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.
Tyragetia, serie nouă, vol. VI [XXI], nr. 1, Arheologie. Istorie Antică
Cette contribution porte sur la dynamique des centuriations d’origine romaine de la plaine centrale de Venise, limitée par la lagune et les Alpes d’une part, les fleuves Brenta et Piave de l’autre. Il s’agit d’évaluer la nature des interactions entre les morphologies agraires héritées de l’arpentage antique et les sociétés historiques, médiévales et modernes, qui intègrent, en le transformant, l’héritage antique.
Liste des figures:
Fig. 1. Organisation théorique d’une centuriation de 20 actus de module (710 m) et disposition des coordonnées de deux centuries. Deux modes de division interne sont proposés. Fig. 2. a - Miniatures des manuscrits Arcerianus (en haut) et Palatinus (en bas). Elles représentent la ville de co- lonia Iulia édifiée dans une plaine délimitée par la mer et une chaîne montagneuse. Le territoire est divisé par une centuriation dont les deux axes majeurs se croisent au centre de la ville; b - Cippe gromatique de Grantorto (Cittadella). Il s’agit d’un parallélépipède de plus de 1,60 m de haut portant un decussis sur la tranche et le texte iuss(u) ter(minus) n(ovatus) / U(ltra) K(ardinem) VII; sur le flanc S(inistra) D(ecumanum) VIII. Il est daté du Ier s. ap. J.-C. et indique l’intersection du decumanus VIII à gauche du decumanus maximus et du kardo VII au-delà du kardo maximus. Fig. 3. Vue aérienne verticale du Graticolato romano à l’ouest de Mirano. Fig. 4. Carte géomorphologique et hydrographique de la plaine centrale de Venise. Légende: 1 - plaine alluviale ancienne du Brenta (tardiglaciaire); 2 - alluvions récentes (holocène); 3 - bourrelets alluviaux anciens et récents; 4 - dépressions d’inter-cône du Musone; 5 - plaine alluviale du Piave; 6 - limite septentrionale de la résurgence des eaux; 7 - courbe de niveau (eq. 5 m); 8 - hydrographie moderne et contemporaine; 9 - bourgs fortifiés (XIIe-XIIIe s.). Fig. 5. Centuriations et circulation des eaux, de Bassano à Mirano. Fig. 6. Morphologie de la centuriation entre Cittadella et Castelfranco Veneto. Les flèches externes indiquent le carroyage théorique de la centuriation. Fig. 7. Morphologie de deux centuries de la centuriation au nord-est de Padoue. Les trois limites intercisivi sont représentés en pointillés.
Robin Brigand, Andrei Asăndulesei, Ionuț Nicu Cristi
Autour de la station éponyme de Cucuteni: paysage et peuplement (Valea Oii, Iași, Roumanie)
Tyragetia, serie nouă, vol. VIII [XXIII], nr. 1, Arheologie. Istorie Antică
Marius Alexianu, Olivier Weller, Robin Brigand, Roxana-Gabriela Curcă
Recherches ethnoarchéologiques sur les sources salées de la Moldavie précarpatique
Tyragetia, serie nouă, vol. II [XVII], nr. 1, Arheologie. Istorie Antică
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
