I, corpul suplimentar estetratat complet diferit, cu fachwerk i patru

deschideri ancate de colonete din lemn.

n plan, noul corp se traduce prin dublarea

suprafeelor iniiale ale cabinetelor de lucru

cel al principelui la parter i cel al principesei

la etaj. Aceasta e singura modicare major

operat de arhitectul Liman nainte de Primul

Rzboi Mondial.

Planimetria noii reedine de var este i eadestul de fracturat, arhitectul Karel Liman

reuind s traseze o ax est-vest, de la intrarea

principal, adpostit de un peron acoperit

(ce susine la rndul su o teras spaioas la

etajul I), pn la sufrageria mare. Acest parcurs

este marcat de un mic antreu, un vestibul ce

separ corpul de est n dou segmente egale

cel dinspre nord adpostind apartamentul

Marealului Curii principilor motenitori,iar cel dinspre sud dublul salon de primiri al

principelui Ferdinand i n sfrit, de scara

principal a vilei, ce se nal pe trei nivele

(parter, etaj I i etaj II), prevzut cu plafon

vitrat, o mare fereastr pe latura de nord i o

galerie subliniat de colonete pe laturile de

sud i de est.

Aspectul spaial i soluia pentru rezolvarea

scrii amintesc de scara conacului ClivedenHouse, din Anglia, proprietatea familiei

Astor, unde tnra principes motenitoare

a Romniei era adesea primit de prietenii

si, fraii Pauline i William Waldorf, Viconte

Astor. Similitudinile cu spaiul de la Cliveden

House (arcaturile ce despart spaiile,

aezarea rampei scrii) s-au amplicat n

anii 1920, cnd locatarii regali au comandat

arhitectului desinarea salonului de la

parter, pentru a crea n faa scrii principalea Peliorului un mare hol de primiri. Putem

Camera de zi la NoulPalat, Darmstadt

Design M. H. Baillie Scott,

1899

Sitting room in NewPalace, Darmstadt


1899


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constructed on the ground oor, decorated

with a wrought iron rail supported by massive

mason pillars plated with stone and a big

window door, which appears to be the mirror

image of the big window from the same oor

of the big tower. As regards the rst oor,

the additional section is treated completely

dierently, with fachwerk and four openingswinged by small wooden columns. This new

body doubled the initial space of the working

cabinets the princes on the ground oor

and the princess on the rst oor. This is the

only signicant alteration made by architect

Liman before the First World War.

The planimetry of the new summer residence

is rather segmented, architect Karl Liman

managing to trace a similarly segmentedEast West axis, from the main entrance,

sheltered by a covered platform (also

supporting the spacious terrace on the rst

oor), to the master dining room. This path

is marked by a small vestibule that separates

the Eastern section in two equal segments

the one from the North sheltering the

Princes Marshal suite, and the one from the

South, a double parlour of Prince Ferdinand

and, in the end, there is the chateaus mainstaircase that rises up three oors (ground,

rst and second), and has a glass ceiling,

a large window on the Northern side and a

gallery bordered by small columns on both

Eastern and Southern sides.

The staircase resembles the one in Cliveden

House, England, ownership of the Astor

family, where the young princess of Romaniawas often attended by her friends, and family

Pauline and William Waldorf, Peer Astor.

The similarities with Cliveden House (small

vaults separating the spaces, location of the

staircase ramp) increased during the 1920s,

when the royal residents commissioned

the architect to eliminate the ground oor

parlour in order to build a large foyer in front

of the main staircase of Pelisor. Therefore,

the fortunate location of this staircase, itssize and the wonderful sunlight coming

through the two natural light sources turned

it into the junction point of the castle. And if

this solution led to the creation of a central

pivot of the house, architect Karel Liman was

to keep it in mind and put it into practice

in a much more elaborate manner and at

a monumental scale, when covering the

interior yard of Peles castle and setting up

the Honour Hall, during 1907 1910.

