A number of archeological excavations show that the ceramics is connected with the handicraft of plaiting. The first vessels made by people were the plaited baskets, which were oiled by soaked clay. As a result of accidental burning of some baskets potter's handicraft was born, and for a long time the vessels were made in this way. Gradually they refused the plaited support, people got accustomed to make the vessels from long strips of soaked clay that were winded round as a spiral from the bottom till the neck of the vessel. This archaic technique of the first pottery attempt was practiced in our country as well. Very interesting examples of pottery, which are placed in the museums, testify a continuity of an impressive historical life of a people, which constantly passed the technical traditions. An exceptional beauty of Romanian popular pottery is based just on this tradition.

The artistic manifestations are registered on the pottery of Neolithic period. A succession of the Neolithic culture has produced very important works of potter's art. We remember one of the potteries painted by Cucuteni, representing one of the brightest potteries of prehistoric times. It is known especially for its large forms and its splendid ornaments, in which spirals and bends are definitive elements. Spirals and bends, in their various forms, can be found in the traditional pottery of Basarabia as well. Together with pots from burned clay admirable examples of small plastic must be mentioned, these are figures which are distinguished by a manner of styling and decorating, that could be the elements of a dress or a tattoo.

In present common traditions of popular pottery can be found in the whole territory of Moldova, between rivers Nistru and Prut. These traditions were layered during milleniums by adaptations and transformations caused by life needs and tastes of different epochs, and conditioned by relations between rural and urban centers.

The potter's wheel, one of the major human inventions, has marked a passage from the pottery made by modeling or joining the strips to that of work on the potter's wheel - the principal potter's tool.

A number of stages may be distinguished in producing the popular pottery, each stage grouping a series of operations:

a. The clay is extracted from the local soil, than the moistened clay is fermented and kneaded; it is a very simple and very important operation, and the plasticity of the clay depends on this operation. The clay is beaten by a wooden stick and is kneaded by hands.

b. Cleaning the paste off the dust ensures a uniform burning of the vessels. The second beating and a short fermenting follow after remaking the clods.

c. The vessel forming is the stage, which shows the mastery of the potter. The potter makes a bowl, a pot or a any other form from a clod of moistened clay, which is placed on the wooden wheel that is moved by the potter's leg. The vessel modeling follows a number of phases, passing from the sphere of cone trunk to the cylinder; these phases are succeeding so fast that watching them it seems to be one and continuous operation of vessel forming.

d. After the vessel is made it is dried in the shadow during some days.

e. The vessel is covered with colored substance, white or red, which is made of clay diluted in water for stopping up the porosity.

f. The decoration of the vessels by means of different methods, specific to the regions.

g. Burning of the vessels in a special stove.

h. After the first burning the vessels are coated with glaze.

i. The second burning is for glaze.

The forms produced by the potters must correspond to different requirements. They can be grouped in three categories:

a. Prolonged forms: bowls and dishes, plates.

b. High forms: pitchers of various sizes for water, with high and low neck, pots for milk, pots of different sizes for cooking. The pots are different in silhouette, in position of the handles, in neck opening.

c. Complex forms: vases for flowers, jugs for wine, small statues, and candlesticks. The variety of forms is not accidental. Every center of potters makes a certain type of vessels in such a way that the center can be recognized by the technique, form or decoration.

The way of burning the vessels in the stove can be another criterion of distinguishing the ceramics in big categories. This criterion divides the Romanian pottery in two large families: red pottery and black ceramics, but there can be delimitated two large areas and two large traditions of Romanian pottery.

1. Black ceramics - the tradition of Duks, it is found in some Basarabian regions.

2. Red ceramics- Roman tradition.

Black ceramics is obtained from the same paste as red ceramics, difference being only in a special burning of black one. It should be mentioned also the specific technique ornamenting the black ceramics, which is made by polishing with a special stone and a piece of leather. The decorative effect is remarkable: gray traces after the stone are harmonizing with metallic black of the vessel in an unusual way.

Red ceramics is divided in glazed and non-glazed ceramics.

The third criterion of dividing the popular ceramics is the ornament system:

a. Ceramics ornamented by drawing and painting.

b. Ceramics ornamented with relief elements.

