#Exhibit of the Month

Around thirty icons from the collection of the National Museum of History of Moldova feature Saint Nicholas the Hierarch and Miracle Worker. While most represent the later iconographic tradition, a few early images stand out as rare examples due to their composition.
In the icon "Saint Nicholas with Scenes from His Life", the hierarch is depicted bust-length, blessing the Gospel. He is framed by two round medallions showing Christ and the Mother of God, who hand him the Gospel and the omophorion. Saint Nicholas, earlier than other saints, was portrayed with scenes from his hagiographic cycle. The first images of his life date back to the 11th century, represented on a folding icon from the Monastery of Saint Catherine at Sinai.

The museum icon dates from the early 19th century, preserving the traditional chest format typical of classical icons. Twelve panels illustrate episodes from the saint's life, arranged from left to right: four on the upper register, four on the lower, and two on each side, as follows: Birth of Saint Nicholas (1), Baptism of Saint Nicholas (2), Miracle of Healing the Crippled Woman (3), Apprenticeship of Young Nicholas (4), Ordination as Deacon (5), Ordination as Bishop (6) Vision of Constantine (7), Saint Nicholas Saves Three Voivodes from Execution (8), Miracle of Rescue from Drowning (9), Miracle of Saving Basil from the Arabs (10), Dormition of Saint Nicholas (11), Translation of the Relics of Saint Nicholas to Bari (12).

Saint Nicholas the Hierarch is commemorated by the Orthodox Church twice a year: on December 6/19, the day of his birth, and on May 9/22, the day his relics were transferred from Myra to Bari (1087). Among all saints of the Christian world, the image of Saint Nicholas is one of the most popular, easily recognizable even to those unfamiliar with iconography.

He was born in the Roman Empire, at Patara in the province of Lycia, between 260-280, though early sources omit the exact date. Coming from a wealthy family, he rejected fame and luxury. From an early age he devoted himself to prayer and the study of Holy Scripture, while also mastering other disciplines. He avoided noisy gatherings and idle talk, attended church regularly, and pursued a life of chastity. Later he dedicated himself to pastoral ministry, defending the Christian faith with perseverance and firmly opposing heresies.
Through his care for people and the benefactions he performed everywhere, he became highly venerated not only in Myra but also in the surrounding regions. The grace of the Holy Spirit dwelling in his heart was revealed through miracles performed both during his life and after his death, earning him the enduring title of "Miracle Worker." Saint Nicholas passed away in the 330s (circa 334-337), and his remains were placed in a sumptuous marble tomb in the episcopal cathedral where he had served for many years. This soon became an important center of pilgrimage.
Holy Tradition has preserved with accuracy the features of his portrait, and his appearance in icons is marked by a distinct individuality. Ecclesiastical art has produced numerous iconographic representations, ranging from bust images to full-length depictions. The diversity of these representations suggests that the final iconography of Saint Nicholas was not yet established, taking shape only in the 10th-11th centuries. It is said that an authentic icon from the basilica in Myra, executed during the saint's lifetime and mentioned in written sources as early as the 11th century, played a significant role in his veneration.
Icons depicting the hagiographic cycle of Saint Nicholas spread widely in both Byzantine and post-Byzantine art, confirming the importance and popularity of his cult.

Virtual Tour

#Exhibit of the Month

October 2025

Clay Vessel discovered in Speia Village, Dubăsari District

This clay vessel was discovered in 1982 by archaeologist V. Sorochin during excavations of a burial mound (no. 1) located in the village of Speia, Dubăsari District. It originates from grave no. 5 and is dated to the 4th millennium BC, belonging to the Usatovo culture.

The vessel was found in a child's grave. The burial pit had an oval shape, and the deceased was laid in a crouched position (similar to the fetal posture), on the left side. A total of five vessels were uncovered in this grave: three near the back, one at the feet, and one in the pelvic area.

The cultural attribution of this funerary complex was determined based on the burial rite and grave goods. This culture is characterized by the specific construction of the burial pit, as well as the positioning and orientation of the deceased toward the east and northeast.

The vessel is shaped from clay mixed with finely crushed shell. Its walls curve gradually toward the top, with the widest diameter at the shoulder area. It has a short neck, a slightly flared rim, and a flat base. The surface is carefully polished, in some areas to a lustrous finish. The interior is reddish-brown, while the exterior is yellowish-brown with gray spots. The rim features groups of perforations, three of which are preserved in their original state. The diameter of the holes is 0.35 cm. The space between the groups of perforations is decorated with cord impressions. The transition from the neck to the shoulder is adorned with three horizontal lines made with cord, from which, in five places, three vertical lines descend, each 5 cm long, executed using the same technique. At the time of discovery, these lines were filled with a white paste. The space between the groups of lines is decorated at the top with short vertical lines (0.5 cm long), and in the center with a meander ornament made of two parallel lines impressed with cord. The base of the vessel retains the imprint of a textile.