- Julia Hasdeu Castle in the beginning of the 20th century
- Julia Hasdeu Castle in the beginning of the 20th century
- The castle after the first restoration. The Eye of the World was covered with the museum's banner
- Castle's blueprint. One can notice the localization of the houses from behind the edifice. Two of them were demolished
- The plan of the Castle's groundfloor
- The Castle's façade (blueprint)
- Front view of the Castle (cross section)
- The Castle seen from above
- The plans of the additional buildings: warehouse, the house of the gatekeeper and the sanitary groups
- Detail of the lateral tower (section, seen from above) I

 

Campina
B-dul Carol I nr. 199
Cod postal 105600

TEL: 0244 335.599
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  Symbolism

          I.L. Caragiale’s visit to the temple-castle, in 1896, which he described in the Epoch, provided information about the atmosphere of the place. The playwright had come to take the scholar an interview about the status of the Romanian literature.

          Having the chance to be guided by B.P. Hasdeu himself, who gave him, during the visit, some interesting explanations regarding the symbolism of the building, Caragiale described what he had seen. The stone door, „a place for passing from one state to another, between two worlds, between known and unknown, (…) between the profane and the sacred” could easily rotate, allowing the access, inviting the man „to discover the mystery”. The passing symbolizes the „initiation in knowledge”. In the Christian tradition, the door has a great importance, as it permits the „access to revelation”. Through the main door of the temple-castle, the visitor could reach a tall and narrow hall, similar to a narthex, from where, through a corridor made of two parallel mirrors, one could enter the rotunda.