If in Basarabia at the beginning of the 20th century the pottery handicraft was one of the most wide-spread handicrafts, then in post-war period individual activity was forbidden, and that is why in present we find the pottery craftsmen only in some former centers of pottery - villages Cesnauti, Hoginesti, Ciorasti, Ungheni. It is pleasant that this handicraft is passing to new generations. The tradition of non-glazed ceramics is distinguished by its beauty, the elegance of the forms, this being kept during the years: fixed characteristics of Roman ceramics. As far as red ceramics is concerned, it is the tradition of Duk people. As far as black ceramics is concerned, the traditions of glazed ceramics keeps lively and harmonious colors of Byzantine luxury.

In Basarabia this handicraft was at its stage of prosperity at the end of the 19th century beginning of the 20th century. In those times there were craftsmen in covering the roofs with rye straw.

A lot of craftsmen in plaiting the straw hats activated in the pre-war period. From that time certain traditional peculiarities of this handicraft have outlined at Romanian people from Basarabia. So, for instance, the craftsmen plaited the hats from rye straw, but its form was dictated by the climatic conditions of our region. The cylindrical form of the hat is not placed tight on the contour of the head, providing in this way a good aeration and that is why it keeps cool in summer when the air temperature is higher than +35° C. The hat brim of 10 cm wide are shadowing face and neck, protecting them from sunshine. Even in rainy days it makes the water flow down.

In present the craftsmen, who know the secrets of this beautiful handicraft, make the household objects, decorative things and toys from rye, wheat, oats and rice straw - an ecologically pure material. In last time the number of this kind of craftsmen has decreased, and still they can be found in such localities as Briceni, Telenesti, Old Soroki. For some of these craftsmen it is a way of material existence, they also say that this handicraft, as well as the objects made of straw, influence human organism positively. This was also confirmed by medical investigations that showed pure characteristics of the straw.

1. Cloth for household use - hemp towels, wool and hemp coverlets, table-clothes.

2. Decorative cloth - carpets, pillowcases, curtains, long narrow carpets for benches.

3. Cloth of ceremonial character - wedding towels, towels for funeral parties, pillows, mats.

All the categories of cloth are important from the artistic point of view.

Its function and its place in the house or in everyday life determine the form and the decorations on the cloth surface. Geometrical, anthropomorphic and vegetable elements predominate in the ensemble of woven articles. A life tree is an ornament we can see at every category of wool and cotton cloth. The chromatic scale of woven articles consists of some basic colors and a lot of hues. A simple harmony predominated in decorating wool cloth in the 18th - 19th centuries, the basic colors being brown, gray, blue-green ochre. Though in course of time new colors and hues, obtained by chemical dyestuffs, have enriched the chromatic scale. Thanks to the harmonious balance of the motives of woven cloth a unity is formed, it represents an artistic remarkable value, that has enriched the national and world property. For instance, the Basarabian carpets, made either at home or in the workshops from the Varzaresti, Tabara, Raciula monasteries, have its specific thanks to an old fund, typical to Romanian people, and thanks to social historical conditions. In course of time the Basarabian carpets were presented at the exhibitions in Sankt-Petesburg, Cracovo, Vienna, Paris, Geneva. A lot of Basarabian carpets entered the world chain of artistic values, being present in private collections from the whole Europe and even from America.

During its long history in these centers of manufacturing on national trend of the stone craftsmen made things for different usage, hewed and decorated material according to the technique and rules transmitted from generation to generation. You can find today a craftsmen which is hewing skillful architecture elements, stars for funeral, monuments, well pits, animals saddles, columns, tables, chairs, balustrades, crosses.

In the field of the stone hewing, as in the other fields was used the certain tools and technique for getting the stone from quarry and other for polishing and ornamenting. Crow-bars, big hammers, different pickaxes, sharp edge tools, big wooden chisels, saw which was used for transportation of big blocks. It was used also plumes, hammered in the stone, crack that appeared were filled up with wood. It was filled with water for wood enlarging and cracking of the stone. For breaking of the stone needed also other tools: compasses for measuring, levers and screws for transportation, files of different size, chisels, hammers some time with round off or sharp surface. Stone craftsman worked over many of the famous Middle age and modern constructions. Here we can mention famous Valah Church in Lvov, founded by Moldavian kings. Beautiful gates of this church, with predomination of the vine symbolize the tree of the life and imagining Bible inspiration. The craftsman of the stone from Moldova also hewed funeral monuments for Jewish, which they hewed according to the old Jewish tradition connected with the traditions of Romanian population. We can admire even today houses from Orhei, built at the first half of the XX century, with beautiful carved pillar from stone. Now we can find craftsman which keep traditions of this art in the location Soroca. In this county they use stone from the Cosauts, location at the river bank Dnestr, in locations Edinets and Orgei where is large used stone in the local quarry for carving of the flues pillars, gutters for animals, crosses.

