The history of this icon traces back to the 10th century at the Protaton Monastery on Mount Athos. In one of the cells named "The Dormition of the Mother of God," an elderly hieromonk lived with his disciple. They preserved a superb depiction of the Virgin Mary. This old icon became renowned through the revelation of the prayer "It Is Truly Meet." Between the years 980-982, on a Saturday evening before an all-night vigil, the elder monk left for the nearby church, instructing his disciple to continue the religious routine in the cell. Being obedient, the disciple followed the instructions. When he reached the 9th Ode of the Canons, "More Honorable Than the Cherubim...," he suddenly heard someone beginning to chant alongside him: "It is truly meet to bless thee, O Theotokos..." It was a mysterious pilgrim monk who had appeared unexpectedly and joined in the prayers. At that moment, the icon began to radiate light, as if it were broad daylight. Astonished by the events, the disciple asked the mysterious monk to write down the verses. The monk wrote them on a tile with his finger as if it were soft wax and said, "From now on, this is how you Orthodox Christians should chant," and, saying this, he vanished. Left alone, the disciple realized he had witnessed a great miracle. Enlightened, he understood that the pilgrim was none other than the Archangel Gabriel, who had come, as he had before, to deliver the word of the Highest to humanity.
The icon was transferred from the cell to the Holy Altar of the Protaton Church, where a similar icon is preserved to this day. The tile with the divine hymn was taken to Constantinople and included in the Orthodox Church's liturgical books. Soon after, Archangel Gabriel's prayer was incorporated into the Divine Liturgy, immediately following the Consecration of the Gifts of Bread and Wine. The valley with the cells has since been called Adin, meaning "to chant," "chanting."
The icon "It Is Truly Meet" is of inestimable value and has become the protector of Mount Athos. The icon is celebrated on June 11/24, commemorating the miraculous appearance of the Archangel, and on July 13/26, in honor of the Synaxis of the Archangel Gabriel.
This icon, of the Eleusa type, portrays gentleness and tenderness in its central figures. The Virgin holds the Child with her right hand, while her left hand, placed beneath His feet, grips the hem of His tunic. The small Jesus wears a short tunic reaching His knees and holds a scroll in His right hand inscribed with the words of the Axion hymn. His left-hand slips under the veil of the Virgin towards her left shoulder. Both figures are crowned with golden halos. Two angels flank the Virgin's halo, while the Almighty in an open heaven blesses with both hands.
Crafted using tempera on wood, the icon is adorned with gold leaf and multicolored enamel, giving the image a unique delicacy. The inscription on the lower frame indicates that the icon was created by the painter Ioasaf in 1905.
The painter monk Ioasaf Berghie (1862-?) of the New Neamț Monastery resided there between 1887 and the 1940s, occupying three rooms to set up his studio, where he worked continuously on icons and church artworks. Born into the family of a church teacher in Jabca village, Ștefan Berghie, Ioan Berghie developed a passion for sacred iconography from an early age. In 1890, Andronic, the abbot of the New Neamț Monastery, blessed him to paint icons. Taking monastic vows in 1895 under the name Ioasaf, he traveled by foot to visit major ecclesiastical centers nearby and further afield, learning the art of iconography. Starting with naive-style interpretations, he eventually mastered professional painting techniques and acquired new decorative skills. His works became highly popular throughout Bessarabia and abroad. Painting a significant number of icons, they were often mistakenly sold as coming from major artisan workshops. To prevent such confusion, he received the abbot's blessing to sign his works, earning recognition and fame for his name.
About some assertions on the spread of Greek amphorae in the Getae world
Tyragetia, serie nouă, vol. VII [XXII], nr. 1, Arheologie. Istorie Antică
The article is devoted to a critical analysis of the article by A. Levinschi "Греческие амфоры на гетских памятниках лесостепи Днестровско-Прутского междуречья - центры и ритмы поступления (Greek amphorae on Getae sites in the forest-steppe area between the rivers of Dniester and Prut - centers and rhythms of delivery)" published in the journal "Stratum plus" № 3 for 2013. The author of this work, not being a specialist in ancient times and Greek amphorae in particular, using for his own scientific research our monograph "Amforele grecești în mediul barbar din nord-vestul Pontului Euxin în sec. VI - începutul sec. II a. Chr. (Greek Amphorae in the Barbarian World of the Northwestern Coast of Pontus Euxinus in the 6th - Early 2nd Centuries BC)" (Chișinău 2007), decided to revise the dating of Greek imports in the barbarian world of Getae, trying to convince us, the professionals, and perhaps himself, that the spread of Greek imports (including amphorae) in the Getae environment refers only to the time interval limited by the 6th - late 4th centuries BC. The effort to prove this timing has become for A. Levinschi "a matter of his scientific life", and he persistently tries to bring his scientific research under this framework. In this article we have tried to comment page by page those arguments that we consider not only wrong, but obviously biased, and which are explained, apparently, not only by ignorance of the specifics of Greek amphorae and their epigraphy and by insufficient knowledge of the professional literature, but also by the fact that the author of the paper under review has analyzed not the material itself but only its illustrations.
Natalia Mateevici
Is the Hlinaia amphora type a new type of Heraclean ware?
Tyragetia, serie nouă, vol. XVII [XXXII], nr. 1, Arheologie. Istorie Antică
Natalia Mateevici
Amphora from Chios found in Dubăsari (new object in the collections of NMHM)
Tyragetia, serie nouă, vol. VII [XXII], nr. 1, Arheologie. Istorie Antică
Natalia Mateevici
New Greek amphora stamps found at Argamum/Orgame (excavations 1999-2000)
Tyragetia, serie nouă, vol. XVI [XXXI], nr. 1, Arheologie. Istorie Antică, Chişinău, 2022
Natalia Mateevici, Mihai Ionescu
New collection of ceramic amphora stamps from the center of the ancient Callatis
Tyragetia, serie nouă, vol. VIII [XXIII], nr. 1, Arheologie. Istorie Antică
Natalia Mateevici, Evgenya Redina
Amphora stamps of Chersonesos from Koshary, Odessa Oblast, Ukraine
Tyragetia, serie nouă, vol. XV [XXX], nr. 1, Arheologie. Istorie Antică, Chişinău, 2021
The history of this icon traces back to the 10th century at the Protaton Monastery on Mount Athos. In one of the cells named "The Dormition of the Mother of God," an elderly hieromonk lived with his disciple. They preserved a superb depiction of the Virgin Mary...
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
