The Cotroceni Palace's Destiny
Monastery, residence of ruler and kings, current headquarters of the Presidential Administration of Romania
Introduction
Located in one of the oldest and most beautiful neighborhoods of the capital, the Cotroceni Palace is the guardian of several centuries of Romania’s history. It is the residence of the longest use on Romanian territories, since the end of the 17th century to this day. The history of the ensemble dates all the way back to 1679, when Şerban Cantacuzino, a ruler of Wallachia, decided to build a monastery here. It was built on the Cotroceni hill after a part of the Vlăsiei woods were cleared. Besides a church similar to the Episcopal one in Curtea de Argeş, the ensemble included a Baroque-style princely palace and the princely houses. The ensemble underwent alterations during the reign of Barbu Dimitrie Ştirbei, who redid and modernized the princely palace in 1852. He separated the domain of the monastery between the princely area and that of the future Botanical Garden of the capital. After being elected the ruler of Ţara Românească, on January 24, 1859 – the moment of the “Small” Union, and one of the stages preceding the Great Union of 1918 - Alexandru Ioan Cuza also lived at Cotroceni, where he had the summer residence. During Cuza’s rule, the ensemble underwent several transformations. In 1862, the old princely houses were decorated and refurnished with pieces belonging to the Second Empire style and with Western art objects.
Residence for kings and queens
King Carol I requested the building of the Cotroceni Palace, which was to serve as a residence for the family of the heir prince Ferdinand I. The palace was erected on the site of the old princely houses and served as the royal family's mansion from 1893 to 1947. The building was constructed after the plans by architect Paul Gotterau. Later, architect Grigore Cerchez added elements typical to the neo-Romanian style. The palace was equipped with all of the facilities of the time, including electrical lighting and telephone, which had been introduced in the capital in 1890. The future King Ferdinand I and his wife, the future Queen Maria, moved to the Cotroceni Palace in 1897, and the personalities of the two were later reflected in the way the space was furnished and decorated.
Detail - The Hall of Honor (1843/1904) by Paul GottereauCotroceni National Museum
The Hall of Honor
By emphasizing the modesty of the limited space affected to the main hall of the royal palace, the volume design on two storeys, as well as the abundant decoration that practically covers all the architectural components, all manage to create the intended effect of monumentality and sumptuousness. The monumental stairway of Italian Cibolino marble and stucco-marble leads to the first floor of the palace, which houses the official drawing rooms. A long corridor whose space is divided into equal intervals by means of columns and pilasters, crowned by composite capitals and of stucco-marble in the same style as the entrance hall, but with an ornamental expression which is more rigid.
The German Living Room (1893/1896) by Paul GottereauCotroceni National Museum
Decorated in the German neo-Renaissance style, the dining room was restored according to architect Paul Gottereau's conception. It reflects the taste imposed by King Carol I.
King’s Ferdinand Library (1893/1896) by Paul GottereauCotroceni National Museum
King’s Ferdinand Library
Prince Ferdinand's study is the only room which did not need restoration works, as it was preserved in an almost intact state. The ensemble, made of elm wood in Henry II style, imposes by its sobriety of colour and style. The relief decoration of the in-built furniture, made of two levels, is dominated by the ornamentation of the small chests on the bases, on which there are motifs of the late French Renaissance: figures of putti, mascarons, floral garlands.
The upper gallery, bordered by a beautiful fretwork banister, is supported by groups of slender columns which give rhythm to the space.
The fireplace of Portoro marble and the chandelier are original, as well as the table, which resumes the decorative motifs of the bookcases.
The ceiling, made of rectangular cases framed by fields of acanthus leaves, is covered with stucco, its ornamental motifs also being present in the composition of the carpet.
King’s Ferdinand Library II (1893/1896) by Paul GottereauCotroceni National Museum
On the entrance door, the year 1895 inscribed in Latin characters stands for the end of the first phase of building of the collection which belonged to King Ferdinand.
The Hunting Room (1926/1927) by Karel LimannCotroceni National Museum
The hunting room was arranged in its present form in 1926-1927, when the two rooms designed by Paul Gottereau - the Byzantine room and the Louis XV room - were not used any longer.
In order to decorate this room, King Ferdinand sent architect Karel Limann to the traditional purveyors of the Royal House.
The French Apartment
It is placed in the north-eastern side, with a beautiful opening toward the room, gardens of the Palace, combining the qualities of the two major styles of the 18th century, with slight suggestions of English rococo. In a space with a refined floral ornamentation and gilded stucco, the Louis XV drawing room is flanked by two bedrooms in which the gracious femininity of the pieces that are perfectly adapted to the rococo fancy and the rigorous, but elegant symmetry of the Louis XVI style are brought face to face.
The French Apartment II (1978/1987) by Paul Gottereau/Nicolae Vlădescu after 1977Cotroceni National Museum
The second bedroom, which had the same destination during King Ferdinand's reign as well, is connected with Queen Marie's apartment by means of a dressing room.