In this popular art branch we can find a family of craftsmen who use leather in practicing various types of art handicraft. Today in Basarabia we still can meet such craftsmen as furriers, belt makers, harness makers. Furrier's trade is one of the oldest traditions in the zone of Romanians inhabitancy. Here we should mention the words of Herodot whoo said "Tracs (gets) were fighting with fox leather hats on their heads, with a tunic on their body and a long many-colored mantle over it", it seems that these sheepskin coats were very large and decorated with leather applications. The majority of articles made by furriers are clothes - different types of fur caps, pointed caps, caps with two "floors" made from lamb skin, long or short sheepskin coats, singlets made of lamb, goat fur. These articles as integrated parts of national dress represent remarkable esthetic features. They are decorated with the help of a various technique, a leather application, embroidery made from wool, silk thread, beads. Strap maker's trade is an old handicraft, it is practiced by few craftsmen from Baltsy, Ungheni counties. These craftsmen use the millenary traditions of making belts, wide straps. These leather articles are parts of national dress. Leather cutters use skin of horned cattle, rare sheepskin, firs - foe colored articles, the other - for decorative accessories. In this handicraft hammers, pliers, scissors, rosettes for incising leather at the edges, steel needles, different stamps for obtaining different motives are used as tools. Today leather cutters continue making wide leather belts for traditional wearing or for dance ensembles.

In last time, because frequent usage of traction transport in farms, the articles of harness makers are necessary. Though the majority of these craftsmen are old people, harnesses made by them have lost their esthetic charm. We hope that this handicraft will turn to the best account.

a. Wood cutting is the main technique that brings to 'civilization of wood" high appreciation of artistic realization of finest wooden objects cut by the Basarabian craftsmen alongside with objects made of wood from entire Romanian cultural area on a high level of wood tradition art in Europe. Wood cutting is one of the fine traditional art of wood in Europe. Wood cutting is done with very simple like knife, …. With these tools the national craftsmen "cut" the pieces of oak nut-tree, lime, acacia, willow out of which they manufactured furniture items, tools and house utensils, covering them with a wide net of fine cuts, it is a special term specific to our language that doesn't mean sculpture or splitting, but a shallow cut in the wooden mass giving an ornamental trade characterized by its geometrizm.

The most clear classification of wood cutting is the category of objects that is applied on. In the domain of national architecture, wood cuttings were applied on the principle construction decorative pieces for houses building, churches, different villas. So the houses' columns the doors' and window frames are decorated with small geometric cuttings, adding beauty to underlined volume of cut or sculptured architectonic elements.

The second field of application of wood cutting it is represented by furniture of different category. Combined with encrustation the most representative are dowry chest , tables, frames of windows and doors some groups of cupboards and utensils' boxes, chairs and benches, and the recently appeared objects in the peasant's houses like phone and flower supports.

The third field of application of encrustation is that of tools linked with different traditional occupations of Romanians. Some of them: scythe handle, hay rakes etc.. Al these thing are admirably decorated with small cuttings on a certain places. Some of objects are used in weaving;

Weaving rods, spindles, as some component elements of national carpet. Among the houses' utensils alongside with different small things for salt, condiments, flour, boxes, a special trend belong to spoons with wonderful encrustation handles. Gourds of different shape also can be attained to national objects. In a rather wise way the ornaments on the objects of every day usage. Encrustation in wood may be contemplated as the holy Scriptures signs of which had lost their meaning alongside of long time. It is quite clear that these signs rendered a specific language system, marking for example the owner property, it's origin (the settlement and the craftsman) and of course the objects contained a magic meaning. The ornamental genres such as "mutton's horns" or "solar storms" had lost their significance linked with magic or ritual, remaining as an embellishment with encrustation of rich genre in the wooden objects of national Romanian art.

b. Sculpture on wood, rarely met in the history of handcraft it is contemplated as a carving of a piece of volume wood that can be looked around or as a technique of bas relief.

