This collective monograph presents the current state of research regarding contemporary methods o... more This collective monograph presents the current state of research regarding contemporary methods of dealing with historic timber structures in Scandinavia, the United Kingdom, Central Europe and Northwest Russia. The chapters are dedicated to the main aspects of the research and deal with archaeological evidence, written sources, the extant buildings themselves as evidence, as well as repair and maintenance. Researchers from four countries examine centuries-old timber structures that include churches, bell towers and dwellings in Europe and Russia. Based on the conclusions of these studies, they demonstrate various methods of archaeological, archival and empirical research and discuss appropriate measures of restoring and maintaining wooden structures. Historical and contemporary photographs along with new drawings richly document the buildings.
Construction history. 2021. Т. 36. № 2. Р. 41–55., 2021
Novgorod was a city in northern Rus’, where the first masonry churches were built in the middle o... more Novgorod was a city in northern Rus’, where the first masonry churches were built in the middle of the eleventh century. The Mongol invasion of 1238–40 became a watershed in the history of the architecture of Early Rus’. A change can be observed in construction practices — Novgorodian builders of late thirteenth century started to use large “bar bricks” instead of ‘plinthoi’ of the Byzantine type. The bricks of the bar type were the main ceramic building material up to the end of the fifteenth century. The source of this new type of brick is the early Gothic architecture of the Baltic region. The existence of a large number of dated monuments of Novgorodian architecture from the late thirteenth to fifteenth centuries allows us to form an idea of the development of production technology and the evolution of the size of Novgorodian bricks over that time. Characteristics of the moulding and the size and shape of bricks make it possible to date the masonry found during archeological work. The bricks of late thirteenth–fifteenth centuries are compared with the Novgorodian tradition of the pre-Mongol era and the bricks used in the Gothic architecture of the Baltic Sea countries.
Между Востоком и Западом. Святой Александр Невский, его эпоха и образ в искусстве. М., 2023. С. 26–37, 706–709., 2023
The archaeological studies of the churches of St Nicholas on Lipno (1292) and the Intercession of... more The archaeological studies of the churches of St Nicholas on Lipno (1292) and the Intercession of the Shilov Monastery (1310) expanded the range of sources on the architecture of the Novgorodian land of the late 13th – early 14th centuries, and allows us to hypothesize the composition of the construction teams that erected these buildings. In 1292, the team, which probably included several Novgorodian craftsmen, as well as builders who came from Livonia, and possibly from the island of Gotland, began to work in Novgorod. Many architectural forms of the Church of St Nicholas on Lipno were not repeated in subsequent monuments of Novgorodian architecture. Obviously, the team that erected the church, has never gathered in such a composition again. Another team of craftsmen, connected with the new early Gothic tradition appeared in Novgorod probably in the 1290s–1300s. Buildings of the end of the 13th – beginning of the 14th century are of decisive importance for the further development of the architecture of Novgorod in the 14th – 15th centuries – in this era the main features, characteristic of the architecture of Novgorod in subsequent decades were formed. The 1290s–1310s is the search time for the master builders, the subsequent decades demonstrate the development of architecture based on the finds of the turn of the 13th–14th centuries.
Актуальные проблемы теории и истории искусства: сб. науч. статей. Вып. 13 / Под ред. А. В. Захаровой, С. В. Мальцевой, Е. Ю. Станюкович-Денисовой. СПб.,, 2023
The main objective of the article is to reveal the correlation of functional, constructive aspect... more The main objective of the article is to reveal the correlation of functional, constructive aspects and the artistic component of the Novgorod architecture on the example of studying the features of the use of natural stone in the laying of stone building walls. It has been established that the architects of the St. Sophia Cathedral (mid-11th century) were trying to use the features of the masonry for aesthetic purposes, specifically emphasizing the individual blocks of stone that make up the church. The builders of the 12th – first half of the 13th century, following the functional logic, hid the stone walls behind the plaster while creating the image of a laconic, solid, and monumental church. In the architecture of the late 13th–15th centuries, masonry walls were not covered with plaster, as the aesthetic aspect of the masonry started to play an important role again, although such a decision may have been made, among other things, to save building materials, working effort, and time. Thus, design and function of course have always been very significant for medieval architecture, but the aesthetic aspects also concerned architects and customers. We can definitely say that masonry inherently had a certain artistic value when we look at the St. Sophia Cathedral in Novgorod, but also in the architecture of the late 13th – 15th centuries masonry, obviously, initially had a certain artistic value.
