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#Exhibit of the Month

From the early days of Christianity, the cross meant not only an instrument of torture, but also a symbol of victory over death, a symbol of salvation. The object is made of silver, having the shape of a Byzantine cross with trapezoidal edges of the arms. The side arms and the one at the bottom seem to be turned inside a vessel (chalice (?)) with the trapezoidal "foot". The arms of the cross and of the "chalice" were ended with a decorative element in the shape of a sphere (drop). The cross has a decoration in relief, executed in the technique of filigree and granulation, consisting of drops, double and triple cords, circles with a drop in the center, and trefoils (?). In the center of the cross, at the intersection of the arms, there is a round mount with a cord-like edge, in which the pomegranate fruit is located. However, the main decorative element is the images of four peacocks turned to the right, with a snake in the beak, arranged on all the arms of the cross. The image of the peacocks is rendered in an artistic way, and their tails are stylized in the shape of a palmette.
The peacock, originated from India, due to its luxurious fan-shaped tail, was considered a symbol of the Sun. In ancient Greece, they were considered the sacred birds of the goddess Hera, and in ancient Rome they were considered the sacred birds of the goddess Juno. In Kievan Rus', the peacock (the Firebird) also symbolized the Sun. In the West, the peacock was considered a snake killer, and the iridescent colors of its tail were attributed to its ability to turn snake venom into solar substance. Since snakes in Iranian symbolism were considered enemies of the sun, it was believed that the peacock killed snakes, in order to create "eyes" from their saliva, iridescent with a bronze-green and gold-blue color on the feathers of its tail. Due to the bright splendor of the male peacock's tail, it has been compared with immortal gods and, therefore, with immortality. Peacocks are known as an emblem of greatness, royal authority, spiritual superiority, ideal creation.

In the early period of Christianity, the peacock was a symbol of love, resurrection, immortality, beauty, eternity of the soul, the all-seeing eye of the Church, and the peacock feather was the emblem of Saint Barbara. The image of peacocks with snakes in their beaks on the cross is not at all accidental; it symbolizes the victory of Christ over evil.

On the back side of the cross, traces of fixing are preserved, probably of a pin (missing), so the object served as a brooch (fibula), which was probably attached to the fabric. The piece is presumably dated back to the 9th-12th centuries.

The object has the following dimensions: height - 125 mm; width - 86 mm; weight - 47 g.


 
National Museum of History of Moldova
 

Publications Journal „Tyragetia"

Tyragetia, serie nouă, vol. IV [XIX], nr. 2, Istorie. Muzeologie
ISSN 1857-0240
E-ISSN 2537-6330

Tyragetia, serie nouă, vol. IV [XIX], nr. 2, Istorie. Muzeologie

Chișinău, 2010

I. Researches


Vasile Mărculeț
Quelques considerations sur les relations politiques entre la Moldavie et la Venise en 15e siècle et le début du 16e siècle

Dinu Poștarencu
The Bessarabian aristocrats Dicescu

Maria Danilov
Diffusion of imperial press in Bessarabia and censorship institutions

Elena Ploșnița
Some facts regarding memorial valorification of family house Lazo from Piatra, Orhei

II. Papers and surveys


Vlad D. Ghimpu
Romanian mentions in North-Western Russia in the 11th-16th centuries (preliminary research)

Silvia Barcari
Some historiographic aspects regarding the commercial activity of Genoese east of Carpathians and Danube mouth (end of 13th- first half of 14th centuries)

Ion Eremia
Some considerations related to the borders of the Principality of Moldavia in the second half of 14th century – Pocutsia and Colomeea

Ion Eremia
”One of forty sobols” – bag of sobols that included 40 sables?

