THE PALACE
The Hall of Mirrors

It is called the Hall of Mirrors because the project required that all walls would be dressed in Venetian mirrors. The turbulent times surrounding World War I, have made that only two mirrors could be made and secured trough ornate frames at the end of the room. The most interesting part is formed by the 12 compositions in stained glass, with scenes inspired by the Seckler folklore, placed on the windows from the street, the work of Nagy Sándor, Thoroczkai Wigand Ede, Muhics Sándor, and Róth Miksa. Over time, the impressive hall hosted official meetings, cultural events, receptions, symposiums.

The furniture, elegant, completes the ensemble with the tulip profile created by the identical form which ends the columns of the hall. The tables are covered with mirrors, in tune with the room’s name, bordered with metal ornamentation provided with nickel beads.



The board composition on the left side tells the story of Budai Ilona’s ballad. The central figure is a woman who abandons her children. Money, the mirage of wealth stripped her of the maternal feelings. For money, the mother abandons her children without remorse. Her deed, her drama is suggested by the different positions of the female figure wearing a dress with geometric figures.

The stained glass of the second window presents a touching lyrical ballad "Beautiful Salamon Sára.” Clothed in embroidered muslin of Călata, the girl rides in a rush to meet again her beloved one but in her journey, she is tempted by the devil’s fake love. In the second sequence, highly dynamic, the devil holds the girl with her bared breasts, surrounded by leafy branches. In the third sequence, the girl, who paid with her life for her impatience, lies upside down, surrounded by lily petals known as a symbol of purity. The three scenes take place in three different times of day: morning, midday, and nightfall.



The theme of the third stained glass is a tragically misalliance, a refused marriage because of social differences from the ballad "Kádár Kata.” The first board composition presents the dialogue scene between mother and son. The mother prevents her son to marry Kádár Kata, the beautiful daughter of their servant. The young man commits suicide, no longer wishing to live without his love one. A second sequence revels the tragic moment of the story, with the vision of the girl drowned in the water. The body is thrown into the lake by the people who were hired by the boy's mother, and floats among the fish and the tangled aquatic plants. White lilies sway around her head. The flowers grown in pots on the altar are intertwined in a crown of roses that can be seen in an embrace-entwining lovers resurrected.

The fourth composition binds to the ballad "Julia, beautiful girl." On the left side we can see a girl squatting on a huge bluebottle, which blends a wreath of yellow wheat ears, in the background. In the central sequence, the girl is called in heaven by the "white lamb with curly wool,” in a virgin group. At the foot of the animal appears a church steeple with tent-shaped roof. At the call of heaven, Julia says goodbye to her mother. The third sequence of the image presents the figure of an angel walking on waves of clouds. In the ballad born from an alternating farewell of a girl and a mother mourning, intermingle in pagan superstitions with Christian elements.



„In 1910, Roth has created the beautiful windows of the Culture Palace in Targu Mures, Romania. In the Hall of Mirrors, scenes from Székely fairy tales, ballads and legends are presented in 12 full-length windows that occupy the large halls. Targu Mures is worth visiting if only to sit through these magical and colorful creations."

Their beauty has led the American Committee Organization "San Francisco Panama-Pacific International Exposition" held in 1915, to propose, along with other European artworks to exhibit them in the space dedicated for Europe. Beginning of the First World War made that the exhibition receives only the cartons and stained glass drawings, awarded by the organizers. During the Second World War, the stained glass windows were stored in the basement, for protection.