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Located in the basement hall of the permanent exhibition, the technical installations related to the grape pressing process are remarkable for the ingenuity of their design; the manual carving of the wood, usually of a hard essence, as well as the processing of the screw thread’s pitch and of the pressing screw using only an axe and a knife, are operations that required a lot of skill and knowledge of woodworking.
The presses with wedges, either horizontal or vertical, are considered the oldest and rarest, being attested in the Romanian Principalities starting with the 18th century. They belong to the category of installations where the pressing force is achieved through the physical effort of one or more persons, or by pressing with the help of a weight. If for this category of presses the result of squeezing depended on the strength of the person and on the impact provided by the wedge’s or ram’s mass, in the case of the presses implying direct pressure (presses with one central screw or with two lateral screws) the important aspect was the pressure, based more on mechanical principles. In this type of installations, the wear of the composing parts is much more pronounced, therefore the screw thread’s pitch and the two screws needed periodical adjustment. Despite this disadvantage, the small peasant household preferred this type of installation over the one with wedges, due to its much higher efficiency.
The technical installations used for grape crushing displayed in the museum’s permanent exhibition provide visitors with an eloquent typology. Preserved in wineries or used directly in vineyards, these old grape pressing installations offer a comprehensive insight into Moldavia’s viticulture.
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Reflecting the best social, economic and historical conditions under which society has developed, the peasant interior has been shaped by several factors: natural environment, occupations, social stratification and economic possibilities, technical development, as well as cultural exchanges among different population groups. The nature of the landscape and the climate influence the organization of the interior and of the house, this being most visible in the heating system, in the nature of the interior textiles, and in the inventory of tools. One of the interior’s essential features is functionality; the utilitarian function is complemented by the aesthetic one, which is found in the interior’s decorative composition and in the syntax of the objects’ ornamental motifs.
The fifth museum hall houses a traditional interior specific to the subarea Hârlău. The ‘corners’ characteristic of the olden interiors are highlighted: the hearth corner, the bed corner (for rest), the table corner (for representation), and the corner for storing dishes and food. Apart from the furniture items, the interior also includes a rich inventory of clay vessels, such as pots used for food preparation or heating, cups of various sizes, jugs, etc. The textile pieces, mostly originating from villages neighbouring Hârlău, provide warmth and good taste to the entire ensemble.
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Similar to the goddesses of fate in Greek mythology (Clotho, responsible for birth and beginning, spinning the thread of life; Lachesis, who measures the thread; and Atropos, the witness to human’s inevitable end, who cuts the thread of life), daughters of Zeus and of goddess Themis, known as the Moirai, our popular mentality includes “Ursitoare”, embodiments of destiny deities, three fairies who inexplicably divide the fate of each person. They are depicted in two forms: young and beautiful, like fairies, their virginity expressing the state of physical and spiritual purity required to perform the rite of assigning the fate, or old and ugly, like witches, called crones.
As the course of a person’s life was depending on these three female deities and no one else was able to rewrite their decision, a custom called The Fates’ Table (“Masa Ursitoarelor” in Romanian) used to be widely practiced as an attempt to obtain a favourable fate.
Careful preparations were carried out by the child’s mother and father for their arrival, just as one would await special guests. The spirits were expected in silence, without agitation or expressions of wonder, so as not to disturb the fate being set. Practical preventative measures were also taken, such as sending away the household dogs, as it was believed that if fairies were barked at or worse, bitten by dogs, they would predict a bad fate. They needed to be cheerful and undisturbed in order to assign a good fate. The Fates’ table was carefully prepared by the midwife, who was also the mother’s trusted helper for a week or more, while recovering after giving birth. Numerous offerings were placed on the table: “colaci” (circular, braided bread, typically made for special occasions or feasts, such as Christmas, Easter, weddings, and funerals), salt, water, oil, basil, money, lit candles, sometimes even a mirror or a comb, a cup of wine, as well as objects with symbolic value: a flute, wheat ears, a notebook, a book, a pen, and wool yarns. After having completed the preparations, they quietly awaited the arrival of the Fates, who would come at midnight, after the first cockcrow. They would enter through the chimney or the window of the child’s room and began to foretell the fate. The first one would take the distaff in her hand, placed it in her belt, spin the spindle, and pronounced the child’s destiny; the second one would spun the thread from the spindle, while the last one would cut the thread with scissors or with the sickle. After spinning the thread of life, if the child was born at a fortunate hour, the Fates would start singing very beautifully and assign a good fortune. However, if the child was born at an unfortunate hour, they would start singing a melancholic verse and predict nothing but misfortune.
The motif of the fate’s goddesses emphasizes once again the magical nature of the actions undertaken by humans in the attempt to influence their destiny. The child’s name, the anticipatory practices, the magic of a new beginning, the gestures and the ritual instruments mediate the direct dialogue with sacredness, marking a reconciliation between humans’ vulnerable status and divinity.
