#Exhibit of the Month

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.

Virtual Tour

Publications

Library „Tyragetia"

Denis Topal

Akinakes in the west of Scythian world

Biblioteca „Tyragetia” XXXV, Chișinău, 2021, 648 p. ISBN 978-9975-80-903-0; 978-9975-87-897-5

The monograph systematizes data on Scythian blade weapons from the territory of Central and South-Eastern Europe (Moldova, western Ukraine, Romania, Bulgaria, Serbia, Hungary, Czech Republic, Slovakia and Poland). The paper examines in detail the finds of swords and daggers of the Scythian period (more than 200 artifacts), analyzes the chronological positions of these objects based on burials, and reveals a correlation with other types of weapons. The typological features of the weapons of the early nomads are studied against a broad cultural and historical background, covering all simultaneous cultures of the Eurasian steppe cultural continuum of the Scythian period from northwest China to Silesia, including Siberia, the Volga-Urals, the Balkans and the Caucasus. Thus, fundamental changes in the morphology of the Scythian akinakes were traced, "cultural types" were identified, the sources of generation of types of the Scythian akinakes were determined, and the dynamics of the displacement of these sources in time was shown. The book is in Russian and contains 648 pages of text, 212 figures, 40 catalogue tables and 16 color plates.

Contents

Introduction
Acknowledgements

1. FROM FIRST OBSERVATIONS TO FIRST TYPOLOGIES. HISTORY OF THE STUDY OF SCYTHIAN SWORDS AND DAGGERS

1.1. 1870-1940. First observations
1.2. 1950-1980. First classifications
1.3. 1990-2010. First typologies

2. "IDEAL TYPES" OF NON-IDEAL TYPOLOGY. EURASIAN ISSUES OF THE STUDY OF SCYTHIAN SWORDS

2.1. The origin of akinakes
2.2. Dimensional groups of Scythian blades
2.3. Ceremonial swords of early nomads and akinakes from Vettersfelde
2.3.1. Ziwiye hoard
2.3.2. Oxus treasure
2.3.3. Vettersfelde hoard

3. EARLY SCYTHIAN FORMS AND THEIR REFLECTION IN THE WEST OF THE SCYTHIAN WORLD

3.1. Bronze akinakai and early Scythian scabbards
3.1.1. Gudermes type
3.1.2. Bronze akinakai of Asia
3.1.3. Posmuș type
3.1.4. Early Scythian bouterolles
3.2. Kelermes type and its "western" variations
3.2.1. Local Early Scythian forms of Carpathian-Danube region

4. MIDDLE SCYTHIAN PERIOD. SEARCH FOR NEW SHAPE

4.1. Early Middle Scythian period. Expansion to the steppe
4.1.1. Shumeyko type
4.1.2. Vettersfelde type
4.2. Final of the Middle Scythian culture. Cozia type
4.3. Nógrád type and Scythian single-edged swords

5. ANTENNAE OF SCYTHIAN AKINAKAI. EVOLUTION OF AN IDEA

5.1. Evolution of akinakai with antenna pommel
5.1.1. Representation on the monumental sculpture
5.1.2. Antenna pommels in the Early Scythian period
5.2. "Beautification" of the pommel. Găiceana type
5.2.1. Marychevka type
5.2.2. Issyk type
5.3. "Uglification" of the pommel
5.3.1. Grishchentsy type
5.3.2. Beixinbao type

6. CLASSICAL SCYTHIA AND "GOLDEN FALL" OF SCYTHIAN SWORD

6.1. Solokha type and the final evolution of the antenna pommel
6.2. Chertomlyk type and the "Indian summer" of the Scythian culture
6.3. Shulgovka type and single-edged weapons in Classical Scythian period

7. DANUBE REGION. CHRONOLOGY OF LOCAL GROUPS

7.1. Typology of cultural groups based on the weaponry
7.2. Northwest (Polish) group
7.2.1. Northwest (Polish) group
7.2.2. Tisza (Hungarian) group
7.2.3. Transylvanian group
7.2.4. South Carpathian (Wallachian) group
7.2.5. South Danube (Bulgarian) group
7.2.6. Carpathian-Dniester (Moldavian) group
7.2.7. Steppe Black Sea group (Lower Danube and Lower Dniester)

Conclusion
Bibliography
List of abbreviations
Catalogue of swords, daggers and scabbard elements of the Scythian period in the Danube region
Summary (in English)
Summary (in Romanian)
Figure captions
Colour figures