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Introduction
It is often said that St. Mary’s Romanian Orthodox
Cathedral is the most prominent Cultural Center among the
Romanian parishes in America. Fact is that this oldest parish
in the USA has been blessed to be the repository of unique
cultural treasures, today displayed partially under the
aegis of the Romanian Ethnic Art Museum and partially by
the parish. For this and many other reasons, a visit to
St. Mary’s Cathedral offers an extraordinary opportunity
to learn about Romania’s soul and her rich and unforgettable
history. In fact, the very “raison d’etre”
of this presentation is to make known and stimulate clergy,
teachers and parents to inculcate in the hearts of their
children a deeper knowledge and a greater love for their
ancestors great past.
Thousands
of visitors come to St. Mary’s year round. Some of
them are pilgrims, who come for the religious services;
others come occasionally to weddings or other similar events
and many come by the busloads to visit this oasis of Romanian
culture located at the gateway of Lake Erie. Many scholars
and students, U.S. ambassadors to Romania, friends of the
Romanian people and visitors from Romanian came through
the doors of this church from its inception to our days.
They are always impressed with the modern “Maramures
style” church, designed by architect Haralamb Georgescu,
and then executed by American Romanian architect Nick Tekushan,
in 1960. Its high steeple dominates Cleveland’s West
Park. Even more, they leave this spiritual and cultural
center enriched by the beautiful icons, mosaics, paintings,
sculptures, photo displays and the exquisite display of
ethnic costumes they see.
The
Authors and History of the Frieze Itself
Among the wide spectrum of quality materials on display,
the copper Frieze of the Romanian Nation stands as a testimony
to the plight and glory of the Romanian nation. This historical
frieze depicts the history of Romania, beginning with the
pre-Roman times and ending with the year 1938, when king
Carol-II was ruling, covering almost two millennia of history.
Interested to make it known to the world, the Romanian government
commissioned this base-relief historical frieze with Mac
Constantinescu (a pseudonym for Mihai Filip), an artist
famous for monumental, decorative sculpture. He is known
in Romania for many works, especially for having authored
“Tataroaica” of Mangalia and the façade
of the faculty of Legal Sciences, in Bucharest.
According
to Fr. Vasile Hategan, “it took 2 Romanian artisans
nearly 2 years to laboriously hammer each separate item
by hand”. The work, as known today, measures of art
30 m long and 1.20 m tall, and it is superbly hammered in
copper. The selection of the historical events flows in
chronological order, covering almost two thousand years
of history in the Romanian lands. Now, at the end of the
second millenium of the Christian era, I truly believe that
for the Romanian culture, this frieze - which condenses
the story of a nation - gains a renewed testimonial value,
becoming a symbol of a millennial dimensions.
Executed
in segments and mounted like the parts of a giant puzzle,
the work has been originally displayed in the Romanian Pavilion
of at the World’s Fair in New York (1939), adorning
then the walls of the balconies in the main hall. Underneath
every segment of the display, the explanation of the frieze
had been written in large print, on the walls. Thus, the
entire hall was dominated by this overpowering display of
history and continuity in the life of a nation, otherwise
little known in the west.
The
sources that describe the Romanian Pavilion as well as the
visitors still living today in the Romanian community describe
it as truly outstanding achievement. Architect G. M. Cantacuzino
realized the pavilion and architect Doicescu did the Romanian
House. Many representative artists contributed their works
to this international event. Among them are: C. Medrea (Statuary
Group), Oscar Han (Freedom and Democracy, today in Cleveland),
Onofreiu, Mac Constantinescu (the Frieze, today in Cleveland),
Ioan Jalea (Statue of Romanian Princess symbolizing Romania,
today in Cleveland), Milita Patrascu (ceramic work, partially
in Cleveland), Lena Constante, Dem Demetrescu, Jean Steriade
(Moasaic: The Romanian Fairy Tail of the White Prince, today
in Cleveland); and many others. One could say that Romania
sent to New York the best they had at that time. The Pavilion’s
façade was executed in Ruschita alabaster, some carved
and some lovely incised with the coat of arms of the Romanian
provinces Muntenia, Moldova, Transylvania, Banat, Basarabia,
Crisana, Maramures, Dobrogea. Some of these pieces are also
in Cleveland. Sadly, much of it has been destroyed in the
fire of the social hall of St. Mary’s, in 1973.
