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Moldova: 2010 Europa set
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Romania: WWF set
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ROMANIA: Historic Centre of Sighişoara

    Sighişoara, an example of a small fortified city in the border region between the Latin-oriented culture of central Europe and the Byzantine-Orthodox culture of south-eastern Europe, is outstanding testimony to the fast-disappearing culture of the Transylvanian Saxons.

    In the 13th century, German craftsmen and merchants, known as Saxons, were ordered by the Hungarian sovereigns to colonize Transylvania and protect the border of the Carpathians against the steppe peoples. They settled on a hill, called the City Hill, which has revealed traces of occupation going back to the Palaeolithic period. Following incursions by the Tatars in 1241, the fortified settlement was reinforced with walls, guarded by towers, later extended to surround the entire plateau. The town, known in 1280 as Castrum Sex, developed commercial activities thanks to the powerful guilds of craftsmen. Each guild was responsible for the construction of a tower and its defence. The importance of the town was recognized in 1367 when it obtained the title 'Civitas' and became the second national political entity of Transylvania. Under pressure from the Turks between 1421 and 1526, the city heightened its walls. Each year, a Medieval Festival takes place in the old citadel in July. The houses inside Sighişoara Citadel show the main features of a craftsmen's town. However, there are some houses which belonged to the former patriciate, like the Venetian House and the House with Antlers. Sighişoara is considered to be the most beautiful and well preserved inhabited citadel in Europe, with an authentic medieval architecture. In Eastern Europe, Sighişoara is one of the few fortified towns which are still inhabited. The town is made up of two parts. The medieval stronghold was built on top of a hill and is known as the "Citadel" (Cetate).The lower town lies in the valley of Târnava Mare river.
  The town is also famous for being the supposed birthplace of Vlad the Impaler, the Wallachian prince who inspired Bram Stocker's Dracula.

ROMANIA: Monastery of Horezu

The Monastery of Horezu was founded in 1690 and richly endowed by the Cantacuzene Prince Constantin Brancovan. He and his family were responsible for the creation of many monastic ensembles and churches in Wallachia, paintings, richly adorned with wall sumptuous iconostases, and other decorations. This artistic effort was followed by many other noblemen and church dignitaries, giving rise to the remarkable artistic flowering known as Brancovan art.

The catholicon of the monastery, situated in a picturesque landscape of wooded hills and dedicated to Saints Constantine and Helena, was built in 1690-92 and the interior decoration was completed two years later, the work of the Greek artist Constantinos, who founded the celebrated school of mural and icon painters of Horezu. It is laid out according to the precepts of the Athonite Order around the catholicon, which is enclosed by a wall and surrounded by a series of skites. The overall layout is symmetrical on an east-west axis, the skites forming a cruciform plan. The catholicon is three-aisled with a very large narthex, following the pattern laid down by the church of the Monastery of Arges (1512-17). Inside the narthex, the lower tier of the walls is entirely filled with votive pictures of Constantin Brancovan, his wife, and their 11 children. The east wall of the exonarthex is entirely occupied by a large Last Judgement. The carved wooden iconostasis is of exceptionally high quality. The paraklesion over the refectory is rectangular in plan and surmounted by a turret over the naos, with an open exonarthex. Its mural paintings and iconostasis are original. The Monastery suffered badly in the Turko-Austrian and Turko-Russian wars of 1716-18 and 1787-89 respectively, all the buildings lying outside the enclosure being destroyed.

Other buildings constructed at the same period included the prince's residence, on the south side of the enceinte, ranges of two-storey monks' cells, kitchens, and other monastic offices. It is a two-storey rectangular building with important architectural features. The entrance was originally in the centre of the western wall of the enclosure, where the paraklesion was located, but this was shortly afterwards converted to a refectory, access being provided beneath the bell tower on the south wall.

The church of Bolnica, which is a subgroup of the main monastery, was founded by Princess Maria, wife of Constantin Brancovan. It has an unusual mural in its exonarthex, on the subject of the life of the good monk.

The Church of the Holy Angels at the former skite of Tigania was founded by the Horezu community in the first decade of the 18th century.

Other contemporary foundations by members of the princely family include the skites of the Holy Apostles and St Stephen and the foisor of Dionysus Balaceşcu. These contain contemporary votive paintings and other liturgical elements of high quality.

ROMANIA: Churches of Moldavia

     A general Christian tradition of decorating the exteriors of churches was adopted and extended in Moldavia. This had its own specific iconography, dominated by certain obligatory themes: the Church Hierarchy, the Last Judgement, and the Tree of Jesse. These monuments form a compact and coherent group in chronological terms, all being built in the 1530s and 1540s, during the reign of Peter Rares. They are all within a 60 km radius of Suceava, the residence of the Moldavian princes.
In the European art of the period, the exterior mural painting of the northern Moldavian churches is a unique phenomenon in Byzantine art and a masterpiece of mural art. In terms of the art of Romania, this group of churches constitutes a specific phenomenon, from the point of view of architecture as well as painting. Their exterior painted walls constitute an exceptional aesthetic value, forming a perfect symbiosis between colour, architecture, and surrounding landscape.