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The first museum hall captures the presence of wine in the context of the first rite of passage in human existence, birth with baptism, as well as of the first moment of regenerated time, the New Year. Original objects, as well as the suggestion of certain customs, beliefs, and specific mythical and magical practices, constitute the substance of this introductory room. Wine makes its presence felt in the life of the traditional man since the prenatal period, with the custom of infertile women drinking a mixture of herbs boiled in wine; in childhood, wine holds a special place in the communion ritual, an episode that is represented in the museum by specific objects (chalice, basil, communion spoon, hand cross). The calendrical time has also a periodical chance of rebirth. The end of the year brings with it the chance of a new beginning, of a new birth. All the ritual manifestations that take place on New Year's Eve and New Year’s night in the traditional village have an augural and propitiatory character, being under the sign of time renewal and of the perfection of beginnings. These customs and beliefs are suggested by the display of the 'comoraș' (leader of the carolling group and money collector) and of the zoomorphic and anthropomorphic masks.
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The last hall of the museum is dedicated to another craft that had multiple connections with viticulture, namely pottery. In the past, wine was most often drunk from clay pots, including by the nobility and rulers.
Bringing together the three major groups of Romanian folk pottery – black, glazed red, and unglazed red – the museum hall presents a vast repertoire of shapes, determined both by the working techniques and by the utility of the pieces adapted to different household needs: pots, bowls, plates, mugs, jugs, milk containers, “chiupuri” (clay containers for making “borș”, a yellowish, sour liquid which can either be used to make sour soup or be drunk as such; according to the most common recipe, wheat bran, cherry sprigs and lovage are placed in this container, hot water is poured over, the mixture is left to ferment for 1 to 4 days, dependant on the ambient temperature).
The main part of the hall is dedicated to ceramic vessels that form the viticulture inventory. Among the multitude of shapes, the vessels used for drinking stand out, a special place being reserved for jugs, which, along with vinegar containers, constitute the most characteristic Romanian ceramic shapes. The hall also includes the illustration of a potter’s workshop and the presentation of the black pottery center of the village of Poiana, located near Hârlău.
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The museum hall dedicated to works and beliefs displays the main tools used in vineyards (planting dibble; large fork; vine knife) and highlights the close connection that existed between vineyard work and the numerous beliefs and superstitions that surrounded the grapevine and its product. The focal point around which the room revolves is represented by a horse's head and the vineyard watcher's hut. In this exhibition space one can also admire a rather rare type of wine press, namely the wheel press, which was transported directly to the vineyard and used immediately after grape crushing. This press was used especially in places where owners had small vineyard areas, so it wasn't justified for every household to own such a press.
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The presence of a space dedicated to coopery or barrel-making completes the initiatory journey of the wine in human life, and no museum of vine and wine could be complete without the vessels particularly crafted for wine storage and serving.
Emerged and developed mainly due to vineyards and wine, the craft of coopery is illustrated in the museum hall by means of the cooper’s tools and workshop, as well as by some wooden containers necessary for wine storage, preservation, and transport.
The stump, the axe, the bench where the stave was fixed and processed, barrels, and a carpentry bench recreate the image of the cooper's workshop. The museum hall also presents the stages in barrel processing (making the staves and hoops, assembling the staves, firing, binding, making and fitting the bottom), as well as some of the resulting products: large and small barrels, buckets, tubs, troughs, etc.
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The temporary shelters like vineyard huts have been a constant of the spaces inhabited by Romanians. As their name suggests, they are provisional dwellings, erected at the end of summer and the beginning of autumn, with the purpose of guarding the harvest. They represented a constant form of temporary habitation specific to those who owned vineyards, orchards, or vegetable gardens. They could be easily constructed from inexpensive materials and using simple techniques, being readily available to the peasant. Sometimes they also served as winery and were dismounted after the completion of grape harvest.
The vineyard hut was a rudimentary construction, raised at ground level, made from five posts fixed into the ground, two in front (placed on either side of the entrance) and three in the back, connected with laths, wickerwork and covered with reed secured with wire. It has small dimensions, 1.50 m by 1.50 m, such temporary constructions being suitable for one person, the vineyard watcher, who was thus protected from the rain. Temporary dwellings of this kind could be erected and dismantled in a very short timeframe.
The vineyard hut present in the museum’s permanent exhibition is accompanied by an unusual element – the skull of a horse, placed on one of the two sides flanking the entrance to the hut, an element that naturally arouses the curiosity of visitors. The answer to this unusual presence can be found in the traditional Romanian way of thinking, which maintains a real cult of the horse, endowing this solar and aquatic, celestial and chthonic, cosmogonic and heroic animal with attributes that belong to the apotropaic sphere and its fertilizing role. The belief is that the presence of this simulacrum drives away evil spirits from around the house, household, and fields, hence the richness of an interesting documentary material, exploited especially in the genres of folk orality, captured in all its splendour during the customs related to winter holidays, when the space is occupied by performers who simulate the dance of horses, in a special choreography and scenography, for the audience.
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Collection of the Ethnographic Museum of Moldavia – The Museum of Vine and Wine, Hârlău


