In the dazzling world of precious stones and noble metals, certain jewelers stand out, mastering the art of harmonizing understated elegance with absolute refinement, genius with design, and sophistication with eternal, unforgettable splendor. The name Fabergé, emblematic of originality and synonymous with the creations of a legendary house, has left an indelible mark on the history of jewelry and decorative arts. Renowned for uniting jewelry, artistic design, and utility into objets de luxe and objets de fantaisie, Fabergé's creations have always captivated with their exquisite craftsmanship. Fashioned from gold, silver, enamel, and precious stones, the pieces produced in Fabergé's workshops testify to exceptional virtuosity, marked by meticulous attention to detail and perfect material harmony. Even works inspired by earlier stylistic vocabularies bear the unmistakable mark of originality.
The National Museum of History of Moldova treasures a spectacular ladle, crafted in Fabergé's workshops in the late 19th century. The Fabergé ladle is a curious blend of the "Russian style" and the "modern style." Made of solid silver, it features a circular, gold-plated bowl. Its raised, stylized handle (hook-shaped) is adorned with vegetal motifs, triple rings, and silver pearls. The rim is embellished with a wide band composed of rectangular medallions, decorated with spiral loops and stylized scales arranged alternately. The bowl is supported by four hemispherical feet. At the center, engraved inscriptions read: Eugenie von Platonow/St. Petersburg and ТОРГОВЫЙ ДОМЪ „АЛЕКСАНДРЪ"/1863/15/10/1913. Research suggests that this ladle was commissioned by Alexander Trauberg, a first-guild merchant and owner of the "АЛЕКСАНДРЪ" Trading House located at Nevsky Boulevard 11, St. Petersburg. It was likely created to mark the 50th anniversary of his business in 1913. The hallmark stamped on the base-Fabergé's K. ФАБЕРЖЕ logo surmounted by the Russian Empire's coat of arms, alongside the female profile in a kokoshnik within an oval frame, accompanied by the Greek letter Δ (delta) and the silver purity standard "88"-confirms that the piece was produced by Fabergé's Moscow branch. The hypnotic charm of Fabergé's creations defined the aesthetic ideals of an era, embodying exuberance and refinement, crafted by a jeweler to kings and a king among jewelers.
Tyragetia, serie nouă, vol. VI [XXI], nr. 1, Arheologie. Istorie Antică
Cette contribution porte sur la dynamique des centuriations d’origine romaine de la plaine centrale de Venise, limitée par la lagune et les Alpes d’une part, les fleuves Brenta et Piave de l’autre. Il s’agit d’évaluer la nature des interactions entre les morphologies agraires héritées de l’arpentage antique et les sociétés historiques, médiévales et modernes, qui intègrent, en le transformant, l’héritage antique.
Liste des figures:
Fig. 1. Organisation théorique d’une centuriation de 20 actus de module (710 m) et disposition des coordonnées de deux centuries. Deux modes de division interne sont proposés. Fig. 2. a - Miniatures des manuscrits Arcerianus (en haut) et Palatinus (en bas). Elles représentent la ville de co- lonia Iulia édifiée dans une plaine délimitée par la mer et une chaîne montagneuse. Le territoire est divisé par une centuriation dont les deux axes majeurs se croisent au centre de la ville; b - Cippe gromatique de Grantorto (Cittadella). Il s’agit d’un parallélépipède de plus de 1,60 m de haut portant un decussis sur la tranche et le texte iuss(u) ter(minus) n(ovatus) / U(ltra) K(ardinem) VII; sur le flanc S(inistra) D(ecumanum) VIII. Il est daté du Ier s. ap. J.-C. et indique l’intersection du decumanus VIII à gauche du decumanus maximus et du kardo VII au-delà du kardo maximus. Fig. 3. Vue aérienne verticale du Graticolato romano à l’ouest de Mirano. Fig. 4. Carte géomorphologique et hydrographique de la plaine centrale de Venise. Légende: 1 - plaine alluviale ancienne du Brenta (tardiglaciaire); 2 - alluvions récentes (holocène); 3 - bourrelets alluviaux anciens et récents; 4 - dépressions d’inter-cône du Musone; 5 - plaine alluviale du Piave; 6 - limite septentrionale de la résurgence des eaux; 7 - courbe de niveau (eq. 5 m); 8 - hydrographie moderne et contemporaine; 9 - bourgs fortifiés (XIIe-XIIIe s.). Fig. 5. Centuriations et circulation des eaux, de Bassano à Mirano. Fig. 6. Morphologie de la centuriation entre Cittadella et Castelfranco Veneto. Les flèches externes indiquent le carroyage théorique de la centuriation. Fig. 7. Morphologie de deux centuries de la centuriation au nord-est de Padoue. Les trois limites intercisivi sont représentés en pointillés.
Marius Alexianu, Olivier Weller, Robin Brigand, Roxana-Gabriela Curcă
Recherches ethnoarchéologiques sur les sources salées de la Moldavie précarpatique
Tyragetia, serie nouă, vol. II [XVII], nr. 1, Arheologie. Istorie Antică
Robin Brigand, Andrei Asăndulesei, Ionuț Nicu Cristi
Autour de la station éponyme de Cucuteni: paysage et peuplement (Valea Oii, Iași, Roumanie)
Tyragetia, serie nouă, vol. VIII [XXIII], nr. 1, Arheologie. Istorie Antică
In the dazzling world of precious stones and noble metals, certain jewelers stand out, mastering the art of harmonizing understated elegance with absolute refinement, genius with design, and sophistication with eternal, unforgettable splendor...
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.