It is true that in the world of Romanian peasants' sculpture in it's predominant meaning of appearance /carving/ of a human appearance it is rarely met. Therefore explorers in the past considered it as a trend apart from sculpture. They over mentioned a very large number of objects that having been used for carrying out the needs of every day occupation and life, the considered them not worth to be mentioned as sculptures.

A revolutionary in sculptural vision had to take place in beginning of the XX century. Especially experts had to study "the fascinated objects of Brincush", then step by stet people could consider as sculptures the numberless forms carved in wood available in their houses and in their property. Starting from millstones for wheat pounding from troughs of different dimensions, carved in single piece of wood still preserve the chisel's scars polished by time and cuttings on the anthropomorphic gates' pillars in central parts of Moldova, from big screws for vineyard presses made of wood, at first sight these parts seems to be pure technical, nevertheless they had their art way. Here can be mentioned the medieval splendid decorative sculpture of Romanians, represented by iconostasis embellished with sculptures and objects made of wood of practical function and thrones and bishopric armchairs, church interior covered and excited by host decor. The extreme virtuosity of sculptures in wooden panels represents the endless vitality of nature, the minuscule colored carves nearly stylistic, underlines the division that is produce between the peasant art encrustated on the background traditions of medieval simplicity and geometrism, alongside of time to decoration universe of clerkly descendant, imposing contacts with world of Orient Orthodox and also with that of Persian tradition spread through different ways and split with expression of other culture areas. In the middle of the XX -th century, due to historical course of total soviet system, the medieval sculpture was on the way of disappearing. Alongside with social reforms from the end of the last century the wood carvers from Basarabia have renovated the procedure of wood carving namely through the decoration of prayer houses that were reconstructed or new built in the villages of Moldova. The sculpture in wood appear again on crosses, crucifixions, icons. The masters -carvers on wood sculpture decorative panels having as a genre scenes from history and every day life. Besides these two main decorative procedures of wood we can meet objects of wood decorated by scratching practiced by some masters of national instruments we also can meet small objects of minuscule engraving in wood like salt-cellars, match boxes, caskets,, candlesticks. One can came across very often with decorative stencil in the central and south area of the Republic of Moldova. The beauty details of stencils embellish the roofs handrails of the houses in the countryside.

Probably the oldest canvases were fishing nets. In national art of Moldova this tender knitting with holes in it made by hands of mencrafts is isud for decoration of national wearing and of knitting works for interior decoration. As a natoional trend the knitting so called "dantela" we can see it on kerchieves as a trimming, on national shirts for male and for female. The knittings with needles used as decorative element of interior articles in Basarabia are called "horbotsele". The origin horbotsele in Moldova keep to very early times. Nevertheless it is important that pillow opening are called horbote in our days. The word is of Polish origin. The towels decorated with horbotsele were enumerated in the dowry items of XVI-XX centures.

When in the XII century apeared the high tables in the peasents' houses the table cloths made of silk and hemp trimmed around with horbotsica "knittings" keep to that time. That is why teh sheets of cloth of the table cloth were separated by horbotsica with ornamental inserts and due to them the became works of national art.

For manufacturing knittings the yarn was used and starting with sixties of the XX century the thread nr 10 for sewing . The tool for knitting in some villages of Basarabia is called "hook", "sudelca". The technique of knitting is wery simple. The main element is the chain. they form stiches and columns "legs" in the knitting structure. The diversity of the starting the knitted columns leads to a variety of knitting nets and the most known have in their basis the squares. The type of nets with "slanting stiches" is older than the "stich ver stich" type. This modality allow the most free variety of columns that form the ornaments. The (plain) knitted parts are executed through columns in the free space between them. The parts form the ornament on the (free) squares' net. In other cases for decorative aim for dantela the ornamental Composition it is widened at the edge of them by adding stiches, and forming waves , this knittings are called farborated….. In the lower part of knitting they are furnished with saw Type triangles trimming its' edge. Sometimes knittings are furnished with bell shaped trims. Such trims are characteristic for small windows'curtains. The most spread ornaments are: streams, mutton's horns. The typical nature ornament- the tree of life, bunch of grapes, the leaf of vanyard. The zoomorphic motives are: cuckoo, pigeon, turkey, bull's eye, pig's ear.

