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Julia's Castle



From Dr Adrian Gheorghe:

Castelul Iulia Hasdeu

Julia's castle
A general view of the front of the castle.

Photo: Adrian Gheorghe

 Una dintre cele mai misterioase locatii din Romania este castelul Iulia Hasdeu, aflat in orasul Campina, la 40 km nord de Ploiesti.

Iulia Hasdeu a murit in 1888 la 18 ani de tuberculoza si se afla inhumata in cimitirul Belu din Bucuresti. Profund afectat de pierderea ficei, tatal ei, B.P. Hasdeu, in 1893 a inceput constructia unui castel pe terenul din Campina, si intre 1888-1891 a amenajat mormantul acesteia din cimitirul Belu. Sotia lui B.P. Hasdeu si mama Iuliei a murit in 1902, iar B.P. Hasdeu a murit in 1907. Iulia a fost un copil extrem de inteligent, cunoscatoare de limba franceza si scriitoare de la o varsta mica, iar pierderea sa a fost un adevarat dezastru pentru tatal ei care nu a acceptat niciodata acest fapt. B.P. Hasdeu a incercat permanent sa intre in comunicare cu spiritul si sufletul Iuliei, motiv pentru care a apelat la persoane specializate in spiritism si la un grup de prieteni intelectuali care sa il ajute in acest sens. Exista foarte multe documente de epoca legate de activitatea spiritista a lui B.P. Hasdeu si exista doua locatii (castelul din Campina si mormantul din cimitirul Belu din Bucuresti), care au fost folosite in acest scop. Exista foarte multe legende si povesti legate de castel si mormant, dar exista si puncte de vedere ale specialistilor care nu acorda o importanta prea mare acestor intamplari.




In ceea ce urmeaza voi incerca sa redau cat mai precis fapte din surse credibile sau la care am fost martor direct, fapte care sustin ipoteza unor fenomene misterioase legate de numele Iuliei Hasdeu.

1. Mormantul Iuliei Hasdeu se afla in cimitirul Belu- Bucuresti si este lucrat din marmura, cu cateva trepte care coboara intr-o camera mica. Pe pereti se afla sculptate versuri scrise de Iulia in copilarie, iar in camera se afla piese care amintesc de ea (un bust de marmura, ceasul ei de birou si cartile preferate). Sicriul este protejat de o placa de sticla din cristal. Tatal meu mi-a relatat ca, in perioada cand era student (in jurul anului 1955), mai multi colegi studenti faceau numeroase vizite in cimitirul Belu din Bucuresti pentru recreere si in special la mormantul Iuliei dar si altor artisti, scriitori si poeti care se odihnesc in acest cimitir. Intr-o astfel de imprejurare, una dintre fete a patruns in mormantul deschis pentru a copia in caiet versurile scrise pe peretii mormantului. Ca o gluma, cativa colegi au tras peste mormant usa grea de bronz a acestuia, vrand sa o sperie pe fata ; fata a inceput sa tipe speriata si studenti au vrut sa deschida usa, dar aceasta a ramas blocata. Au fost chemate in ajutor mai multe persoane din administratia cimitirului dar usa nu a putut fi deschisa. In acest timp fata inchisa in mormant a continuat sa strige dupa ajutor si sa spuna ca prin intunericul din mormant cineva se apropie de ea. Strigatele au incetat, usa a putut fi deschisa si fata a fost gasita moarta pe treptele de la intrare, cu urme de strangulare in jurul gatului. Ancheta a presupus ca fata inspaimantata si-a produs singura moartea de frica. Au fost luate masuri de protectie al mormantului si a fost interzisa patrunderea in interiorul acesteea. Dar, legenda spune ca fata a fost pedepsita pentru ca a patruns intr-un loc special si ca moartea ei se datoreaza altor cauze decat cele stabilite prin ancheta.

2. Castelui Iuliei Hasdeu este construit in orasul Campina in mijlocul unui parc mic cu multi arbori. Castelul este alcatuit dintr-un turn central si alte doua mai mici, de o parte si de alta a acestuia. Aspectul castelului nu este obisnuit pentru tara noastra si legenda spune ca a fost proiectat si construit special pentru activitatea spiritista a lui B.P. Hasdeu in memoria ficei sale. Castelul este construit pe principiul numerelor magice 3 si 7, avand de exemplu trei turnuri, trei pivnite si scari formate din cate sapte trepte, care duc spre acestea. Intrarea principala in castel se face printr-o usa enorma din piatra masiva care este plasata pe un ax cu diamant in jurul careia usa se roteste cu usurinta, apoi se inchide singura, datorita inclinarii acestui ax, in functie de rotatia pamantului. Pe aceasta usa de piatra se afla sculptat blazonul familiei Hasdeu si doua inscriptii : prima este « pro fide et patria » (« pentru credinta si tara ») iar a doua este « e pur si muove « (« si totusi se invarteste «), ceea ce incurajeaza pe vizitatori sa apese acest bloc de piatra care se deschide cu usurinta, permitand intrarea in castel. De o parte si de alta a usei principale, se afla usi secundare care sunt folosite de obicei pentru intrarea in castel. Tot pe de o parte si de alta a usei principale se afla doua scaune din piatra pe care sunt scrise numele purtate de Iulia in cele sapte vieti pe care le-a trait pe pamant. Deasupra usei de piatra este sculptat ochiul lui Dumnezeu, cuprins intr-un triunghi. Dupa ce treci de usa de piatra, in stanga si dreapta, se afla doua oglinzi mari care multiplica la infinit imaginea vizitatorului, ca un fel de primire a acestuia intr-o lume speciala. In continuare se afla o camera mare (cat tot turnul central al castelului) in mijlocul caruia se afla un stalp de piatra inalt pe care este asezata statuia lui Isus Cristos in marime naturala. In spatele stalpului se afla trei camere mici, una reprezinta sala de muzica cu pian si celelalte doua biblioteca castelului. In stanga si dreapta camerei mari se afla camere mai mici, intre care birourile si dormitoarele Iuliei si ale familiei Hasdeu. In ultima parte a castelului, se afla camera de spiritism unde se gaseste mobilier facut din lemn fara cuie, pe baza cifrei 3 (scaune cu 3 picioare, de forma triunghiulara, in 3 muchii), precum si masa de spiritism si multe documente legate de aceasta activitate inclusiv fotografii de epoca . Aceasta camera comunica cu una din camerele castelului printr-o fereastra speciala in care aparea fantoma chemata pentru discutii si ea putea fi vazuta de grupuri de persoane martori, plasate in cele doua incaperi. Camerele sunt separate prin usi metalice tip grilaj pentru a putea permite libera circulatie a spiritelor.

Prima vizita la castel am facut-o in 1972, cand acest castel era deschis doar de cativa ani pentru vizitarea publicului si era asistat de un custode batran care ne-a prezentat intreaga poveste a castelului. In acea vreme, peretii castelului erau pictati cu semne magice din orient si am putut vedea aranjamentul castelului foarte apropiat de felul in care fusese folosit. Am vazut multe caiete in care erau scrise intalnirile cu fantoma Iuliei dar si a altor persoane de multa vreme disparute si am vazut fotografii speciale realizate cu aparate de fotografiat de epoca, lasate deschise pe timpul noptii si care inregistrasera pe placa fotografica forme geometrice luminoase plutind de asupra capului lui B.P. Hasdeu adormit. Toate aceste documente purtau semnaturile unor martori importanti din acea perioada, medici, avocati, scriitori, care participasera direct la aceste experimente. Batranul custode a spus ca in cei cativa ani de cand avea grija de castel nu observase nimic neobisnuit doar ca se temea sa ramana seara singur in castel deoarece simtea permanent o stare speciala, o prezenta straina, dar nevazuta.