Camera de zi la NoulPalat, Darmstadt


1899

Sitting room in NewPalace, Darmstadt


1899


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arma c dispoziia fericit a scrii principale

a Peliorului face din aceasta punctul nodal

al cldirii, att prin dimensiuni i amplitudine,

ct i prin luminozitatea extraordinar dat

de cele dou surse de lumin natural. i dac

soluia scrii principale s-a dovedit salutarpentru crearea unui pivot central al casei,

arhitectul Karel Liman avea s rein soluia,

pentru a o pune n oper mult mai elaborat

i la scar monumental, la acoperirea curii

interioare a castelului Pele i la amenajarea

aici a holului de onoare, n perioada 1907

1911.

Etajul I al castelului Pelior se agreg i

el n jurul scrii principale, Liman crendaici dou anlade, una pe latura de est,

destinat micilor principese (cu camer de

joac, sufragerie, camer pentru guvernant,

dormitor i baie) i una pe latura de sud,

constituind apartamentul principesei

motenitoare Maria, aezat chiar deasupra

apartamentului principelui Ferdinand, cu

care comunica iniial printr-o mic scar

interioar. Apartamentul principesei era

format din salon de primiri (cu o extindereremarcabil, proiectat ca salon de marmur

i, dup acoperirea registrului superior

al pereilor cu fresce de Arthur Verona,

supranumit capela), un mic cabinet de

lucru, un dormitor i o baie. Revenind la

parter, la apartamentul principelui Ferdinand,

acesta avea aceeai dispoziie planimetric,

o anlad ce cuprindea salonul, cabinetul

de lucru, dormitorul i baia. Cele dou

cabinete de lucru, iniial spaii nguste,tratate mai mult ca piese de legtur ntre

salon i dormitor (poate ilustrarea faptului c

principii motenitori nu aveau dect funcii

de reprezentare) vor dublate ca suprafa

odat cu adugarea pe latura de sud a

castelului a noului corp de cldire.

La etajul I, deasupra sufrageriei, au fost

amenajate trei ncperi pentru doamnele

de onoare ale principesei motenitoare,

iar etajul II, n parte mansardat, a fost

destinat micilor principi Carol i Nicolae i

personalului superior al Casei princiare. O

excepie notabil o constituie ncperea de la

acest nivel amplasat n turnul mare, Camera

de aur, amenajat ca boudoir al principesei

motenitoare, asupra cruia vom reveni.i mai departe, n turnul mare, deasupra

Camerei de aur a fost proiectat o ncpere

supraetajat, un mic salon intim al principelui

Ferdinand, ancat pe trei laturi la faad de o

galerie-belvedere i de o mic ncpere de

odihn deasupra (empore). Dei ideea de

Stube este preluat de arhitectul Liman de

la cunoscuta Trinkstube (Camera agapelor)

din turnul mare al Peleului, din punct de

vedere stilistic aceasta se raporteaz laun repetoriu decorativ complet diferit

ncercarea de redare a atmosferei epocilor

apuse cu ajutorul neo-Renaterii germane la

Pele, las loc n sala din turn a Peliorului,

unei ambiane de zidrie i structur de lemn

(realizate n manier fachwerk) inspirat

de abordrile britanice Arts and Crafts, n

ncercarea de revitalizare a interioarelor

renascentiste engleze ale stilului Tudor.

O interesant marc britanic a

decorativismului de la Pelior, datorat

cu siguran ascendenei principesei

motenitoare, o constituie tratarea pereilor

i a plafoanelor. Peste tot n spaiile

importante, decoraia parietal este rezolvat

prin acoperirea pereilor cu lambriuri simple,

din lemn atent lustruit i biuit stejar n

sufragerie, ulm n salonul principelui, brad

n cabinetul de lucru al acestuia, fag ncabinetul de lucru i dormitorul principesei.

Sobrietatea i simplitatea decoraiei

parietale este contrabalansat de decorul

luxuriant, uneori policromat, al plafoanelor.