Continuing
the list of notable personalities that bring a special aura
to the frieze and the 1939 World’s Fair, we must remember
the famous Professor Dimitrie Gusti, who has been assigned
as the general manager of the exhibition. Then, George Enescu
conducted three outstanding symphonic concerts during the
week of the Romanian music. Other celebrities such as the
Grigoras Dinicu orchestra and the immortal folk interpreter
and singer, Maria Tanase, brought to life the Romanian soul
here, on American soil. How wonderful it must have been
to have all these performances in the ambiance created by
the Historical Frieze of the Romanian Nation, the Dioramas
of the Romanian Village and the other effects intended to
portray a progressive country. For more accurate presentations
on the World’s Fair, the reader may check the bibliography
given at the end of this presentation.
The
Frieze Is Brought to Cleveland
Upon the closing of the World’s Fair, the Frieze has
been brought to Cleveland by Fr. John Trutza, who also obtained
the other items present now in Cleveland. A special meeting
held on November 3rd, 1940 decided to accept the offer of
the Romanian Government of the Romanian House and Pavilion
at the World’s Fair. Fr. Trutza’s dream was
to use the marble for the monumental cathedral he envisioned
before his premature death, in 1955. When the parish moved
to the present location, the Frieze has been stored for
30 years, along with many other valuable items, in the basement
of the social hall, which then burned to the ground in 1973.
Many church valuables and “much artwork from the World’s
fair were lost”(Fr. Vasile Hategan). Although damaged,
the miracle is that the frieze survived, having been pulled
out of the smoky ruins by church members, who appreciated
its value.
Through
the vision of Fr. Hategan and the expert restoration, executed
under the direction of artist Ilie Hasigan, in 1974, this
unique work of art and history has been incorporated by
architect Nick Tekushan in the new social hall of the church
and became its “main feature”. The 30 m. long
historical copper frieze covers both sides of the upper
walls of the hall and – by its monumental style -
it stirs the curiosity of anyone who enters through the
doors of this edifice. This story in images is being narrated
in 26 episodes or base-relief groups medallions, separated
from each other by symbolic oak trees - a symbol of endurance
and longevity of the Romanian people.
Description of the Frieze
by Medallions:
1.
Dacia (old name of Romania), Before the Roman Conquest
Mac Constantinescu’s narration in copper first presents
a young Dacian mother washing a baby with love and tender
care. A strong man stands in front of her and carries a
bundle of wheat on his right shoulder, while holding the
sickle by his left hand. A flying dove, the grazing mother
sheep and a suckling lamb symbolize their love for peace
and agriculture. The grape vine indicates that this image
is pre-Roman and leads us to think of the king Burebista,
who out of religious reasons extirpated the vine totally
during Cesar’s time (44 AD). An ancient oak tree in
the background indicates the deep Thracian ancestry of the
Dacians. They are mentioned both in the Bible and by the
Greek historian Herodotes (514 A.D.), who qualifies the
Dacians as “the most brave” among the Thracians.
2.
The Roman Conquest (101-2;105-6)
Following another symbolic oak tree, which marks a new generation,
the forceful Roman crossing over the Danube is depicted.
Having their eyes directed on the gold and salt mines of
Dacia, emperor Trajan defeated it in two wars, which are
described by Roman historian Dio Casius . The famous Syrian
architect Apolodorus built a bridge over the Danube, at
Drobeta –Turnu Severin. It’s ruins still stand
today. King Decebal buries the treasury of the state at
the bottom of the Sargetia river, near the capital of Sarmisegetuza
(in today’s Transylvania), and chooses suicide over
captivity. The cruelty of the conquest is vividly illustrated.
