According to Hamilton, this painting is the first icon to depict an event "strictly" from Russian history. This icon illustrates the victorious outcome of the battle between the Novgorodians and the Sudalians that took place 300 years earlier. It was painted in the middle of the 15th century, probably in response to the impending threat of Muscovy to Novgorodian independence. In 1478 Novgorod was forced to become part of Muscovy, and so this icon remains one of the few "representative(s) of the final years of Novgorod's great school of painting, for although standards were maintained during several decades following its integration into Muscovy, yet, on being deprived of its autonomy, Novgorod's art lost much of its impetus" (Rice 104).

This icon is both effective aesthetically (in terms of composition, colors, style) and "spiritually" (in terms of ideas and Christian truths it embodies). The division of the panel into three planes (rows) allows the painter to show several moments of action in a simple way, maintaining at the same time an evocative level of detail and supplying the viewer with sufficient information and imagery to begin to appreciate the meaning of the icon. One of the most admirable features of this painting is this ability to represent so much and yet do so clearly and competently, without any resulting confusion on the icon's surface or in the viewer's mind. Good examples of this quality of the icon are the architectural details used to "place" the figures (and the viewer) within the appropriate frame. The churches in the first scene and the walls of Novgorod in the last two were created by a skilled hand – skilled not only in the craft of painting but in the art of composition. These "background" subjects are important features of the icon – very noticeable and impressive – but do not detract from the main subject at hand. Instead, they add to it as they help create atmosphere of peace and solemnity (the image of the church) and later of tension and danger (the walls of Novgorod).

The level of detail (example: soldiers looking out of the windows of the city's walls and the ornamental decoration on the walls) is also impressive but well controlled. The whole icon is actually quite unified, despite the various actions taking place in it. The warmth of the colors and the carefully planned movements of the figures contribute to this unity. In each scene the icon reaffirms the idea of faith in God and in his devout followers and in the justice, the righteousness of this faith. Ultimately it is this faith – this confidence – in God that brings divine protection to the Novgorodian defenders.

This icon can also be admired for the narrative technique it employs. Though it may not be easy to find historical events (even those of a religious nature) in icons, I think it is a very effective method of demonstrating certain spiritual truths. When historical fact is used to teach and edify believers, its strength to do so is augmented not just by religious "dogma" but by cultural traditions and beliefs that are passed down from generation to generation – including, for example, the spirit of patriotism. [C.B.]

To show the excellence of this icon, we include in our analysis two more icons devoted to the same theme, both painted in Novgorod in the 15th century. The one at the left seems to be an immediate copy of the masterpiece; of course we cannot exclude the possibility that it appeared first and was copied later by a master of much greater skill and ability. This icon includes an interesting detail not found on the other two icons -- an image of St. Nicholas in a roundel next to the walls of Novgorod in the top left corner. This image is an allusion to the famous icon of Nicholas the Wet which miraculously appeared in the waters of the lake Ilmen and healed the ailing prince Mstislav. Scholars believe that the round icon of St. Nicholas, kept today in the Novgorod Museum, is this wonderworking icon. Besides this interesting detail which confirms the extreme popularity and importance of Nicholas for the Novgorodians, the incidents of the battle are rendered here in a simplified manner. Neither the walls of the city, nor the groups of armed men have the same graphic qualities as in our masterpiece. They seem to be blending together (this may be partially due to the extensive damage) and fail to achieve the same artistic and spiritual impact as the figures of the first icon.

Finally, the icon at the bottom right is the latest (probably painted about thirty years after the first two). It is distinguished by a completely different color scheme, based on reds and oranges. Such colors are often found in Moscow painting of the 15th century; it is not impossible that the icon reflects the blending of the artistic traditions of Moscow and Novgorod. Moreover, the composition of the work is the weakest of the three. The "rows" of action are unequal and unbalanced. The fighting men are shown in a more mechanical way, by multiplication of their helmets in a manner resembling stringing of the beads. This gives the icon its naive character; combined with the reddish tone of the background, it seems to indicate that the icon is a product of the popular culture rather than a work created for a wealthy patron. [A.B.]