#Exhibit of the Month

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.

Virtual Tour

Chronological Axis

Aeneolithic Age

(late 5th millennium B.C. - early 3rd millennium B.C.)

The archaeological collections related to this period are the most representative ones. The development of material and spiritual culture testifies to the existence of different communities of farmers and nomadic cattle-breeders. Representatives of the Cucuteni-Tripolye culture inhabited the vast territory from the Carpathians to Dnieper for about 1,500 years (late 5^th millennium B.C. – early 3^rd millennium B.C.).

In the territory of the Republic of Moldova there are known more than 600 settlements of farmers, some of which were archaeologically investigated: Floresti, Rogojeni, Rusestii Noi, Radulenii Vechi, Petreni, Varvareuca, Brinzeni, etc. At this time there were first produced metal (copper) items. Tools made of bone and stone are predominant. The earthenware collection is remarkable for the variety of vessels decorated with carving or painted in diverse ornamental styles. The ornamental compositions contain cosmologic scenes, astral symbols, fantastic animals, and anthropomorphic deities. The spiritual life of the communities is represented by an impressive collection of zoo- and anthropomorphic figurines.

At the same time in the south of the Prut-Dniester area there was spread the Bolgrad-Aldeni culture represented by an impressive material.

Cattle-breeding tribes from North-Pontic steppes, which are represented here by the archaeological monuments of the Suvorovo-Novodanilovca and Cernavoda type, played an important part in the history of Aeneolithic communities. The stages of transition from the Aeneolithic to the Bronze Age in the Prut-Dniester area are represented by the archaeological cultures like the Brinzeni, Gordinesti, and Usatovo ones, which have harmoniously combined elements of the Cucuteni civilization and features of the cultures of the North-Pontic cattle-breeders identified with the ancient Indo-Europeans.

1.Vessel, the Bolgrad-Aldeni culture

2.Vessel, the Bolgrad-Aldeni culture

3.Female figurine of “Orante” type, the Bolgrad-Aldeni culture

4.Painted amphora with zoomorphic representations, the Late Cucuteni-Tripolye culture

5.Head of anthropomorphic figurine representing a slipping female deity, the Late Cucuteni-Tripolye culture

6.Anthropomorphic top of lid representing male deity, the Early or the Middle Cucuteni-Tripolye culture

7. Female figurine sitting on the zoomorphic “throne”, the Early Cucuteni-Tripolye culture

8.Female figurine, the Early Cucuteni-Tripolye culture

9.Stemmed “fruit dish” vessel with lid, with incised and excised decoration, the Early Cucuteni-Tripolye culture

10.Stemmed “fruit dish” vessel with incised and excised decoration, the Early Cucuteni-Tripolye culture

11.Stemmed “fruit dish” vessel with painted design, the Middle Cucuteni-Tripolye culture

12.Painted anthropomorphic amphora with lid, the Middle Cucuteni-Tripolye culture

13.Painted amphora with representation of the Great Goddess possessing animals, the Late Cucuteni-Tripolye culture

14.Female figurine, the Late Cucuteni-Tripolye culture

15.Bowl with zoomorphic representations, the Late Cucuteni-Tripolye culture

16.Painted pear-shaped vessel, the Late Cucuteni-Tripolye culture

17.Painted vessel, the Late Cucuteni-Tripolye culture

18.Female figurines, the Late Cucuteni-Tripolye culture

19.Female figurines, the Late Cucuteni-Tripolye culture

20.Painted amphora, the Late Cucuteni-Tripolye culture

21. Copper items, the Middle Cucuteni-Tripolye culture

22. Painted dishes and bowls, the Late Cucuteni-Tripolye culture

23.Painted vessels, the Middle Cucuteni-Tripolye culture

24.Binocular vessel, the Middle Cucuteni-Tripolye culture

25.Figurine of a bull, the Late Cucuteni-Tripolye culture

26. Painted vessels: lidded anthropomorphic amphora representing a female deity and bowl, the Middle Cucuteni-Tripolye culture

27. Binocular vessel, the Middle Cucuteni-Tripolye culture

28. Fragment of design of a painted amphora with zoomorphic representations, the Late Cucuteni-Tripolye culture

29.Fragment of design of a painted amphora with zoomorphic representations, the Late Cucuteni-Tripolye culture

30. Fragment of design of a painted amphora with zoomorphic representations, the Late Cucuteni-Tripolye culture

31.Fragment of design of a painted amphora with the scene of a ritual dance, the Late Cucuteni-Tripolye culture

32.Copper axe, the Late Cucuteni-Tripolye culture

33. Bone daggers, the Late Cucuteni-Tripolye culture

#Exhibit of the Month

Icon “Saint Nicholas with Scenes from His Life”

Aeneolithic Age

(late 5th millennium B.C. - early 3rd millennium B.C.)

#Exhibit of the Month