#Exhibit of the Month

One of the great technical achievements that revolutionized the idea of time and space, opening a new era in the history of communication, is telegraphy. It is based on the transmission of electrical signals through a cable over long distances, allowing people to communicate instantly. The telegraph spread very quickly and a network of wires stretched around the world.

In 1837, the American painter and physicist Samuel Morse invented the first electromagnetic device for telegraphy, patented in 1840. To send messages by wire, Morse developed in 1838 a simple code of dots and dashes, which represented the letters of the alphabet, known as "Morse code ".

Both Morse code and the telegraph machine were improved over time, with the telegraph becoming the most widespread system of communication and information transmission for more than a century, until the advent of the Internet. The telegraph system consisted of a series of stations repeaters along the transmission line route. Each station had an operator who received and transmitted messages by telegraph. The Morse machine transmitted about 25 words per minute, which were recorded in code on a paper tape. The operator in charge of transmitting the message would decode it and write it on paper using a special typewriter.

In Bessarabia, the telegraph entered in 1860: on April 8, the Bender telegraph station began its activity, and on April 24, the one in Chisinau, following the construction of the first Odesa-Chisinau-Leova telegraph line. Currently, telegraph services have been discontinued. The only ones who still use coded communication are radio amateurs.

The Morse telegraph machine shown comes from the Osinoostrovsky electrotechnical plant, Soviet Union, and dates back to 1934. The exhibit was restored by Mihail Culașco.

Virtual Tour

#Exhibit of the Month

December 2023

The dance of the eels on the amphora from Chirileni

The exhibit represents a fragment from a unique amphora discovered in 1988 in a ceramic kiln from the Chirileni III settlement (Sîngerei district), attributed to the Cucuteni-Tripolie archaeological culture stage CII (5th-4th millennia BC).

The ceramic fragment with painted human and geometric representations constitutes about 50% of the upper part of an amphora, made of clay paste without impurities. It is burned in an oxidizing environment, with a reddish color in the section. The inner surface of the vessel is covered with a pink-whitish color layer, and the smoothed and polished exterior is covered with a yellowish-gray engobe start. The body of the amphora is spheroidal with four pyramidal cakes on the shoulder, and the neck is high frustoconical with a short outwardly turned lip. The dimensions of the bowl: lip diameter - 18 cm; maximum body diameter - 43-45 cm; neck height - 13 cm; height of exposed fragment - 43 cm; the estimated total height of the vessel is 55-60 cm. Thickness at the lip - 6-7 mm, at the neck - 9-11 mm, and at the body - 10-13 mm.

The outer surface of the amphora in a proportion of about 4/5, except for the lower part, is bicolorly decorated with black and brown paint, the brush being used as a tool, which can be felt from the specific application of the lines. Two brushes were most likely used. The ornament is divided into three horizontal registers that surround the vessel dividing the interior into metopes. The decoration is composed of lines arranged vertically, horizontally or obliquely forming geometric compositions of the net type.

The special significance of the amphora resides in the representation in the middle register of the painting of the stylized scene of a female ritual dance. The scene painted on the body of the amphora represents the image of a group made up of 9 female characters assisted by two dogs and 3 snakes. The female images are represented schematically, with the emphasis on long legs, mini-trapezoidal skirts, short stretched bodies, folded dancing hands and pointed heads.

Vessels with painted anthropomorphic representations are very rare, being around 140 images of this kind known so far in the entire area of spread of the Cucuteni-Tripoli culture.

Based on the analysis of the shape of the vessel, the specific decoration and the context of the discovery, it can be admitted that the amphora from Chirileni belongs to the cult of the Mother Woman, the Great Goddess worshiped by the Eneolithic populations.