father because the latter died shortly after the artist was born. Thus, her mother became a widow at the age of 36. Nicolae describes her as "... sensitive to music [her own property and that of her father, n.a. Vasile Florea], singing the lance whenever he passed from our room through the hall, to the living room, and with a kind of philosophy of it, spoken in short Romanian words, whose beauty sometimes amazes you." In old age, she was evoked by her cousin Ion Petrovici (probably the primary care physician, not Vasile Florea) who said that she was "... a weak and prematurely bleached old woman, funny almost unwittingly and who liked to hum, taking forced breaks only when he was with the world, so that when he was left alone for a moment, he would instantly resume a fashionable area." The inclination towards music was transmitted from his parents to Gheorghe Petrașcu, as he had a baritone voice, as his daughter remembered Mariana Petrașcu. The Petrașcu brothers, Nicolae, Gheorghe and Vasile, being left without a father, were cared for a while by their older cousin Constantin Petrașcu (1842 – 1916 (?)). This was Carol Davila's favorite student. Constantin pursued a career as a politician, he was elected deputy and was appointed prefect. Due to his progressive beliefs, he was dismissed by the Conservative party of which he was a member. Gheorghe Petrașcu married in 1913 Lucreția C. Marinescu. He had two children, Mariana, the future graphic designer, and Gheorghe (Pichi) Petrașcu, who became an architect. Parents' house Nicolae Petrașcu also wrote about his parents' house. It was "... in the middle of a large courtyard and had eight wall pillars in front, along a porch that I called a plateau [...]. Behind the house was the garden with apples and apricots, to its right the barn, the summer kitchen, the cellar, the stable, and the barn; to her left, at a short distance, flowed the water of Bârlad from which a cool breeze always blew ..." The interior of the house was evoked by the same memorialist who remembered his return to Tecuci in 1887, so "... the wall cushions on the two beds, placed side by side in our room in the middle, the white tulle curtains, the heavy iron box on which the beautiful Turkish rug was laid [..], and in the living room, the same