O alta vizita in castel am facut-o dupa 1985, cand castelul se afla in reparatii, usa mare de piatra fusese blocata cu caramizi, picturile de pe pereti erau acoperite cu var si castelul era gol, o parte din mobila si carti erau disparute. Custodele castelului era o tanara fata care a negat permanent orice semnificatie magica a castelului si a contestat existat camerei pentru spiritism, sau a unor fenomene neobisnuite. Suparat, am luat-o cu mine prin castel si i- am aratat rand pe rand locurile importante pe care le stiam dinainte, chiar si fereastra si camera pentru spiritism. Vazind acest lucru, tanara a recunoscut ca au ordine precise sa nu incurajeze legenda castelului, a precizat ca mobila si cartile care mai ramasesera erau depozitate intr-o cladire anexa si a refuzat propunerea mea de a intra in prezenta unui grup de martori la miezul noptii in castel in turnul principal, chiar daca il ofeream o suma importanta de bani. Fata a relatat ca, cu putin timp in urma, un grup de elevi care vizitau castelui (absolut golit de mobila)au fugit speriati deoarece intr-una din camerele goale s-a auzit de catre totii, o melodie cantata la pian, cu toate ca pianul se afla depozitat intr-o cladire anexa in afara castelului si cu toate ca numai specialistii stiau ca acea camera goala fusese folosita ca sala de muzica de catre Iulia. Tot fata a povestit ca in preajma stalpului de piatra din turnul special al castelului nu functioneaza telefoanele mobile si ca in timpul celui de-al doilea razboi mondial soldatii germani care au vrut sa demonteze statuia lui Isus Cristos pentru a o lua cu ei ca prada de razboi au fost loviti si doboriti la pamant de o forta misterioasa.

3. Anul acesta am facut cea dea cincea vizita la castel si l-am gasit renovat foarte aproape de starea initiala, iar noul custode o femeie ne-a permis sa vizitam in amanunt castelui si sa facem fotografii peste tot. Ea ne-a relatat ca aproximativ in 1965, doi tineri s-au urcat pe scarile de langa stalpul de piatra din turnul central si s-au jucat cu statuia lui Isus Cristos, caruia i-au pus o sapca pe cap si i-au facut fotografii. La scurt timp unul dintre tineri a cazut accidental intr-o baie de acid sulfuric si a murit. Tot custodele ne-a relatat ca in repetate randuri in castel se aude vechiul pian cantand singur, precum si faptul ca in noaptea anului nou usa mare de piatra a castelului se deschide singura. Aceasta este povestea pe care o cunosc despre castelul Iuliei, un loc misterios cu intrebari la care nu s-au raspuns inca. In prezent studiem arhiva consemnarilor despre activitatea spiritiva a lui B.P. Hasdeu si cautam sa aflam si alte povesti despre istoria castelului.

Julia's Castle

Julia's castle
A view of the back of the castle.

Photo: Adrian Gheorghe

 One of the greatest mysteries in the entire country of Romania is the Castle of Julia Hasdeu, located in the town of Câmpina, 40 km north from Ploiesti.

Julia Hasdeu died in 1888, at the age of 18, from Tuberculosis, and her tomb is in Belu cemetery, in Bucuresti/Bucharest. Deeply affected by his daughter's death, her father, B.P. Hasdeu, started in 1893 to build a castle on a small piece of land in Câmpina and, between 1888 and1891 arranged the tomb of Julia, in Belu cemetery, in Bucharest. The wife of B.P. Hasdeu, and Julia's mother, died in 1902 and B.P. Hasdeu died in 1907. Julia was a very smart child, well versed in the French language and a good writer, even from a small age (about 4 years old) and her loss was a real disaster for her father who never accepted this fact. B.P. Hasdeu tried all his life to communicate with the spirit and soul of the dead Julia, to which end he called in a lot of specialist people to help him do so, and he also asked a lot of friends to help him on this way (spiritualism). There are a lot of documents from those times which discuss the activity of B.P. Hasdeu in spiritualism and also there are two places (the Castle from Câmpina and the tomb from Belu/Bucharest), used in this way by him and his friends. There are many stories in connection with the Castle and the Tomb, but there are also point of views of a lot of specialists who do not give any importance to those stories.




I try now to put here, exactly, all the facts from several sources and facts in which I was involved myself, facts which sustain the story about a great mystery, connected with the name and the life after death of Julia Hasdeu.

1.THE TOMB OF JULIA HASDEU is located in Belu cemetery, in Bucharest and is built of white stone, with a few steps down into a small room, the tomb. On the walls there are texts written by Julia in her childhood (poems in the French language), and into the room (the tomb) have been placed pieces which remember about Julia's life (a clock, a few favorite books, a statue of Julia etc). The coffin is behind a crystal wall and protected by it. My father told me that, in the period of time when he was student in Bucharest (about the year 1955), many students made trips to Belu cemetery for fun, specially to Julia's tomb but also to other dead persons from Belu (artists, actors, writers etc) who rest there. In one such trip, one of the girl-students went down to Julia's tomb to copy on paper a few of Julia's poems from the walls of the tomb. For a joke, a few students closed the entrance to the tomb with a very strong iron door of the tomb and locked her there, wanting to make her afraid. The girl started to scream, she was very afraid and the students went to open the door, but the door stayed locked. They called for help from some of the people from the administration of the cemetery, but the door could not be opened by them. In all this time, the girl screamed for help and said that, in the darkness of the tomb someone came to her. Then the screaming stopped and the door was able to be opened easily, but the girl was found dead, strangled by the neck, near the entrance to the tomb. The police presumed that the girl died herself, being afraid of the dark and a lot of measures were taken to protect the entrance to the tomb for future visitors. But the story said that the girl was punished by Julia, because she was in that special place and her death was from another cause, different to the one the police decided on.

2. Julia's Castle is built in the middle of a small town called Câmpina, in the middle of a small park, with a lot of trees and grass around. The castle consists of a central tower and two smaller towers, around it. The look of the castle is unusual for our country and the story says that the castle was designed and built specially for ghost activity by B.P. Hasdeu, in remembrance of his daughter. The castle is built based on the magic numbers 3 and 7, having, for example 3 towers, 3 underground rooms and steps formed of 7 steps each. The main entrance to the castle is a huge door made of stone, supposedly fixed on a diamond bearing, and the door rotates around this axis easily, then the door shuts itself, said to be because of the rotation of the Earth. (but of course, once such a heavy door is set moving, it will continue to move! Perhaps there is a spring which the door presses against once it reaches the end of its travel, which sets the door rotating back again. It is more likely however that the axis of the door is a little off centre, causing the door to close automatically. I have hung doors so that they do that. It would be interesting to examine it closely. - Don)

Julia's castle
The inside face of the main door of the castle. This door, consisting of a huge stone, is very easy to open by pushing it.

