Dormitorul Reginei Maria - Muzeul Naţional Cotroceni

Dormitorul Reginei Maria

Dormitorul Reginei Maria a fost restaurat conform variantei din 1929. Pana la aceasta data, interiorul a avut un aspect muft diferit, aici aflându-se dormitorul "argintiu" sau "celtic". Ambianta dormitorului "biserica", cum i se mai spunea, era feerica, abundenta decorului floral fiind egalata de bogatia formelor si motivelor de inspirape celtica. Coloane mari, arcuri semicirculare creau un urias "alcov" in jurul patului solemn, deasupra caruia atârna un superb soim argintiu. Stucatura era în întregime argintata, iar pardoseala era compusa din dale de culoare turcoaz care-i conferea un aspect acvatic.

O cu totul alta conceptie a stat la baza variantei din 1929. Regina Maria a ales pentru noua înfatisare a interiorului stilul Tudor. Este evidenta importanta acordata aici lemnului aparent, atât la evidentierea elementelor constructive - barnele plafonului si arcele de sustinere -, cât si la decoratia interioara, mai ales la ancadramente, usi si la mobilierul fix. Plastica decorativa a peretilor inalti rezulta din cele câteva nise si arcade care sparg monotonia albului dominant, precum si din prezenta caminului monumental.
Atmosfera era întregita prin multimea obiectelor sacre care populau încaperea, înclusiv patul - acum înlocuit de o replica aproximativa, originalul aflându-se într-o colectie privata din Beirut -, realizat prin asamblarea mai multor icoane vechi reprezentând profeti. Azi, deasupra patului se afla expusa o "verdura" din secolul al XVIII-lea.

Dintre mobilele originale ale acestui spatiu se evidentiaza câteva piese mici, scaune si masute decorate în acel inconfundabil "art nouveau". De asemenea, doua statuete, un cap de femeie si un nud, semnate Milita Petrascu. Alaturi de acestea sunt expuse in dormitor "Madona della Sedia" - copie dupa Raffaello Santi (ulei pe panza) si portretul realizat de Costin Petrescu.

(Extrase din ghidul Muzeului National Cotroceni)

Queen Marie's Bedroom

Queen Marie's bedroom was restored according to the 1929 variant. Up to this date, this space had had a much different aspect: the "silver" or "Celtic" bedroom used to be here. The ambiance of the "church" bedroom, as it was also called, 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 Marie chose the Tudor style for the new image of her bedroom. The importance given to apparent wood is obvious here, as it both points out the building elements-the ceiling beams and the support arches - and contributes to inside decoration, especially as regards frames, doors and fixture. The adornment of the high walls was achieved by means of several niches and arcades that represent a breach in the monotony of the dominating white, as well as by the presence of the monumental fireplace. The atmosphere was completed by the big amount of sacred objects that filled the room, including the bed - now replaced by an approximate replica, as the original is in a private collection in Beirut -, made by joining several old icons representing prophets. Nowadays, above the bed there is a "verdure" from the 18th century.

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. Two statuettes - a woman head and a nude, both signed Milita Patrascu, are placed in the small entrance hall that precedes the bedroom. Near them there are 3 pastels exhibited in the bedroom: "Portrait of Queen Marie with Princess Ileana" by Boleslaw von Szankowski (Polish school, end of the 19th century - beginning of the 20th century) and "Portrait of Princess Elizabeth", signed by Giulia Ferraris (Italian school, end of the 19th century - the beginning of the 20th century).

(Excerpts from The Cotroceni National Museum Guide)