The strong Roman infantry and chivalry trample the poorly
armed Dacian men, over 5 years of siege. The frieze offers
precious details of costumes, army uniforms, military insignia
and even the details of the Roman Bridge. The Dacians finally
submit themselves to Trajan, who is shown being crowned
with the laurels by a goddess of victory. Men, women and
children are accepting his triumph. According to historian
Cassius Dio, 40 days Rome was in festivities, following
this victory. Forum Traiani and the Column describing the
Dacian Warrs still stand today in Rome, in a witness to
this event. That is the “birth certificate”
of the Romanian nation. Another monument has been raised
in Adamclisi (Romania), as it appears in the background
of this medallion. Dacia became the most advanced promotorium
in the Northeast of the Roman Empire, taking the name of
Dacia Felix (Happy Dacia), while Trajan took for himself
the title “Dacicus”. Beautiful Dacian statues
could be also seen at the Vatican museum, in Rome. During
the Roman occupation (106-271 AD) the Dacians adopted the
Latin language and were Christianized, becoming a Latin
island of population surrounded later by Slavs and Hungarians.
Throughout their entire history they maintained their language
and Faith. The archeological monuments attest all this,
as American historian Kith Hitchins showed in his book “The
Dacian Stones Speak”.
3.
The Roman Withdrawal
On 271, under the pressure of the Germanic tribes, Emperor
Aurelianus withdrew his armies South of the Danube. He left
behind him in this Romanized part of the world, a new nation,
which by the time it reached its own identity and ethos
was already Christian and speaking a popular Latin dialect,
Romanian. The saints produced by this population in the
5th century (Ioan Cassian, Niceta de Remesiana) and the
numerous archeological discoveries support all of this.
With the departure of the Roman army and administration,
the Happy Dacia becomes an easy prey to the nomadic barbarian
invaders.
4.
The Dark Middle Ages
The frieze depicts the struggles of Romanians to defend
their land against the waves of Goths (271), the Huns (375-453),
the Gepides (453-566), the Avars (566-799) and then the
Slavic tribes. The Slavs were less cruel than the Far Eastern
invaders and they settle and sometimes they were assimilated
among the Romanians. By 679 the Vologars (Bulgarians) settled
South of the Danube. They were followed by the Magyars,
who settled in Pannonia (840-890), and then by Petchenegs,
Cumans and the cruel Tartars in 1241. This is a time of
destruction and turmoil, known in the history for the entire
Europe as the “dark millenium”. Nevertheless,
life continued on this land, in times of peace as well as
in times of wars. The Byzantine chronicles (6th century),
the Chronicle the Secretary of Hungarian King Bella 3rd,
the Slavic chronicles (11th century) as well as the Nibelungenlied
of the time mention the “Vlachos”(Romanians)
as continuous presence and reality, on this lands. The Church
History also attests the fact that bishops from these territories
attended ecumenical councils and produced a series of saints.
During such times, Romanians started to have their first
political organizations, having local dukes (voevods) and
using the “Jus Wallahicum”- the Romanian law).
In Transylvania, we know of three such “voevodates”
and many “lands” (“}\ri”), which
were gradually overpowered by the Arpadian Hungarian Dinasty
at the end of the first millenium. Between 1185-1257, there
was even a Romanian – Bulgarian state, a time when
much of the Church Slavonic language was introduced in the
Orthodox Church. The legends and fairy tales from this period
are countless and extremely resourceful.
5.
The Formation of the First Romanian Principality –
Wallachia (Muntenia)
Following another symbolic oak tree, the Basarab I dynasty
is represented. The king wears armory and caries the long,
wide sword. On the herald the coat of arms is made of an
eagle holding the cross in its beak. Behind stand the royal
church of Curtea-de-Arges (1281) – at that time, capital
of Wallachia - of which the sacrifice legend of Master Manole
is connected. Rich crops of wheat are also shown as main
branch of economy of these Romanian plains.