Photo: Adrian Gheorghe




On the outside of this door is written the sign of Hasdeu's family and two texts: first is "pro fide and patria"(for God and country) and second is "e pour si move" ("nevertheless it moves", a quote from Galileo, supposed to have been said under his breath while publicly renouncing his belief that the earth moved around the sun, not the sun around the earth after his hearing of heresy by the inquisition. - Don) which encourages visitors to press this door of stone, which is easily opened and permits entrance to the castle.

Outside the main door of the castle, there are two small doors, more usually used for entrance to the castle. Also, on both sides of the main door, there are two stone chairs on which are written names of Julia in all her 7 lives lived on the Earth. Over the main door is made of stone an image of God's eye, put in a triangle.

Julia's castle
After you pass through the main door, on your left and right, there are two big mirrors, which make the image of the visitor repeat an infinite number of times, as a symbol of receiving the visitor into a special world. (those interested can set up a similar experiment themselves with two parallel mirrors - Don)

Photo: The two mirrors of infinity at the inside of the main entrance of the castle.

Photo source: Adrian Gheorghe






Julia's castle
Photo taken between the two mirrors at the main entrance of the castle.

The legend says that, between the two mirrors, the soul of the visitor goes to infinity and becomes very pure.

As can be seen in the photograph, when two mirrors are set up like this, the reflections seem to continue being reflected, one in the other, to infinity.

Photo: Adrian Gheorghe




After this, there is a big room, (the main tower of the castle), in the middle of which there is a big stone pillar, very tall, above which is put a life-size statue of Jesus Christ, Behind this pillar, there are 3 small rooms, one is a music room with a piano, and the others form the library of the castle. On the left and right, there are other two small rooms (the office and bedroom of Julia and Hasdeu's family. In the last part of the castle. there is the ghost room, where there is wooden furniture, without iron, based on number 3 (chairs with 3 legs,made like triangles, with 3 borders) and also a ghost table and many documents about this activity and a lot of photos about the ghost experiments. This room communicates with another room through a special window in which the ghost appeared in experiments seen by two groups of people, in both rooms. The rooms of the castle are separated by iron doors which permit the free walking of ghosts.

My first visit to the castle was in 1975, when this castle was opened for only a few years to the public and we were assisted by an old curator who presented to us the entire story of the castle. In those times, the walls of the castle were painted with magic signs from the Orient and I was able to see the arrangement of the castle very closely to the way it had been used. I have seen many books in which were written about the meeting with Julia's ghost and with the ghosts of other person, dead a long time and I have seen many photos, made with old photo-cameras, made in the dark of the night, which show geometrical forms flying like light over the Hasdeu's head, sleeping. All those documents were signed by important persons of the time (doctors, attorneys, writers,) who participated directly in those ghost experiments. The old curator told us that, in all those years in which he worked there, there were usually no facts to report about ghosts, but he is afraid to stay in evening in the castle, because he feels all the time a special situation there, a strange and alien presence, but not seen.

I made another visit to the castle in 1985, when the castle was under repair, the main stone door was blocked with bricks, the painters from the wall were covered with a simple paint and the castle was empty and an important part of the books and furniture were stolen by unknown persons. The curator of the castle was a young girl, who always refused to say anything about magic or ghosts in connection with the castle and said also that the ghost room never existed, also the unusual special facts never existed. I was very angry so I took her with me through the castle and show her, step by step, each room, even the ghost window and the ghost room. So,the young girl said that all facts were true, but they have special orders to reject any connection with ghosts from the authority of the time. She said that the furniture of the castle and the rest of books were put in another building in the castle's park and refused my request to enter at midnight in the castle in the presence of me and other persons, in the main tower, even for much money to pay her. The girl said that, a little time ago, a group of pupils who visited the castle ran very afraid from one empty room of the castle, because all of them heard a piano song there, even ALL furniture of the castle was moved with long time ago from the castle, and even only the specialists know that just this room was a musical room for piano in Julia's time. Also the girls said that around the stone stick from main tower is no mobil-phone signal and also, during WWII, the german soldiers who wanted to take the statue of Jesus Christ from the castle were struck to the ground by an unknown force, so the statue remains there, in the castle.

3.This year I made a fifth visit in the castle and found it completely removed, very close to its first image, and the new curator permits us to visit the entire castle and make photos everywhere. She told us that in 1965, two youngers climbing the stone stick from the main tower and play with the statue of jesus, whom put a hat on the head and take a lot of pictures with their game. After a few days, one of them died. Also, the new curator told us that often the old piano sang alone and, in the night of New Year, the main stone door is open alone.

This is the story of Juila's castle, a mysterious place with many questions without answers...

Julia's castle
The right hand side room, after the main entrance of the castle, with a bust of Julia's mother and a few of Julia's mother's belongings.

Notice the beautiful tile fire for warming the room, probably fueled by coal judging by the small size of the door, and the ornate clock, wound by a key, on the wall.

Photo: Adrian Gheorghe




Julia's castle
The main room of the castle, with a big piano in the middle of it.

The sign on the piano says "Vâ rugâm Nu atingeti exponantele".

which means "Please do not touch the exhibits".

Photo: Adrian Gheorghe




Julia's castle
A huge pillar in the middle of the central tower of the castle, near which cellular phones do not work. Obviously there is too much steel and stone between this point and the nearest microwave towers. The effect is common in many buildings, often you need to go right outside the building to get reception.

Photo: Adrian Gheorghe




Julia's castle
A view taken from the stone pillar of the central tower through the music room and the library of the castle. The steel stairway provides access for maintenance to the statue of Jesus Christ.

Photo: Adrian Gheorghe




Julia's castle
The roof inside the tallest tower of the castle, with a labyrinth painted on the roof, and a life size statue of Christ in the middle, directly above the stone pillar, the statue being carved by Cascini, a Parisian sculptor.

Photo: Adrian Gheorghe




Julia's castle
This window with no glass is between two rooms, in which the ghost of Julia has been seen by many people.




Julia's castle
A plan of the castle, from the main entrance at the bottom of the plan to the underground room at the top. The plan may be seen to embody the concept of the number three - three towers, three doors, and so on.

Photo: Adrian Gheorghe




Julia's castle
The entrance to the ghosts room.

Photo: Adrian Gheorghe




Julia's castle
The table of the ghosts.

Photo: Adrian Gheorghe




Julia's castle
Part of an old painting in the ghost room.

Photo: Adrian Gheorghe




Julia's castle
Chairs made for ghosts, of wood, with no iron used in their construction, with three legs, and seats in the form of triangles.

Photo: Adrian Gheorghe




Julia's castle
One of many books recording what Julia's "ghost" said at the meeting with her father and his friends. Her father wrote the words, but was apparently in a trance at the time of the writing.

Photo: Adrian Gheorghe




Julia's castle
These are reported to be photographs of ghosts.

Photo: Adrian Gheorghe




Julia's castle
A painting of Julia's ghost, pictured with her father.

Photo: Adrian Gheorghe




Julia's castle
The room of B.P. Hasdeu with his desk.

When he lived here, the room would have looked much lighter, since the steel doors on the windows are a later addition to discourage thieves.

Despite this, it is a very elegant room, beautifully decorated and presented with a feeling of opulence.

