Though the title of the work "The Religious Art in the Interwar Period", raises a series of very complex problems, the work as such will try to sketch an articulate, coherent picture of the main line on which the artistic, religious manifestation is carved out in the Romanian space in the interwar period and will analyze the manner in which "the thinmost" painters are advancing towards the modern painting and the modern painters are focusing on the

Among the most interesting objects of worship or artistic of the Romanian Principalities, as form of spirituality, there are the icons; they either creates ensembles like catapetasma (veil), or were simply placed here and there for worshiping. The version in which the icon shows itself on the ensemble under the catapetasma form, can be found in Moldavia and Romanian Principality even beginning with 16th century, and in Transylvania is preserved from

The subject of the votive picture embellishes at first the western wall of the nave, which then sets apart in important place in the narthex. Even the name of it, votive picture, lead us to think of the message it transmits, i.e. a picture of consecration, of offering the worship place to the Heavenly Protector. The significance of the displaying of the votive picture comes form the fact that is, besides representing a first-hand document for setting

For the first time, the present study treats the iconostasis of the Saint Catherine Church of Bucharest from the restorers' point of view and not only of the Art Historian, and comes to enrich the technical knowledge which the scientific research gathered concerning the religious-artistic manifestation in the 19th century.