**3. The doors**

The main entry door in the church is made out of fir tree. Impressive about it is the painting of Michael Archangel on the exterior side. It is an advanced damaged

**Figure 2.** *The indoor door.*

#### *The Movable Heritage of Drăghia DOI: http://dx.doi.org/10.5772/intechopen.100211*

painting, almost entirely faded, so one can solely see the contour of the eyes, the aura and the wings. Being outside, throughout the years, the meteorological phenomena took their toll on the majestic painting.

The wooden door inside the church marks the passage between naos and pronaos and it is an element that enriches, through its artistic value, the local patrimony [2]. It is made out of fir tree and painted on 4 levels by the local masters of that time. The dimensions are about 87/162 cm, with a depth of 6 cm. In the two sections of the superior level, we can see the painting of two saints, a man with a cross in his hands and a woman holding a twig (**Figure 2**).

The two characters have no inscription to reveal their identity. In symmetry, on the inferior level, we can see two identical paintings of the tree of life, with green leaves, coming out of a traditional pot. The frame that surrounds the paintings is blue and embellished with iron nails with very thick heads. The nails have a functional role (to sustain the wood elements that make the door) while giving great esthetic pleasure, through their order and design. In the middle of the door frame there is a simple iron handle, allowing for door opening. The handle is simple yet its shape and execution creates a beautiful ornament. The door jamb is painted in blue with black tulip motif all around (**Figure 3**).

**Figure 3.** *Framed around the entrance.*

#### *Heritage - New Paradigm*

There is a solid wood doorstep as a part of the doorframe. The door was inserted in the doorframe after the church was constructed and it is framed around the entrance with several symbols often encountered in Transylvanian churches, such as rosettes, the seed of life, the quarter moon motif or Woolf teeth motif, having a protective role, but also the honeycomb motif within the rosette [3]. These symbols are in part covered by the doorjamb. On the inside, facing the naos, the door is unpainted. Might be because that is a side that never gets to be seen or just for the simplicity of the naos.

The doors that make the passing from naos to altar are attractive through their painting. We can see here the 4 evangelists on the lower side, and on the upper side the Annunciation Day (**Figure 4**).

The inscription marks the years 1773 and 1797, most likely indicating the time interval in which the altar was built. The Cyrillic inscription Ячасть пoмань аȢ пʌьтйть Тoма Опришъ шй сoаца са Мариє шй […], translated roughly as "1797 gift

**Figure 4.** *The doors that make the passing from naos to altar (royal doors).*

*The Movable Heritage of Drăghia DOI: http://dx.doi.org/10.5772/intechopen.100211*

made by Toma Opriș and his wife Marie with their sons Filip and Ștefan and sister Teodora Anisia. Painted by Petre", withstand the passage of time, remaining visible until this day. This inscription talks about the painter Petre from Preluca (his work can be recognized in various other churches in the area) [3] and the family that financially supported the work.

These doors were opened by many pilgrims and locals throughout the years and have collected the energy, good thoughts, prayers and hopes of all those that stepped in.