          A building of bricks and iron, with the shape of a huge cross, called in the spiritualist archive „The Great Crucifix”, was erected in the middle of the dome. When looked at from front or from behind, it had the shape of a cup. In the upper part of the cross, the statue of Christ had been placed. The scholar had ordered the sculpture from Paris, from the House of Religious Statuettes and Statues (founded in Angers, in 1862) and managed by the sculptor Raphael Casciani; „un Sacré –cœur Jésus, modèle Montmartre de 2m10, pâte de bois durci, décor mi-riche”. B.P. Hasdeu wished a moderate decoration of the statue. Jesus’ clothes were painted in white and red. The artists of the Middle Ages used those colors when creating the image of the Savior after the Resurrection. In February 1896, the statue arrived at Iulia Hasdeu Castle. Caragiale was impressed, memorizing details of the inside decoration. This was the description of the central tower (the temple of the castle): „We pass the doorstep and we arrive under the high dome from the middle of the building. In the middle of the circular hall, stays still a massive brick pillar, of roseate marble; it supports two light iron stairs that go up to the interior belt of the donjon, surrounded by a metallic gallery. Behind the pillar, against the entrance door, there is a stair that goes up to the other two. On the same level as the gallery, above the pillar that supports the stairs, there is a bridge supported by thin iron pillars; above this bridge there is the blue dome, the statue of the Savior, once and a half the natural height. The statue is made of wood and colored in the style of the Middle Ages, a work of a rare beauty of the sculptor Casciani from Paris. The Savior soars above the clouds, towards the heavens, with his arms widely open, with his look turned to the earth that he blesses with his both hands. His eyes are shedding tears, his hands and feet still keep the traces of nails, his forehead preserves the traces of thorns. The Divine Son is ascending with his face towards the source of light, to the East. From the top of the azure dome, the Eye of God, surrounded by the stars of infinite, is looking at him, lovingly waiting for him. The dome is lighted by three doors, corresponding to three terraces, and by a round window, traversed by a cross with sliced glass, colored in yellow and red. If you kneel before the Savior, his divine head can be seen right near the sparkling window, whose frame surrounds him like an aura. (…) Here, my illustrious host made me realize that the pillar, which supports from downstairs, in the middle of the dome, the stairs that go the gallery, represents, together with them, a great cup: above it, ascending to heavens, far from pain, the sparkling face of God”. The description made by I.L. Caragiale for the central space determined us to start researching the meaning of the symbols of that room, through which it is produced the „ ascending movement of the visible towards the invisible, of the apparent towards the hidden, of the sensitive towards the intelligible and of the intelligible towards the supra-intelligible”. In searching for the key to the castle’s symbolism, we keep in mind René Guénon’s opinion, according to which the „role of the symbols is to be a real support for the concepts whose possibility of extension is really unlimited, and any expression is but a symbol”. It is the inexpressible the element that represents, in the order of pure metaphysics, what is the most important. There must be mentioned three types of symbolism: of the center, of the ascension and of the heights (celestial). We know that the most known version of the symbolism of the center is the Tree of the World. „Its branches touch the sky”, Mircea Eliade noted. Assimilated to the Tree of the World, the „cup” from the Castle’s temple becomes the axis that connects the three cosmic areas or worlds: Heaven, the Earth and the Inferno (suggested through the presence of the castle’s basement), making possible the communication between the celestial and earthly spaces. The „massive brick pillar” from Caragiale’s description is the simulacra of the world axis that separates and unites, at the same time, the Heaven and the Earth, permitting the union between the human state and the supra-individual states. It symbolizes the „center”, „the invariable middle” where the celestial and terrestrial influences unite, allowing the direct communication with other states of the existence. The statue of Jesus, „of that Christ who, through the wonder of his love brought God to the man and raised the man to God”, placed above the cup, represents the symbol of humanity’s salvation, the image of the superhuman, of that who reached a „veritable superiority” in the „ universal aspiration towards the infinite”. According to B.P. Hasdeu, the superhuman is the altruist who sacrifices „for his likes and for his country”, being certain that the „soul cannot disappear, that no death can destroy it, that it is everlasting and preserves”, in other words „the altruist devours death”. We can compare this concept of soul-preserving, expressed by the scholar, to Guénon’s idea that the „corporeal death cannot represent but a change of modality inside the same state of individual existence – the passing towards an extra-corporeal modality of human individuality”. The Pythagorean doctrine of metempsychosis taught that, as the soul is of the same matter as the Whole, it is everlasting as the Whole and perpetually resides in movement. Mircea Eliade regarded death as a „level breaking, symbolized through an escalade”, as the soul of the dead one is ascending. We can tell that the castle’s temple suggests the cosmic Mountain crossed by Axis Mundi, the Cosmic Pillar that unites the two poles of occurrence: Heaven and Earth. The multiplicity of the occurring states of the existence is regarded as the same number of steps that a being, in its way back to the Principle/ Infinite/ God, is able to climb from Earth to Heaven. „Two light iron stairs go up to the interior belt of the donjon (…). Behind the pillar, (…) there is a stair that goes up to the other two, noted I.L. Caragiale in the reportage of his visit to the Castle. The stairs from the castle were painted in yellow, a color that symbolizes eternity. In the Christian world, the stair represents a symbol of the possibility to climb to heaven, because everything that’s close to it takes part in the transcendence. The stair is another representation of the world axis.

