Calvinist Church Restoration, Szék

The restoration, renovation, expansion, and modification of the important historic church in Szék— a medieval salt-mining center located northwest of Kolozsvár—represents a milestone of major significance in the history of monument conservation in Transylvania. The church, which had undergone substantial alterations over the centuries, was researched and documented by Géza Entz and József K. Sebestyén, while the architectural design and supervision of the restoration were undertaken by Károly Kós.

In addition to the faithful uncovering and restoration of the interior frescoes and carved details, the most significant and dramatic interventions on the exterior included the reconstruction of the original roof structure that revealed the rose windows above the central nave; the demolition of the central tower; the construction of an entirely new tower adjacent to the main entrance; and finally, the addition of a semi-transept-like wing to the side of the church. This latter intervention responded to the need for increased seating capacity. While the new wing represents a compromise between the desire for an authentic restoration and the practical needs of the congregation, the architect handled this tension clearly and without creating visual or compositional confusion.

The main façade poses a kind of architectural enigma: Kós effectively created a “characteristically Kósian” façade, seeking to integrate the “new” element of the tower within the framework of an ostensibly “old” composition. For visitors approaching along the ridgeline of the surrounding hills, it is in fact this new tower that signals the location of the church at Szék—directly evoking the world of medieval towers, while revealing the architect’s hand only to those initiated into its deeper logic.

“The church of Szék was built sometime in the thirteenth century. It is one of three three-aisled rural stone basilicas dating from the Árpád period. It bears witness to the ancient settlement of Szék and to the fact that, eight hundred years ago, the Hungarian people living here among the mountains participated in European and Christian culture. Yet the present generation scarcely knew this, nor was it recognized by Hungarian cultural and art history, because in past centuries the church’s original exterior—with all its artistic details, its carved stone rose windows, and its eight-hundred-year-old frescoes—was walled in, whitewashed, and covered with a frightening hipped roof by the pious faithful of the time.

Now the church required repair, and its expansion also became necessary. But when it was learned that the church was the artistic legacy of Hungarian ancestors from the age of the Árpád kings, the community also voted to cover the costs of restoration. Work began, and thus far the villagers alone have raised 50 million lei through donations within four months. Yet their most valuable contribution will be the reintegration of this eight-hundred-year-old proof of Transylvanian Hungarian culture—more precious than anything else—into the enduring artistic heritage of our nation.”

(Károly Kós: “Számadás,” Világosság*, Vol. III, No. 128, 11 June 1946, p. 4.)*