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.
The destiny of woman in the history of Moldavia. Myths and realities about Catherine the Circassian – the second wife of the hospodar Vasile Lupu
Tyragetia, serie nouă, vol. VII [XXII], nr. 2, Istorie. Muzeologie
In this study the author came to some specific conclusions. In particular, it is safe to say that the marriage between Vasile Lupu and Catherine was far from accidental. As the sources of the era attest, all the details have been well thought out. Almost immediately after the death of his wife, Vasile Lupu sends the ambassadorial cortege to get his second wife, hence not respecting even the basic mourning traditions. One may also assume that perhaps in that situation government and political interests were high above his emotions. Vasile Lupu was an ambitious, far-sighted politician and a brilliant strategist. His plan was to expand the Moldovan boarders. He prepared his only son Ioan as future ruler of Wallachia. However, his plans failed after the son's death, and he was left without an heir. Vasile Lupu was well aware that he had to urgently resolve the dynastic crisis. He needed a young, strong and healthy wife, able to give birth to his heirs. The choice fell on Catherine the Circassian. How and under which circumstances this choice has been made remains an unsolved mystery. Unfortunately, we do not have any sources that could provide a reliable answer to this question. At the same time, we do not deny the well-known and hackneyed opinion in the historical literature that this marriage took place in a certain political context, for the Moldavian-Tatar mutual support in the political, military and economic spheres.
List of illustrations:
Fig. 1. Vasile Lupu, Catherine and their son Ştefan (Hlincea Monastery).
Fig. 2. Lady Catherine Cercheza (the Circassian), the second wife of Vasile Lupu (fresco in the Golia Church) (by Nicolescu 1970, pl. CXCIIIb).
Fig. 3. Maria Radziwiłł (daughter of Vasile Lupu) and Catherine, wife of Vasile Lupu (fresco in the Church of Trei Ierarhi, Iasi) (by Nicolescu 1970, pl. CCIII).
Fig. 4. Ioan, the son of Vasile Lupu (embroidery from the Church of Trei Ierarhi, Iași) (by Nicolescu 1970, pl. CXXXVIII).
Fig. 5. Lady Tudosca, the first wife of Vasile Lupu (fresco in the Church of the Trei Ierarhi, Iași) (by Nicolescu 1970, pl. CLXXIX).
Fig. 6. The Golia Church.
Lilia Zabolotnaia
Nicolae Fuştei, Mitropolitul Gavriil Bănulescu-Bodoni 1746-1821: activităţi culturale şi ecleziastice. Chişinău: Biblioteca ştiinţifică (Institut) „Andrei Lupan”, 2021, 464 p. ISBN 978-9975-62-452-7
Tyragetia, serie nouă, vol. XVI [XXXI], nr. 2, Istorie. Muzeologie
Lilia Zabolotnaia
New research areas in the modern historical science of Moldova. Results and Prospects
Tyragetia, serie nouă, vol. VIII [XXIII], nr. 2, Istorie. Muzeologie
Lilia Zabolotnaia, Sorin Iftimi
Portrait of Maria (Lupu) Radziwill in the works of the Polish painter Korneli Szlegiel (1851)
Tyragetia, serie nouă, vol. X [XXV], nr. 2, Istorie. Muzeologie
Lilia Zabolotnaia
The strength and weakness of Alexandra Osipovna Smirnova-Rosset (on the history of the origins of one of the women of the Pushkin era)
Tyragetia, serie nouă, vol. XII [XXVII], nr. 2, Istorie. Muzeologie
Lilia Zabolotnaia
Helena Krasowska, The Polish Minority in South-Eastern Ukraine. Warsaw: Institute of Slavic Studies, Polish Academy of Sciences, 2017, 389 p. ISBN: 978-83-64031-65-6
Tyragetia, serie nouă, vol. XII [XXVII], nr. 2, Istorie. Muzeologie
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
