The Municipality of Baia Mare
The Municipality of Baia Mare

The Municipality of Baia Mare

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Hearing the heart’s call, Baia Mare we shall explore

We must admit that rural Maramureș is the favorite of tourists, but any route you would follow through our beautiful county must have as a starting point the urban center of Baia Mare, a city with a rich past and a promising future. It is no coincidence that we mentioned the rich past of the city, documented since 1329, which developed as a gold center during the fourteenth and fifteenth centuries. Two fragments of the defense wall of the Baia Mare fortress can still be seen today in the city. One of them is in the immediate vicinity of the Maramureș County Museum of History and Archeology, while another fragment is visible on Podul Viilor Street, near the Săsar River. The fortification system was built in the time of Matthias Corvinus (Matei Corvin) and included four gates and seven towers, of which only the Butchers' Bastion survived until today. The latter's name comes from the butchers' guild, to which the bastion was entrusted, but it is also known as the Ammunition Bastion, as it served as a place to store ammunition to protect the fortress. The death of Pintea the Brave (Pintea Viteazu) is connected to this Bastion: he was shot near the South Gate of the city during the anti-Habsburg uprising. The Bastion currently hosts ethnographic and folklore exhibitions and fairs.

The former Central Square of the city, known today as the Historic Center, also tells us about the past. Those who fall prey to the medieval air of the area, surrounded by centuries-old buildings, with the status of a historical monument, feel like in a time machine. The Iancu de Hunedoara House is such a building, that has carried the story of its erection across the centuries. It is joined by other architectural gems such as the Degenfeld House, the beautiful building of the former King Stephen's Hotel, the Agricultural House, the Harácsek House, the Lendvay House, the Husovski-Petrescu House or the Black Eagle Inn.

No matter how beautiful all these buildings are, the star of the city remains Stephen’s Tower (Turnul Ștefan), located in the Citadel Square. Dating back to the 14th century, the Tower is a symbol of the city of Baia Mare, and has served as a bell tower for the former "Saint King Stephen" church. The construction of the massive stone tower with a height of 50 meters was ordered by John Hunyadi (Ioan de Hunedoara) to celebrate a victory. The moon clock, installed in 1928, completes the medieval characteristics of the monument. The bell, about five centuries old, found its place in the tower only in 1925. A total of 165 narrow stairs give access to the turret at the top, which reveals an unparalleled view over the city. On the southern side of the Citadel Square we also find the "Holy Trinity" Roman Catholic Church of the former Jesuit monastery, which was built in Baroque style between 1717-1720 and belonged to the Jesuits until 1773. On its facade are two side niches, with the statues of the Jesuit saints Ignatius of Loyola and Alois Gonzaga, but also a central one, where you can see the statue of St. Joseph holding the baby Jesus in his arms. The murals on the vault, made in the early twentieth century, are attributed to the painter Károly Kiss, while the painting of the main altar, made in 1823, is the work of the painter László Kármán. Not far from this place we find another historical monument of Baia Mare. It is the "Saint Antony of Padua" church (Sfântul Anton de Padova) in Liberty Square, which was erected in 1402 by the Order of Minorities, underwent extensive rehabilitation works in the 19th  century. The small place of worship is surprising due to its simplicity, having a modestly decorated interior. The altar painting is the work of the painter Megyeri Mayer, from Budapest. Another emblem of the city is the Reformed Church on Podul Viilor Street. It was built between 1792 and 1809, in Neoclassical style, its church tower, with a height of 50 meters, being erected in 1836. The place of worship with the red dome tower became, along with Stephen Tower, a symbol of Baia Mare. The interior of the church houses a beautiful priestly tribune built in 1786, an altar table completed in 1873, but also an organ made in 1828 and refurbished in 1891. Keeping the spiritual register, we turn our attention to the Evangelical Church. Although the conversion of the entire city of Baia Mare to the Reformed religion was recorded in 1547, the current Evangelical Church was built only in 1912, after the first church, built in 1693, was demolished and the second, built in 1805, was replaced. The current church was built in the Art Nouveau style and still houses the pews, organ and altar of the old church. The painting of the altar bears the signature of the painter Iványi Grünwald Béla, completed in 1903. Among the holy places are the Cathedral of the Assumption of the Virgin Mary (Adormirea Maicii Domnului) and the imposing Orthodox Episcopal Cathedral of the Holy Trinity, which today is 85 meters long, 50 meters wide and 85 meters high. 

The city of Baia Mare also boasts a generous cultural offer. The Maramureș County Museum of Ethnography and Folk Art, “Victor Gorduza” County Museum of Mineralogy from Baia Mare, the Baia Mare Museum of Astronomical Sciences, the Maramureș County Museum of History and Archeology and the Maramureș County Museum of Art - Baia Mare Artistic Center - are some of the cultural institutions that greet their visitors with a unique museum background. Another representative place for the cultural life of Baia Mare is the Painters’ Colony (Colonia Pictorilor). For  over a century, it has been the meeting point for artists from the country and abroad, who have defined and refined their style at the Baia Mare School of Painting. The Painters’ Colony ensemble was included on the List of Historical Monuments in 2010, being subjected to a rehabilitation project that was completed in 2017. The exhibition complex reveals the identity of the Baia Mare artistic guild, in a space that combines the past with the present, being an expression of its continuity. Art lovers can also admire three statuary complexes in the city, namely the Monument dedicated to the Romanian Soldier (Monumentul Ostașului Român), the Council of the Elders (Sfatul Bătrânilor) and the Miner’s Statue (Statuia Minerului). Theater enthusiasts will not be bored in Baia Mare either, as they can opt for the performances of the two artistic institutions in the city, namely the Municipal Theater or the Puppet Theater. 

And when you thought we had finished the journey through the tourist heritage of Baia Mare, we have kept some recommendations for those who want to enjoy nature. On the administrative territory of the city you will find the "Sweet Chestnut Tree Baia Mare" Natural Reserve, the Columns of Limpedea Reserve and the Firiza Dam, three attractions for those who prefer to spend time outdoors. If we were sober to the end, you would say that we are not true "moroșeni"- Maramureș dwellers, so we promise you that in our city you will find as much fun as possible, the nightlife being just as effervescent in the city at the foot of the Gutâi Mountains. 

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One of the most appreciated tourist objectives of Maramureș is the Rooster’s Ridge Reserve. The formation of volcanic rocks, which have made their way to the surface in the high area of ​​the Gutâi Mountains and which from a distance resembles a rooster’s crest, reveals a beautiful panorama over the vast mixed forests and areas of juniper and mountain pastures. Extremely generous in terms of habitat, but also of activities and sports that can be practiced outdoor, the Rooster’s Ridge Reserve was, still is and will remain one of the favorite destinations of tourists visiting the county.
Desesti, Romania
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. 
Desești 437135, Romania
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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.
Bârsana 437035, Romania