What is happening in the painting ‘Abolition of the Novgorod Veche’ by Klavdiy Lebedev?

A student of Vasily Perov and Eugraf Sorokin, Klavdiy Lebedev created many paintings in the historical genre. He carefully studied the details, wanting everything on his canvases to be authentic. He was inspired to turn to the events of the 15th century by the example of Vasily Surikov, who, in 1887, presented to the public the painting ‘Boyarynya Morozova’, which became a hit. 

In 1891, at the exhibition of the Peredvizhniki, Klavdiy Lebedev presented his largest work (2.5 by 4 meters) – the painting ‘Removal of the Bell. Marfa Posadnitsa. Destruction of the Novgorod Veche’. 

Martha, widow of the Posadnik

One of the sources of inspiration for the artist was the story ‘Martha Posadnitsa, or the Conquest of Novgorod’ by historian Nikolai Karamzin. It describes the dramatic history of the accession of Veliky Novgorod to the Moscow principality in the 15th century. 

Then, Tsar Ivan III decided to unite the lands of northeastern Rus’ into a single state. Novgorod, however, did not want to lose its independence. The local nobility was ready to conclude an agreement with the Grand Duchy of Lithuania, recognizing its authority, in exchange for expecting that they would be protected from the encroachments of Ivan III.

Negotiations about it with Polish king Casimir IV were conducted by Marfa Boretskaya. She was the widow of the local ‘posadnik’ (i.e. appointed ruler) Isaac Boretsky. Having learned about this, the Moscow prince declared war on the Novgorodians. 

Punishment to the bell

The conflict lasted for several years. Finally, in 1477, Ivan III besieged the city and soon Novgorod agreed to his terms. The veche, which had governed the city for more than six centuries, was dissolved. The special veche bell, the ringing of which announced its assembly, was removed from the belfry and taken to Moscow. This is the moment depicted by Klavdiy Lebedev. 

Moscow warriors and Marfa's comrades gathered in the square where the veche was held. In the center of the painting is the silenced bell. Entangled in ropes, it is already loaded onto a sleigh: seeing it, people wept for it, as for a dead relative. 

Marfa herself stands on the right with a frozen face, listening to the clerk read out the charges against her. Realizing what awaits her, she holds herself upright, showing nothing of her suffering.

Marfa was deprived of her lands and, together with her son Fyodor and grandson Vasily, were transported to Moscow. Then, she was sent to the Zachatievsky Monastery in Nizhny Novgorod, where she spent the rest of her days as a nun.