Photo: Adrian Gheorghe




Julia's castle
Portrait from Julia's room.

Photo: Adrian Gheorghe




Julia's castle
A song written by Julia, purportedly after her death. It appears to have been reproduced as an etching on a metal plate. It would be interesting to know more about this song and its method of communication to the point where it was published in this form.

Photo: Adrian Gheorghe




Julia's castle
Portrait of Julia. It appears to be signed by D. Maillart in 1889, a year after Julia's death.

Photo: Adrian Gheorghe




Julia's castle
Some of Julia's literary works and her doll.

Photo: Adrian Gheorghe




Julia's castle
Some of Julia's possessions. Included in the case are several copies of her father's spiritualist volume "Sic Cogito" ("This is how I think", or perhaps "This is what I think", or "These are my thoughts").

Photo: Adrian Gheorghe




Julia's castle
Literary works belonging to Julia.

Photo: Adrian Gheorghe




Julia's castle
Occasional table from Julia's room. It appears to be inlaid with squares of "mother-of-pearl".

Photo: Adrian Gheorghe




Julia's castle
Julia's desk.

Photo: Adrian Gheorghe




Julia's castle
Julia's mirror.

I wonder if the mirror has been replaced? The image reflected in the mirror is without distortion except for the bevel on the glass edges, and there are no "age spots" common on old mirrors. I hope it has not been "repaired" in this way, it is seen by antique enthusiasts as detracting from the value of the piece.

Photo: Adrian Gheorghe




Julia's castle
Bust of Julia. Notice everything about her is youthful and attractive - long hair swept up, a long slim neck, an off the shoulder gown, and a well modelled face.

Photo: Adrian Gheorghe




Julia's castle
Here is the bust of Julia's mother from the right hand side room, after the main entrance of the castle. It provides an interesting contrast to Julia's sculpture.

The hairstyle, the length of hair, the face, and the clothes are much more matronly than the young vibrant image of Julia.

Photo: Adrian Gheorghe




Julia's castle
Bas Relief.

Photo: Adrian Gheorghe




Julia's castle
Back door of the castle. Sadly, it is necessary to provide very good security for the contents of the castle.

Photo: Adrian Gheorghe




Julia's castleJulia's castle
Two of the three underground rooms at the back of the castle.

Photo: Adrian Gheorghe




Julia's castle
Seven steps leading to one of the underground rooms.

Photo: Adrian Gheorghe




Julia's castle
A bas relief representing the eye of God over the main entrance to the castle. The same symbol appears on US currency.

Photo: Adrian Gheorghe




Julia's castle
Small statue of a sphinx.

Photo: Adrian Gheorghe




Julia's castle
A statue of B.P. Hasdeu, in the grounds of the castle.

Photo: Adrian Gheorghe




Julia's castle
The main stone door of the castle, showing the stone chairs on either side.

Photo: Adrian Gheorghe




Julia's castle
A close up of the main stone door of the castle.

Photo: Adrian Gheorghe




Julia's castle
One of the two stone chairs at the main entrance. On it were written the names of Julia in her "seven lives on earth".

Photo: Adrian Gheorghe




The following text is from the website:

http://www.formula-as.ro/reviste_440__377__--casteluliuliei-hasdeu...-.html

Castelul Iuliei Hasdeu

In dialog cu fiica pierduta



Pe unul dintre dealurile Campinei, taiat in doua de o strada serpuitoare, marginita de pomi, printre case frumoase si ingrijite, de adevarati gospodari, se ridica o constructie bizara, menita sa atraga privirile oricui. Este castelul Iuliei Hasdeu, construit de marele carturar Bogdan Petriceicu Hasdeu, dupa moartea fiicei sale.

In 1893, putinii vecini ai proprietatii Hasdeu se uitau probabil cu uimire la cantitatile de piatra, ciment si fier, mult prea mari pentru o casa obisnuita la vremea aceea in Campina. Un barbat imbatranit inainte de vreme, imbracat in negru, cu o barba stufoasa, albita in mare parte, supraveghea indeaproape ridicarea constructiei. Se stia despre el ca este un domn invatat de la Bucuresti si ca existenta lui si a sotiei sale fusesera crunt zguduite prin moartea unicei lor copile, pe nume Iulia.

Trei ani mai tarziu, era terminata cladirea - o constructie bizara, cu turle si cu creneluri, cu o usa masiva din fier, care parca fereca taine de nepatruns. Castelul parea din alta lume si pustiu, in ciuda semnelor de viata din laturile curtii: o ghetarie invelita cu scanduri, un grajd de lemn si doua cotete de gaini, o magazie, niste butuci de vita-de-voie in spatele lor...

Abia un an mai tarziu, dupa ce Academia Romana l-a anuntat pe marele istoric si filolog B.P. Hasdeu ca renunta la intentia de a edita dictionarul Etymologicum Magnum Romaniae, gigantica sa opera de o viata, savantul se retrage aici, la castelul din Campina. Parasit de toti, poate si dintr-o insingurare voita, va sta aici pana la moarte, in lungi convorbiri cu spiritul fiicei sale. In minuscula sala de muzica a castelului exista o fotografie: Hasdeu lungit in pat, privind absent catre nicaieri, cu spatele sprijinit de perne si cu o carte deschisa in mana dreapta. Sa fie un moment de reflectie surprins de aparatul de fotografiat? Notita dintr-un colt al fotografiei este lamuritoare: Cartea o tinea de forma, Hasdeu abia mai putea vorbi. Data: 19 august, dimineata. Sase zile mai tarziu, pe 25 august, tot dimineata, Hasdeu se stingea din viata, purtand in ultima clipire a ochilor sai speranta intalnirii in lumea de dincolo cu fiica sa, Iulia.

O adolescenta geniala

Iulia Hasdeu... Nu exista roman care sa nu cunoasca legenda tesuta in jurul acestei fiinte exceptionale, disparuta la doar 19 ani! La doi ani si jumatate, stia sa citeasca, la patru ani scria, la cinci ani compunea primele poezii, la opt ani isi dadea examenele pentru cursul primar. Cunostea deja franceza, germana si engleza. La 11 ani termina gimnaziul Sf. Sava, apoi intra la Conservator. La 12 ani, in urma unui conflict intre parintii sai, pleaca cu mama sa la Paris. Dar tatal vegheaza asupra ei. Despartiti de distanta, tata si fiica sunt apropiati prin scrisori. Tatal isi indeamna fiica sa studieze asiduu. Iulia, in 1886, se inscrie la Facultatea de Litere din Paris, fara sa fie intimidata de faima Sorbonei. La doar 17 ani, romanca geniala straluceste in rigiditatea aulica a Sorbonei. Bodgan Petriceicu Hasdeu este mandru, plin de orgoliu pentru inteligenta fiicei lui.

Bucuria, insa, va fi de scurta durata. Doi ani mai tarziu, Iulia este cuprinsa de primele semne ale unei boli necrutatoare: ftizia. Pe 8 ianuarie 1888 ii scrie tatalui ei: "De cateva zile sunt bolnava destul de grav. Da, sunt bolnava, nu te-ndoiesti, nu-i asa? Ceva ma apasa in piept si-mi face extrem de rau, ma doare spatele. Am o tuse seaca, care ma desira si ma sufoca, in unele momente. Nu ies, nu cant la pian, iau siropuri si ma trezesc la ora sase in loc de patru, asa cum faceam de obicei. Iar timpul, aici, e groaznic. Atata vreme cat aerul e imbibat de umiditate, nu pot sa sper vreo imbunatatire a starii mele, care, trebuie sa recunosc, e penibila." Cu greu, din cuvintele retinute de pudoare, Iulia isi marturiseste suferintele.

