The music is recorded on a cylinder with pins. The interior is divided into three compartments: the first contains the crank and the mechanism that operates the cylinder with pins, the second - the cylinder with pins and vibrating lamellae, and the third - two levers for starting and stopping the melody. The cylinder holds seven melodies by W.A. Mozart, which are played through the vibration of steel teeth arranged in a comb, whose tips are adjacent to the cylinder. The lid of the box features floral marquetry on its outer surface. This cultural asset is classified under the "Tezaur" category.
The Story of Musical Boxes
Musical boxes originated in Switzerland at the end of the 18th century. In 1796, watchmaker Antoine Favre-Salomon invented a pocket watch with an incorporated musical mechanism, using the principle of tuned metal lamellae. The invention quickly spread, soon leading to the creation of musical boxes independent of watches.
Initially invented and built for the salon entertainment of the aristocracy, musical boxes quickly evolved, capturing the market and public interest with these entertainment machines. The musical box industry was predominantly centered in Switzerland. Geneva remains the cradle of the musical box, even though the art of crafting these musical wonders spread to other regions of Switzerland - such as Jura, Auberson, and Sainte Croix - and later to other countries, including France, Germany, and Czechoslovakia. Some of the most notable manufacturers of musical boxes include: Mermod Frères, Paillard, Reuge, Thorens, Cuendet, Junod, Nicole Frères, Ducommun-Girod, Brémond, and L'Epee.
The musical box operated on a relatively simple principle: a cylinder with pins (cylindrical pins) would, through rotation, actuate a metal "comb" tuned to specific musical notes, both being concealed from view in one of the box's compartments. By turning the cylinder - with the help of a spring mechanism (similar to that of watches) - the pins would strike the steel "teeth" of the comb, causing them to vibrate and produce different musical notes. A musical box could have a limited number of melodies "programmed" onto the cylinder - from 4 to 12.
Over time, the cylinders were replaced with interchangeable metal discs. Based on this operating principle, large musical boxes emerged in cafés and taverns, which could be activated by inserting a coin, allowing users to select their preferred disc.
Besides the ingenious mechanism, musical boxes also stood out for the artistry of their exterior decorations, featuring materials such as precious woods, mother-of-pearl, ivory, and metal.
The decline of musical boxes began with the invention of the phonograph (1877) and the gramophone (1887). Production continued for a while, but by the early 20th century, most renowned companies had abandoned the business and started manufacturing other mechanical musical instruments.
Archival documents as a source for the research of jewelry for church use
Tyragetia, serie nouă, vol. VIII [XXIII], nr. 2, Istorie. Muzeologie
This article discusses the archival documents from the national archives and the archives of neighboring countries, which are directly relevant to the development of jewelry. The documents were systematized by the author on chronological (documents of the tsarist, interwar, and Soviet periods of time) and thematic (normative acts, inventories, formulary lists) principles. On the basis of archival materials of 1945-1955 concerned the inventory verifications held at St. George’s Church in Chișinău, St. Nicholas Church in the village Sireți of Strășeni district, the Balti cathedral, Holy Trinity Church in the village of Cucuieții Vechi in Râșcani district, and St. Nicholas Church in the Antonești village of the Ștefan-Vodă district, there were identified the main religious objects and ecclesiastical vestments from these temples. The analysis of archival sources makes it possible to present full picture of development of jewelry and other objects of religious worship in the Eastern Europe and significantly expand information on the availability and typology of objects made of precious and usual metals.
Лилиана Кондратикова
Le rôle et le place de femme-joaillerie dans l’évolution de l’art décorative du Moldova (1960-1990)
Tyragetia, serie nouă, vol. V [XX], nr. 2, Istorie. Muzeologie
Liliana Condraticova
Artistic processing of metal in the Dniester-Prut interfluve. Typology of articles made by local jewelers
Tyragetia, serie nouă, vol. VI [XXI], nr. 2, Istorie. Muzeologie
Liliana Condraticova
Ion Xenofontov, Războiul din Afghanistan (1979-1989) în memoria participanților din Republica Moldova. Realitatea istorică și imaginarul social. Iași: Lumen, 2010, 544 p.
Tyragetia, serie nouă, vol. V [XX], nr. 2, Istorie. Muzeologie
Liliana Condraticova
L’orfèvrerie ecclésiastique du Bessarabie (1812- 1827)
Tyragetia, serie nouă, vol. VII [XXII], nr. 2, Istorie. Muzeologie
Liliana Condraticova
L’atelier d’orfévrerie du Chisinau dans les 1966-1972 année
Tyragetia, serie nouă, vol. III [XVIII], nr. 2, Istorie. Muzeologie
The music is recorded on a cylinder with pins. The interior is divided into three compartments: the first contains the crank and the mechanism that operates the cylinder with pins, the second - the cylinder with pins and vibrating lamellae, and the third - two levers for starting and stopping the melody...
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
