#Exhibit of the Month

German porcelain is highly prized among antique collectors for its exceptional material quality, originality, and the meticulous craftsmanship of its decorative design.
The museum's collection preserves five figurines from one of the oldest porcelain manufactories in the Thuringia region of Germany - the statuary group known as *"The Musicians"*, crafted at the Volkstedt manufactory. These pieces entered the museum's holdings in 1991, acquired from a resident of Chișinău. With undeniable historical and artistic value, they bear the distinct imprint of the Rococo style.
The Volkstedt manufactory has a long-standing tradition in producing figurines, including those depicting musicians. In 1760, Georg Heinrich Macheleid - inventor of hard-paste porcelain in Thuringia - founded a production workshop in Zitzendorf, which was relocated to Volkstedt in 1762. Macheleid led the manufactory until 1764. Over time, the factory changed ownership and management multiple times. Under the direction of Christian Nonne, it flourished between 1767 and 1797, a period marked by significant artistic development. Volkstedt began creating figurines that would later gain international recognition.
It was during this flourishing period that the museum's porcelain statuettes, titled *"The Musicians"*, were produced. They depict five “putti”: four playing musical instruments (flute, mandolin, horn, and pipe), while the fifth conducts. Each figurine is entirely handcrafted - from modeling to painting - and delicately adorned with pastel tones and gilded details, capturing the playful movement and refined artistry of each musician. The base is made of mass-colored porcelain in a rare grey-green hue. The contrast between green, white, and gold accents lends the ensemble an unusually delicate appearance. These ornamental features are characteristic of the Rococo style, which emerged in France and is closely associated with the reign of King Louis XV.

The mark applied to the figurines consists of two crossed forks, clearly rendered in underglaze blue, with slightly blurred paint - a detail that helps date their production. Because the crossed forks often resembled the crossed swords of the Meissen trademark, the Volkstedt manufactory was compelled to change its mark starting in 1787. Initially represented by a single fork, the mark briefly returned to two forks before being replaced in 1800 by the graphic symbol "R", referencing the town of Rudolstadt. Therefore, the brief period during which the two-fork mark was reinstated - and during which the museum's figurines were likely produced - is estimated to be between 1787 and 1800.

The statuettes range in height from 10 to 18 cm and are preserved in relatively good condition.

These late 18th-century German porcelain pieces, now on display, are exceptionally rare. They stand as true works of art by German craftsmen and serve as important historical testimonies to the evolution of porcelain manufacturing in Germany.

Virtual Tour

#Exhibit of the Month

January 2022

Marble table leg

The item is the lower part of a leg of a festive table made of white and gray marble. In the upper part, it has a protrusion, similar to a Doric capital, on the horizontal platform of which a square recess is engraved, designed to fix the second part of the leg (upper). The lower part of the leg is made in an anthropomorphic style, and, in our opinion, there are two variants of identifying the depicted character. The first involves the image of the head of the young Heracles (Heracles - Ἡρακλῆς) (beardless), the most favorite hero of antiquity, wearing on his head the skin of the Nemean lion - Λέων της Νεμέας, a vicious monster from Greek mythology who lived in Nemea and was eventually killed by Heracles. The first labor of Heracles, of the twelve set by King Eurystheus (his cousin), was to kill the Nemean lion and bring his skin to the king. It is also known from Greek mythology that the lion of Nemea took the form of a beautiful woman in order to seduce the inhabitants of neighboring villages, who wanted to save the girl from danger. Upon entering the cave, a man saw the woman, who usually pretended to be wounded, and rushed to help her. When he approached her, the woman turned into a lion and killed him. Then the lion devoured the man, giving his bones to Hades - ᾍδης, the god of Hell, who lived in the kingdom of shadows. The second version of the anthropomorphic image interpretation suggests Alexander the Great, king of Macedonia in the second half of the 4th century BC, one of the most famous heroes of the Greek world, who sometimes is depicted as Hercules - wearing a lion's skin. Some researchers consider the custom of wearing the skin of a slain lion a sign of royal power. The word βασιλεύς itself, translated from ancient Greek, means "walking the path of the lion", that is, the king. This title was held by the Greek kings from the Homeric period, and later, starting from the 7th century AD - by the Byzantine emperors.

The item can be dated to the 5th-6th centuries AD, and, possibly, it originates from Asia Minor.

It is kept in the collection of the museum for about 10 years. The gray granite stand does not belong to the original item.

Metric characteristics: height 330 mm; width: 112 mm.