          The steps are reasons for the presence of the symbolism of „ascension” in Hasdeu's edifice. The stair symbolizes the passing from an existence to another, the communication between Heaven and Earth. Jacob was dreaming of a ladder whose top touched the sky, where God’s angels would climb and descend. In the Islamic tradition, Mahomet saw a stair climbing from the Jerusalem Temple to the sky. Dante imagined in Saturn’s sky a golden stair climbing to the last celestial sphere. For the Indians, immortality was gained as a result of ascension in sidereal spaces. The ascension to Heaven through the ceremonial climbing of a stair was probably part of an orphic initiation. At the same time, the Mithraic initiation involved the climbing of a stair – world axis – that was found in the Center of the Universe. All mystical visions and ecstatic experiences involve a climbing to heaven. The doctrine of the souls’ ascension has its roots in the Orient. The Greek-Roman world knew it because of the Orphism and Pythagoreans. Regardless the forms in which religion occurred (in shamanism, in initiation, in mystical ecstasy or dream, in myths or legends), the ascension, the climbing of the stairs, always meant transcending the human condition and getting into superior cosmic levels. Not from a moral point of view, but from the point of view of knowledge. In the symbolism of the stairs there are included the concepts of sanctification, death, love, and release. The „Height” is a dimension inaccessible to the human; the one who is ascending by climbing the stair that leads to Heaven ceases to be a human. Any ascension is a cross beyond, a leaving of the profane space. The stair takes part in the symbolism of verticality, of the World Axis. The Climbing from Earth to Heaven is represented ritually in various traditions through the ascension of a tree/stair followed, not always, by a descend that has as effect to bring the celestial influences in this world and combining them with the terrestrial ones. The entire spiritual life is expressed through a tendency towards ascension, an ascending movement, Christ and the cross (that are also found in Hasdeu’s temple) being the stair. In the religious experience, the celestial sacred is active due to the symbolism of the „center”, of the „height”, of the „ascension”. Heaven is a direct occurrence of the transcendence, of the absolute power, of the eternity, of the sacred. It is also the symbol of conscience. In the castle’s temple, it unites with the Earth, reviving an ancient myth, through the cup-shaped cross, through the central axis, called in Hasdeu’s documents „Great Crucifix”; it represented not the cross of Christ’s suffering, but the „cross of resurrection, of the eternal glory gained through sacrifice”. On the vault of Iulia Hasdeu Castle’s dome it was painted a celestial sphere that included all the attributes of the celestial robe: the blue background, stars, clouds and, even if the iconographic testimonies haven’t been preserved, it is supposed hat the angels were also present. „The cloud darkens the sensitive world, leading and accustoming the soul with contemplating the hidden elements, helping it know the invisible reality after crossing the visible objects”. The sky embraces everything. The skies symbolize the superior states of the being. The veritable initiation means the awareness of those states that are tangible after the ascension, after the celestial travel. On the top of the „azure dome” of the castle there was painted a triangle that had in its middle an eye whose eyeball was the opening that is still preserved today. It was the „Eye of God” from I.L. Caragiale’s description. In an article about the constructive symbolism, René Guénon noted that „In the absence of a material representation of the axis”, „the dome is penetrated on its top by a circular opening; this opening is a representation of the solar disc itself, like an « Eye of the World», it is „the gate of the sun”, which permits the exit from Cosmos”. The point on Earth, directly under this opening, is the virtual correspondent of the Center of the World. And the symbolism of the Center of the World supports, as mentioned before, the importance of the celestial symbolism necessary for the rituals of ascension, of initiation, as well as of myths (the Cosmic Tree and the Cosmic Mountain). The celestial world represents the realm of the spirit, and the terrestrial world the realm of matter. In the constructive symbolism, the dome’s eye from the top of the celestial sphere or of the temple’s vault evokes the image of the narrow gate, situated at the zenith of the cosmos or of the stellar sphere that opens towards the unknown. Through the dome’s eye had to pass all the beings who reached the state of finding their self. Through it, there is produced the returning to the Principle. This eye is not only the eye of knowledge, but also of an awaken conscience, capable of transcending any concerns, compulsory for all veritable spiritual ascending. After an introspection in the subterranean (it is noticeable that the space also has subterranean spaces!), arriving at the point that corresponds to the center of the cross (see also the Great Crucifix from the Castle’s Dome!) the man prepares to ascend towards the infinite of knowledge, guided by the divinity, with whom he wishes to identify (therefore, the fact that the statue of Jesus was placed there was not arbitrary!). The stellar sphere suggests the spiritual progression, the cosmos. In the Christian symbolism, the blue sphere covers the Divinity. Blue suggests regeneration or the spiritual accomplishment of the being, aware of the superior state he had reached. Blue symbolizes the spirit of truth. We consider that the stars painted on the castle’s vault were golden. Gold and yellow, near the Sun, represent symbols of the human intelligence, illuminated by the divine revelation.

          «The massive brick pillar » from Caragiale’s description is no other than the Axis Mundi that separates and unites at the same time Heaven and the Earth, the bridge that connects the human state and the supra-individual state. Let’s remember that B.P. Hasdeu considered Jesus a superhuman. The archaic cultures knew the symbolism of the cosmic axis – the universal pillar whose discovery by man means abandoning the human state and gaining the divine one, reaching the essence. The center is «the invariable middle» where the celestial and terrestrial influences unite, making possible a direct communication with other states of the existence. The statue of Jesus, « of that Christ who, through the wonder of his love brought God to the man and raised the man to God », placed above the sacred cup, represents the symbol of humanity’s salvation, the image of the superhuman, of that who reached a « veritable superiority » in the « universal aspiration towards the infinite ». According to B.P. Hasdeu, the superhuman is the altruist who sacrifices for his likes and for his country, being certain that the « soul cannot disappear, that no death can destroy it, that it is everlasting and preserves », in other words « the altruist devours death ». Mircea Eliade regarded death as a « level breaking, symbolized through an escalade », as the soul of the dead one is ascending. The communication between Heaven and Earth can establish only if we follow the axis that connects the centers of those modalities that occur in an undefined multitude, whose hierarchical complex represents the universal occurrence.

