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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. XIV [XXIX], nr. 2, Istorie. Muzeologie
ISSN 1857-0240
E-ISSN 2537-6330

Tyragetia, serie nouă, vol. XIV [XXIX], nr. 2, Istorie. Muzeologie

Chişinău, 2020

Researchers


Raimonda Ragauskienė
The Evangelical Environment of Voivode of Vilnius Mikolaj the Black Radziwill (1515-1565) during Iacob’s Heraclid vizite in Vilnius

Lilia Zabolotnaia
The bounds of the private in the life of Antiochus Cantemir: Myths, speculations and realness regarding his secret family in Paris

Aurelia Corneţchi
Digital technologies: a modern way to preserve and promote museum collections

Papers and surveys


Надежда Нижник
Marriage union: a variety of ways to create it in the Old Russian state

Vazha Kiknadze
East-West cultural dialogue in Georgia during the Queen Tamar’s Reign

Şarolta Solcan
Witchcraft at Romanians: Documents of witchcraft trials in Transylvania of the 16th-17th centuries)

Costin Croitoru
Contributions to the history of the Romanian vocabulary: names of Polish coins that circulated in Moldova. II. Poltorac / Polturac / Potor

Александр Пономарёв
The Wallachian family of Corbea (Korbe) in Ukraine-Hetmanate in the 18th century

Игорь Сапожников
Isaccea and ferry across the Danube in the 1770s - 1870s according to cartography and iconography

Valentin Tomuleţ
The social status of Bessarabian boierinaşi in the first half of the 19th century

Игорь Сапожников, Майя Кашуба
German names of the burial mounds of Budjak in the 19th and first half of 20th century

Andrei Emilciuc
Representatives of Bessarabia at commodity exhibitions in the Russian Empire and in Western Europe (1829-1869)

Viorel Bolduma
Emigration of the population from Bassarabia to the Caucasus, the Crimea and the Northern Black Sea Region (1870s-1890s)

Francis Conte
Les «parisiennes d’Odessa» et l’art de l’émigration russe en France (autournant du XXe siècle)

Marius Tărîţă
The wine industry of Besarabia as reflected in Polish consular reports (1924-1931)

Nicolae Fuştei
Moscow – Orthodox Vatican: a failed project

Elena Postică
The famine of 1946-1947 from Moldova in official documents and testimonies of survivors

Liliana Rotaru
“I think there is only one language!” Linguistic contradictions in the Chişinău Pedagogical Institute)

Marcel Revenco
Foreign trade relations of the Republic of Moldova: historiographic aspects

Gherghina Boda
Exhibitions as they appear in the press of the time (1902-1905)

Elena Ploşniţa
The system of legislative acts on cultural institutions of Romania after the Great Unification. Museum aspects

Vera Serjant
The legacy of Vasile Stroescu

Anatolie Povestca
Firearms from the collection of the National Museum of History of Moldova

Vera Stăvilă
Post-war social poster as a means of public information (from the collections of the National Museum of History of Moldova)

Юрий Пятницкий
Georgian Art in the Hermitage Museum: the History and Study of the Collection

Adelaida Chiroşca
Multi-part icons in the collection of the National Museum of History of Moldova. Visual hagiography

Ana Griţco
Imprinted stamps and postal pieces dedicated to the National Day of the Romanian Language

Lucia Marinescu-Tonu
Techniques for interpreting cultural heritage in the provinces of Trento and Ferrara

Silviu Andrieş-Tabac
Rural heraldic symbols adopted in the Republic of Moldova in 2017-2018

Recenzii şi prezentări de carte


Anatol Povestca
Anatol Petrencu, Rusia, 2019: „acesta a fost un an greu...” [“это был тяжелый год...”]. Chişinău: Balacron, 2020, 296 p., ISBN:978-9975-66-689-3

In memoriam


Aurelia Corneţchi
Un maestru al cuvintelor. În amintirea lingvistului Vlad Pohilă

In memoriam Evgheni Gansinskii

Adelaida Chiroşca
O lumânare aprinsă pentru Iurie Caminschi

 


 

 


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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