#Exhibit of the Month

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.

Virtual Tour

Publications

Library „Tyragetia"

Studies on Museology (II)

Series “Biblioteca “Tyragetia” XXIII, Chisinau, 2013. 228 p. ISBN 978-9975-80-765-4; 978-9975-80-766-1.

The volume Studii de muzeologie, II (Museology Studies, II) was officially launched at the end of December 2013 at the National Museum of History of Moldova in the context of a series of scientific and cultural events honoring its 30^th anniversary from foundation on December 21^st, 1983.

The volume appeared in the series Biblioteca „Tyragetia" XXIII (Library „Tyragetia" XXIII) with dr. hab. Eugen Sava and dr. Aurel Zanoci as coordinators, and dr. hab. Elena Ploșnița as responsible of edition. The graphical presentation was done by Ivan Litsiuk and Mihai Sava, the photography is authored by Iurie Foca, and the editing was ensured by Vlad Pohilă and Mariana Balan. The print was done at Bons Offices, on quality paper, on 17x25 format.

On the brown cover appears the museum coat of arms and on the back cover feature abstracts from reviews on the volume signed by dr. hab. Ion Niculiță and dr. Valentina Ursu. The summary includes important scientific contributions in the field of museolgy from the country and from abroad.

Beginning with a short preface signed by dr. hab. E. Sava, the volume has as starting point the Proposal for public policy regarding the modernization and streamlining of museum activities. In April 2012, the Ministry of Culture of Republic of Moldova created a working group who elaborated the project Public policies regarding streamlining museum activities from its subordination. After public debates, the project has been approved in July 2013 by the Inter-ministerial Committee for Strategic Planning from State Chancellery. Two options of the project are to be implemented starting with 2014. Option no. 2 is Management based on performance and development of museums business and educational competences and Option no.3 is Accreditation of collections management and funding of projects for collections development.

The value of this volume relies on the scientific authority of its authors. Among them is the patriarch of museology from contemporary Romania - prof. dr. Ioan Opriș, who presented the study Museographic realities and horizons in which he succeeded in motivating the realities of contemporary museology from Romania and in arguing the perspectives of museum institution evolution.

The study signed by Aurelia Cornețchi - Museum Night - a welcoming concept -surprises with richness of information. The author thinks that the cultural phenomenon Museum night has „revolutionized the museum institutions and has an extraordinary impact on the large public and is a phenomenon in full ascent"

The study made by Lucia Marinescu-Tonu puts to the forefront issues of heritage pedagogy which can contribute to the economic development, social cohesion and active citizenship.

Dr. hab. Elena Ploșnița in Museum heritage - a few lines of reflection and action highlights the need for development of museum institution's heritage based on proper scientific concepts, while the development of the museum itself should start from a management based on marketing policies and information technologies.

The study signed by Adelaida Chiroșca presents the show of an interesting collection - Sealing matrix from the heritage of the National Museum of History of Moldova.

Iurii Piatnițki dedicates a detailed study to the personality of Mihail Mihailovici Savostin, a well-known Russian collector from the end of 19^th-beginning of 20^th century.

Ann Nicholls proposes to the reader a presentation of the European Museum Academy which aims at attracting museographers and museum institutions from Republic of Moldova in the activity of this institution founded by European museographers on the occasion of the 10^th commemoration of the late curator Kenneth Hudson, based in Holland. The academy has the goal to stimulate museum thinking, support of museum research, stimulate pioneer ideas in museum practice etc.

Conceived as a consolidated volume, Studii de muzeologie incite and also inform, its publication being of absolute utility. Written in a clear and sober stile, it will certainly find an honored place among works specific to this field.

The study has a fair edition given the actual conditions. It is essential for this volume to be included in all specialized and public libraries.

We recommend with warmth this volume of studies which is goes in line with the tradition of museum research of the National Museum of History of Moldova.

Dr. hab. Elena Ploșnița