The wooden church "The Holy Archangels Michael and Gabriel" from Ulmeni

Located right in the heart of Lăpuş Country, Rogoz village boasts one of the most beautiful wooden churches in Maramureş. It was erected in 1663, on the site of a church burned by the Tartars during their invasion in 1661 and legend says that it was built from two huge pieces of woods brought from Popii Hill. The church dedicated to the Holy Archangels Michael and Gabriel is, in general, part of the architecture specific to this region. Unlike other churches, the Rogoz place of worship stands out through its harmonious asymmetry. The roof, on one level, is much lower in the northern part of the building, providing protection for a table designed to commemorate the dead. The monumental table consists of two beams and is delimited by segments, intended for various families, whose names are inscribed on the north wall of the church. These families respect the tradition and, every year, on Holy Thursday, they bring "dishes", leaving them on the table overnight, so that on the Friday of the Crucifixion of Christ be given to the poor. The harmonious architectural lines gracefully blend with the unique decorative elements. In addition to the interesting three-ring coif, located above the steeple’s turret we find in Rogoz a beautiful entrance portal to the narthex and a twisted rope, broken by a solar symbol, which runs along the entire south wall. Unique in Maramureş are, however, the ends of the beams that support the roof, carved in the shape of stylized horses. Those on the southern façade are considered, in the village, to be carriers of the Sun on the celestial vault, and those on the north side are considered carriers of the Sun at night, in the realm of the dead. The altar is provided with a circular window to the east, through which, between  August 1-15, the sun's rays penetrate and illuminate the table of the Holy Altar for 30 minutes. This characteristic individualizes it, placing it next to other monuments in the history of art, which direct the sun's rays towards important symbolic elements. The monument outstands through the painting executed in 1785 by the painters Radu Munteanu and Nicolae Man. The iconographic appearance is close to the one in Deseşti and is very well preserved. It is interesting to follow one element from the Last Judgment, which is painted in the narthex, namely: the road to Heaven, on which the soul travels, accompanied by an angel. The theme is inspired by a folk belief that speaks of the trials that men go through after death in order to reach God. The church and the people of Rogoz village quickly introduce you into a fairytale world, where the natural and the supernatural seem to blend effortlessly.

At the foot of the Gutâi Mountains, at the intersection of the roads that connect the towns of Baia Sprie and Cavnic, there is a beautiful hilly area, surrounded by mountains. Here, the splendor of nature's harmonies is matched only by the monumental wooden church that rises in this depression. Raised above space and time, the 54-meter tower of the church in Şurdeşti gives the feeling of complete peace between people and nature. The church was built in the middle of the 18th century by the master carpenter Macarie, whose name is preserved in a visible inscription today verandah above the porch. Initially, the place of worship had three rooms: a narthex, a nave and an altar. In the 19th century, a spectacular porch with two rows of arches was added (on the ground floor and upstairs), thus obtaining a harmonious decoration for the western part of the building. A carved belt in the shape of a rope surrounds the monument, and the entrance to the narthex is made through a portal, decorated with the same motif of the rope, but also with solar symbols. In the nave there is another unique architectural element: two columns carved in stone, which support the balcony for the choir. The monumentality of the building is underlined by the way the tower is built. To achieve the astonishing height, the carpenters build a structure with a very generous base, which rests on the wooden walls of the church.  The iconographic appearance of the Greek-Catholic Church in Şurdeşti is similar, stylistically and thematically, to that of the Orthodox Church in Plopiş. The altar was also painted by the painter Ştefan, who uses here in a unique way the theme of the council of the twenty-four elders from the Apocalypse. The nave, it seems, was painted by a certain painter named Stan. The style remains Baroque, and the theme of the semi-cylinder completes the history of the end of the world in the vision of Saint John the Evangelist, so well captured in Plopiş. In addition to the common themes, here one will find the theme of "Jacob's Ladder"; supported by the cloud surrounding the icon of the Trinity, the ladder allows angels to ascend and descend, thus mediating between God and man. The sister churches from Plopiş and Şurdeşti prove over time that the confessional difference, which appeared at the beginning of the 18th century in Maramureş, did not change the way of being of the inhabitants and did not bring radical changes in the architecture of the places of worship or in their iconography.

