The Church of the Nativity of the Theotokos is a katholikon (main church) completed in 1122 in the Monastery of St. Antony, Veliky Novgorod. Dedicated to the Nativity of the Theotokos, it is one of the few buildings surviving in Russia from the early 12th century.
History
The Church of the Nativity of the Theotokos was the major church in the Monastery of St. Antony. It is the oldest building in the monastery's complex. Building started in 1117, soon after the monastery had been established in 1106. The church is quite different from typical Novgorodian churches of the period. It was originally made of brick which contrasts with other Novgorodian churches of the 12th century, which were initially built with wood and were rebuilt in brick afterwards. It has three domes, that is the defining feature of a princely church. But the construction was funded by a private individual with no relation to the royal dynasty. This makes it exceptional compared to similar major churches of that time. The construction was executed in two stages. In 1117-1119 the square-shaped nave with three apses, and the main dome were built. The original interior was well-lighted thanks to the large number of windows. This modest size was perceived as surprisingly holistic: the lateral aisles were fused with the space under the dome by means of the columns which stand close to the walls. The western couple of the columns was octahedron-shaped to contrast with the eastern couple which were square-shaped. Immediately after completion, the construction of the narthex with the choirs from the west-side was arranged in 1119-1122. The reason why the original plan was changed is unclear. During the second stage, the former western wall was totally disassembled, and its corner-ends was turned into a new pair of columns; this isolated the lateral sides of the choir loft from the nave by the walls with the windows preserved from the previous design. The narthex was added with the round-shaped stair tower from the north-west corner: it provides access to the choir loft on the second floor. The tower is crowned by the dome. In ancient times the narthex in honour of Onuphrius and St. Peter of Athos was arranged under the dome. To balance the design, the building is complemented with the third dome on the south-east corner; it also serves to provide extra light. The outbuilding makes the design to be close to other Novgorodian churches of the period; the closest analog is the Cathedral of St. George in the monastery of St. George as it has a stair tower (but that one is square-shaped) and also has three domes as well. Over the years, the church has been encompassed by other outbuildings. In the 16th century by a little porch from the west side. In 1671 the narthex in honour of St. Antony, the founder of the monastery, was built; it was decorated in the same year. The narthex in honour of John the Apostle was erected from the north side in 1681. In 1699 a new, all-the wall-long narthex was constructed. All the mentioned outbuildings are joint with the interior by the broad arcs, hacked in the walls in the same period. The necessity to merge the mainspace with new outbuildings revealed a new problem: the old massive building was dipped under ground by its own weight, the level of floors in the old building and outbuildings were different. The solution was radical: the old building's level of floor was raised by 1 meter. The described exterior has been preserved till the present day. The original look was distorted by making the windows more broad, as well as by turning the eaves into straight-shaped ones rather than the original arc-shape.
Decorations In 1125 the church was decorated with frescoes. In the 17th century the frescoes were renovated for the first time. In 1837 the most part of the ancient frescoes was removed from the walls due to decrepitude, a year after the church was decorated with new frescoes. New decorations are executed in a style typical for Russian culture of the 19th century and differ greatly from canons of the orthodox iconography. Small fragments of the original paintings dated by 1125 were revealed in the altar part in 1989 for the first time. The systematic analysis was started in 1919 and was continued through the 1990s. Now almost all the survived fragments of the frescoes are cleaned and renovated. This makes it possible to make conclusions about the stylistic features as well as about the originality of the chosen iconographic themes. Hereinafter, the ancient decorations are considered. Fragments of the ancient paintings at all the apses as well as narrow stripes of the fragments at the lateral walls of the altar are kept. The frescoes on the eastern columns are well preserved. as they were hidden behind the tall iconostasis.
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