All the ritual manifestations that take place on New Year's Eve and on New Year's night in the traditional village have an augural and propitiatory character, being under the sign of the renewal of time and of the perfection of the beginnings. The scenography imagined in the ritual battles between the two groups of characters, the presence of animal masks and of those that satirize the village’s everyday life intend to repeat the state of chaos characteristic of the last moments of the year, purifying the space, considered impure, and preparing it for a new beginning. Through the force of gesture and word, people’s vices and deviant behaviours are satirized, expelling all evil and the shortcomings accumulated over the year.


This is the context in which groups with zoomorphic and anthropomorphic masks make their presence felt: the Goats, the Bears, the Little Horses, the masked people, preceded by Ploughmen and Carollers, the space being invaded by spirits, marking a period of food and bacchic excesses while the old and degraded year is coming to its end. All the community's playful activities during this period were regulated by the group of carolling lads (Romanian “ceată”), as the main form of youth organization. The group’s foundation was its unity; the group was established on the principles of coexistence and solidarity, a reminiscence of the old village organization. By respecting these norms, the group became representative for the entire village, being awaited and respected. The group of carollers reminds of the brotherhoods of young men, with strict operating rules, the young men having certain limitations related to age and neighbourhood. They gathered at a house, chose a leader, made their props, and rehearsed their repertoire. The group consisted of the 'beautiful' and the 'ugly'.


The 'comoraș' was included in the category of the ’beautiful’. He was the leader of the entire procession and had a great responsibility. He directed the entire performance, collected and managed the money, and had the power to intervene in case of disputes, resolving possible conflicts between the members of the group or between them and the village. He wore a military uniform.
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Collection of the Ethnographic Museum of Moldavia – The Museum of Vine and Wine, Hârlău


In Moldavia most pottery centres emerged at the end of the 19th century, responding to a growing demand for such products, the processed and fired clay vessels being highly valued for their quality. One of the examples is the pottery centre in Poiana village (Deleni commune, Iași county), known especially for its unmistakable black pottery, which combined several qualities. The vessels made by this locality’s potters were predominantly utilitarian and had shapes adapted to the sizes of the peasant stoves and various capacities. Though very thin, the walls of the vessels were resistant over time. A characteristic feature of Poiana pottery is that the vessel is pronouncedly curved in its middle part. All categories of objects specific to black pottery were produced in Poiana centre: jugs, “chiupuri” (clay containers for making “borș”), pots for “sarmale” (dish made of minced meat, usually pork, but also beef or poultry, mixed with rice and other ingredients, wrapped in fresh or pickled cabbage leaves or vine leaves, in the form of a roll; this dish is known in several countries around the eastern basin of the Mediterranean Sea, including Turkey or Greece), mugs, bowls, flower containers.


A distinctive feature of this centre is the creation of "moșoaice", which are vessels especially made for “Moşi” (days in which the deceased are remembered), different in shape and filled with wine or various ritual baked food to be given as alms. Decorated by polishing with a river stone while slightly moist, the pots acquired a special chromatic during the firing process. The smaller ones were painted using a straw soaked in lime. This type of decoration reminds the one of the eggs prepared for Easter days, some of the motifs belonging to the same Easter register: the endless path, the pod, the Easter flower, little fir trees. The pots decorated in this manner present several artistic compositions covering the entire body of the vessel, including motifs like the pod or the willow leaf, the oak leaf, or the little fir tree, along with the spiral, the cat's neck (a motif similar to the letter N), the dot, little crosses, and stars. The most used ornamental motif in Poiana centre is the zigzag, executed with a sharp point on the raw paste of the vessel.


