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.
The monk-painter Irenaeus Protcenco and his famous icon "Our Lady of Sorrows"
Tyragetia, serie nouă, vol. VI [XXI], nr. 2, Istorie. Muzeologie
The name of Irenaeus Protcenco (1888-1953), whose icons were in great demand in the interwar period and whose mural painting once adorned famous churches and chapels of Bessarabia, the Ukraine, and Romania, are now little known.
The famous icon painter created his works in great love for God. Although he did not sign his icons, they can be unmistakably recognized through the unique style.
Born in Ukraine in a noble family and named Ioan, he graduated from the Kiev Academy of Fine Arts and his graduate work was painting of the Suruceni monastery (1907-1909).
Later he worked in Chișinău, where he became great religious painter, the author of highly artistic miniatures, engravings with enamel, and icons for iconostases. The last years of his life he spent in Romania, at the Sihăstria Monastery, where he created probably the most beautiful and significant of his works. Here he died in the summer of 1953, three days after the adoption of the monastic vows under the name of Irenaeus. Those who know his works suggest that the most beautiful icons created by this great painter are dedicated to the Virgin. Of these the most significant are “Axion Estin”, “Prodromița”, and “Sweet Kiss”. But the most valuable icon of the painter is “Our Lady of Sorrows” from the chapel of Sts. Joachim and Anna at Sihăstria.
In the collection of the National Museum of Archaeology and History of Moldova there is kept a similar icon painted by Irenaeus Protcenco. It recalls the endless grief of the Mother about Her Son crucified on the cross.
List of illustrations: Fig. 1. Irenaeus Protcenco, Our Lady of Sorrows (after Bălan 2006). Fig. 2. Irenaeus Protcenco (1888-1953) (after Aioanei 2009). Fig. 3. Jesus Christ on the Cross, Chapel of Saints Joachim and Anna, Sihăstria Monastery (after Bălan 2006). Fig. 4. Jesus Christ on the Cross, Noul-Neamț Monastery, Chițcani. Fig. 5. Holy Trinity, St. George’s Church, Suruceni Monastery. Fig. 6. Fragment of wall painting, St. George’s Church, Suruceni Monastery. Fig. 7. Fragment of wall painting, St. George’s Church, Suruceni Monastery. Fig. 8. Our Lady of the Sign, St. George’s Church, Suruceni Monastery. Fig. 9. Virgin with Child, scene of the altar, St. George’s Church, Suruceni Monastery. Fig. 10. Grave of Irenaeus Protcenco, Sihăstria Monastery. Fig. 11. Icon of the Virgin (from the collection of NMAHM).
Adelaida Chiroșca
Icons of the Intercession in the collection of the National Museum of History of Moldova
Tyragetia, serie nouă, vol. VIII [XXIII], nr. 2, Istorie. Muzeologie
Adelaida Chiroșca
Iconographic patterns of the Dormition of the Mother of God in the collection of the National Museum of History of Moldova
Tyragetia, serie nouă, vol. IX [XXIV], nr. 2, Istorie. Muzeologie Chișinău, 2015
Adelaida Chiroșca
Medieval coins discovered at Soroca fortress
Tyragetia, serie nouă, vol. IV [XIX], nr. 2, Istorie. Muzeologie
Adelaida Chiroșca
The iconographic message of the Last Supper compositions from the collection of the National Museum of the History of Moldova)
Tyragetia, serie nouă, vol. XI [XXVI], nr. 2, Istorie. Muzeologie
Ana Boldureanu, Adelaida Chiroșca, Elena Revenco
Medieval coin hoard of the 16th century from Parcani, Soroca District, Republic of Moldova
Tyragetia, serie nouă, vol. V [XX], nr. 1, Arheologie. Istorie Antică
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