Calatoriile grabnice in sudul Frantei, in Italia si Elvetia, in goana dupa soare si dupa aerul care sa priasca plamanilor ei hipersensibilizati, sunt zadarnice. In vara anului 1888, Hasdeu, disperat, isi aduce fiica bolnava in tara, mai intai la Bucuresti, apoi la Agapia. Dar Iulia sufera de un rau ireversibil. In luna august, nefericitul tata pleaca repede in Moldova pentru a-si aduce fiica acasa. In jurnalul sau - marturie a zbuciumului unui parinte in pragul disperarii - Hasdeu noteaza: "M-am sculat din pat si am facut o calda ruga catre Dumnezeu in care am crezut intotdeauna si care nu m-a lasat niciodata. Am plans, am plans si plang". Pe la jumatatea lui septembrie, se pare ca o raza cereasca a coborat de-a dreptul pe chipul copilei. Hasdeu spera si se roaga: "Se milostiveste, oare, Dumnezeu? Ce este fara putinta la Atoatecreatorul? Fie si o minune: <>". Dar pe 29 septembrie, Iulia Hasdeu moare. Se implineau 19 ani de cand, in casa din strada Iuliu Maniu nr. 14 din Bucuresti - casa exista si astazi - Hasdeu isi tinuse pentru intaia oara in brate fetita abia nascuta.

Pentru indureratul tata, disparitia ei declanseaza o veritabila prabusire sufleteasca si psihica. De acum inainte, el va trai numai pentru intalnirea cu spiritul Iuliei. Si viata sociala, si creatia sa intra in declin. Hasdeu incepe sa practice spiritismul. Incearca zi de zi sa dialogheze cu fiica sa din lumea umbrelor. Si intr-o zi, Iulia ii raspunde. Din acea zi, destinul lui Bogdan Petriceicu Hasdeu avea sa strabata doar o singura si ciudata cale.

"Trecuse sase luni de la moartea fiicei mele. Era in martie - iarna plecase: primavara nu sosea inca. Intr-o seara, umeda si posomorata, sedeam singur in odaie langa masa mea de lucru. Dinainte-mi, ca intotdeauna, era o testea de hartie si mai multe creioane.

Cum? nu stiu, nu stiu, nu stiu; dar fara ca s-o stiu, mana mea lua un creion si ii rezema varful de luciul hartiei. Incepu a simti la tampla stanga batai scurte si indesate, intocmai ca si cand ar fi fost bagat intr-insa un aparat telegrafic. Deodata, mana mea se puse in miscare fara astampar. Vreo cinci secunde cel mult. Cand bratul se opri si creionul cazu dintre degete, ma simtii desteptat dintr-un somn, desi eram sigur ca nu adormisem. Aruncai privirea pe hartie si cetii acolo foarte limpede: <> Julie Hasdeu. (<>.)

Era scris si iscalit cu slova fiicei mele." (Bogdan Petriceicu Hasdeu)

Un tata aproape nebun



E aproape o zadarnicie a incerca sa descrii jalea care a insotit ultimul drum al ramasitelor pamantesti ale Iuliei, la Cimitirul Serban Voda (Bellu) din Bucuresti. Inca din timpul vietii, Iulia fusese considerata un copil-minune, o aparitie fenomenala. Moartea nu a facut decat sa-i perfecteze nimbul de genialitate si sa faureasca din inteligenta ei un mit. Pentru tatal distrus, Iulia expiase numai fizic, in vreme ce spiritul ei dainuia intact in intreaga lui unitate. Ajungand la paroxism in suferinta-i sfasietoare, Hasdeu era pe punctul de a-si pierde judecata. "Dupa moartea fiicei mele, eu trebuia sa ma impusc sau sa innebunesc, una din doua... Dar puteam, oare, sa innebunesc eu, cand citeam zi si noapte numai scrierile ei, in care o angelica imi vorbea despre credinta si speranta? Puteam oare sa innebunesc, cand corpul ei zacand in groapa, spiritul ei mai viu ca oricand era necontenit in mine?"

De acum inainte, intreaga sa energie, atata cata mai era, va fi canalizata de ideea ca spiritul Iuliei traieste. Un prim pas in aceasta directie este cavoul pe care i-l construieste la cimitirul Bellu. Iata o descriere uimitoare a lui, facuta in 1939: "Si totusi, iat-o! Iulia Hasdeu e intre noi. Pamantul i-a pastrat trupul imaculat si dupa moarte. Nici un vierme n-a profanat crinul. Prin geamul magic din mausoleu, prin care Hasdeu isi vedea zilnic copila imbalsamata, stand acolo ceasuri intregi, la biroul ei, cu relicvele ei scumpe si convorbind cu ea intr-o limba inteleasa numai de dansul, Iulia Hasdeu se vede astazi asa cum a fost acum cincizeci de ani. Sta acolo in sarcofagul ei alb, cu acoperis de cristal, in haina alba, cu chipul alb, pergamentat. Se vad inca fruntea senina si buclele de par castaniu asa cum au incremenit sub mana pioasa ce i le-a rasfirat pentru ultima oara, nasul mic si drept, gura in zambetul final, cotropit de moarte, cu albul fetei de fildes". (C. Manolache - "Scanteietoarea viata a Iuliei Hasdeu")

Adapost pentru spiritul Iuliei

Nefericitul tata dorea cu ardoare un loc cum nu mai exista altul, departe de curiozitatea si de compasiunea oamenilor, unde sa se poata intalni cu spiritul fiicei lui. Bucata de pamant de aproape un hectar pe care o avea la Campina i s-a parut potrivita pentru ridicarea unei constructii. Daca Iulia era atat de prezenta si ii insotea fiecare gand, daca spiritul ei ii raspundea si se putea materializa insemna ca avea nevoie de un adapost pentru ratacirile nocturne. Hasdeu pretindea ca a proiectat intreaga constructie urmand comunicarile spiritiste ale fiicei sale.

In rezumat, iata descrierea - una dintre cele mai fidele - pe care Caragiale a facut-o castelului de la Campina: Templul este orientat catre rasarit, baza avand forma unei cruci, iar axa principala cazand perpendicular pe meridian. Are doua corpuri cu cate un etaj si un donjon central, sugerand prin aceasta conceptul trinitatii. Pe usa masiva de la intrare, fixata pe un ax de fier, era incrustat blazonul familiei Hasdeu - Pro fide et patria - si dictonul lui Galilei - E pur si muove. In interior, sub domul inalt al donjonului central, in mijlocul salii circulare, se afla un stalp de marmura trandafirie, de care se rezemau doua scari de fier urcand spre braul donjonului, unde era o galerie metalica. La nivelul galeriei, deasupra stalpului de sustinere a scarilor, se afla un podium purtand statuia lui Iisus, din lemn colorat, executata de sculptorul Casciani din Paris. Domul era luminat de trei usi cu vitralii. In spatele lui Iisus, sub o fereastra rotunda, era bustul Iuliei, acoperit de un val alb, subtire. La baza stalpului de marmura se afla fotografia Iuliei din ziua inmormantarii. Corpurile laterale ale castelului aveau cate doua saloane, unul mai mare, altul mai mic. Intr-unul era asezat pianul Iuliei, despre care se spune ca ar fi cantat singur. In celalalt era biblioteca Iuliei si portretul ei in marime naturala. O locuinta in care spiritul Iuliei se putea usor identifica...