The development of this type of pottery was stimulated by the numerous moments throughout the year dedicated to the departed, to the mythical ancestors, patrons over the cycles of nature and everything that remained after them. The result of these encounters, expressed through the solidarity between the world of the living and that of the departed, was a dialogue intermediated and strengthened also by the ritual presence of the dedicated vessels crafted by the important figures of the centre, Toader Nica and Andrei N. Gheorghe, who left to posterity witnesses of a traditional way of life.
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Collection of the Ethnographic Museum of Moldavia – The Museum of Vine and Wine, Hârlău


The displayed balance used oka (‘oca’ in Romanian, from Turkisk ‘okka’) as unit of measurement and a metric system specific to the mid-19th century Moldavia; it is commonly known as the sheepfold balance, because it was mainly used to weigh dairy products. Being entirely made of iron and comprising also the weight made of brass and filled with lead, the piece reconstructs the typology of these types of balances, very common especially in places where goods exchanges took place (fairs, markets, inns). Directly related to its unit of measurement, the oka, whose weight was approximately 1.300 grams, the balance was also known as the oka balance and offered the additional possibility to use both larger or smaller weights. The rod on which the standard weight moves has two graduated scales, with 16 points for smaller weights and 57 points for larger ones. The value of the item is given also by the engraved brass seal of the coat of arms of Iași city, as well as by the symbolic presence of the moon and the sun, astral elements that accompany the shepherd’s life at the sheepfold and on his initiatory journey.


The exhibition also displays capacity measurement units, essential in a place where alcoholic beverages needed to be weighed. Made of brass, one can distinguish various measures: oka for liquids (1.520 liters), "litra" (0.25 oka, which is 0.380 liters), and "dram" (1/100 oka, meaning 0.0038 liters).



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Collection of the Ethnographic Museum of Moldavia – The Museum of Vine and Wine, Hârlău


The oven or hearth was the spatial element taken into account in organizing the interior of a peasant dwelling. Especially in winter, it concentrated the entire family life, being the warmest place in the house, where, besides the practical purpose of preparing food, stories were told and the work of spinning and weaving the wool was learned. Source of warmth and light, a place for preparing food, a factor of cohesion, the hearth usually occupied the space created by the wall facing the porch and the one of the rear facade of the house, being the warmest place in the entire room. To save space, but also to provide more heat, the stove was combined with metal plates and also an oven that was used occasionally, especially around the major annual feasts, for baking bread and ritual food. Various household items were kept on the narrow edges. Some ovens also had a smaller hearth as an extension of the larger one, where children, and invariably, the cats, used to warm up. In Moldavia, the stoves frequently served as a dividing wall between the front room and the rear annexes, also acting as a “blind stove”, having the opening on the hearth of the adjacent room.


Several pots used for cooking or heating food, and mugs are displayed. In the upper part, there is a small niche where the fire striker and the flint are placed, suggesting the old method of lighting a fire.



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Collection of the Ethnographic Museum of Moldavia – The Vine and Wine Museum of Hârlău


The traditional festive costume is renowned for its beauty and diversity, both in terms of cut and materials used, as well as in the richness of ornamentation patterns and chromatic variety, representing an emblem of the Romanian cultural identity.


The behaviour of the peasant had a special coherence regarding lifestyle, religious precepts, relation to nature, to the sacred time of feast and to the profane, every day time. This was especially visible in terms of the way of dressing, in the typology of the costume. The main carrier of information regarding particular and regional identification was the shirt. As key elements of the traditional costume, the shirts were remarked on festive occasions, on weddings, consequently, they were meticulously ornamented. They singled out through their embroidery, stitched signs (carriers of symbolic value), decorative motifs, chromatic variety, through the way all these were combined in compositions, and they reflected the wearer's age, marital status, place of origin, the family's financial status, being part of a non-verbal communication system.


The exhibited bride’s and bridegroom’s shirts are tailored from fabric made of the best quality of Tsigai sheep wool, of special fineness, as it was spun through a bead. Both shirts present woven decoration, in which white cotton yarns were added, resulting in a diaphanous appearance, an effect of opaque and transparent, given by the alternation between the thicker and thinner threads, which enhance the artistic value. The bride’s shirt originates from the village of Deleni, Iași County, and it also presents decoration with sequins and beads. The men's shirt is made of a single piece of fabric, is long up to below the knees, and has a turned-down collar, fastened with black buttons; it comes from the village of Doroșcani, Popești commune, Iași County.
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Iași area
Late 19th century


The exhibited wall carpet is made of wool dyed with vegetal colours derived from plants; fruits, flowers, green parts, bark or even roots used to be employed in the dyeing process. The decoration of this wall carpet includes stylized vegetal motifs and geometrical motifs, which were made using the colours pink, green, brown, yellow, dark blue, white, black.