6.
Establishment of the Moldavian Principality (1353-59)
The frieze then features the legendary prince Dragos of
Maramures who settles in Moldova while hunting buffalo.
Ever since the buffalo head became the coat of arms of this
eastern Romanian province so rich in history, monasteries.
The frieze is very accurate in depicting the uniforms and
arms of the time.
7.
Mircea cel Batran (the Old), Prince of Wallachia (1386-1418),
also from the Basarab dynasty, is majestically represented
with the royal crown, Byzantine robe and typical armory
of the time. Western armory has been adopted since he fought
at Kosovo against the Turks. He even defeated them at Rovine
(1394) extending his borders to the Black Sea. Behind his
soldiers one could notice a ship indicating his victory
and the banner with the dynasty’s coat of arms. Turkish
historian Leunclavius qualifies him as “the most courageous
and shrewd among the Christian princes”.
8.
The Great and Holy Steven, Prince of Moldova (1457-1504)
As it goes on to the 15th century, the artist hammered a
representative image about the Musatini dynasty: Steven,
who fought 42 wars to defend his land from the Turks, receives
the title of “Defender of Christianity” from
the envoy of Pope Sixtus 4th. In Venice at this time, Moldavia
became known as the other Romanian” - “altera
Wallachia”. He also fought with the Polish kings,
setting the borders at Cosmin Woods. This comes soon after
the attempt of reunification of the Church at Florence (1459).
Steven has erected 42 churches and monasteries and in 1993
has been canonized a saint and defender Orthodoxy. Some
of the oldest Romanian shrines date from his time: Putna,
Neamt, Humor, Dragomirna, etc. At St. Mary’s, there
are also two imposing mosaics representing him and his wife
Maria and his son, Peter Rares with his princess. By this
time, Antonio Bofini, a historian established at the Court
of Hungary, noted “The Romanians descended from the
Romans, a fact attested down to our times by their language,
who although surrounded by such diversity of barbarian peoples,
could not be superceded”
9.
Michael the Brave, First to Unite the Romanian Kingdom (1593-1601)
A short but glorious icon is given to Mihai Viteazul. He
is truly ‘brave” for having fought against the
Turks(Calugareni, 1595) and then occupy Moldova (1600) and
Transylvania (1599-1600). He defeated the Hungarians, at
Selimbar, and triumphantly entered as the first king of
the unified Romanian provinces, in Alba Iulia (1600). The
frieze shows him riding a furious horse, wearing traditional
Romanian hat “caciula” and holding a short ax
in his left hand. Alba Iulia and Suceava fortresses are
dominated by his banner, while at the feat of his horse
lay both defeated Turks and Hungarian nobles. The last “cowardly”
assassinated him in 1601, at Turda. Then he was beheaded
with cruelty. His head has been secretly brought to Tirgoviste,
where it is buried, at Dealul Monastery. His historical
unification of Romania marks the beginning of along process
that will only be finally consolidated, on December 1st,
1918.
10.
Neagoe Basarab (1512-1521)
Neagoe Basarab is the founder of the superb Curtea de Arges
church, painted by Dobromir, with an iconography in a true
Romanian style, the royal necropolis or burial place. I
do not know if this has been originally intended so or a
mistake may have occurred when the Frieze has been rearranged
in 1974, but Neagoe Basarab should have proceeded Michael
the Brave, according to true chronology. This concludes
the first half of the frieze, as it stands today on the
southern wall of St. Mary Cathedral’s hall.
11.
Rulers of Wallachia & Moldova Matei Basarab (1634-1653)
and Vasile Lupu (1632-1654)
These were two peace-loving patrons of the church, arts
and literatures. Contemporary kings, they ended having brotherly
relations and supporting a true Romanian renaissance. It
was by this time that chronicler Grigore Ureche wrote that
“Romanians “all come from Rome”. Basarab
built many churches both in Wallachia and Transylvania.