          Therefore, we can tell that the castle’s temple has the property of the « center », the building being assimilated to a sacred Mountain crossed by Axis Mundi, the Cosmic Pillar that unites the two poles of occurrence: Heaven and Earth.

          The multiplicity of the occurring states of the existence is regarded as the same number of steps that a being, in its way back to the Principle/ Infinite/ God, is able to climb from Earth to Heaven. « Two light iron stairs go up to the interior belt of the donjon (…). Behind the pillar, (…) there is a stair that goes up to the other two », noted I.L. Caragiale in the reportage of his visit to the Castle. Entering the Castle's temple, getting in front of the Great Crucifix, one cannot see the stair « behind the pillar». Even if it is not visible, it exists – the path through which man goes beyond his condition. The stair can be seen from a revealing angle. Instead, what one can see after crossing the doorstep of the temple are the books. The book is the symbol of knowledge. Through Knowledge, the soul is ascending. The stairs from the Castle’s temple demonstrate the presence of the symbolism of ascension in the edifice. The stair symbolizes the passing from an existence to another, the communication between Heaven and Earth. Jacob was dreaming of a ladder whose top touched the sky, where God’s angels would climb and descend. In the Islamic tradition, Mahomet saw a stair climbing from the Jerusalem Temple to the sky. Dante imagined in Saturn’s sky a golden stair climbing to the last celestial sphere. For the Indians, immortality was gained as a result of ascension in sidereal spaces. The ascension to Heaven through the ceremonial climbing of a stair was probably part of an orphic initiation. At the same time, the Mithraic initiation involved the climbing of a stair – world axis – that was found in the Center of the Universe. The initiation meant the death and the resurrection of the neophyte, the descending into the Inferno and the ascension to Heaven – the path to the absolute reality. All the mystical visions and ecstatic experiences involve the ascension to Heaven. The doctrine of the souls’ ascension had its origins in the Orient. The Greek-Roman world knew it because of the Orphism and Pythagoreans. Regardless the forms in which religion occurred (in shamanism, in initiation, in mystical ecstasy or dream, in myths or legends), the ascension, the climbing of the stairs, always meant transcending the human condition and getting into superior cosmic levels. In the symbolism of the stairs there are included the concepts of sanctification, death, love, and release. The « Height » is a dimension inaccessible to the human; the one who is ascending by climbing the stair that leads to Heaven ceases to be a human. Any ascension is a cross beyond, a leaving of the profane space. The stair takes part in the symbolism of verticality, of the World Axis. The Climbing from Earth to Heaven is represented ritually in various traditions through the ascension of a tree/stair followed by a descend that has as effect to bring the celestial influences in this world and to combine them with the terrestrial ones. The whole spiritual life is expressed through an ascension, an ascending movement, Christ and the cross (that can be also noticed in the temple) being the stairs. In the religious experience, the celestial sacred is active through the symbolism of the « center», of the « height », of the « ascension». Heaven is a direct occurrence of the transcendence, of the absolute power, of eternity, of the sacred. It is also a symbol of conscience. In the castle’s temple, it unites with the Earth, reviving an ancient myth, through the cup-shaped cross, through the central axis, called in Hasdeu's documents « Great Crucifix», representing not the cross of Christ’s suffering, but the cross of resurrection, of eternal glory gained through sacrifice. On the vault of Iulia Hasdeu Castle’s dome it was painted a celestial sphere that included all the attributes of the celestial robe: the blue background, stars, clouds and, even if the iconographic testimonies haven’t been preserved, it is supposed hat the angels were also present. The cloud darkens the sensitive world, guiding and accustoming the soul with contemplating the hidden elements, helping it know the invisible reality after crossing the visible objects. The sky embraces everything. The skies symbolize the superior states of the being. The veritable initiation means the awareness of those states that are tangible after the ascension, after the celestial travel. On the vault painted by Ioan Tent, the first restorer of the monument’s decoration, appear all those symbolic elements.

