Source: Topoloveni National Center for Tourist Information and Promotion The Goleștii-Badii neighborhood, an old medieval village, documented in the second half of the 15th century, is located in the southern part of Topoloveni. The oldest place of worship in Topoloveni…
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Source: Topoloveni National Center for Tourist Information and Promotion
The Goleștii-Badii neighborhood, an old medieval village, documented in the second half of the 15th century, is located in the southern part of Topoloveni.
The oldest place of worship in Topoloveni is the wall church, located on Topolovenilor Hill at an altitude of 255 meters. Also known as “Former hermitage of vineyards” was in the past the metoh or hermitage of Nucet Monastery, which owned manor vineyards in the Topolovenilor Hills. However, we have precise documents about the incomparable religious monument only from the 18th century, since the time of Prince Vlad Călugărul. The oldest document attesting the existence of a hermitage of Nucet Monastery in Dealul Topolovenilor is dated 24, October, Leat 7245 and is written by a priest serving from this holy place of worship.
Also here, above the inscription, a “patron diptych” is painted, two other saints: Saint Pious Parascheva from Iași (+14 October) and Saint Hierarch Visarion from Larissa (+15 September). The open porch, supported on four stone columns, preserves to this day the fresco painting, of a rare beauty, reminiscent of the Brancoveanu foundations from Horezu and Mamu. On the left side is painted the City of Jerusalem from the High Heaven, at the table are seated the 3 great patriarchs of the Old Testament: Abraham, Isaac and Jacob; and groups of Holy Apostles, hierarchs, martyrs, martyrs, pious and pious show us the eternal happiness and reward that the faithful people enjoy, who have kept the Divine Commandments and the Word of the Lord. On the right, as a true “moral justice” is depicted The Punishment of Sinners-Hell, where we see those who have apostatized from the Right Faith and different categories of people with their occupations (miller, tailor, butcher / tobacconist, innkeeper, innkeeper) ) tormenting and punishing themselves for the injustice and iniquity they have committed in earthly life, without thinking of the Universal Judgment of God. On the “sole of hell” is depicted the rich ruthless from the Gospel of the Triodion, who did not share his material gifts with those who did not have.
At the top of this Eschatological Picture are painted: Darie emperor, Por and Alexandru Machedon. The porch also houses an triptych of old crosses: 2 funerary crosses, dated in the first half of the nineteenth century and a “border cross”, dated in the first half of the eighteenth century (September 11, 1756). On the vault of the porch is depicted the Martyr of the Holy Great Martyr George, the confession of faith in the God of Christians, brought to trial before the emperor, beaten with oxen, thrown into the cauldron of quicklime, tortured, beaten, slapped, finally killed for believing ontological “to be a Christian”.
Nucet was dedicated to the Holy Great Martyr George, so the founder of this church, the hieromonk Dionysius, decided to paint this great Christian martyr of the fourth century in the meth of Nucet. The entrance to the holy place is made through a carved wooden door, in an ornamentation specific to the first half of the 18th century, like the foundations and monastic methos. The votive painting in the Historical Monument Church shows us the model of the church, as it has always been, held with his hands, as an act of sacrifice and sacrifice by the Holy Great Martyr George, the historical patron of the Nucet Monastery and by the Abbot Dionisie Nuceteanul, the founder of the saint. Next to Saint George is painted the Phanariot ruler Constantin Mavrocordat, holding the holy cross in his hand, thus showing that it is from the old order of Christian rulers and dressed in royal robes, with caftan and pafta. The founder of the church is dressed in a black, monastic robe, without ornamental motifs, protected and blessed by the Holy Hierarch Dionysius the Areopagite, painted with aura and in beautiful hierarchical vestments, with specific Byzantine embroidery.
The nave of the church is separated from the narthex by a portal, supported by two cylindrical pillars and a stone wall 1 meter high. The church furniture has traditional, simple sculptures, both the pews on the right and left of the nave; only the princely, respectively the hierarchical and the royal seats carved the bicephalous eagle above. The altar is separated from the nave by a wall iconostasis, painted with ornaments and floral embroidery, but without the large icons, being represented in miniature boxes on the temple only the royal feasts of the year. At the foot of the iconostasis we identify in a unique artistic program: two traditional vessels, one Romanian made of burnt clay and another Turkish one made of gilded metal, which bear witness to the phenomenon of inculturation over the centuries! The fresco painting is attributed, according to a calligraphic signature on the altar, to some famous painters of the time: Mihai Zugravu and Radu Zugravu.
On the right side of the Altar is the place where once was the Deacon or Vestment and where were kept both those necessary for public Divine Worship: vessels, vestments, liturgical books, and values or material riches of the place of worship sheltered in times of hardship by a secret wall in the attic above the Holy Table. Also here, in the immediate vicinity of the deacon, is painted the face of Hierarch Visarion of Larissa, along with the great Holy Hierarchs of Byzantium, as a gift of thanks and confession brought by the founder of the holy church of this Greek saint, known in those days as great thaumaturge or disease healer. The altar has the Holy Table made of carved stone and brick at the foot of the altar, on which are placed old liturgical vessels, an Easter ark, wooden and metal crosses; as well as a small Octoih, printed in 1712, the 24th year of the reign of Constantin Vodă Brâncoveanu and the 4th year of the hierarchy of Antim Ivireanu, metropolitan scholar. At the same time, to the Proscomidiar on the left, are exposed three old epitrachs (quarters), which belonged to the church servants from the new church.
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