Parintele spiritismului

Tanjind mereu dupa intalnirea cu Iulia si voind sa infranga limitele mortii, Hasdeu se dedica total experimentelor spiritiste. In prologul celebrei sale carti despre spiritism, Sic cogito, el afirma ca scrierea lucrarii s-a produs sub dicteu transcendent, la sase luni dupa moartea fiicei, in urma contactului cu spiritul acesteia. Tatal crede ca fiica, de acolo, de sus, il vegheaza si ii dicteaza in intregime comportamentul. El sustinea ca fiica lui avea insusiri spiritiste inainte chiar de a fi murit si se lasa condus de ea. Batran si sensibil, ipostaza de medium il oboseste pana la epuizare, el neputand inregistra mai mult de zece cuvinte din cele comunicate de Iulia. Cu timpul, sedintele de spiritism ale lui Hasdeu gasesc adepti, cu predilectie intre intelectualii vremii. Chiar pictorul Nicolae Grigorescu, care locuia in ultimii ani ai vietii destul de aproape de castel, participa la sedinte. In cadrul lor se fac fotografii inedite, in incercarea de a surprinde si imortaliza misterul. O izbanda o reprezinta imaginea bunicului lui Hasdeu, Tadeu Hasdeu, fotografiat pe o placa sensibila LumiUre 6684.

Tot Iulia este cea care mediaza contactul tatalui ei cu spiritele altor rude. Momentele de transa spiritista aveau uneori si efect terapeutic, bietul Hasdeu atingand o stare de beatitudine inaccesibila in alt chip.

Castelul de la Campina in legende locale

Sedus de personalitatea fiicei lui Bogdan Petriceicu Hasdeu, un obscur ziarist ardelean, Teodor Olimpiu Albini, a avut ideea, demna de presa moderna, de a merge la Campina, trecand muntii cu pasaport, pentru a culege folclor oral legat de castelul inaltat de Hasdeu. Iata cateva spicuiri din "sondajele" sale, preluate peste o jumatate de secol in revista "Cosanzeana", de la Brasov.

"Noaptea, dincolo de portile ferecate ale Castelului, se aude Iulia cantand la pian. Se mai aud strigatele de <> si aplauzele batranului Hasdeu (la moartea Iuliei avea doar 50 de ani!). Uneori, pianul canta si ziua."

"Nimeni nu calca prin fata castelului. Oamenii trec pe partea cealalta a strazii si se inchina, speriati ca de dracul. Cei aflati prin vecinatate au cerut Primariei ca Hasdeu sa fie fortat sa se mute si casa stafiilor sa fie daramata."

"Ne-am suit in copac si am stat ascunsi toata noaptea. N-am vazut cand a intrat stafia in cladire, dar la cantatul cocosilor, domnisoara Iulia a iesit pe terasa din stanga. Era imbracata in rochie alba, avea flori de margarete in brate si parul prins in coc cu o stea. A doua zi dimineata, cateva fire de margarete au fost gasite de maturatorul de strada langa gardul castelului. Era in septembrie, margaretele disparusera demult. Si d-l vardist spune ca este adevarat."

"Cand vin domnii aia sa faca spiritism cu d-l Hasdeu, lampile din casa se sting. Ieri seara, mama a aprins lampa de patru ori."

"Daca cineva trece prin fata castelului si vrea sa injure, nu poate. Limba i se face de clei."

"Uneori, noaptea, batranul urla ca lupul. Iese la geam, descheiat la camasa de noapte, cu ochii rosi ca rugul si striga: <>, ce stiu, o vorbire de vrajitor..." (Probabil: "Viens, ma fille, papaliga - asa ii spunea Iulia tatalui ei - t"attends!" - in traducere: "Vino, fiica mea, papaliga te asteapta!")

Castelul, azi

Ce s-a mai pastrat azi din castelul de odinioara? Supus unui "lifting" destul de strident pe alocuri, castelul traieste mai ales prin magia enigmelor pe care le poarta de un secol. O usa masiva, glisanta, da in cea mai mare incapere, unica de forma circulara, sala de lectura. In centrul ei, ca un fel de axis mundi, se afla inca statuia lui Iisus in marime naturala. Este imposibil ca, pasind in incapere, privirea sa nu iti fie atrasa de aceasta statuie, si privind-o, iti dai seama ca ochii lui Iisus te vegheaza. Bratele desfacute parca spun: "Lasati copiii sa vina la mine!", iar la picioarele sale sunt cununa de spini si piroanele.

Din sala de lectura se adancesc in zid trei incaperi inguste: doua biblioteci si un salon de muzica, in care pianina Schiedmayer, care a apartinut Iuliei, supravietuieste amutita. Deasupra ei este o reprezentare a arborelui genealogic al familiei Hasdeu: intemeietorul este Voda Stefan Petriceicu, alungat din Polonia de tatari, apoi, o veriga importanta este Tadeu Petriceicu, strabunicul Iuliei, cel care avea sa se intoarca din bejanie la mosia familiei de langa Hotin. Aici, in satul Cristinesti, se va intoarce intaiul sau nascut, Alexandru, dupa ce studiase in strainatate Dreptul, Stiintele naturii si Literele. Fiul sau, nascut in 1838, la 16 februarie, a fost Tadeu Petriceicu - alias Bogdan Petriceicu Hasdeu. A patra generatie a acestei familii deosebite a fost Iulia.

Castelul de la Campina, in ciuda asocierii lui cu o activitate desfasurata in obscuritate, cu o recuzita specifica, are multa lumina. Toate incaperile, exceptand camera de spiritism, au luminator, iar obloanele de metal ale ferestrelor au oglinzi in exterior. Probabil ca ele captau mai bine lumina si, totodata, in bataia razelor de soare, ofereau o stralucire aparte, vizibila de la distanta.

In castelul-muzeu pot fi vazute astazi biroul lui Hasdeu, unde se afla si masa de corespondenta a Iuliei, adusa de la Paris. Se patrunde apoi in dormitorul lui Hasdeu, incapere zugravita cu cale - floarea preferata a Iuliei. Ochii se opresc pe un tablou: Iulia Hasdeu in ziua mortii - o copie dupa originalul in ulei al profesorului ei de pictura de la Paris, D. Maillart. Revenind in birou, nu se poate sa nu fii intrigat de prezenta unei gauri in perete: pe acolo patrundea in castel, din camera de spiritism, duhul Iuliei.