          « Angel» is an appellative that B.P. Hasdeu always used in his communication with the other world, when he summoned his dead relatives. We know that the scholar used to sit and meditate for a long time on the circular balustrade that borders the vault, close to the Heaven depicted there. Probably, the celestial symbolism overflowed its benefic effects upon his soul, invaded by the burden of Julia’s death, the poetess who had become the « dear angel » or « the admirable angel ». Because in the beginning there was the terrestrial condition, then the angelic state, and in between there were temporary levels, degrees of Universal Existence, stairs on which the soul is ascending from the sensitive world, climbing to the intelligible, according to the Platonic tradition, towards the absolute form of Good. The castle’s stairs were painted in yellow, a color that symbolizes eternity. In the Christian world, the stair is a symbol of the possibility to ascend to the heavens, everything that is close to it is part of transcendence. The sky embraces everything. The man is the son of Heaven (father) and of Earth (mother); this is the initiation formula that determines the reports of the human being with the other two elements of the Holy Trinity. The heaven symbolizes the superior states of the being. The veritable initiation means the awareness of those states that are tangible after the ascending, after the celestial travel. On the top of the “azure dome” of the Castle there was painted a triangle that had in its middle an eye whose eyeball was the opening that can still be seen today. It was the “Eye of God” from I.L. Caragiale's description. In an article about the constructive symbolism, René Guénon noted that « In the absence of a material representation of the axis », «the dome is penetrated on its top by a circular opening; this opening is a representation of the solar disc itself, like an « Eye of the World», it is „the gate of the sun”, which permits the exit from Cosmos ». The point on Earth, directly under this opening, is the virtual correspondent of the Center of the World. And the symbolism of the Center of the World equally illustrates the importance of the celestial symbolism that also determines the rituals of ascension, of initiation, as well as myths (the Cosmic Tree and the Cosmic Mountain). The celestial world represents the realm of the spirit, and the terrestrial world the realm of matter. In the constructive symbolism, the dome’s eye from the top of the celestial sphere or of the temple’s vault evokes the image of the narrow gate, situated at the zenith of the cosmos or of the stellar sphere that opens towards the unknown. Through the dome’s eye had to pass all the beings who reached the state of finding their self. Through it, there is produced the returning to the Principle. This eye is not only the eye of knowledge, but also of an awaken conscience, capable of transcending any concerns, compulsory for all veritable spiritual ascending. After an introspection in the subterranean (it is noticeable that the space also has subterranean spaces!), arriving at the point that corresponds to the center of the cross (see also the Great Crucifix from the Castle’s Dome!) the man prepares to ascend towards the infinite of knowledge, guided by the star with which he wishes to identify (it is remarkable that on the vault there were painted the «stars of the infinite » as I.L. Caragiale called them, probably under B.P. Hasdeu’s influence!). The stellar sphere suggests the infinite, the spiritual progression, the roof of the cosmos. In the Christian symbolism, the blue sphere represents the mantle that covers the Divinity. Blue suggests regeneration or the spiritual accomplishment of the being, which is aware of the superior state he had reached. Blue symbolizes the spirit of truth. Certainly, the stars painted on the Castle’s vault were golden. Gold and yellow, near the Sun, represent symbols of the human intelligence, illuminated by the divine revelation.