The ornamental style: the pigeon and fair tree, the deer and tree, the cocks and tree are inserted in the group of archaic styles containing mythological significance. Using one of starting point out of diversity of columns, the knitting makers handling the works through a larger range of types of knitting nets they confection much more interior pieces, table cloths without fibers of different dimensions, coverlets small pieces. The ornaments of these pieces are organized around a central genre or is repeated through knitting net in a rhythmic succession.

1. Accordingly to sound construction - a). with transversal opening or with lateral opening,

b).with cork or without cork,

c) without apertures for fingers,

d) with 6 or 7 openings,

c) simple pipes (with a single tube) or double (with two tubes) in rare cases.

The shape of the sound tube is strictly cylindrical and are manufactured from wood of elder, plum, cherry tree, acacia, nut tree and oak.

According to pipes size:- a. short pipes (up to 35 cm),

b. middle size (35-50 cm),

c. long (longer then 50 cm),

A specific design has the pipe with opened tube on both ends, without openings so called "tsilinca" made of acacia wood or from elder of 65 cm length. The Moldavian pipe with or without cork and with 6 openings so called cutted holes or burned with a heated nail at an equal distance (three by three) so called "trishca" - if it is small, or "caval" if it is big. The caval is a pipe made of wood with a cylindrical tube1 with openings for fingers grouped by three and two. The buchium represents a long horn and is a shepherd's sound instrument mentioned by chroniclers. The shepherd signs were played out from buchium. The buchium was also used for giving military signals in the medieval Moldova. In our days the signal of buchium can be heard during national holidays of local people. At present the craftsmen manufacture this instrument from lime wood. The buchium consists of a long sound tube, opened at both ends manufactured from two semi pieces or from a brunch of wood split in two pieces and scraped inside parts. The split parts were assembled together wooden rings manufactured on tool machines. The buchium has a small wooden tube on the blowing in end. The Moldavian buchium are decorated by notches.

The "nai" flute as a national musical instrument was mentioned in the chronicles of XVII century. But its existence as a non professional instrument keep to ancient Moldavian places. Nearly disappeared at the beginning of XX century the flute was brought back by the local craftsmen of Moldova and from Romania to orchestra of popular music in the second half of century. At the end of XX -th century and at the beginning of XXI century the flute was composed of 7 or 8 eight tubes closed in the bottom side. At present the flute consists of 18-23 tubes. The flute is made from wood of elder, nut tree, some of craftsmen make it from acacia or plum wood. The tubes are linked to each other in a semi -oval line and in the bottom side the tubes are covered from three sides with a plaque of wood and decorated by cutting or engraving. The Romanian lute has much in common with European, Asian, African and South American ones.

A very old instrument that can be met today in Moldova is "ocarina". The instrument has a closed conic shape with an opening and can be manufactured from wood or ceramics. At present this instrument this instrument is manufactured by craftsmen from clay. They are shaped and modeled of different dimensions. After drying out the instruments are burnt in a Furnace for burning traditional ceramics. The ocarina is not used any longer by popular Musicians but in the later time appeared in the professional orchestra.

The bull is a very old instrument and keeps to member-phone instruments that produce sounds resembling the bull bellowing .This instrument may be heard at Christmas holidays as in traditional wishing "Plugusorul" and in the ritual mask shows - the bull's suit. The latter evidently is a reflecting of bull's cult founded to Romanian ancestors -dachii. The bull is manufactured from a small tub with one opened side and the other one covered with a piece of skin with a bunch of horse hair in the middle of it. Alternative friction by hands of this hair makes the membrane to vibrate producing a sound. We may come across with other pseudo instruments like: the leaf, fish scales, drumming.

The coiling are represented by objects and constructions obtained through coiling of some different materials: twigs, straws, fern, maize covers. Before the XX century one could meet houses constructions from coiled twigs. In the Codru zone the fences with an aspect of more evident were coiled from thick rods. The range of plated granaries was very large including diverse shapes of them (spherical, parallelepiped, cylindrical), acquiring a self dynamic due to Easy and flexible material. In the every day activity of Romanians - agriculture, fishing, hunting, collecting from nature are used a large number manufactured from plated twigs: harrows, baskets of different type, fences and baskets for fishing or roofs for carts. The archaic way of interior Romanian life is proved through presence of plated rods in the furniture domain of beds' platforms, cradles for children, small chairs. In our days this type of trade is still in life through furniture manufactured by the national craftsmen from Soroca and Glodeni regions which includes benches, armchairs, swing-armchair, small cylindrical and rectangular tables, bookstands. These items are still present in the Fairs of Basarabia the craftsmen offer their products: baskets of different sizes including baskets for collecting grapes and small baskets for shopping, intended for picking strawberries etc.. One can observe that for baskets' manufacturing are used twigs of 5-6 cm thickness. The thick twigs are split in two pieces. Except for willow twigs frequently used the rods of wooden cherry and nut rods are used in basket manufacturing.