Lupu founded the Three Hierarchs church of Iassy, where
the 1642 Pan Orthodox Council approved the “Confession
of Faith” written by the Romanian metropolitan of
Kiev, Peter Moghila. This is also the time when both the
New Teastament and the entire Bible were printed in Romania
(1587 Old Testament; 1848 New Testament; 1688 The Bible
of Bucharest).
12.
Dimitrie Cantemir (1710-11)
This ruler had a short-lived kingship, but he opposed the
Turks and sided with Tsar Peter the Great. Defeated at Stanilesti
(1711) he lived the rest of his life in exile. A polyglot
and an erudite writer, historian and geography writer he
became a member of the Berlin Academy, in 1712. It’s
symbol appears on the frieze. He wrote Descriptio Moldaviae
and a Chronicle of the Whole Romanian Country which later
was dinvided in Moldavia, Wallachia and Transylvania. He
also wrote a history of the Ottoman Empire. He is also known
as an accomplished theoretician of music.
13.
The Saint and Martyr King, Constantin Brancoveanu (1688-1714)
Brancoveanu is shown holding the cross of martyrdom. Behind
him there are monks painting and writing, as well as the
Mogosoaia Palace. The first symbol points out to the blossoming
of the literature, iconography and printing during his rule.
The typical peasant house that can be seen on the background
suggests to the viewer that he is the one credited for a
typical Romanian architectural style, called “Brancovenesc”.
(The Horezu, Antim and Sambata de Sus monasteries have been
built.Constantin Brancoveanu in such style). Brancoveanu
and his four children Constantin, Stefan, Radu and Matei
and his secretary Ianache have been beheaded in Istambul
for their refusal to embrace the Islam (August 15, 1714).
They were all canonized as saints in 1993. From 1714 to
1821, the Turks from Phanar appointed all foreign rulers.
Thus, this period became known as one of the harshest times
of corruption and bribery in the history of Romania. By
1821, the Revolt of Tudor Vladimirescu brought the “Phanariotes
era” to an end and open the door to the modern history
of the country.
14.
Alexandru Ioan Cuza, The First King of Modern Romania (1859-1866)
Surrounded by two peasant women, symbols of Wallachia and
Moldova, King Cuza holds the sword. He has been elected
simultaneously in both provinces and the great powers recognized
his rule. The name “Romania” has been adopted
as the official name of the land (1862). On 1966, he was
usurped by a complot and lived the rest of his life in exile.
His rule is tied to the abolition of the slavery of gypsies,
in 1862, at the same time with President Lincoln. He is
also credited with the establishment of the first financial
institutions and the post office; he secularized the Church
lands owned by the Greeks of Phanar. He issued the first
Romanian stamp, representing the buffalo head (extremely
rare and valuable). To safeguard the unity of Romania and
its recognition by the western powers, a western prince
has been invited by the political parties to rule the country.
15.
The Beginning of the Hohenzollern Dynasty (1966-1947)
A dynamic presentation of the rule of Carol I (1866-1916)
shows the king standing straight, with the Turkish cannons
and flags bowed under his feet, while an angel from on high
bestows on him the crown made from the steel of the enemies
cannons. This indicates that after the independence war
(1877), Romanian was proclaimed a Kingdom. By him, seats
Queen Elizabeth, also known by her pen name, as Carmen Sylva
(the song of the forest), dressed in Romanian peasant outfit,
contemplating the monumental bridges over the Danube build
under the direction of Anghel Saligny. At the time, this
was the longest bridge in Europe. On the background on could
see the majestic Peles Castle, built at this time in the
Carpathian Mountains.
16.
