#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.

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Publications

Albums

Adelaida Chiroșca

Marial icon collection of the National Museum of History of Moldova (17th-20th centuries)

Series “Albums” II, Chisinau, 2014. 200 p. ISBN 978-9975-80-902-3.

The text of the publication starts with an Introduction with general notions about what icons are, what are their messages, their symbolic language and which are their role in society, church and a museum collection, arguing how important is the valorification of an icon collection and what opportunities open with its publication.

In Chapter I with the title From the history of making the marial icon collection of the National Museum of History of Moldova. Variety of composition, materials and techniques we present in detail the ways in which the collection was formed, noting, in this context, the transfers from other museums, from the customs and police departments. We mention here icons that entered into the museum heritage through acquisitions and donations, substantially completing the collection of local icons. In this chapter we also presented the origin and structure of the collection, commenting in detail the place of origin and icon chronology and the many marial compositions. While highlighting theological types, we mentioned symbolic iconography and subjects inspired by revelatory experiences of the protagonists. Then follow detailed description of icon wood and painting base modeling techniques, we paid attention to inscriptions on their front and back sides, emphasizing the importance of these messages in establishing icon typology, chronology, in knowing name of the painter, engraver and of the person who ordered the icon or where the icon was kept etc. We mentioned icons respecting iconographic rules and those where they were less respected, stressing the skill of craftsmen who have allowed themselves the freedom of artistic expression.

Chapter II. Icons of the Holly Virgin form the Collection of the National Museum of History of Moldova. Classifications and iconographic reference. Icon identification reflects a complete description of these heritage objects. This section describes the methods that have helped identify anonymous icons or with incorrect title. For some Russian and Ukrainian icons the title has been adjusted based on the meanings and theological content of the compositions. These clarifications required thorough and dedicated involvement that contributed to a rigorous presentation of the collection with precious information to those interested in knowing the rich content of this collection.

A particular aspect of the research was the typological classification of icons, their systematization, with given priority to early icons that have served as models for later compositions. We start with topics that reflect the Virgin Holidays (Birth of the Virgin, the Mother of God in the Church, the Annunciation of Virgin Mary and Assumption of Virgin Mary) and general main types - Panakranta, Oranta, Hodighitria and Eleusa, then we continue with symbolic representations evoking homiletic texts and those inspired by revelatory experiences of central characters. Given the presence of several icons in the collection of the same type, we decided to classify icons into iconographic categories according to chronological criteria, giving the opportunity to the reader to follow the evolution of iconographic compositions, their stylistic and artistic peculiarities.

Next comes the repertoire of icons with photos and general descriptions. The presence in the collection of a variety of iconographic types motivated us to describe in general lines the famous models that influenced the development of other icons. Also, in descriptions is indicated the day each icon is celebrated by the Orthodox Church.

The icons are numbered from 1 to 172. Description of each icon contains information about: 1. Provenance, chronology, author. Indication of the country of origin and the time of the icon, name of the painter and engraver. If the icon is not signed, we use the phrase "anonymous painter." 2. Material, technique, dimensions. Determination of what the icon is made of - cloth, wood, metal, gold leaf and which is the icon painting technique - oil, tempera, engraving, enamel, pearl. Information about the width, length and thickness of the support. If the icon contains coffer, information about its dimensions and integrated frame is given. 3. Number of inventory, method of holding. FB is used for icons stored in the basic fund of the museum collection, while FA is used for the auxiliary fund. Information on how the piece entered the icon collection, date and place of transfer, donation or (and) purchase. For many icons there is no data about the place they were kept before reaching the museum collection, therefore under heading referring to holding is indicated their last owner. 4. Conservation. Detailed description of icon condition, degradation degree of the support and of painting layer. 5. Earlier restorations. It is indicated if there are traces of earlier restoration works. If so, is mentioned the name of the restorer, date and institution where the intervention took place. 6. Bibliography. Indication about the time and place where the icon was mentioned. 7. Original inscriptions. Mentions about inscriptions found on icons, stressing their importance in determining iconographic subjects and represented characters. 8. Chromatics. Specification about color range of background, garments and figures.

Then follows a presentation of icon composition with given priority to the description of prototypes, mention of background and architecture, remarks about symbolic expressions and stylistic peculiarities.

The Abstract in Russian and English provides a general description of the collection of icons from the heritage of the National Museum of History of Moldova with mention of all methods of creation, classification and ordering of icons, particularities in making the wood base, technical execution of color layers and all research methods used for elaborating the collection description.

The typological classification along with the history of iconography and elaboration of the present catalogue - all required a lot of names and concepts. In a separate section is included the critical apparatus provided with an Abbreviations list which includes the abbreviations used, a Glossary with explanations, a useful Name index to facilitate the search of topics and a baseline and selective Bibliography, with approximately 170 listed titles.