In camera de spiritism, cateva obiecte originale incearca sa refaca atmosfera initiala incarcata de mister. O masuta de spiritism, cu incrustatii de sidef, trei scaune de forma triunghiulara (din fier si placi de marmura), un vas oriental din bronz, cu animale fantastice. Pe buza vasului se afla un fel de coroana de acelasi diametru, cu un dragon in relief. Cele trei trepiede amintesc de scaunele oraculare din Antichitate, inchinate spiritelor; prin numarul 3, trepiedul reprezinta imaginea focului si a cerului; ele au la mijloc, tot in triunghi, numele Hasdeu, lasand ca baza cele trei litere, DEU, amintind de Deus-Dumnezeu. Literele sunt frante, alcatuite din cate trei linii fiecare, astfel ca numele devine dificil de citit. De ce triunghiulare? Pentru ca 3 e numar mistic, e temeiul, el "exprima o ordine intelectuala si spirituala, intru Dumnezeu, in cosmos sau in om" (Dictionar de simboluri). Si aici, ca si in celelalte incaperi, atarna din tavan o lampa de fier in cruce, care odinioara avea, nu intamplator, si margele de chihlimbar. "Chihlimbarul reprezinta firul psihic ce leaga energia individuala de energia cosmica, sufletul individual de sufletul universal. El simbolizeaza atractia solara, spirituala si divina." Prin grija a doi oameni pasionati, Mircea Colosenco si Jenica Tabacu, au vazut lumina tiparului "Protocoalele sedintelor de spiritism", texte inedite, marturie extrem de fidela a preocuparilor bizare din ultimii ani ai vietii lui Hasdeu.

Participantii, datele, practicile, confirmarile sedintelor de spiritism din aceasta odaita se regasesc in notatiile lui Hasdeu.

Pe placi de marmura, de-a stanga si de-a dreapta intrarii in castel, ar fi trebuit sa figureze celebrul credo spiritist, apartinand Iuliei (deocamdata poate fi citita numai placa din stanga):

"Legea religioasa

Crede in Dumnezeu

Crede in nemurirea sufletului

Crede in darul comunicarii cu cei dusi

Legea morala

Iubeste si ajuta...

Iubeste si ajuta neamul

Iubeste si ajuta pe cine te ajuta si te iubeste

Iubeste si ajuta fara a precugeta la folosul tau".

Se regasesc aici simbolurile numerelor 3 si 4, si al figurilor geometrice (patrat, triunghi) pastrate si in templul de la cimitir.

Ca si cavoul Iuliei din Bucuresti, castelul din Campina a pierdut si el din personalitatea initiala. A ramas tiparul credintei lui Hasdeu in lumea spiritelor eterne, comunicarea cu mortii, a ramas pentru fiecare generatie curiozitatea de a descifra simbolurile. Ca orice enigma, Castelul atrage dupa sine si povara legendelor, care se tes departe de civilizatia ametitoare a sfarsitului de mileniu: se spune ca, in urma cu mai mult timp, dintr-un grup zgomotos de vizitatori, un tanar care s-a fotografiat alaturi de statuia lui Iisus, amuzandu-se de situatie si de context, a murit la scurta vreme, in chinuri.

...Cu cat stiinta si curiozitatea oamenilor vor incerca sa dezlege misterele de aici, cu atat vor ramane mai de nepatruns faptele unui parinte marcat de o durere cuprinzatoare cat tot pamantul.

CLAUDIU IONESCU

Julia's castle
A small cottage near the castle, probably the living quarters of the caretaker.

Photo: Adrian Gheorghe




Julia's castle
The leitmotif of seven is repeated here in the number of steps in the stairs to the back door of the castle.

Photo: Adrian Gheorghe




Julia's castle
The front of the castle

Photo: Adrian Gheorghe




Julia's castleJulia's castle
Other views of the back of the castle.

Photo: Adrian Gheorghe




Julia's castle
Alex Gheorghe writes:

The date of July 2nd - "2 IULIE " that apears on the facade of the castle was written there in 1897, when the castle was opened for the public, while B.P.Hasdeu was still alive. He used to say about himself that "I have two Julia (in the Romanian language, the name of the month July is the same as the girl name of Julia - IULIE, so the date is spelled the same way as the name. This is similar to English, where April, May and June are common girls names) One of them is my wife, the other one is my daughter". That is true, both B.P. Hasdeu's wife and daughter were named Julia. So, because of this, he opened the castle on July the 2nd 1897. I think that's the reason why this date is written on the castle, as a way to remember his daughter and his wife, the two "Julia" he loved so much.

Photo: Adrian Gheorghe




Julia's castle
The grounds of the castle are beautifully landscaped.

Photo: Adrian Gheorghe




Julia's castle
Postcards of the castle.

Photo: Adrian Gheorghe










Another version of Julia's story:

Situated in Câmpina, in Prahova county, Julia Hasdeu Castle was built by Julia's father, the scientist B. P. Hasdeu in memory of his daughter. Julia died because of tuberculosis. After her death her father tried to find a way to continue the communication with his daughter and he thought of spiritualism. He built the first temple for Julia between 1888- 1891. It was her tomb in Bucharest. Later he built Julia Hasdeu Castle according to the plans realized by him, but suggested by Julia - as he assured us.

The castle is composed of three towers in stone. The central one is the Temple. On the main door you can see the Petriceicu family's emblem "Pro fide et patria" (for faith and country).

Above the main door there is a symbol, the "Eye of God". The side doors are doubled by iron gratings (painted in yellow, blue and green) symbolizing the Sun. Above the iron gratings there are stained glass windows and aother two symbols: the cross and the half moon. Parallel mirrors flank the windows. The castle has a semi-basement and a terrace for each tower. Inside the castle the walls are decorated with frescos in different colours.

(another version) In 1888, writer and university professor Bogdan Petriceicu Hasdeu, a scholar and historian, lost his only daughter who died of tuberculosis at the age of nineteen, Julia Hasdeu was a brilliant student at the Sorbonne, one the first women who wanted to take her degree in letters and philosophy. She was buried in the Bellu cemetery where her father built for her a cabalistic burial vault. He also erected at Câmpina - a town 97km from Bucharest - a small castle he called a spiritualistic temple. It was here that by means of seances he was able to communicate with her daughter. That is why the small castle was either avoided or ignored during the communist epoch. In the middle of the building there is a turret, while a plate on the front door bears an inscription which reads: E pur si muove. Two stone chairs, one on each side of the entrance, have the names of celebrated women carved on them. Inside the castle, all around the turret, there is a metal gallery. A polychrome wood statue of Jesus Christ, carved by Cascini, a Parisian sculptor, stands in the middle. Behind it there is a bust of Julia Hasdeu. The castle has been restored and can be visited daily, Mondays excepted.

Text: http://myeurope.eun.org/

Julia's castle
(Another version)

In the prologue of the spiritualist volume "SIC COGITO" ("This Is How I Think"), B. P. Hasdeu confessed his first experience of communicating with his daughter: "Six months have elapsed since my daughter's death. It was in March, winter had gone; spring had not arrived. On a wet and dull evening I was sitting alone in the room, near my working desk. In front of me, as always, there was a packet of paper and some pencils. How? I do not know, I do not know, I do not know; but without understanding how, my hand took a pencil and put its point onto the paper. I began to feel short and strong tapping in my left temple, as if there was a telegraph receiver inside my head. Suddenly, my hand began to move restlessly, for no longer than five seconds at a time. When my arm stopped moving and the pencil fell from my fingers, I felt as if I had been awakened from a deep sleep, although I was sure I had not fallen asleep. I looked at the paper and I could read very clearly: " Je suis hereuse; je t'aime; nous nous reverrons; cela doit te suffire. Iulia Hasdeu. " ("I am happy; I love you; we shall see each other again; this must be enough for you. Iulia Hasdeu")".

