German porcelain is highly prized among antique collectors for its exceptional material quality, originality, and the meticulous craftsmanship of its decorative design. The museum's collection preserves five figurines from one of the oldest porcelain manufactories in the Thuringia region of Germany - the statuary group known as *"The Musicians"*, crafted at the Volkstedt manufactory. These pieces entered the museum's holdings in 1991, acquired from a resident of Chișinău. With undeniable historical and artistic value, they bear the distinct imprint of the Rococo style. The Volkstedt manufactory has a long-standing tradition in producing figurines, including those depicting musicians. In 1760, Georg Heinrich Macheleid - inventor of hard-paste porcelain in Thuringia - founded a production workshop in Zitzendorf, which was relocated to Volkstedt in 1762. Macheleid led the manufactory until 1764. Over time, the factory changed ownership and management multiple times. Under the direction of Christian Nonne, it flourished between 1767 and 1797, a period marked by significant artistic development. Volkstedt began creating figurines that would later gain international recognition. It was during this flourishing period that the museum's porcelain statuettes, titled *"The Musicians"*, were produced. They depict five “putti”: four playing musical instruments (flute, mandolin, horn, and pipe), while the fifth conducts. Each figurine is entirely handcrafted - from modeling to painting - and delicately adorned with pastel tones and gilded details, capturing the playful movement and refined artistry of each musician. The base is made of mass-colored porcelain in a rare grey-green hue. The contrast between green, white, and gold accents lends the ensemble an unusually delicate appearance. These ornamental features are characteristic of the Rococo style, which emerged in France and is closely associated with the reign of King Louis XV. The mark applied to the figurines consists of two crossed forks, clearly rendered in underglaze blue, with slightly blurred paint - a detail that helps date their production. Because the crossed forks often resembled the crossed swords of the Meissen trademark, the Volkstedt manufactory was compelled to change its mark starting in 1787. Initially represented by a single fork, the mark briefly returned to two forks before being replaced in 1800 by the graphic symbol "R", referencing the town of Rudolstadt. Therefore, the brief period during which the two-fork mark was reinstated - and during which the museum's figurines were likely produced - is estimated to be between 1787 and 1800.
The statuettes range in height from 10 to 18 cm and are preserved in relatively good condition.
These late 18th-century German porcelain pieces, now on display, are exceptionally rare. They stand as true works of art by German craftsmen and serve as important historical testimonies to the evolution of porcelain manufacturing in Germany.
State and Church in the Later Roman Empire: Valentinian I, Valens and the Arian crisis
Tyragetia, serie nouă, vol. I [XVI], nr. 1, Arheologie. Istorie Antică
In the 4th century AD, the emperor, absolute monarch though he was, ruled by consensus, and consensus could only maintained at the price of compromise. Thus, emperors who failed to understand the principle of clemency not only violated the common code of proper conduct, they also threatened the foundations of their rule.
Valentinian I and Valens were largely indifferent to the diversity of religious belief in their worlds, and both tried primarily to maintain the status quo by privileging Christianity without attacking paganism. Valens differed from his brother, primarily because of the different circumstances in which the two operated.
The new strength of Christianity in the 4th century opened an alternative avenue to power through the bishops, who successfully challenged the authority of the emperor and his officials. The rise of powerful bishops also helped fractionalize the church and pulled emperors into ecclesiastical power struggles. Thus, the Homoians were the dominant church in the east when Valens attained the throne, and they gained their dominance at the expense of the Homoiousians. In upholding the council of Constantinople (360) by suppressing the Homoiousians, Valens was carrying on the task initiated by Constantius II of defending the official state church. Valens was also willing to entrust ecclesiastical affairs to a small though powerful group of Homoian clerics.
Jovian’s rhetoric of concord was kept alive by his successor, Valentinian – who was a Nicene, but did not favor Nicenes any more than any other Christian faction. Valentinian maintained a detached indifference to the doctrinal debates of his day, a luxury he was allowed by the much calmer atmosphere in the churches of the west. Valens, by contrast, was forced to clean up the mess Julian had created by forcibly applying the doctrines of the council of Constantinople (360), which had imposed Homoian Christianity in the east and deposed some of the most important Homoiousian bishops there. Having done this, Valens was able to operate with much the same indifference as his brother during the middle years of his reign, when he aimed primarily at achieving peace and concord in the church. After the death of Athanasius in 373, Valens began to exert considerable force in order to achieve the illusory end of unifying the church around the Homoian creed. The violence Valens wreaked in Egypt constituted something of a turning point in his relationship with the church. Only at the end of his reign did Valens turn to the scorching persecutions that have left him with the reputation of a religious persecutor; by 376, Valens’s name became synonymous with heresy and religious violence.
Like his brother, Valens desired harmony in the church. Unlike his brother, he had not learned that belief cannot be dictated by force. Valens failed to understand that ecclesiastical loyalties were a local matter and could not be controlled from on high. Many 4th–century emperors attacked religious dissenters, but very few suffered a catastrophic fate like Valens’s to prove, in the eyes of contemporaries, that they had provoked the wrath of the divine.
Valens’s disaster at Adrianople guaranteed the victory of the Nicene faction in the long-standing battle over the person of Christ. Without the destruction of the Arian emperor Valens and without the political and military chaos that it provoked, there probably would never have been this solidarity effect under emperor Theodosius I – the solidification of a formerly divided church around the Nicaena fides. Thus, Valens helped the church become what it is, however paradoxical this may sound.
German porcelain is highly prized among antique collectors for its exceptional material quality, originality, and the meticulous craftsmanship of its decorative design...
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.