S-au pstrat din prima etap de decoraie

a Peliorului plafoanele din vestibul, din

salonul principelui, din cabinetul su de lucru

i din dormitorul acestuia, din dormitorul

principesei, tocmai pentru c aceste spaii

nu au suferit modicri fundamentale n anii

1924 - 1929. Decorul bogat al plafoanelor,


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The Ist oor of Pelisor castle is added around

the main staircase, Liman creating there two

enlades, one on the Eastern side designed

for the small princesses (with a play room,

dining room, governess room, bedroom and

bathroom), and one on the Southern sideforming princess Maries suite, placed right

on top of Price Ferdinands suite, and which

were originally connected by a small interior

staircase. The princess suite comprised a

reception hall (with a remarkable extension,

designed as a marble salon and called the

chapel, after the upper parts of the walls

were covered with Arthur Verona murals),

a small working cabinet, a bedroom and

a bathroom. On the ground oor, PrinceFerdinands suite had the same planimetry

that included the foyer, working cabinet,

bedroom and bathroom. The two working

cabinets, initially narrow spaces, regarded

more like corridors between the foyer and

bedroom (possibly illustrating the fact

that the princes had only representative

functions), will double their space when the

new addition is built on the Southern side of

the castle.

On the Ist oor and above the dining room,

three rooms were set for the princess

mistresses, while the IInd oor, mainly

converted into an attic, was designed for

the little princes Carol and Nicolae and the

Royal House high rank personnel. A notable

exception on this oor is the room from the

big tower, the Golden Room, designed as

a boudoir for the princess, a topic we shallresume later. Furthermore, a superposed

room was built in the big tower, above the

Golden Room, as a small cosy salon for

Prince Ferdinand. This space was anked

on three sides by a belvedere-gallery and

a small rest room on top (empore). Liman

adopted the Stube concept from the well

known Trinkstube (Drinking Parlour) in the

big tower of Peles, but stylistically speaking,

the one in Pelisor relates to a completely

dierent decorative repertoire Peles

atmosphere of long gone eras depicted in

the German Neo-Renaissance manner leaves

room to a masonry and wooden structure

ambiance inspired by the British Arts and

Crafts (fachwerk technique), in the tower hall

of Pelisor, as an attempt to rejuvenate theEnglish Renaissance interiors of the Tudor

style.

An interesting British mark of the decorative

style in Pelisor, due to the princess

descent, is represented by walls and ceiling

treatment. Every important space is covered

with parietal decorations made of simple and

carefully polished panels and stained wood

oak in the dining room, elm in princes foyer,r tree in the princes working cabinet, and

beech in the princess working cabinet and

bedroom. The sobriety and simplicity of the

parietal decorations are counterbalanced by

the luxuriant and sometimes multicoloured

decorations of the ceilings. In Pelisor, there

are some ceilings from this rst period

of decorations that are still preserved -

the vestibule, princes foyer, work oce,

bedroom, and the princess bedroom as well-precisely because these spaces suered no

fundamental changes between 1924- 1929.

The rich decorations of the mainly coered

ceilings resemble the arched works of the

late English Gothic (Prince Ferdinands

bedroom ceiling is remarkable in this regard).

For the furniture, that had to comply with

the modernity requirements of Sezession,

so loved by young Princess Marie visiblyinuenced by her favourite sister, Victoria-

Melita, and her husband, the Great Duke

Ernst of Hessen-Darmstadt (protector of

Matildenhhe artistic colony), architect Liman

appealed to the services of Berhard Ludwig

company in Vienna, which was to provide

furniture for almost all the rooms of the royal

chateau. Thus, the entire house decorations

would have stricken the wrong note with

the monumental, precious decorations of

Peles suites, emphasizing not only the style


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casetate n mare parte, amintete de

rezolvrile de bolt ale goticului englez

trziu (remarcabil n acest sens este plafonul

dormitorului principelui Ferdinand ).

Pentru realizarea pieselor de mobilier

ce trebuia s rspund cerinelor de

modernitate ale Sezession-ului, att de

ndrgit de tnra principes Maria vdit

inuenat de sora sa preferat, Victoria-

Melita i de soul acesteia, Marele Duce Ernst

de Hessen-Darmstadt (patronul coloniei

artistice Matildenhhe), arhitectul Liman a

apelat la serviciile rmei Berhard Ludwig

de la Viena, care avea s livreze ansambluride mobilier pentru aproape toate camerele