The wall carpet is the most representative type of weaving in the Romanian traditional culture. It is the largest in size and the most decorated one. These elaborated weavings were always placed on the walls, contributing to the thermal and acoustic comfort of the house; apart from being primarily functional, in time they had acquired an aesthetic function, as well, and became the most important element of the interior architecture of the house.


The craft of carpet weaving has been preserved till the present days in Romanian peasants’ households as a domestic activity running in the family, from one generation to another. Traditional wall carpet craftsmanship in Romania is part of the UNESCO Representative List of Intangible Cultural Heritage of Humanity.
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Provenance: Ghindăoani Village, Neamţ County
Collection of the Ethnographic Museum of Moldavia – Museum of Vine and Wine Hârlău


The cupboard is part of the category of objects specific to the rural interior and constitutes, along with the bed, table, chairs and bench, the traditional rural furniture. Generally used for tableware, the cupboard’s shape and size were adapted to the living room, being either attached to the wall or equipped with legs; it used to be situated as close as possible to the hearth, near the entrance door to the hallway that made the transition between the two rooms of the house. The primary role of cupboards was utilitarian, to which, over time, an aesthetic one was added, the decorative motifs being mainly carved or applied in relief.


The cupboard was purchased in 1958 during the ethnographic field campaign carried out in Neamţ region, which resulted in the acquisition of several cultural goods, including traditional clothing, peasant installations for oil seed processing (oil presses), as well as pieces of furniture (tables and chairs as well), from the localities Pipirig, Grumăzeşti, Crăcăoani, Oşlobeni, Bodeşti and Ghindăoani, enriching the museum’s heritage.


Typologically, the piece falls under the category of cupboards with shelves; it is rectangular in shape, has three open shelves and stands on four legs; it can be placed either on the bench or directly on the floor. Measuring 150 cm in height and 30 cm in depth, the cupboard provides generous storage space. The upper register presents an opening (niche) bordered on its both sides by decorative inlaid elements (bands resembling fir tree branches and the sign of the cross). Additionally, the piece of furniture presents a suggestive artistic composition, consisting of the juxtaposition of two elements that enhance each other. This involves the presence of two birds placed face to face and two wolf heads, elements with a funeral resonance, perceived in the folk beliefs as messengers of the soul between this world and the underworld. Therefore, beyond its practical function, the cupboard of Ghindăoani – Neamț has a ritual role, being used as a mediator in post-funeral rites, as the communication between those alive and those who have departed was considered crucial for the good course of life. The cupboard was used to give alms for the departed soul. Its niche served as the threshold separating existence from post-existence, being the place where clay dishes with a capacity of half a kilogram, filled with steaming food, and cups with wine and water were placed, in order to be given as alms to people who were not part of the family, strangers to the kin and for those in greater need.


Of great artistic value, the piece documents the specificity of funeral and post-funeral practices within the rites of passage that accompany the human life.
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Provenance: Hârlău
Collection of the Ethnographic Museum of Moldavia – The Museum of Vine and Wine, Hârlău


“Scăunoaie" is the installation where staves were fixed and processed for barrel-making, being a bench on which the craftsman sat in order to press with his foot on the pedal that secures the wood for carving. The staves were curved, being carved with an axe along the wood fibre. Then they were soaked in water, metal hoops were added, and the barrel was sealed with reed mace.


This installation was also used to adjust the shingle used for the roofs of the mountain houses. The shingle was made of straight and knot-free fir wood. The triangular pieces that had been previously split with an axe or hatchet along the wood fibre, were adjusted with a drawknife, one side and an end were bevelled so that the water could run off.
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Provenance: Tansa Village, Iași County
Collection of the Ethnographic Museum of Moldavia – Museum of Vine and Wine Hârlău


Originating from the village of Tansa in Iași county, the wine press with wheels is part of the typology of peasant technical installations used for grape pressing. Marking an evolutionary stage in grape processing, subsequent to the primitive method of pressing the grapes in a stomping trough which was inherited from the ancient Greeks, from where it also spread to northern Europe, the grape pressing using installations that use human force eliminated the major drawbacks of grape crushing, namely that a large quantity of juice remained in the grapes after stomping them and the timeframe for the pressing process was very long and the goods could deteriorate.