King Ferdinand and Queen Marie (1914-1927)
On 1916, upon the death of the childless Carol I, his nephew
Ferdinand succeeded him to the throne. He appears robed
with the royal mantle and crown, encouraging the agriculture,
development of oil fields. A soldier carrying the laurels
of victory shows that he lead Romanian into the war, on
the side of the Allies. L’Ark de Triumph sculpted
behind suggests the victory as well as unification of Romania
with Transylvania (Dec. 1, 1918). Romanian Americans supported
and fought for this unity. Much has been written about this
in the American Romanian press, and especially in the America,
Romanian American Review and Romania Herritage Center’s
Bulletin. Queen Marie, the famous poet and diplomat, a British
princess with ties to all major European dynasties, majestically
stands by him. She pays attention to the women of the land,
whom she sustained as she did the wounded in the war and
the social care. In front of her there is a field of lilies,
symbol of resurrection and her favored flower. Memorabilia
from this beloved queen – who put united Romania on
the world map in a brilliant way - are present in the museum
sheltered by St. Mary’s.
17.
The Regency and King Carol II (1930-1940)
After the death of Ferdinand, since King Michael was under
age - the country was lead by Regency. The frieze reflects
the economic boom of the 1930s. All social categories and
major trades are presented around a woman symbolizing Romania,
holding an angel on her left palm and on the right hand
embracing a book engraved with the letter “C”.
This is the first democratic Constitution of 1923. In front
of this woman stand a child in uniform, saluting the King
and holding the banner of the “Strajerii”, corresponding
to the Boy Scouts. King Carol II is shown in front of the
minor regent Michael, taking the oath. Since the frieze
has been brought into existence during his rule, more space
has been dedicated to this time. A girl offers him a bouquet
of flowers. The peasants blue color workers and surround
him in unity of mind. Behind the king, one could see the
Cotroceni Palace. A marble column from the Acropolis, adorned
with the sculpted crown of Romania and originally with his
statue holding his son, His Majesty King Michael could be
seen today on the complex of St. Mary’s. This statue
has been transformed into the image of Mother of God, holding
in her arms the Lord.
Conclusions
At the close of a millenium, the historical Frieze of the
Romanian Nation from Cleveland stands as a unique monument
dedicated to no less than two millennia of this nation’s
continuous history. The present and future generations should
come and revere it as a shrine of their heritage, to appreciate
their origin and learn about their Orthodox Christian ancestry,
as well as the plight and glory of their forefathers. Romanian
Americans could be proud to have such a “certificate
of ancestry” right here in their own land. Clergy,
parents and teachers should convey the glory of the past
to young generations, handing them the lesson of history
of their forefathers, their legends and proverbs and, above
all, the faith for which many of them have offered the supreme
price.
Mac
Constantinescu’s Frieze is an extraordinary gift to
the young American nation from the ancient people of Romania.
Besides being seen by the thousands of American visitors
every year, it also awaits to be visited by every American
of Romanian ancestry. Few nations could display such a pantheon
of heroes and martyrs and such a powerful story of survival.
For these reasons and much more, the complex of St. Mary’s
Cathedral and Romanian Ethnic Art Museum will always be
a memorable Center of Romanian spirituality and culture
in America. The Frieze of the Romanian Nation teaches and
inspires, immortalizes and actualizes a past, which is only
fulfilled in the achievements of the united present and
future generations of Romanian descendents.
Bibliography:
Archives, Romanian Ethnic Art Museum, Cleveland
Archives, St. Mary’s Romanian Orthodox Cathedral,
Cleveland
Dio Cassius, Dio’s Roman History, London – New
York, 1925
Dinu C. Giurescu – Illustrated History of the Romanian
People, Bucuresti 1981
Fr. Vasile Hategan - The Romanian Historical Frieze in St.
Mary’s Social Hall, Cleveland (leaflet format)
Fr. Vasile Hategan, St. Mary’s Romanian Orthodox Church,
A Historical perspective, 1979
Ioan Marin Malinas, La Umbra Sarmisegetuzei Romane, Basilica
din Densus, Oradea, 1997
Mircea Pacurariu – Istoria Bisericii Ortodoxe Romanae,
Bucuresti 1983, vol I-III
The Romanian Encyclopedia, vol. 4.
*** 1918, The Great Union, Bucharest, 1988 |