Археологические открытия-2019. М., 2021. C. 49–51 (совместно с А. В. Жервэ, М. А. Родионовой), 2021
В 2019 г. Архитектурно-археологическая экспедиция Санкт-Петербургского государственного университ... more В 2019 г. Архитектурно-археологическая экспедиция Санкт-Петербургского государственного университета проводила работы в Великом Новгороде и Новгородском районе Новгородской области — на Новгородском Владычном дворе, в церквях Ильи на Славне и Николы на Липне.
Baltic Journal of Art History 21 Spring/Summer 2021. P. 31-59 (together with A. Trushnikova, M. Kostyria), 2021
The article invites to look afresh at the late 16th century Novgorod icon ‘The Vision of the Sext... more The article invites to look afresh at the late 16th century Novgorod icon ‘The Vision of the Sexton Tarasiy of Khutyn'’ and the Faceted Palace, built in 1433 by German craftsmen. The stepped gables of the building, located west of St Sophia Cathedral in the icon, were interpreted as realistic image of the upper parts of the Faceted Palace that have not survived. However, the iconographic analysis of more than a hundred of the Russian icons and illuminated manuscripts dating back to the second half of the 16th–early 17th centuries proved that the stepped gable was a decorative architectural motive, widespread since the 1560s–1570s. The authors classified the images of buildings with stepped gable in the late medieval Russian art, and determined their possible sources among the Northern European prints of the 15th–16th centuries. The comprehensive study ascertained that the building in the icon ‘The Vision of the Sexton Tarasiy’ can’t be used for reconstruction of the Faceted Palace. Since 1560s–1570s the schematic representation of the city in Russian art often placed buildings with the stepped gables (initially acquired from the European prints) next to the churches. Panorama of Novgorod in the Khutyn' icon followed this pattern and combined fantastic forms with rather realistic depiction of the church edifices.
∆ωρεά: К 90-летию Энгелины Сергеевны Смирновой. М., 2022. С. 52–61.
The Church of the Transfiguration of the Kovalev Monastery near Novgorod in 1345 was destroyed by... more The Church of the Transfiguration of the Kovalev Monastery near Novgorod in 1345 was destroyed by German artillery during the Second World War; less than 30 percent of the original monument has survived. In 1974, the restoration of the church according to the project of Leonid Krasnorechiev was completed, however, many decisions of the restorer were not based on natural data. Therefore, it is relevant to search for sources that will help to reconstruct the original appearance of the church. Archival documents helped to establish that the western upper corners of the church had barrel vaults; the building probably originally had window openings in the walls, which were laid before the beginning of fresco painting in 1380; there are doubts that the belfry was originally located in the northern annex to the church.
«А дверии у неи 30...»: дверные проёмы в здании новгородской Владычной палаты // Актуальные проблемы теории и истории искусства: сб. науч. статей. Вып. 11. СПб., 2021. С. 335–345., 2021
The chronicles describe the Faceted Palace commissioned by the archbishop Evfimiy II in
1433 with... more The chronicles describe the Faceted Palace commissioned by the archbishop Evfimiy II in 1433 with ample details: it took the builders from “Beyond the Sea” 95 days to erect the edifice with 30 doorways. The restoration of the Faceted Palace in 2006–2012 gave opportunity to study the surviving 27 doorways. Their structure and decoration varies between rather simple and more intricate and falls into two categories. None of them have lintels, but all are spanned with segmental arches. The first type has either straight jambs or jambs with protrusions. These portals lead to the facilities, intramural staircases, heating chambers, and latrines. The majority of the doorways belong to the second type that has jambs with protrusions and extra vertical recesses to secure the door. In some cases, the second type is complicated by several jambs and lancet archivolt above the tympanum. Such portals are located in the galleries (“Seni”) and mark the important and representative halls. In general, the portals are important accents in the rhythm of the facades, and their decoration correlates with the hierarchy of the interiors. The chronicler paid attention to the numerous doorways to highlight the unusual for the Novgorod architecture dimension and structural complexity of the Faceted Palace. The gothic decoration of the church portals has long been implemented into the local tradition, but they differ from the 1433 Palace. The comparison with the 14th–15th century brick gothic architecture provides numerous analogies in various parts of the Baltic region, and therefore sheds no light on the origin of the German master-builders. In conclusion, it is worth to mention the hierarchy of the portals as another trait inherited by the Faceted Palace builders from the main residence of the Grand Master of the Teutonic Order in Marienburg.