Adam-style Apartment (1978/1987) by Nicolae Vlădescu after 1977Cotroceni National Museum
The Empire Apartment (1978/1987) by Nicolae Vlădescu after1977Cotroceni National Museum
Queen Maria’s Dream House
Outstanding personality of the early 20th century, Queen Maria was a strong and sensitive woman, passionate about arts, architecture and landscaping. The residences in which she lived, the „dream houses” as she called them, were designed, refurbished or redecorated according to the story the queen wanted to write using decorative elements. Cotroceni Palace is a page of this story, written in neo-Romanian or Art Nouveau style, with floral, Celtic and Byzantine details. To see her aspirations transposed into reality, Queen Maria turned to the architects Grigore Cerchez, Karel Liman, Ioan Ernest. The results were remarkable, and thus the spirit of the Queen Maria remained in the palace she had loved for a lifetime.
The Cerchez Room
The White Room (Great Reception Hall) was obtained from merging two smaller rooms, according to Queen Maria's idea. The work was entrusted to architect Grigore Cerchez. He chose the Brancoveanu style with traditional decorations from Romania and Moldova. The original marble table was used in the past for Queen`s Maria collection of silver ships. The Cerchez Room is the most important area in terms of history. In August 1916, it was the place of the Royal Council (Romania signed the entry into World War One), ratified by King Ferdinand.
The Royal Dining Room (1922/1927) by Grigore CerchezCotroceni National Museum
These unequalled pieces of furniture in the royal dining room are said to have been designed by Queen Maria herself.
The Neo-Romanian style gazebo (1925/1927) by Grigore CerchezCotroceni National Museum
The Neo-Romanian style gazebo, designed by Grigore Cerchez is considered to be a replica of the Dionysus’s gazebo of the Hurezi monastery.
Queen`s Maria Bedroom (1893/1901) by Paul GottereauCotroceni National Museum
Queen Maria's Bedroom
Queen Maria's bedroom was
restored according to the 1929 variant. Until that date, this space had had a
much different aspect: the "silver" or "Celtic" bedroom
used to be here. The ambiance was that of a fairy tale, the abundance of floral
adornment being equalled by the richness of shapes and motifs of Celtic
inspiration. Big columns and semicircular arches created an enormous
"alcove" around the solemn bed, above which a magnificent silver hawk
was hanging. The stucco was entirely silvered and the floor was made of
turquoise slabs that gave it an aquatic aspect. An entirely different conception underlied the 1929 version. Queen Maria chose the Tudor style for the new image of her bedroom. The importance given to wood is obvious here, as it both points out the building elements-the ceiling beams and the support arches - and contributes to the interior decoration, especially as regards frames, doors and furniture.
Among the original pieces of furniture of this space, the ones which particularly draw the attention are several small items, chairs and tables, decorated in that specific "Art nouveau" pattern.
Queen Maria in the silver bedroom (1901/1901) by F.MandtsCotroceni National Museum
In 1901, Queen Maria chose a silver, Celtic decoration with vaulted ceiling like in a church.
The Norwegian Room (1909/1910) by Karel LimannCotroceni National Museum
The Norwegian Room
A neo-Gothic replica to Norwegian interiors, the room has all the walls entirely covered with fir wood panelling. The ceiling is doubly arched and supported by transverse beams; the panelling is conceived on two levels. The lower part is composed of smooth zones alternating with adorned pilasters which support the arcade-sturctured upper level. The two door frames and the window frame, all of them richly decorated, feature old Scandinavian symbols.
"Having been separated from many things I had been used to, I created my own atmosphere little by little, with or without the critics' approval, which was according to their inclinations", Queen Maria
The Oriental Room (1900/1905) by Karel LimannCotroceni National Museum
The Oriental Room
The Oriental Room, of a
double height as compared to the neighbouring rooms, has a ceiling in the Tudor
style; the back is dominated by a coiling stairway that leads to the tea room.
The space thus conceived was used as a pokerwork shop (pokerwork was in great
fashion at the beginning of the 20th century, which Queen Maria herself
confessed in a letter addressed to her mother, dated February 1905). Soon
after, the room received other functions as well: it was used as a studio, as a
classroom for the princesses and, later, as a drawing room again.
The furniture is of Far Eastern origin, made of black lacquered ebony wood.
The Flowers Room
The Flowers room decorated in the French Neo-Louis XVIth style, known over time many changes. In 1895 it was called „The Princess's private room“ (decorated in the Louis XIVth style) and „The golden room“ in 1901 (with Secession decoration). In the magic atmosphere of this drawing room, Queen Maria would find peace and source of inspiration, as it was here that she wrote her so much appreciated tales for children.
The Flowers Room (1895/1984) by Paul GottereauCotroceni National Museum
After the earthquake of 1977, the room was restored with floral patterns. The furniture has a handmade embroidery with silk and gold threads.
An important piece in this room is the Steinway piano (1876), painted in 1910 (Vodak); it belonged to Queen Elizabeth and Princess Maria.
Heavily damaged by the earthquake in 1977, the palace was largely rebuilt by architect N. Vladescu, who is also responsible for creating a completely new wing. This new wing currently hosts the Presidential Administration of Romania.
The Cotroceni ensemble is a unique place which breathes history. The visitor is welcomed into the rooms and halls that once belonged to the Royal Family. The experience of being here is unforgettable. Everyone will leave with stories and dreams about the long-forgotten world, preserving precious moments from history in their memory.