In this context, the innovative appearance of grape pressing installations was very useful and immediately adopted by small peasant households. This was the case of the type of wine press presented herewith, which also had the characteristic of being able to be rented by the owner, being equipped with four wooden wheels. It appeared during the interwar period and reflects the state of the society of the time. The world was impoverished by the consequences of the war and the uncertainty of daily life, small properties were fragmented, and the life of the peasant became increasingly difficult. Therefore, few could afford to own such wine presses. Taking advantage of the situation, a new category of merchants emerged, the ones who acquired equipment for grains and grapes processing, in order to lend it to the peasants to process their harvest and then capitalize on it. In this category also falls the wine press with wheels from Tansa, which was rented by the owner to those who had vineyards but did not own such a press. It was transported directly to the vineyard and used for crushing; then the tenant would honour the rental agreement paying a tenth of the wine produced. In this way, the person who had the press ended up with more wine than the small owners.


The wine press from Tansa is made of hardwood, namely oak, hewn with an axe, and has the shape of a well-joined rectangular frame, secured with screws. In the centre it has a metal screw, which is attached, at its lower end, to a small wooden board for better centring. The basket in which the grapes are placed is circular in shape and is made of short boards held together with two metal rings, equipped with an opening device, for handling the grapes. At the bottom of the press, there is a drainage device. The operating principle of the wine press consists of the manual operation of the central metal screw, using the wooden handle located in the upper part of the installation. The screw presses on the wooden lid located inside the basket, crushing the grapes.



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Provenance: Tansa, Iași County
Collection of the Ethnographic Museum of Moldavia – The Vine and Wine Museum of Hârlău


The exhibited grape stomping trunk originates from the locality of Tansa in Iași County and has a length of 2 metres. It was made of a hollowed lime tree trunk and had been used for grape stomping until 1940s.


Stomping the grapes by feet in special containers is a method used since the time of the ancient Greeks that spread throughout Europe. It was known both in France and by the vine-growers of the Rhine Valley, on a very large scale, and became widespread in our country at the end of the 19th century and the beginning of the 20th century.


This primitive installation was made by carving a trough from a large tree trunk, with a length of nearly 3 meters and a diameter of c. 1 meter, allowing two or three people to work at the same time.


Grapes were trampled using bare feet, crushed directly or put in sacks made of woven hemp (this vegetable fibre behaves better than wool when in contact with the sticky grape juice). The grape juice fell into a large wooden vessel.


Being a primitive, laborious, and at the same time unhygienic process, with relative efficiency, as a large quantity of grape juice remained in the grapes and the time required by crushing meant days and even weeks, causing the grapes to spoil and the grape juice to sour and ferment, this type of installation was abandoned in time and the shortcomings related to the transformation of grapes into grape juice were eliminated once the wine presses were discovered.
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Provenance: Zăpodeni Village, Vaslui County
Collection of the Ethnographic Museum of Moldavia – The Vine and Wine Museum, Hârlău


The wine press with two lateral screws originates from the locality of Zăpodeni, in Vaslui county. It impresses with the massiveness of the wooden screwed nuts and of the table, as well as with the elegant execution of the screws, handcrafted by means of carving techniques, without using a lathe. Its ingenious method of construction provided optimal pressing of a large quantity of grapes in a short time, with minimal effort.


Having identical length and height (145 cm), the installation is well-proportioned, adapted to a winery interior, where grapes were processed. It is made of elm and oak wood, consisting of: a rectangular pressing table equipped with a frontal orifice for drainage, a wooden enclosure in which the grapes were placed, two vertical screws inserted through a fixed beam supported laterally by two vertical posts, screwed nuts, and a pressing beam. It is worth noting that all the component parts are crafted in such a way that they easily fit together, allowing the installation to be assembled and disassembled for transport to the vineyard winery. The wooden enclosure is parallelepipedic in shape and consists of several perforated planks; here, the grapes were placed and then squeezed and crushed with the help of the two screws. At the bottom, there is an orifice through which the grape juice would drain into a trough. The proper functioning of the wine press depended largely on the correct fixation and manipulation of the two large screwed nuts and the two screws, for which the thread pitch had to be identical, as the durability of the installation was severely tested during the grape pressing process.



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Archaic communities view death as a new beginning. The family, the kin, indicate both those living on earth and those who have passed to the other side. Periodically, during the major annual celebrations, the boundary between the two worlds becomes permeable, allowing the souls of the loved ones to return home.


The objects displayed in this hall mark the important moments in the journey of the soul towards the underworld. The yoke covered with a pillow (a practice found over a wide area, referring to the 'union with the earth' and the psychopomp oxen) illustrates practices intended to ease the agonies of death. The clay vessels and the cupboard recall the food and drinks given as alms. The masks symbolize the wake, a moment of community solidarity and the last celebration with the deceased, while the stone cross from the old cemetery in Tansa - Iași signifies the place where the family will come to mourn.



