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To mark the 150th anniversary of the birth of the great Romanian sculptor Constantin Brâncuși, 2026 was declared by the President of Romania the Year of Constantin Brâncuși. Constantin Brâncuși, one of the greatest sculptors of the twentieth century, was born in 1876 in Hobița, Gorj County, and passed away in 1957 in Paris; he was buried in the Père-Lachaise cemetery. In 1904 he arrived in Paris, where he attended courses at the Royal Academy of Fine Arts. There he also worked in the studio of Auguste Rodin (1840-1917), the founder of modern sculpture, and met Amadeo Modigliani (1884-1920), the Italian sculptor settled in France. Inspired by the work of these artists, he perfected his artistic training in Paris. His works are held in museums both at home and abroad, in the Netherlands, the Scandinavian countries, France, and the United States of America. For his outstanding merits he was awarded the Order of the Star of Romania in 1923; in 1931 Nicolae Iorga proposed him for the Order of Cultural Merit; and only in 1990 was he posthumously elected a member of the Romanian Academy.
One of the artist's most famous creations is the sculpture Mademoiselle Pogany, considered a national symbol of modern Romanian art. Its protagonist was Margaret Pogany (1879-1964), a young Hungarian painter who came to Paris in 1909 to study painting techniques. Visiting her studio, she asked the sculptor to make her portrait, even leaving him a photograph and a self-portrait. In 1911 Brâncuși sculpted her likeness from memory in marble and in bronze, focusing on the deep, large, almond-shaped eyes, the subdued eyebrows, the narrow nose, the small mouth, the austere hairstyle and the modest gesture of the hands, rested against the face. Between 1912 and 1933 he produced nineteen versions of Mademoiselle Pogany.
The commemorative medal "Constantin Brâncuși (1876-1976). Expoziție Filatelică Omagială - București 1976" was struck in Romania at the State Mint by the engraver Ștefan Grudinschi. Executed in bronze with a diameter of 60 mm and a weight of 113.73 g, the medal is remarkable for its memorial and artistic value. Obverse: the sculptor's bust facing left, with the semicircular legend "CONSTANTIN BRÂNCUȘI - 1876-1976." Reverse: a fragment of the triptych The Gate of the Kiss. Semicircular legend: "EXPOZIȚIA FILATELICĂ OMAGIALĂ - BUCUREȘTI 1976."
The medal "Constantin Brâncuși. Mademoiselle Pogany. Craiova Art Museum. 1987" was also executed in bronze at the State Mint (Bucharest); it has a nominal diameter of 60 mm (because of the circular cutting the actual dimensions are D: 45 mm; weight: 53.55 g). The obverse shows, in the central field, an image of the Craiova Art Museum framed by the semicircular legend "MUZEUL DE ARTĂ - CRAIOVA / 1987." The reverse depicts a replica of the sculpture Mademoiselle Pogany made by Brâncuși's pupil O. Moșescu, accompanied by the inscription "CONSTANTIN BRÂNCUȘI - M-elle POGANY / 1913."

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Publications Journal „Tyragetia"   vol. I [XVI], nr. 1


State and Church in the Later Roman Empire: Valentinian I, Valens and the Arian crisis
ISSN 1857-0240
E-ISSN 2537-6330

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.




 

 

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Period of Relative Autonomy of Bessarabia within the Russian Empire
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Golden Age of the Romanian Culture
Struggle for Maintaining of Independence of Moldova
Formation of Independent Medieval State of Moldova
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#Exhibit of the Month

To mark the 150th anniversary of the birth of the great Romanian sculptor Constantin Brâncuși, 2026 was declared by the President of Romania the Year of Constantin Brâncuși. Constantin Brâncuși, one of the greatest sculptors of the twentieth century, was born in 1876 in Hobița, Gorj County, and passed away in 1957 in Paris; he was buried in the Père-Lachaise cemetery. In 1904 he arrived in Paris, where he attended courses at the Royal Academy of Fine Arts...

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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.
©2006-2026 National Museum of History of Moldova
Visit museum 31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
Phones:
Secretariat: +373 (22) 24-43-25
Department of Public Relations and Museum Education: +373 (22) 24-04-26
Fax: +373 (22) 24-43-69
E-mail: office@nationalmuseum.md
Technical Support: info@nationalmuseum.md
Web site administration and maintenance: Andrei EMILCIUC

 



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.
©2006-2026 National Museum of History of Moldova
Visit museum 31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
Phones:
Secretariat: +373 (22) 24-43-25
Department of Public Relations and Museum Education: +373 (22) 24-04-26
Fax: +373 (22) 24-43-69
E-mail: office@nationalmuseum.md
Technical Support: info@nationalmuseum.md
Web site administration and maintenance: Andrei EMILCIUC

menu
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.
©2006-2026 National Museum of History of Moldova
Visit museum 31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
Phones:
Secretariat: +373 (22) 24-43-25
Department of Public Relations and Museum Education: +373 (22) 24-04-26
Fax: +373 (22) 24-43-69
E-mail: office@nationalmuseum.md
Technical Support: info@nationalmuseum.md
Web site administration and maintenance: Andrei EMILCIUC