vilei princiare. Astfel, decorul ntregii case

avea s fac not discordant cu decorul

monumental, preios al apartamentelor de

la Pele, subliniind nu numai cezura de gust

ntre dou generaii, dar i intrarea artei ntr-

un nou secol. Notabil este faptul c exact n

vara anului 1903, cnd perechea princiar

i lua reedina la Pelior, arhitectul Liman,

ce trecuse o prob de foc prin construirea iamenajarea noii reedine, ncepea marea

oper de mrire i redecorare a castelului

Pele, ce avea, dup planurile i schiele

sale, s i schimbe aproape total aspectul

interior i exterior, n decursul unui deceniu

(1903 -1914). Astfel, supranlarea corpului

principal al Peleului prin transformarea

mansardei n etajul II, peste care avea s se

ridice o nou mansard i poduri, deci crearea

unui etaj suplimentar, avea s e rezultatul,n materie de construcie, compartimentare

i decor de interior, al experienei acumulate

de Liman la construirea Peliorului. Etajul

II al Peleului este constituit din spaii de

sine stttoare, sau din mici apartamente,

uniti abitative perfect individualizate, prin

specularea denivelrilor, opiunile cromatice

etc., totul realizndu-se n acelai stil Art

Nouveau (n varianta austriac i german).

Revenind ns la decorul Peliorului n

anul 1903, trebuie s remarcm dou

ansambluri decorative distincte, ce se

datoreaz fanteziei tinerei principese Maria

salonul apartamentului su de la etajulI, n stil bizantin i Camera de aur, aat

n turnul mare, la etajul II, chiar deasupra

salonului un spaiu intim al principesei,

ancat la exterior de o teras, ulterior

mrit i modicat. Camera de aur merit

menionat nu numai pentru originalitatea

decoraiei perei mbrcai n gips, cu

motivul frunzei de ciulin (simbolul scoian

i celtic al regenerrii i vieii venice),

plafonul cu bolt terminat n caseton ptratdin sticl pte-de-verre, subliniat de cruce

celtic aurit, dar i pentru ansamblul de


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dierences between the two generations,

but also the new century art. In the summer

of 1903, when the royal couple moved toPelisor, architect Liman, who had proved

himself while building and decorating the

new residence, began the great development

and redecoration work in Peles castle.

Keeping true to his plans and sketches

for more than a decade (1903 -1914), he

managed to alter almost entirely the interiors

and exteriors of the castle. During the

process, Peles main building was heightenedby transforming the attic into the IInd oor,

over which a new attic and lofts would be

built, thus creating an additional oor. All

these reected the experience accumulated

by Liman while building, compartmentalizing

and interior decorating Pelisor Castle. Peles

IInd oor of is formed of independent spacesor small suites, perfectly individualized

dwellings, where all uneven spaces and

chromatic possibilities were speculated in

the same Art Nouveau style (Austrian and

German version).

Coming back to Pelisor decorations in 1903,

we notice two distinct decorative assemblies

which are the result of young Princess

Maries fantasy the parlour of her suite onthe Ist oor has a Byzantine style, while

the Golden Room, situated in the big tower

on the IInd oor, right above the parlour an

intimate space framed by a terrace that was

later enlarged and modied. The Golden

room deserves to be mentioned not only for

the originality of decorations gyps covered

walls with the thistle leaf motifs (the Scottish

and Celtic symbol of regeneration and

eternal life), the ceiling with an arch endingin a square cassette made of pte-de-verre

glass and outlined by the Celtic golden cross

but also for the furniture in the parlour

below, carried out according to Maries

drawings inspired from interior decoration

magazines, which create a mix between the

Neo-Byzantine decorations, the entrelac

Celtic decorations, and the old Norwegian

sculpture bestiary. The spectacular and

surprising hall, still preserved as a centuryago, was not the only gold and silver whim

of the future queen. There was also the

construction of a golden parlour in the

Cotroceni Palace, the winter residence of the

royal couple, around the year of 1901, when

Princess Maries old Louis XIV reception room

was modied. The constructions in Cotroceni

and Pelisor are, therefore, contemporary. It

is worth mentioning that, since that period,

architect Karel Liman, although engaged in

the historic projects commissioned by King

Carol I in Peles, became the main advisor

Interior la ClivedenHouse

Cliveden House

interior


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mobilier, prezent i n salonul de dedesubt,