The article makes public the outcomes of an archaeological study of the lost parts of the 1433 Ep... more The article makes public the outcomes of an archaeological study of the lost parts of the 1433 Episcopal Chamber, which was the centerpiece of the palace used the residence of the Archbishops of Novgorod. During the excavations, archaeologists found remains of the masonry of the southern, eastern and western walls of the lost south-western three-storied part of the cham-ber (its northern wall has survived almost intact). Also found was the staircase leading into the basement of the chamber. Some of the finds indicate the layout of the south entrance hall of the chamber, and traces of the doorway leading into the room below the hall have also been unearthed. We have also studied the foundation of two stoves used for heating the second floor rooms. The outcomes of the archaeological study helped us draft the original layout of the Chamber.
Вестник Санкт-Петербургского университета. Искусствоведение. Т. 11. Вып. 2 , 2021
The article is devoted to the history of Novgorodian architecture in the middle of the 15th to th... more The article is devoted to the history of Novgorodian architecture in the middle of the 15th to the first quarter of the 16th century. In 1433, one of the key events in the history of Novgorodian architecture took place — the German and local builders constructed the Faceted Palace commissioned by the archbishop Eufimiy II on the Vladychny Dvor. The article focuses on two interconnected problems: 1) did the German master builders continue to work on the Archbishop’s Court after 1433?; 2) did the Faceted Palace influence the architecture of Novgorod in the middle of the 15th to the first quarter of the 16th century? An analysis of available written sources and the results of research bear no evidence of the presence of the German builders in Novgorod later than 1433. Several new features in Novgorod edifices in the middle — second half of the 15th century should be interpreted as traces of the influence the Faceted Palace had upon the later Novgorodian architecture. Most likely the German builders returned overseas upon completing the Archbishop’s Palace and never came back to Rus. Overall, the 15th century Brick Gothic architecture influenced the Novgorod architecture of the middle — second half of the 15th century: new construction and decorative features in one way or another are connected with the architecture of the Faceted Palace that appeared in the edifices of the 1440–1460s. However, not all the striking features of the outstanding Palace of the Archbishop are reflected in buildings of the middle — second half of the 15th century.
This collective monograph presents the current state of research regarding contemporary methods o... more This collective monograph presents the current state of research regarding contemporary methods of dealing with historic timber structures in Scandinavia, the United Kingdom, Central Europe and Northwest Russia. The chapters are dedicated to the main aspects of the research and deal with archaeological evidence, written sources, the extant buildings themselves as evidence, as well as repair and maintenance. Researchers from four countries examine centuries-old timber structures that include churches, bell towers and dwellings in Europe and Russia. Based on the conclusions of these studies, they demonstrate various methods of archaeological, archival and empirical research and discuss appropriate measures of restoring and maintaining wooden structures. Historical and contemporary photographs along with new drawings richly document the buildings.
Construction history. 2021. Т. 36. № 2. Р. 41–55., 2021
Novgorod was a city in northern Rus’, where the first masonry churches were built in the middle o... more Novgorod was a city in northern Rus’, where the first masonry churches were built in the middle of the eleventh century. The Mongol invasion of 1238–40 became a watershed in the history of the architecture of Early Rus’. A change can be observed in construction practices — Novgorodian builders of late thirteenth century started to use large “bar bricks” instead of ‘plinthoi’ of the Byzantine type. The bricks of the bar type were the main ceramic building material up to the end of the fifteenth century. The source of this new type of brick is the early Gothic architecture of the Baltic region. The existence of a large number of dated monuments of Novgorodian architecture from the late thirteenth to fifteenth centuries allows us to form an idea of the development of production technology and the evolution of the size of Novgorodian bricks over that time. Characteristics of the moulding and the size and shape of bricks make it possible to date the masonry found during archeological work. The bricks of late thirteenth–fifteenth centuries are compared with the Novgorodian tradition of the pre-Mongol era and the bricks used in the Gothic architecture of the Baltic Sea countries.