Mihai Onilă
The population of Morozeni village, Orhei county (end of 15th - beginning of 19th century)

Lilia Zabolotnaia
Some notes about Branković dynasty

Adelaida Chiroșca
Medieval coins discovered at Soroca fortress

Ştefan Lupan
About the library of count Alexandru Sturdza

Valentin Tomuleț, Cristina Gherasim
Some considerations on factors that generated mentality shifts of the landlords in Bessarabia under tsarist domination (1812-1817)

Andrei Emilciuc
The role of grain exports in external commerce of Bessarabia (1812-1830)

Valentin Tomuleț
The establishment of special administration of city Ismail and its role in the evolution of commercial bourgeoisie (1830-1853)

Valentin Tomuleț, Alexandru Bordian
Priority directions in trade and customs policy of tsarism in Bessarabia in the first third of the 19th century

Alina Felea
Some data about the descendants of Manuc Bey (19th century - beginning of 20th century)

Tatiana Chicaroș
School of exact science activity in Chișinău in period of 1873-1918

Ana Grițco
A drugstore of old times Chișinău (end of 19th – beginning of 20th centuries)

Vera Serjant
Advertising factories, plants and warehouses in Bessarabian press (end of 19th - beginning of 20th centuries)

Andrei Emilciuc
The preoccupations of Bessarabia’s Zemstva regarding the commercial navigation on Dniester River (1869-1914)

Vera Serjant
The role of Bessarabian Zemstva in opening the school of viticulture and winemaking from Saharna

Ana Grițco
Constantin F. Cazimir’s activity within the Bessarabian zemstva

Diana Cașu
Sovietization of Bessarabia and policy toward women (1944-1945): the creation of Women’s Assemblies

Elena Postică
Lawsuits initiated against participants of resistance movement from postwar Moldova

Vera Stăvilă
The National Theater „Vasile Alecsandri” from Bălți: historical retrospective

Ольга Щипакина
Data about several biggest air crushes from the history of civil aviation

Liliana Condraticova
L’activité des orfévres de Moldova pendant les années ’70-’80 du XX-ém siécle (l’activité de la Fabrique de Bijoux de Chișinău)

Octavian Zelinski
L’impact de la transition dans l’agriculture sur la façon de vie et la perception des réalités sociales par la population rurale (les résultats d’une recherche effectuée dans le district Anenii Noi)

Gheorghe Postică, Iulia Postică
Considerations regarding the museum policies within the complex Orheiul Vechi and future perspectives

Lucia Marinescu-Tonu
Museum institution in the „globalization trap”

Iulia Postică
Rediscovering The Lost World of Old Europe

III. Paper and book review


Ion Eremia
Mihai Maxim, Noi documente turcești privind Ţările Române și Înalta Poartă (1526-1602), Brăila, Editura Istros, 2008, 341 p.

Maria Danilov
Ştefan Plugaru, Teodor Candu, Episcopia Hușilor și Basarabia (1598-1949). Editura PIM, Iași, 2009, 360 p.

Gheorghe Postică
Elena Ploșnița, Concepte muzeografice cu profil de istorie: retrospectivă și perspectivă. Biblioteca "Tyragetia", Chișinău, 2008, 248p.



 

 


Independent Moldova
Moldavian Soviet Socialist Republic
Bessarabia and MASSR between the Two World Wars
Bessarabia and Moldavian Autonomous Soviet Socialist Republic in the Period between the Two World Wars
Revival of National Movement
Time of Reforms and their Consequences
Abolition of Autonomy. Bessarabia – a New Tsarist Colony
Period of Relative Autonomy of Bessarabia within the Russian Empire
Phanariot Regime
Golden Age of the Romanian Culture
Struggle for Maintaining of Independence of Moldova
Formation of Independent Medieval State of Moldova
Era of the
Great Nomad Migrations
Early Middle Ages
Iron Age and Antiquity
Bronze Age
Aeneolithic Age
Neolithic Age
Palaeolithic Age

  
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#Exhibit of the Month

From the early days of Christianity, the cross meant not only an instrument of torture, but also a symbol of victory over death, a symbol of salvation. The object is made of silver, having the shape of a Byzantine cross with trapezoidal edges of the arms. The side arms and the one at the bottom seem to be turned inside a vessel (chalice (?)) with the trapezoidal "foot". The arms of the cross and of the "chalice" were ended with a decorative element in the shape of a sphere (drop). The cross has a decoration in relief, executed in the technique of filigree and granulation, consisting of drops, double and triple cords, circles with a drop in the center, and trefoils (?). In the center of the cross, at the intersection of the arms, there is a round mount with a cord-like edge, in which the pomegranate fruit is located...

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