The scientist had written everything down in his daughter's handwriting and had signed it with her signature. From that moment, until 1907 when he died at Câmpina, B. P. Hasdeu, without neglecting his old preoccupations, dedicated himself to spiritualist research by documentation and experiment. In 1890 the scientist, inspired spiritually, built Iulia's Tomb at "Bellu" graveyard of Bucharest. This is the inscription made in 1939: " And nevertheless, here she is! Iulia Hasdeu is among us!" The earth had preserved her immaculate body, even after death. Warmth has not wilted the lily. Through the magic glass of the mausoleum's window, where Hasdeu used to look everyday at his embalmed daughter, sitting there for hours on end at her desk, surrounded by her dearest relics and talking to her in a language understood only by himself, Iulia Hasdeu can be seen, even today, as beautiful as she had been fifty years ago as she lies there, in her white, parchment - like coffin. You can still see her serene face and brown wavy hair, it had rested under the pious hand that had caressed it for the last time, her small straight nose, her mouth in a final smile, overwhelmed by death on her snow white face.

In 1893, Hasdeu's family spent a holiday at their friend's house from Câmpina, Ch. Dr. Constantin I. Istrati who, later, was to become a Minister and President of the Romanian Academy. Both scientists had a common belief: spiritualism. That visit gave Hasdeu the opportunity to see the place where the second temple, the Castle dedicated to Iulia, was going to be built, the plans of which had been suggested to him during the spiritualist sessions, piece by piece. That very year, he purchased ten thousand square meters of parkland and set the foundations of the Castle; three years later the building was complete.

The Bishop Ghenadie of the County of Arges, hallowed it in 1896, on the 2nd of July, the symbolic anniversary of the two Iulia's, the scientist's wife and daughter. The Castle is the place where Hasdeu retired after 1897, isolating himself, little by little, from the world, which did not understand his concerns. But nevertheless, he experienced an intense communication with the world of spirits, attempting to penetrate it with his genius. The thoughts of a great Romanian scholar, Nicolae Iorga, in connection with Hasdeu'seclusion, are illustrated as: " Even defeated, overcome by the world, he surrounded his retreat with a brilliant art which forced the eyes to close, always leaving the impression of an incontestable human superiority. "

The Temple Castle at Câmpina is built of stone, iron and wood, all in perfect architecture. A tower is situated on each side of the central higher tower, which hosts the "church", the divine space which is entered through the massive door made of stone, with the beautifully chiselled inscription of the Hasdeu family's coat-of-arms with the words: " E PUR SI MUOVE " and " PRO FIDE ET PATRIA ". The door swivels around a central axis, allowing access, and above it, the " all-seeing eye " in a triangle, surrounded by rays - THE SYMBOL OF THE TRINITY! The main entrance to the Castle is guarded by two stone thrones, symbols of divine nobility, on which one can read the religious, philosophical, social and moral laws, transmitted by Iulia's spirit, as well as her former incarnations, such as: Agnodike, Hypathia, Beatrice, Juana Verbanez, Elisabeth Tudor, Charlotte Corday and Iulia Hasdeu. The pronaos is the first hall the visitor enters into. Opening a wooden door, through a passage, lined by parallel mirrors arranged side by side, the visitor will enter the round nave, the central room of the castle, corresponding to the highest tower. The human-mirror relationship has its magic aspects. The mirror retains the soul; it disembodies the body and embodies the spirit. In the middle of the tower, the human eye sees the axis of the world, having at its highest point an opening formed by steps. The column and the steps symbolise the Saint Graal, the chalice with our Saviour's Blood. By no means by accident, the beautiful sculpture of Jesus by Rafaelo Casciani, is standing above today, as it did for one hundred years. Wars, earthquakes, human ignorance, have affected the monument, turning it, some time ago, into a ruin; but the statue of Jesus from the Castle's dome was never touched by evil! In 1936, finding the impressive statue in the middle of some ruined walls, two young men had their photo taken together with Jesus. After a few days, one of them, who had placed a peaked cap on the hand of the statue, died from sulphuric acid burns. The photo can be found in the museum's archives.

The ceiling of the main tower is vaulted. A circular metallic parapet links the inferior plane of the material to the superior one, the eternal spirit world. Through this very symbol, the tower represents the union of Matter and Spirit, of Heaven and Earth. The evil spirits have no place in an harmonious relationship between body and soul. The old civilisation used solid iron to keep evil spirits away, but the Castle's open lattice works suggests the purity of the place, protected by Divinity against inferior spirits. Even light, filtering through the stained glass windows, is crystal clear! The whole atmosphere invites meditation, bringing peace to the soul and clearing the mind, which is so often overloaded with materialistic problems.

The Temple has an altar, flanked on both sides by two libraries. On the altar are Iulia's cottage piano and her bust made from Carrara marble. The books, symbols of knowledge, the science which drives away the darkness of ignorance! Through lateral doors, from the domed Temple, visitors enter the dining room, sitting room and the parlour, situated in the left wing of the Castle. Or, situated on the right wing are the scientist's study and bedroom. Exceptional mural frescos and marble moulding will catch the visitor's eye. The impressive colours, the shape and their symbolism overwhelm even the initiated guest. Besides the rooms having a profane destination, if we may put it this way, the Castle hosts the "room with animals", where Hasdeu's spiritualist group sessions took place. Not yet restored are two small areas of old frescos which still exist on the walls: Iulia's head, having a pair of indefinite wings, illustrating the impression of her seraphic appearance, together with the Trinity's Triangle. Just below, there is a round niche, an energetic receiver transmitting symbols of harmony. The room's obscurity is important because only in darkness the little light at the end of the tunnel can be seen! A spiritualist manuscript and some ectoplasmic photos will satisfy the curiosity of the visitor who asks himself how Hasdeu talked to his dead daughter. Through direct automatic writing, using cultured mediums-doctors, writers - B.P. Hasdeu was receiving answers to questions related not only to Iulia's spirit, but also to his father's, Alexander, and to his grandfather's, Tadeu.

Sometimes, the written communications were reinforced by photographic sessions, the scientist being a pioneer of spiritualist photography in Romania. B.P. Hasdeu is also the first Romanian who published a spiritualist book, in the last decade of nineteenth century, "SIC COGITO" ("This How I Think"), inspired, he said, from his personal relationship with his dead.

The "Iulia Hasdeu" Castle is a place of recollection, where the profane and the sacred unite in harmony. The strong belief in God and Love defeats death and removes the barriers between the seen and unseen Worlds. From within these limitations, we ask ourselves; " Where do we come from? Who are we? Where are we going?" Hasdeu found the answer: "There is no youth, no old age; life and death are merely stages of the eternal line. "

If you wish for peace to come to you, if you wish to find tranquillity in a world too heavily overloaded by matter, then come to Campina, to the Castle of Iulia Hasdeu, and allow yourself to be charmed by the beautiful story of "youth without old age and life without death". This place, full of symbols of the old beliefs, offers living water to the spirit of those who long for knowledge.

Text above from:

http://www.cimec.ro/Muzee/hasdeu/4.htm















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