Между Востоком и Западом. Святой Александр Невский, его эпоха и образ в искусстве. М., 2023. С. 26–37, 706–709., 2023
The archaeological studies of the churches of St Nicholas on Lipno (1292) and the Intercession of... more The archaeological studies of the churches of St Nicholas on Lipno (1292) and the Intercession of the Shilov Monastery (1310) expanded the range of sources on the architecture of the Novgorodian land of the late 13th – early 14th centuries, and allows us to hypothesize the composition of the construction teams that erected these buildings. In 1292, the team, which probably included several Novgorodian craftsmen, as well as builders who came from Livonia, and possibly from the island of Gotland, began to work in Novgorod. Many architectural forms of the Church of St Nicholas on Lipno were not repeated in subsequent monuments of Novgorodian architecture. Obviously, the team that erected the church, has never gathered in such a composition again. Another team of craftsmen, connected with the new early Gothic tradition appeared in Novgorod probably in the 1290s–1300s. Buildings of the end of the 13th – beginning of the 14th century are of decisive importance for the further development of the architecture of Novgorod in the 14th – 15th centuries – in this era the main features, characteristic of the architecture of Novgorod in subsequent decades were formed. The 1290s–1310s is the search time for the master builders, the subsequent decades demonstrate the development of architecture based on the finds of the turn of the 13th–14th centuries.
Актуальные проблемы теории и истории искусства: сб. науч. статей. Вып. 13 / Под ред. А. В. Захаровой, С. В. Мальцевой, Е. Ю. Станюкович-Денисовой. СПб.,, 2023
The main objective of the article is to reveal the correlation of functional, constructive aspect... more The main objective of the article is to reveal the correlation of functional, constructive aspects and the artistic component of the Novgorod architecture on the example of studying the features of the use of natural stone in the laying of stone building walls. It has been established that the architects of the St. Sophia Cathedral (mid-11th century) were trying to use the features of the masonry for aesthetic purposes, specifically emphasizing the individual blocks of stone that make up the church. The builders of the 12th – first half of the 13th century, following the functional logic, hid the stone walls behind the plaster while creating the image of a laconic, solid, and monumental church. In the architecture of the late 13th–15th centuries, masonry walls were not covered with plaster, as the aesthetic aspect of the masonry started to play an important role again, although such a decision may have been made, among other things, to save building materials, working effort, and time. Thus, design and function of course have always been very significant for medieval architecture, but the aesthetic aspects also concerned architects and customers. We can definitely say that masonry inherently had a certain artistic value when we look at the St. Sophia Cathedral in Novgorod, but also in the architecture of the late 13th – 15th centuries masonry, obviously, initially had a certain artistic value.
Археологические открытия-2019. М., 2021. C. 49–51 (совместно с А. В. Жервэ, М. А. Родионовой), 2021
В 2019 г. Архитектурно-археологическая экспедиция Санкт-Петербургского государственного университ... more В 2019 г. Архитектурно-археологическая экспедиция Санкт-Петербургского государственного университета проводила работы в Великом Новгороде и Новгородском районе Новгородской области — на Новгородском Владычном дворе, в церквях Ильи на Славне и Николы на Липне.
Baltic Journal of Art History 21 Spring/Summer 2021. P. 31-59 (together with A. Trushnikova, M. Kostyria), 2021
The article invites to look afresh at the late 16th century Novgorod icon ‘The Vision of the Sext... more The article invites to look afresh at the late 16th century Novgorod icon ‘The Vision of the Sexton Tarasiy of Khutyn'’ and the Faceted Palace, built in 1433 by German craftsmen. The stepped gables of the building, located west of St Sophia Cathedral in the icon, were interpreted as realistic image of the upper parts of the Faceted Palace that have not survived. However, the iconographic analysis of more than a hundred of the Russian icons and illuminated manuscripts dating back to the second half of the 16th–early 17th centuries proved that the stepped gable was a decorative architectural motive, widespread since the 1560s–1570s. The authors classified the images of buildings with stepped gable in the late medieval Russian art, and determined their possible sources among the Northern European prints of the 15th–16th centuries. The comprehensive study ascertained that the building in the icon ‘The Vision of the Sexton Tarasiy’ can’t be used for reconstruction of the Faceted Palace. Since 1560s–1570s the schematic representation of the city in Russian art often placed buildings with the stepped gables (initially acquired from the European prints) next to the churches. Panorama of Novgorod in the Khutyn' icon followed this pattern and combined fantastic forms with rather realistic depiction of the church edifices.
∆ωρεά: К 90-летию Энгелины Сергеевны Смирновой. М., 2022. С. 52–61.
The Church of the Transfiguration of the Kovalev Monastery near Novgorod in 1345 was destroyed by... more The Church of the Transfiguration of the Kovalev Monastery near Novgorod in 1345 was destroyed by German artillery during the Second World War; less than 30 percent of the original monument has survived. In 1974, the restoration of the church according to the project of Leonid Krasnorechiev was completed, however, many decisions of the restorer were not based on natural data. Therefore, it is relevant to search for sources that will help to reconstruct the original appearance of the church. Archival documents helped to establish that the western upper corners of the church had barrel vaults; the building probably originally had window openings in the walls, which were laid before the beginning of fresco painting in 1380; there are doubts that the belfry was originally located in the northern annex to the church.