          Eugeniu Sperantia, the son of the writer Th. D. Sperantia – one of Hasdeu’s mediums – visited the Castle in 1900, together with his family. The book «Memories from the Literary World» includes evocations of Hasdeu’s character and his life in Câmpina. The book helps us remark some descriptive elements that had also appeared in Caragiale’s description, as well as other new elements. Sperantia noted that «in the cement that covered the window», «there was a round opening; it was a kind of window through which, in the afternoon, the sunlight was getting in, invading the crown of the statue. Inside the tower one can notice that this bright, round window, had the shape of the eyeball of a huge eye, and on the ceiling there was painted a triangle around it». Certainly, he referred to the «Eye of God», also mentioned by I.L. Caragiale. Out of Sperantia’s memoirs, we find out that the « sunlight was getting in, invading the crown of the statue ». A possible explanation would be that the celestial light revealed to people has its natural symbol in the light that shines on earth. The sunlight represents God’s love and the divine wisdom, which positively influences the mind. At the core of the primitive Christianity there was the Gnosis, in other words, Knowledge. Among the main Gnostic themes there is the divine light, incarnated in the symbolical presence of Jesus. The salvation of the humanity, gained by Christ, means that the man rediscovered the Eye, in order to restore an overall vision, a vision upon the world, which is Love. Sperantia also mentioned that on the metallic circular balcony, behind the statue of Christ, there was Julia’s bust in whole length, painted in oil. It was placed on a small table and near it there were two music boxes that played «The Requiem», «a short pearl-like, silvery song, something like a prayer mourned by a child’s voice » and the hymn « Sursum » that «in a more sober tone played through a series of impressive tunes a kind or march, (…) funeral and at the same time triumphant ». Regarding the « Requiem », the scholar counted in the book “Sic Cogito” how it was received from the medium Vasile Cosmovici, who was in Paris, in June 1891. The song was arranged for quartet by the composer George Stephanescu and performed on the music box made by Leopold Stern. On September 17, 1891, the day when Julia’s death was commemorated, the “Requiem” was performed in the temple from Serban-Vod Cemetery by an orchestra conducted by cellist C. Dimitrescu, and later by another orchestra, conducted by Anton Kneisel. The hymn « Sursum! » was dictated in the session from September 11, 1894, through Hasdeu’s hand. On September 16, the scholar received the indication to place the hymn in the other corner of the desk from the sepulcher. It was performed for the first time on September 17, 1894, under the direction of George Stephanescu. The presence of the two sculptures, of Savior and Julia’s, in the Castle’s dome, can be explained by a confession of the scholar, which he wrote in the beginning of the spiritualist session from June 10, 1894:

          «Lili, my angel, Nicolae, my angel, my angels, When I call one of you, I never forget that you all are a whole to me, with my Lili as a center and Christ as an accessible peak, the great mediator… »

          The folding stair, a pont-levis, was lifted when the scholar was meditating near the bust of his daughter and summoned the dead. There, in the celestial sphere, he felt close to them.

          One of the editors of the periodical « The New Revue », Victor Bilciurescu, brought testimonies regarding the Castle: «Once you step inside, the temple, with its dome above, reveals to you, and in the middle of the dome the Eye of God is projected downwards by the reflection of a mirror. From downwards, two iron stairs are emerging laterally; they intersect up, under the dome, on a platform where Jesus – at a large scale –is blessing the temple, and right under the Eye of God there is Julia’s marble bust ».

          Also, it is known that in the moment of the scholar’s death, in the upper part of the tower there were, near seven lamps, three chairs, a photo and six albums, «three busts of the family of the dead man». One of them was Julia’s, as mentioned in the memoirs of those who saw it. An attentive research of the dome reveals the fact that its symbolism was strongly connected to that of the temple-sepulcher. Some examples would be: the parallel mirror from the entrance to the sepulcher and from the entrance to the temple of the edifice from Câmpina, the blue ceiling of the tomb and the blue vault of the Castle (nowadays colored in dark red, sic!), the cross with the primordial egg on the tomb’s vault, the great crucifix and the primordial egg made of the sectioning in two halves of the circular metallic balcony from the Castle’s dome, God's name carved in marble on the ceiling of the funeral edifice, the Eye of God guarding from the center of the donjon’s vault, « spiritualist » music in the tomb, the same music in the temple-Castle, Christ and Julia in the tomb, as well as in the castle. It is possible that the other two busts referred to in the inventory made after B.P. Hasdeu’s death, which included the mobile and immobile goods from Câmpina, to be of Iulia – the mother, made by Carol Storck, in 1903 (nowadays exhibited in the Castle) and B.P. Hasdeu’s, sculpted by the same artist in 1905 (its actual location is unknown).