Besides that the golden and silvered thread are also used in embroidery. Classified accordingly to their functional place in the ornamental composition and to manufacturing technique stitches can grouped in places of functional character and in places of decorative character. Functional stitches serve for joining the cloth sheets or for their trimming. Tacking, stitch, festoon, bar belong to category of functional dots. In decorative embroideries that can be met in national Romanian art in Basarabia one may notice stitching on line, in form of cross, chain.

Considering the decor of dress details in Basarabia the aspect of unity with national dresses with national dresses of Romanians from historical areas. This decoration contains mystery and regularity, concentrated in strictly delimited places, that are detached on the non-ornamentated white background preserving the ancient traco-ilyric content. Decoration is applied in such way as to underline the cutting lines and body's features. The main ornamental fields of national dresses are applied around neck, on shoulders, on breast, and on lower side of skirt.

The embroidery chromatics usually is clean-cut, in case the vivid traces the contrast is Well equilibrated and quite. The main used colors are: red, black, blue, less dark-red, Green or brown.

Out of works used for interior decoration embellished with embroideries in Basarabia are towels, tables cloths and pillow cases. These items are embellished with cross technique or plain embroidery technique. The model of latter is freely fulfilled alongside the fabric and thread is alternatively passed from outside into inside and vice versa. Recently one may come across with embroidery on "sketch" according to a pattern drown on piece of fabric.

Gradually, matching the utility and attraction due to material's particular features for wicker works like: elasticity, fine color, resistance, low weight, that turned out to be useful to obtain a large number of products starting from simple household articles and ending with finest articles of haberdashery.

This trade acquired a large development at the beginning of the XX century in Basarabia. It is a rare thing to find craftsmen offering for sale items wicked from bulrush. There are three techniques used by craftsmen of wicker works in bulrush.

a. Block wicker technique that is considered the most spread one. For this reason a wooden model of the object is prepared. Using yarn that can be twisted bulrush or in other cases from separated pieces of bulrush of a better quality. The wicker work starts from the bottom of the object by using two or three pieces of bulrush. This technique is used in manufacturing baskets for shopping, hats, trays of different forms and dimensions and small baskets. This method is also used for covering glass containers in order to protect and to give an attractive aspect to them.

b. The second weaving technique of bulrush is done by using the vertical way of carpet weaving. This technique is used for manufacturing matting and the yarn can be stems of twisted bulrush, flax or lime and as a base is used only bulrush. The craftsmen from Orhei region use this technique for manufacturing so called "cosholchy" a kind of hand bag for shopping. Having woven this sheet in unfolded state people imitate the object by sewing together with a bulrush stem and is furnished with two thick hands made from the same material and a button is attached and fasten hole are also made of bulrush.

c. The third technique is article manufacturing by using a long sheet woven out of three pieces of bulrush. This technique is used for manufacturing wash-rags, different kinds of supports. These objects may have an oval, round or square forms. Therefore strips is bent and sewed with pieces of bulrush or flax having a snail shape. The tradition of bulrush weaving covers also special footwear making Before the XX century cab shoes were manufactured out of bulrush and were put on above the footwear during travelling by foot at long distances. The footwear made of straw is preserved till present time.

The technique of weaving objects from maze covers is nearly the same as the weaving from bulrush. As a base of it are the twisted leaves of maze covers. Twisting of maze covers the woven string was obtained by aligning the covers and inserting the next leaf with tiny end outward and after that its' twisting is performed. The procedure is repeated as it needed for accomplishing the object weaving. It is important to twist the leaves turning them to the left, and weave them to the right.On baskets, handbags woven from maze covers as a rule separate embroideries are applied.

As any other national arts, weaving of Romanian peasants manufacture in Basarabia represent a fruitful basis of a future direction in the modern art of decoration.