«А дверии у неи 30...»: дверные проёмы в здании новгородской Владычной палаты // Актуальные проблемы теории и истории искусства: сб. науч. статей. Вып. 11. СПб., 2021. С. 335–345., 2021
The chronicles describe the Faceted Palace commissioned by the archbishop Evfimiy II in
1433 with... more The chronicles describe the Faceted Palace commissioned by the archbishop Evfimiy II in 1433 with ample details: it took the builders from “Beyond the Sea” 95 days to erect the edifice with 30 doorways. The restoration of the Faceted Palace in 2006–2012 gave opportunity to study the surviving 27 doorways. Their structure and decoration varies between rather simple and more intricate and falls into two categories. None of them have lintels, but all are spanned with segmental arches. The first type has either straight jambs or jambs with protrusions. These portals lead to the facilities, intramural staircases, heating chambers, and latrines. The majority of the doorways belong to the second type that has jambs with protrusions and extra vertical recesses to secure the door. In some cases, the second type is complicated by several jambs and lancet archivolt above the tympanum. Such portals are located in the galleries (“Seni”) and mark the important and representative halls. In general, the portals are important accents in the rhythm of the facades, and their decoration correlates with the hierarchy of the interiors. The chronicler paid attention to the numerous doorways to highlight the unusual for the Novgorod architecture dimension and structural complexity of the Faceted Palace. The gothic decoration of the church portals has long been implemented into the local tradition, but they differ from the 1433 Palace. The comparison with the 14th–15th century brick gothic architecture provides numerous analogies in various parts of the Baltic region, and therefore sheds no light on the origin of the German master-builders. In conclusion, it is worth to mention the hierarchy of the portals as another trait inherited by the Faceted Palace builders from the main residence of the Grand Master of the Teutonic Order in Marienburg.
The article makes public the outcomes of an archaeological study of the lost parts of the 1433 Ep... more The article makes public the outcomes of an archaeological study of the lost parts of the 1433 Episcopal Chamber, which was the centerpiece of the palace used the residence of the Archbishops of Novgorod. During the excavations, archaeologists found remains of the masonry of the southern, eastern and western walls of the lost south-western three-storied part of the cham-ber (its northern wall has survived almost intact). Also found was the staircase leading into the basement of the chamber. Some of the finds indicate the layout of the south entrance hall of the chamber, and traces of the doorway leading into the room below the hall have also been unearthed. We have also studied the foundation of two stoves used for heating the second floor rooms. The outcomes of the archaeological study helped us draft the original layout of the Chamber.
Вестник Санкт-Петербургского университета. Искусствоведение. Т. 11. Вып. 2 , 2021
The article is devoted to the history of Novgorodian architecture in the middle of the 15th to th... more The article is devoted to the history of Novgorodian architecture in the middle of the 15th to the first quarter of the 16th century. In 1433, one of the key events in the history of Novgorodian architecture took place — the German and local builders constructed the Faceted Palace commissioned by the archbishop Eufimiy II on the Vladychny Dvor. The article focuses on two interconnected problems: 1) did the German master builders continue to work on the Archbishop’s Court after 1433?; 2) did the Faceted Palace influence the architecture of Novgorod in the middle of the 15th to the first quarter of the 16th century? An analysis of available written sources and the results of research bear no evidence of the presence of the German builders in Novgorod later than 1433. Several new features in Novgorod edifices in the middle — second half of the 15th century should be interpreted as traces of the influence the Faceted Palace had upon the later Novgorodian architecture. Most likely the German builders returned overseas upon completing the Archbishop’s Palace and never came back to Rus. Overall, the 15th century Brick Gothic architecture influenced the Novgorod architecture of the middle — second half of the 15th century: new construction and decorative features in one way or another are connected with the architecture of the Faceted Palace that appeared in the edifices of the 1440–1460s. However, not all the striking features of the outstanding Palace of the Archbishop are reflected in buildings of the middle — second half of the 15th century.