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Being a rite of passage that ensured stability and, later, the continuity of the kin, it was only natural for the wedding to be associated with wine. This museum hall suggests the manner in which wine marks the archaic wedding. Objects from the collection of the Ethnographic Museum of Moldavia, items used in the context of the wedding or intrinsically connected to the life of the young family, old photographs, and texts about the role of wine during weddings aim to recreatethe ambiance of a traditional wedding.


The main moments of the wedding are captured through several representative objects: the dowry chest with interior textiles, a wall carpet with floral motifs, a groom’s costume and a bride’s costume from Iași area, specific ornaments, kerchiefs and towels commonly used in olden weddings, traditional musical instruments, and a few images depict the role of wine, and of drinks in general, during the wedding.



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The inn ('han' or 'ratoș' in Romanian) was situated along major roads in the rural or provincial settings of old Moldavian market towns and was one of the most crucial stops, serving as a meeting place for travellers. Here, whether with larger or smaller wine vessels, conversations flowed freely, and various business deals were struck. Some of these buildings might also have been used as postal stations, many of them having two opposite entrances to allow the smooth flow of carts. In this regard, there were even decisions made by the Moldavian rulers regarding their establishment and location at distances of about 25 – 30 km, considered satisfactory for the transportation means of the time.


Typically, the inn was a more robust building, often made of brick, larger than a usual house of the 19th and early 20th centuries, measuring up to 40 meters in length. It was always situated at crossroads, so that those passing by could find time for rest and refreshment. In terms of layout, the inn had a judicious distribution of rooms, including the common hall, the innkeeper's room, and the tavern, where the access to the cellar was located. It also featured several small rooms, the number of which varied (between five and eight). The interior space was divided in such a way that the main activity revolved around the large hall, a meeting and socializing place for travellers. The building was equipped with a stone-vaulted cellar, where food and drink were kept cool.


The museographic reconstruction of such a space in the permanent exhibition of a specialized museum like the Museum of Vine and Wine in Hârlău was of high importance, especially due to the museum’s proximity to the former inn of Deleni (on the road connecting Botoșani and Iași), an important social building erected on the former domain of the Moldavian ruler Ion Ghica at the beginning of the 18th century. The museum hall intends to recreate the atmosphere of this type of traditional cosmopolitan place using specific inn inventory items: the long and narrow table, the shelf with measures for drinks, harness pieces, the saddle, saddle stairs, saddlebags, traditional clothing, ceramic mugs and jugs, as well as treasure chests. Particular attention was given to the original method of transporting wine, which in the past was done in small barrels on horse saddles, or in large carts drawn by oxen.


Intended for various categories of travellers, the inn established itself as a resting place in the history of Moldavia, also being a result of a situation of relative economic well-being derived from a more rational exploitation of estates - the source of commercial capital, but also from the emergence of communication paths that became commercial routes linking the nodal points of mediaeval Moldavia’s map.
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The winery in the vineyard used to be a frequent construction in the viticultural areas of Moldavia. It had the role of a night shelter for the peasant who watched his vineyard, but it was mainly a depository of the inventory of tools, installations and containers needed for the vineyard.


The museum room dedicated to the winery from the vineyard is located in the basement of the building and has openings on two sides, allowing the visitor to see, from different angles, the inventory of objects. Here are exhibited tools necessary for working the vineyard, tools and objects used to harvest the grapes (baskets of various sizes), objects used to crush the grapes (grape crushers, stomping trough) and containers for storing grape juice and wine (barrels of various capacities, wooden funnels, etc.).