The rich forests in the area of ​​the Cosău River offered the people the wood used for the construction of the beautiful church in Budeşti-Josani, located about 30 km south of Sighetu Marmaţiei, in the direction of the Cavnic town. Dedicated to Saint Nicoară - the folk name of Saint Nicholas - the edifice was erected in 1642 and is part of the group of large churches in Maramureş. Erected in the first part of the 17th century, the church witnessed the rebellion against the House of Austria of the Transylvanian prince, Francisc Rakoczi. He was backed up by the famous Maramureş outlaw, Pintea the Brave (Pintea Viteazul). The revolt was defeated and Pintea was killed during the siege of Baia Mare, but the name of the beloved outlaw will forever remain linked to the church in Budeşti-Josani, where some of its chainmail are exposed. Here you can also see a flag of Rakoczi, the prince who was supported by Pintea.  The monument is located on the top of a hill, in the middle of the cemetery. A traditional Maramureş gate opens the path, guarded by the graves of the ancestors. The rich forests in the area of ​​the Cosău River provided the people wood for the construction of the beautiful church in Budeşti-Josani, located about 30 km south of Sighetu Marmaţiei, in the direction of the Cavnic town. Dedicated to Saint Nicoară - the folk name of Saint Nicholas - the edifice was erected in 1642 and is part of the group of large churches in Maramureş.  The architecture of the building is notable for its dimensions (18 meters long and 9 meters wide), the technical solution chosen to support the walls and the tiered roof. The walls and the roof are harmoniously joined, so that the two ridges of the roof surround the church, from the narthex to the altar. Also, the joints at the corners represent veritable masterpieces, extended by consoles far protruding, in order to support the flared roof. The bell tower distinguishes itself from those of other churches in Maramureș, being provided with a pavilion much extended on the outside and topped by a wrought iron cross. The main spire is flanked, at the base, by four small spires, symbolizing the Council of the Elders held in the village of Budeşti, in old days. The door of the place of worship has a monumental frame, whose ornaments include a series of carefully arranged motifs.  Iconographically, the church is a perfect example of post-Byzantine tradition – expressed by  the painting of Alexandru Ponehalschi, from 1762 - but also of Baroque influence, present in the altar painting, done in 1812 by Ioan Opriş. The south wall of the nave stands apart thanks to the image of the prophet Elijah (Ilie) ascending to heaven in a chariot of fire. Visitors shall discover in Budeşti-Josani an important collection of wood carved and glass icons, dating from the 17th and 18th centuries, which are striking through their harmony of colors and the simplicity of the lines. One of them is inscribed with the following text: "This icon was made by the too-sinful George".

The road from Baia Mare to Sighetu Marmaţiei crosses the Gutâi Mountains, passing through the township of Deseşti. On these lands stands one of the most important churches of Maramureş, not far from the sources of the Mara River. Erected in 1717 - according to other sources, in 1770, on the site of an older one, this place of worship was dedicated to the Pious Paraschiva and was painted around 1780 by Radu Munteanu and Alexandru Ponehalschi. The architecture of the building is in line with that of the traditional churches of Maramureș, the harmony of its proportions strengthening the impression of simplicity and elegance, specific to these monuments. The upper beams that support the frame are carved in the shape of a ladder, giving the ensemble a special line. The layout of the place of worship comprises a rectangular main body - which, on the outside, resembles the layout of a hall-type church - which consists of a narthex and a nave, continued by the detached altar. The nave has a semi-cylindrical vault and double eaves. Above the ceilinged narthex rises the bell tower with a sharp coif, the entire architectural ensemble being supported on a stone pedestal. Access to the interior of the building is done through a portal inlaid with geometric and vegetal decorative motifs, but also with the element of the twisted rope, a symbol of Christian unity. The exceptionally well-preserved painting has undergone a complete restoration, giving the monument its original appearance. The iconographic themes of Deseşti are common to all churches with post-Byzantine paintings, but here they can be observed much more easily. The narthex develops the theme of the Last Judgment, and here - but also at Poienile Izei - the moralizing valences of this theme can be easily identified. If in the art of Byzantine tradition of previous centuries the main characters painted in Hell were heretics and persecuting emperors, here we can easily see how the theological valences of the scene diminish, carnal sins prevailing over faith sins. Thus, the one who steals land without respecting the border, the one who steals taking advantage of his job as a miller or merchant, or the one who destroys families, become the main characters in scenes that show us a Hell full of torture tools used in the Middle Ages. The value of the monument lies in its technical construction, in the perfect science of execution and assembly of wooden elements. The architectural harmony and the perfect integration of the wooden decorative elements with the iconographic ones created an ensemble of remarkable simplicity and elegance. 

Erected at the beginning of the 18th century, as a place of worship for an important monastic community, the current UNESCO heritage church was the cathedral of Bishop Gavriil of Maramureş. Born in Bârsana, the bishop patronized a monastery school and a book distribution center there. The events that have taken place in the last three hundred years on the Iza Valley have left their mark on the beams of the church in Bârsana, more than on other monuments.  At the end of the 18th century, the imperial court in Transylvania and Maramureş would impropriate the monastic properties and the close down of the monastic communities. This campaign directly affected the monastic community, which was forced to withdraw to Moldova. Left unprotected, the church would be saved by villagers, who dismantled it piece by piece and, around 1800, would rebuilt it on its current site. For a proper reassembly, the beams bear signs that can be admired today. Standing on a pedestal, the beams carved from large oak trunks - from which the walls were built - were joined at the corners in a "swallow's tail" pattern. For two hundred years, the church has been guarding the peace of the people of Maramureş, buried in the cemetery on Jbârului Hill, to the left of the road that starts from Sighetu Marmaţiei, along the Iza River. The layout of the church is rectangular, composed of four rooms: porch, narthex, nave and altar. The apsis of the altar has five sides, being covered with a simple roof. Above the other rooms of the worship place, the roof has two ridges, housing a balcony to the west. The ornaments and the manner in which the western façade is made are identical to those of the porches of traditional houses. The carved wooden decoration uses motifs common in Maramureş, such as the twisted rope or the solar disk. The whole church seems to be surrounded by a twisted girdle, discontinued by a circle-shaped solar motif. After moving to the village, it was painted by Toader Hondor and Ioan Plohod, the iconography of the monument being considered to be the best expression of Baroque and Rococo in folk painting, in this part of the country. The scenes are depicted within stylized medallions binding the entire iconographic ensemble. The impressive wooden church from Bârsana is an example of perfect stylistic unity and an impeccable artistic sense.