Искусство и культура Средневековья. Наследие и перспективы осмысления: тезисы докладов международной конференции / под ред. С. В. Мальцевой, Е. Ю. Станюкович-Денисовой, А. В. Захаровой. СПб.: НП-Принт , 2020
The article is an overview of the main problems of studying the Pskov architecture of 14th – 16th... more The article is an overview of the main problems of studying the Pskov architecture of 14th – 16th centuries on the basis of materials of publications issued in the second half of the 1990s – 2010s. The research experience of previous decades was summarized in the monographs of Vladimir Sedov (1992, 1996) and Alexey Komech (1993). Such aspects as the time of the establishment of the independent building tradition of Pskov, the problems of attribution and dating of monuments, etc. are considered in the more recent publications that are issued after 1996. The research demonstrates the necessity of new summarizing works on the history of Pskov architecture.
Между Востоком и Западом. Св. Александр Невский, его эпоха и образ в искусстве. Междуна-родная научная конференция. Москва, 15–18 сентября 2021 года. Тезисы докладов. М., 2021, 2021
Uploads
Books by Ilya Antipov
Papers by Ilya Antipov
Buildings of the end of the 13th – beginning of the 14th century are of decisive importance for the further development of the architecture of Novgorod in the 14th – 15th centuries – in this era the main features, characteristic of the architecture of Novgorod in subsequent decades were formed. The 1290s–1310s is the search time for the master builders, the subsequent decades demonstrate the development of architecture based on the finds of the turn of the 13th–14th centuries.
1433 with ample details: it took the builders from “Beyond the Sea” 95 days to erect the edifice with 30 doorways. The restoration of the Faceted Palace in 2006–2012 gave opportunity to study the surviving 27 doorways. Their structure and decoration varies between rather simple and more intricate and falls into two categories. None of them have lintels, but all are spanned with segmental arches. The first type has either straight jambs or jambs with protrusions. These portals lead to the facilities, intramural staircases, heating chambers, and latrines. The majority of the doorways belong to the second type that has jambs with protrusions and extra vertical recesses to secure the door. In some cases, the second type is complicated by several jambs and lancet archivolt above the tympanum. Such portals are located in the galleries (“Seni”) and mark the important and representative halls. In general, the portals are important accents in the rhythm of the facades, and their decoration correlates with the hierarchy of the interiors. The chronicler paid attention to the numerous doorways to highlight the unusual for
the Novgorod architecture dimension and structural complexity of the Faceted Palace. The gothic decoration of the church portals has long been implemented into the local tradition, but they differ from the 1433 Palace. The comparison with the 14th–15th century brick gothic architecture provides numerous analogies in various parts of the Baltic region, and therefore sheds no light on the origin of the German master-builders. In conclusion, it is worth to mention the hierarchy of the portals as another trait inherited by the Faceted Palace builders from the main residence of the Grand Master of the Teutonic Order in Marienburg.
Buildings of the end of the 13th – beginning of the 14th century are of decisive importance for the further development of the architecture of Novgorod in the 14th – 15th centuries – in this era the main features, characteristic of the architecture of Novgorod in subsequent decades were formed. The 1290s–1310s is the search time for the master builders, the subsequent decades demonstrate the development of architecture based on the finds of the turn of the 13th–14th centuries.
1433 with ample details: it took the builders from “Beyond the Sea” 95 days to erect the edifice with 30 doorways. The restoration of the Faceted Palace in 2006–2012 gave opportunity to study the surviving 27 doorways. Their structure and decoration varies between rather simple and more intricate and falls into two categories. None of them have lintels, but all are spanned with segmental arches. The first type has either straight jambs or jambs with protrusions. These portals lead to the facilities, intramural staircases, heating chambers, and latrines. The majority of the doorways belong to the second type that has jambs with protrusions and extra vertical recesses to secure the door. In some cases, the second type is complicated by several jambs and lancet archivolt above the tympanum. Such portals are located in the galleries (“Seni”) and mark the important and representative halls. In general, the portals are important accents in the rhythm of the facades, and their decoration correlates with the hierarchy of the interiors. The chronicler paid attention to the numerous doorways to highlight the unusual for
the Novgorod architecture dimension and structural complexity of the Faceted Palace. The gothic decoration of the church portals has long been implemented into the local tradition, but they differ from the 1433 Palace. The comparison with the 14th–15th century brick gothic architecture provides numerous analogies in various parts of the Baltic region, and therefore sheds no light on the origin of the German master-builders. In conclusion, it is worth to mention the hierarchy of the portals as another trait inherited by the Faceted Palace builders from the main residence of the Grand Master of the Teutonic Order in Marienburg.