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.
Early medieval bronze amulets representing horsemen from the Carpathian-Dniester region
Tyragetia, serie nouă, vol. VIII [XXIII], nr. 1, Arheologie. Istorie Antică
Among the materials related to the early Middle Ages in the Carpathian-Dniester region, which have been discovered during archaeological excavations and reconnaissance, as well as among chance fi nds there are bronze amulets depicting a rider on a horse. The area of distribution of these bronze fi gures of riders includes extensive regions, starting from the North Caucasus and the middle reaches of the Don in the East to Central and South-Eastern Europe in the West. Most of the fi nds were discovered in the south of Russia, in Ukraine, Romania, Bulgaria, Macedonia, Serbia and Hungary.
On the territory of the Prut-Dniester region (Republic of Moldova and Ukraine) it was found 24 bronze fi gures of riders (see fi g. 1) belonging to different typological models. They were found in the following settlements: Hansca (Ialoveni District) - 3 fi gures, Păhărniceni-Petruha - 2 objects, Lucășeuca and Furceni (Orhei District), Ocnița (Ocnița district), Briceni - 2 objects, Caracușenii Noi (Briceni District), Popeștii de Sus (Drochia District), Tătărăuca Veche - 2 objects, Balinți and Inundeni (Soroca District), Tarasova (Rezina District), Rezeni (Ialoveni District), Porumbrei and Schinoșica (Cimișlia District), Enichioi (Cantemir District), Dezghingea and Capaclia (Gagauzia) and Bolgrad (Odessa region) (see fi g. 1). Seven bronze fi gures, presented at «Violity» Auction & Antiques in Kiev, may also be originated from the Prut-Dniester region (see fi g. 6/1-6).
Analysis of bronze figures from this region allowed us to identify four types of objects. The fi rst type, or the Hansca I type, includes 7 amulets (see fi g. 2/1-2; 3/1-5, 7). All fi gures, but one, were found in the Prut-Dniester interfl uve. They depict a rider sitting on a small horse saddled, turning to the left. The rider is depicted in profi le. The position of his feet indicates the presence of stirrups. Rider is shod in boots (?) with an upturned toe; his legs touch the front and hind legs of the horse. In his right hand he holds the reins, and in the left hand, strongly bent at the elbow and pressed against his chest, he holds a short knife or dagger. The upper part of the fi gure (a horseman's head) has a through hole for hanging. In our opinion, the relative chronology of this type of bronze fi gures of horsemen (Hansca I type), which have no analogues in other regions, may cover a period of the 10th - 13th centuries, and absolute dating is the 10th - 11th centuries.
The second type (the Hansca II type) includes 15 riders' fi gures (see fi g. 4/1-2; 5/1-12). They depict a horse and rider. The rider's body is turned to the left; he is shown from the front. His both hands are holding a long, slightly curved saber. The rider is shod in short shoes, which does not touch the horse's legs, as in the fi gures of the first type. Amulets of this type have analogies in Bulgaria, Romania, Serbia and other countries. They belong to the 10th - 11th centuries and, quite possibly, to the beginning of the 12th century.
The last two types of bronze fi gures (the Hansca III and Bolgrad IV types) are unique in style. The fi gure relating to the Hansca III type (fi g. 6/7) shows a rider turned to the left; it is a schematic image. At the front of the horse there is a tamga in the form of a petal and at the back of the horse there is the same tamga in the form of a drop (?). The bronze fi gure found in Bolgrad (the Bolgrad IV type) (fi g. 6/8) depicts a rider turned to the right. In his left hand he holds the reins and in his right hand he holds perhaps hunting eagle. These bronze fi gures have no direct analogies. The authors attribute the appearance of these categories of objects in the regions east of the Carpathians to the penetration of various groups of the Alanian population in the 2nd half of the 1st millennium and the fi rst centuries of the 2nd millennium AD. Their presence north of the mouth of the Lower Danube is evidenced by written sources and place names.
List of illustrations:
Fig. 1. Map of the spread of bronze amulets representing horsemen in the East Carpathian region. Type I: 1 - Hansca; 2, 3 - Briceni; 4 - Lucășeuca; 5 - Păhărniceni-Petruha; 6 - Schinoșica; 7 - Enichioi. Type II: 8 - Hansca; 9 - Ocnița; 10 - Caracușenii Noi; 11, 12 - Tătărăuca Veche; 13 - Balinți; 14 - Inundeni; 15 - Popeștii de Sus; 16 - Tarasova; 17 - Furceni; 18 - Păhărniceni; 19 - Rezeni; 20 - Porumbrei; 21 - Dezghingea; 22 - Capaclia; 25 - Stăvărăști. Type III: 23 - Hansca. Type IV: 24 - Bolgrad.
Fig. 2. Bronze amulets representing horsemen of the Hansca I type: 1 - Hansca; 2 - Briceni.
Fig. 6. Bronze amulets representing horsemen of the II type (1-6), III type (7) and IV type (8): 1-6 - «Violity» Auction & Antiques, Kiev; 7 - Hansca; 8 - Bolgrad.
Ion Tentiuc
Aspects of funeral rite and ritual in the Prut-Dniester region in the early Middle Ages (The Molești-Ialoveni necropolis)
Tyragetia, serie nouă, vol. I [XVI], nr. 1, Arheologie. Istorie Antică Chișinău, 2007
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Orhei fortress in the strategy of Ştefan cel Mare
Tyragetia, serie nouă, vol. I [XVI], nr. 2, Istorie. Muzeologie Chișinău, 2007
Gheorghe Postică
Monks’ graves with head support stones, discovered at Căpriana Monastery
Tyragetia, serie nouă, vol. XIX [XXXIV], nr. 1, Arheologie. Istorie Antică, Chişinău, 2025
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...
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