          In the inferior part of the tower there were: «two nut-tree stems, three plush sofas, three leather chairs, a round leather chair, an iron stove, four big paintings representing the family of the defunct, six smaller paintings, a bible placed on a nut-tree stem, a shelf for fruits; six photos on the window, two clay vases, four statuettes, a shelf on which there are five eggs, a box with glass in which there was a collection of bugs, three piano bottles, two marble vases, one of which being cracked, a glass pedestal, ten photos, a bronze vase, a small table, a chair, a walnut chair with music, a walnut table». Of this enumeration that recreates a part of the atmosphere of the place, we notice the presence of the Bible, the sacred book, «the Book of Books», which comprises the knowledge revealed to man through God. The Bible is the reflection of the divine will. Through it, God’s message is assimilated and interiorized by the person who gets into the temple.

          The original walnut furniture was also mentioned by Sperantia: «Among the trees that were cut down when the castle was built, there was also an old nut-tree, one meter in diameter. Out of the inner part of the trunk, which had been cut down one meter high, Hasdeu ordered the manufacturing of a very original furniture: without peeling off its bark, the upper surface of the trunk was beautifully polished and repaired, being transformed into a table; that memory of the nut-tree was placed in the circular hall from downstairs, in the left side of the entrance, near the window. On the polished side there were two candlesticks, a clock watch, flower vases and a few photos». Sperantia also recalled the statuettes of the apostles (nowadays disappeared), placed above the door that formed, through the opening of two door wings, the corridor of the parallel mirrors. At the same time, Sperantia’s memory preserved the three parallel rooms that once had special destinations. The one from the left, with green windows, and the one from the right, with blue windows, used to host the scholar’s library. They were the libraries of the castle’s temple, suggesting the presence of the old libraries in the ancient temples. His collection of manuscripts was placed on metallic shelves, in the hall where the sunlight was projecting itself in blue rays. The access to books and manuscripts was provided by the presence of the mobile stairs, which were based on small wheels that were sliding on wooden rails. The central room, high and narrow, resembling to the other two, had red windows and «the feeling of a cheerful guest hall, covered with an elegant carpet of the same color; and on the other side, under the window, there was a rose wood cabinet piano, carved with some small and refined pearl ornaments », Julia’s cabinet piano. The inventory made on November 9, 1907, after Hasdeu’s death, specified that 4800 books were in the main library, 1613 volumes were in the yellow-windowed hall and 1614 books were on the shelves of the blue-windows room, the rest being deposited in the room from behind the hall. When the writer’s goods were inventoried, the piano had disappeared from the small hall with red windows from the tower, being left only «two piano chairs and various piano notes», along with other objects that are meticulously mentioned in the document.

          Victor Bilciurescu’s confessions revealed that «this temple, which was used as a hall, had 12 bed-chairs (for guests), above each being placed a cameo, and also the portraits of the favorite writers, painted in oil: Blcescu, Koglniceanu, Laurian, Alexandri, Eliade, Bolintineanu, Conta etc ». The portraits that could be found there were: B.P. Hasdeu by Mirea, «Julia in the Library» by Diogène Ulysse Napoléon Maillart and «Julia on the catafalque» by Sava Hentia. Nowadays, the first two paintings can be seen in the permanent exhibition of the museum from Julia Hasdeu Castle. Nevertheless, the last one has disappeared. In an interview for the newspaper « Universul/The Universe », he mentioned that «In the temple there were also» «the iron candelabrum, suspended on the ceiling – iron because the building – made out of Julia’s order – is based on the principle "undying material”, so only iron and granite were used. There was also other furniture, all made of iron». Eugeniu Sperantia recounted that «here, around the pedestal that supported the statue, along the round wall, among other less important pieces of furniture, there were twelve chairs, in golden wood, covered with the same red plush, with very high backseats, which had a triangular fronton on their top. In that triangular fronton of each chair there was engraved a small painted oval medallion, a miniature in oil. Each medallion represented one of the heads of the 1848 Revolution. Sperantia mentioned the portraits of Blcescu, Alecsandri, Koglniceanu, Eliade Rdulescu, C.A. Rosetti ».


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