realizat dup schiele Mariei, ce copiaz

sau se inspir din reviste de decoraiuni

interioare, crend un mix ntre decorul

neo-bizantin, decorul celtic cu entrelac i

bestiarul sculpturii vechi norvegiene. Sala,spectaculoas i surprinztoare, pstrat

azi aproape la fel ca acum un secol, nu era

singurul capriciu n aur i argint al viitoarei

regine. Merit menionat realizarea, n jurul

anului 1901, la palatul Cotroceni, reedina

de iarn a cuplului princiar, a unui salon

de aur, prin modicarea vechiului salon de

primiri al Mariei, n stil Louis XIV. Realizrile

de la Cotroceni i de la Pelior sunt deci

contemporane i merit subliniat faptulc arhitectul Karel Liman, dei angrenat n

proiectele istoriste ale regelui Carol I de la

Pele, devine nc de pe acum principalul

sftuitor i realizator al demersurilor

arhitectonice ale viitoarei regine Maria.

Acestea vor marcate de cristalizarea unui

stil propriu al suveranei, mai ales dup

anii rzboiului. Deja ctre 1914 aceasta

renunase la experimentele vizuale ocante,se familiarizase cu stilul neo-romnesc

din care va reine pastiele dup modelele

istorice din perioada brncoveneasc -,

iar evoluia general a artei, prin apariia

i proliferarea curentelor de avangard, o

situau deja n rndul conservatorilor.

n aceste condiii stilul regina Maria avea

s capete cteva trsturi ce particularizau

noile sale demersuri arhitectonice idecorative: preferina pentru vernacular

i rustic tradus prin folosirea pereilor

zugrvii n alb i apariia cminelor de tip

vatr, de inspiraie popular, folosirea

elementelor de sculptur n piatr de

inspiraie brncoveneasc, spargerea

uniformitii mobilrii ncperilor, prin

punerea mpreun a unor piese diverse ca stil

i provenien, dar care s aib drept rezultat

ansambluri armonioase. n anul 1924 reginaMaria noteaz n jurnalul su faptul c a fost

terminat redecorarea vechiului su cabinet

de lucru, transformat n dormitor; vechiul

dormitor, decorat la partea superioar a

pereilor cu friza alegoric Anotimpurile,

datorat lui Tadeusz Ajdukiewicz, devenind

cabinet de toalet. n aceeai perioad, anii

1924 - 1925 ( n care lucrrile la castelul Branse desfurau foarte alert), regina a renunat

i la decoraia iniial a salonului su, spaiu

adiacent noului dormitor. Noul ansamblu

constituit din salon i dormitor, cu perei

albi, cu plafoane n bolt, cu arcade ample

sprijinite pe coloane din piatr sculptat,

constituie un aspect nou al castelului

Pelior, datorat tocmai schimbrii de gust

n domeniul decoraiei de interior al reginei

Maria, care se cristalizase n timpul lucrrilorde la Bran.

Un alt ansamblu n stilul Bran este realizat

de Liman, la cererea reginei, la etajul

II al Peliorului, probabil n anul 1929,

unde apartamentul destinat principelui

Nicolae trece prin transformri notabile i

recompartimentri. n linii mari, abordrile

sunt similare cu cele din noile camere ale

reginei perei albi, un mare cmin din zidrieinspirat din vetrele romneti; interesant este

faptul c aici, la etajul II, Liman nu mai rezolv

tavanele n aceeai manier, renunnd la

boli, dar gsind o soluie pentru a conferi

acestor spaii un aspect particular uile i

ferestrele, cu deschideri ample i pstreaz

lemnria iniial, cu relief discret oral, n

stil Art Nouveau, dar aceasta e vopsit n

brun nchis, aproape negru, constituind un

contrast puternic cu albul zidriei.

Putem arma deci c prima mare oper a

arhitectului ceh Karel Liman pe Domeniul

regal de la Sinaia este construirea castelului

Pelior. Lund drept model castelul Pele,

arhitectul Liman opteaz pentru soluii noi,

moderne, pe care apoi le va aplica cu succes

n opera de transformare a castelului regelui

Carol I, n primul deceniu al secolului al XX-

lea.


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and developer of future Queen Maries

architectural initiatives.

These will be marked by the crystallisation

of the sovereigns own style, especially

after the war years. By 1914, she alreadygave up the shocking visual experiments,

when she got better acquainted with the

Neo-Romanian style

art nouveau

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