The neighborhood of Saint Elefterie in Bucharest experienced significant growth during the second half of the 19th century and the early decades of the 20th century, particularly after World War I. This expansion led to the overcrowding of the old church, Saint Elefterie – Vechi, which could no longer accommodate the increasing number of parishioners wishing to attend services.

The Need for a New Church

Recognizing this challenge, the parish assembly, led by Father Mihail Bulacu, convened on April 20, 1934, and resolved to construct a new church that would meet the needs of the growing congregation. 

The response from parishioners was immediate and generous. Among the most notable contributors were General Ion Georgescu (1884–1956), a Knight of the Order of Michael the Brave, and his wife Smaranda, who donated 100,000 lei. 

Additional funds were raised through the sale of parish lands and contributions from other devout members of the community.

Planning and Architectural Vision

On March 31, 1935, the largest parish assembly in the history of Saint Elefterie gathered in the Aula Magna of the Faculty of Medicine in Bucharest. Thanks to a projection screen and equipment donated by Professor Francisc Rainer, attendees were able to view full-color plans of the new church, drawn voluntarily by Professor Constantin Iotzu (1884–1962), who would later become the dean of the Faculty of Architecture in Bucharest.

Iotzu’s design was inspired by the great Byzantine churches, particularly Hagia Sophia, and 16th-century Wallachian churches, such as Saint Nicholas Royal Church in Curtea de Argeș. 

The proposed church was planned to be the most spacious in the capital, covering 343 square meters, 70% larger than the largest church in Bucharest at the time, the new Saint Spiridon Cathedral. A unique feature of the design was the inclusion of three altars: a central altar and two side altars. The original colored drawing of this project remains preserved in the parish office.

Construction and Groundbreaking

With the parishioners’ support secured, a competition was held among Bucharest’s leading construction companies to determine who would execute the project. The contract was awarded to the company “Clădirea Românească,” while Professor Iotzu supervised the project as lead architect. 

The chief engineer, Dumitru Marcu (1884–1942), a pioneer in reinforced concrete techniques and the engineer behind the Orthodox Cathedral in Cluj-Napoca, oversaw construction. The work was executed with remarkable quality, allowing the building to withstand the earthquake of November 10, 1940, without any damage.

On June 29, 1935, the cornerstone was blessed in a ceremonial event attended by Bishop Veniamin Pocitan (1870–1955), representing Patriarch Miron Cristea, as well as numerous clergy, church officials, and civic dignitaries. The liturgical responses were performed by the choir of Domnița Bălașa Church, conducted by Professor Ioan D. Chirescu. 

The event was commemorated in the church’s foundational document, inscribed on two sheets of parchment: one placed in a metal tube beneath the foundation and the other preserved in the altar. The document celebrated the spirit of unity, devotion, and faith that guided the parishioners in building the new sacred space.

Interruptions Due to World War II

Construction was progressing rapidly when, in 1940, work was interrupted due to Romania’s entry into World War II. At that point, the structure was complete in its raw form, with the roof installed and the brick exterior finished. 

Shrapnel damage suffered during wartime was only repaired twenty years later, in 1967. Finishing works, including painting, sculpture, and carpentry, required significant time and funding. Patriarch Justinian Marina (1948–1977) played a decisive role, supporting and guiding the completion of the church through all stages.

The Artistic Realization

Painting of the church began in 1959 under the supervision of Patriarch Justinian, executed initially by artist Vasile Rudeanu (d. 1965), who employed fresco techniques rather than the more common oil method. He first prepared natural-size sketches of saints and scenes on cardboard, then transferred them onto the church walls. Rudeanu completed approximately 1,300 square meters, including the Holy Altar, the main dome, and surrounding arches, before his death.

His work was continued by painter Iosif Keber (d. 1989), who between 1966 and 1971 completed the remaining 1,250 square meters, including frescoes of the Nativity scene, the main altar arch, and the dome above the choir. 

Additionally, the iconographer Stan Hermeneanu painted smaller icons in oil. Funding for the painting was partially provided by the Archdiocese of Bucharest and partially by Patriarch Justinian Marina’s personal donations.

The Archdiocese also fully financed the church’s furniture, including three cherry-wood iconostases, archiepiscopal thrones, and marble bases crafted by master Grigore Dumitrescu. Patriarch Justinian personally oversaw the placement of pulpits above the icons of the Holy Apostles Peter and Paul, designed by architect Gheorghe Naumescu.

Lighting and Electrical Systems

A plan for optimal lighting was developed by engineer Octavian Mateșiu of the Patriarchal Administration, who also replaced the outdated electrical system with modern copper wiring. 

Three large chandeliers in the Brâncovenesc style illuminated the church interior, complementing the candelabra and ensuring the grandeur of the sacred space.

Completion and Consecration

After nearly forty years of effort, the church was finally completed and consecrated on June 29, 1971. Patriarch Justinian Marina officiated the ceremony, assisted by Bishop Antonie Ploieșteanul and a host of priests, including the parish priest Mihail Bulacu and his colleagues Atanasie Preda and Octavian Popescu. 

The patriarch blessed the central altar, Bishop Antonie blessed the right-side altar, and Father Alexandru Ionescu blessed the left-side altar. Following these rites, all parishioners were allowed to pass through the Holy Altar, and the Divine Liturgy was celebrated at 11:00 a.m.

As a token of gratitude, parishioners presented Patriarch Justinian with a portrait depicting him in ecclesiastical vestments with the Saint Elefterie New Church in the background, now preserved at Radu Vodă Monastery. 

The church’s inscription above the entrance commemorates the generous contributions of parishioners, the oversight of Father Mihail Bulacu, and the interruptions caused by World War II, noting that the church was finally sanctified 36 years after construction began.

Challenges and Restoration

The church suffered minor damages during the earthquake of March 4, 1977, particularly to the Pantocrator dome. 

Reinforcement and restoration works took place between 1977 and 1983, funded by the Archdiocese and the parish council. The church interior was cleaned, and it was reconsecrated on February 1, 1981.

A Beacon of Ecclesiastical and Cultural Significance

Saint Elefterie the New Church has become one of the most important monuments of ecclesiastical art in Bucharest. Over the years, it has been visited by numerous religious dignitaries, including Ecumenical Patriarch Athenagoras I (1948–1972) and the Archbishop of Canterbury, Michael Ramsey (1961–1974).

Its construction, nearly four decades in the making, stands as a testament to the devotion, faith, and generosity of Bucharest residents. Born from the love and donations of parishioners, guided by dedicated clergy, and completed under the vision of Patriarch Justinian Marina, the church is not only a place of worship but also a jewel of architectural and artistic heritage in the city.

Through its grandeur, historical significance, and spiritual role, Saint Elefterie the New Church continues to serve as a living symbol of the parish’s dedication, preserving the memory of generations of faithful Romanians and celebrating their enduring commitment to God and community.

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