1.

The Church of the Beheading of St John the Baptist was built as the residence of the Governor of Suceava, Luca Arbore. It was decorated at the order of his granddaughter in 1541 and became the village church when the family died out. The Arbore family is represented in a votive tablet on the wall of the naos and by funerary portraits in the narthex. The high quality of the interior paintings continues on the exterior.

2.

Sucevita Monastery, the last one to be built, is the largest and finest of the painted monasteries of Bucovina. "A Poem in Green and Light", it has its thousands of painted images on a background of emerald green. The fortress legacy of these mountain monasteries is nowhere clearer than inside and outside the massive walls at Sucevita. Set in a beautiful green valley- it is fortified like a citadel with watchtowers at its four corners. It is a square-shaped compound, surrounded by a wall of 100 meters on each side, six-meter high and three-meter thick.

The monastery was erected in 1581 by Gheorghe Movila, Bishop of Radauti and consecrated to the Assumption in 1584. Under the rule of Petru Schiopul (1582-1591), the Movila brothers, having become the prince’s councilors and growing more affluent, started the construction of the vast monastery. Ieremia Movila added to the church two open porches (to the North and to the South); he also built massive houses, thick surrounding walls and defense towers. The legend has it that an old woman had been working there for thirty years, carrying in her ox wagon stone for the construction of the monastery. This is the reason why a female head is carved on a black stone in the monastery's yard.


The Church of the Holy Rood, Patrauti, built in 1487 by Stephen the Great, was pillaged in 1653 and 1684 and restored by Prince Nicolas Mavrocordat in the early 18th century. It is a small three-apsed building consisting of a sanctuary, a naos crowned with a high drum, and a narthex. The monumental interior mural painting represents the Passion Cycle.

At the Church of St George of the former Voronet Monastery, also founded by Stephen the Great, the naos and sanctuary were painted between 1488 and 1496 and the narthex in 1552. It is a three-apse structure, with an exonarthex added in 1546. The interior murals represent the Passion Cycle. The walls and the vault of the exonarthex are covered by the 365 scenes of the Calendar of Saints. The exterior murals depict traditional scenes, and the famous Last Judgement, on the western wall.

The three-apsed Church of St George, formerly the Metropolitan Church of Moldavia until the late 17th century, is now the catholicon of the Monastery of St John of Suceava. The interior paintings, although somewhat darkened, have exceptional plastic qualities. The exterior paintings of 1534 only survive on the west and south facades, and depict the four traditional themes. They are exceptional by virtue of their monumental composition, elegant silhouettes, harmonious colours and perfect Cyrillic inscriptions.

The Church of St Nicholas and the Catholicon of the Monastery of Probota was built by Prince Peter Rares in 1531 as a family mausoleum. All the paintings are contemporary with the church with the exception of those in the sanctuary, repainted in the 19th century. The exterior mural paintings, in poor condition, show evidence of the hand of a master in their outstanding composition and remarkable use of colours.

The Church of the Assumption of the Virgin of the former Monastery of Humor dates back to before 1415, but the present structure was built in 1530 by the great Logothete Theodore Bulberg and the wife, Anastasia,  of Peter Rares. It exhibits certain architectural variations from the traditional three-apsed monastery church, such as the lack of a drum over the narthex.

The Church of the Annunciation of the Monastery of Moldovita was rebuilt by Alexander the Good, but the present structure is earlier. It is very similar in form and decoration to the Humor church, and is believed that the same master may have been responsible for both churches.

ROMANIA- Dacian Fortresses of the Orastie Mountains

Built in the 1st centuries B.C. and A.D. under Dacian rule, these fortresses show an unusual fusion of military and religious architectural techniques and concepts from the classical world and the late European Iron Age. The six defensive works, the nucleus of the Dacian Kingdom, were conquered by the Romans at the beginning of the 2nd century A.D.; their extensive and well-preserved remains stand in spectacular natural surroundings and give a dramatic picture of a vigorous and innovative civilization.

Justification for Inscription

Criterion (ii): The Dacian fortresses represent the fusion of techniques and concepts of military architecture from inside and outside the classical world to create a unique style. Criterion (iii):The Geto-Dacian kingdoms of the late 1st millennium BC attained an exceptionally high cultural and socio-economic level, and this is symbolized by this group of fortresses. Criterion (iv): The hill-fort and its evolved successor, the oppidum, were characteristic of the Late Iron Age in Europe, and the Dacian fortresses are outstanding examples of this type of defended site.