### Title window_6ED8E310_7C6F_9ED9_41C0_EF63FCD651F5.title = BENCH FOR STAVE FIXING AND PROCESSING window_8E3CF854_81D6_5F7B_41D4_D5A2E2D97575.title = BLACK POTTERY OF POIANA VILLAGE, DELENI COMMUNE window_38C889BC_2A76_9B07_41C0_29572B41BCAE.title = CUPBOARD window_3B82E759_2A71_B701_41C4_00437039F8FD.title = Collection of the Ethnographic Museum of Moldavia – The Vine and Wine Museum of HârlăuThe traditional festive costume is renowned for its beauty and diversity, both in terms of cut and materials used, as well as in the richness of ornamentation patterns and chromatic variety, representing an emblem of the Romanian cultural identity.The behaviour of the peasant had a special coherence regarding lifestyle, religious precepts, relation to nature, to the sacred time of feast and to the profane, every day time. This was especially visible in terms of the way of dressing, in the typology of the costume. The main carrier of information regarding particular and regional identification was the shirt. As key elements of the traditional costume, the shirts were remarked on festive occasions, on weddings, consequently, they were meticulously ornamented. They singled out through their embroidery, stitched signs (carriers of symbolic value), decorative motifs, chromatic variety, through the way all these were combined in compositions, and they reflected the wearer's age, marital status, place of origin, the family's financial status, being part of a non-verbal communication system.The exhibited bride’s and bridegroom’s shirts are tailored from fabric made of the best quality of Tsigai sheep wool, of special fineness, as it was spun through a bead. Both shirts present woven decoration, in which white cotton yarns were added, resulting in a diaphanous appearance, an effect of opaque and transparent, given by the alternation between the thicker and thinner threads, which enhance the artistic value. The bride’s shirt originates from the village of Deleni, Iași County, and it also presents decoration with sequins and beads. The men's shirt is made of a single piece of fabric, is long up to below the knees, and has a turned-down collar, fastened with black buttons; it comes from the village of Doroșcani, Popești commune, Iași County.Collection of the Ethnographic Museum of Moldavia – The Vine and Wine Museum of HârlăuThe traditional festive costume is renowned for its beauty and diversity, both in terms of cut and materials used, as well as in the richness of ornamentation patterns and chromatic variety, representing an emblem of the Romanian cultural identity.The behaviour of the peasant had a special coherence regarding lifestyle, religious precepts, relation to nature, to the sacred time of feast and to the profane, every day time. This was especially visible in terms of the way of dressing, in the typology of the costume. The main carrier of information regarding particular and regional identification was the shirt. As key elements of the traditional costume, the shirts were remarked on festive occasions, on weddings, consequently, they were meticulously ornamented. They singled out through their embroidery, stitched signs (carriers of symbolic value), decorative motifs, chromatic variety, through the way all these were combined in compositions, and they reflected the wearer's age, marital status, place of origin, the family's financial status, being part of a non-verbal communication system.The exhibited bride’s and bridegroom’s shirts are tailored from fabric made of the best quality of Tsigai sheep wool, of special fineness, as it was spun through a bead. Both shirts present woven decoration, in which white cotton yarns were added, resulting in a diaphanous appearance, an effect of opaque and transparent, given by the alternation between the thicker and thinner threads, which enhance the artistic value. The bride’s shirt originates from the village of Deleni, Iași County, and it also presents decoration with sequins and beads. The men's shirt is made of a single piece of fabric, is long up to below the knees, and has a turned-down collar, fastened with black buttons; it comes from the village of Doroșcani, Popești commune, Iași County.Collection of the Ethnographic Museum of Moldavia – The Vine and Wine Museum of HârlăuThe traditional festive costume is renowned for its beauty and diversity, both in terms of cut and materials used, as well as in the richness of ornamentation patterns and chromatic variety, representing an emblem of the Romanian cultural identity.The behaviour of the peasant had a special coherence regarding lifestyle, religious precepts, relation to nature, to the sacred time of feast and to the profane, every day time. This was especially visible in terms of the way of dressing, in the typology of the costume. The main carrier of information regarding particular and regional identification was the shirt. As key elements of the traditional costume, the shirts were remarked on festive occasions, on weddings, consequently, they were meticulously ornamented. They singled out through their embroidery, stitched signs (carriers of symbolic value), decorative motifs, chromatic variety, through the way all these were combined in compositions, and they reflected the wearer's age, marital status, place of origin, the family's financial status, being part of a non-verbal communication system.The exhibited bride’s and bridegroom’s shirts are tailored from fabric made of the best quality of Tsigai sheep wool, of special fineness, as it was spun through a bead. Both shirts present woven decoration, in which white cotton yarns were added, resulting in a diaphanous appearance, an effect of opaque and transparent, given by the alternation between the thicker and thinner threads, which enhance the artistic value. The bride’s shirt originates from the village of Deleni, Iași County, and it also presents decoration with sequins and beads. The men's shirt is made of a single piece of fabric, is long up to below the knees, and has a turned-down collar, fastened with black buttons; it comes from the village of Doroșcani, Popești commune, Iași County. window_74110C0C_7BEE_8ACA_41C6_354AA88E95D7.title = GRAPE STOMPING HOLLOWED TRUNK window_CB4DE960_D9DA_2264_41C4_9D18876EF85A.title = HALL 1. THE BIRTH window_CB48E0AD_D9DA_E2FC_41D4_880FC881A214.title = HALL 10. POTTERY window_CCC9BEEC_D9DA_3E7C_41CD_0B3DB4FFC150.title = HALL 2. THE WEDDING window_CB4908BD_D9DA_E2DC_41E8_B762E68392CC.title = HALL 3. 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Welcome to the MOLDOVA National Museum Complex VR tour.
## Tour ### Description ### Title tour.name = Complexul Muzeal Național „Moldova"