Medieval bronze doors of St. Sophia Cathedral in Novgorod, adorned with intricate reliefs, have been called by many names. They have been referred to as Korsun doors, "German," Magdeburg, Płock, and Sigtuna doors. The only thing certain is that these foreign-origin doors were remarkably "Slavonized." These bronze gates were created in the German city of Magdeburg in the 12th century for the Polish Cathedral of the Assumption of the Blessed Virgin Mary in Płock.

It is believed that the gates depict Magdeburg Bishop Wichmann and Płock Bishop Alexander. These gates have long adorned the central — western portal of St. Sophia Cathedral in Veliky Novgorod.

Since the 15th century, there has been a tradition in Novgorod that the gates were supposedly brought from Byzantium by Prince Vladimir — hence the name "Korsun" (from the Greek city Korsun). However, all the reliefs clearly appear Western European and are accompanied by inscriptions in Latin. In the 19th century, enlightened scholars began to question many widely spread legends in Russia. In 1823, Adelung published a book suggesting that the gates were actually taken from Sigtuna. The Swedish city of Sigtuna was one of the most important cities in Sweden in the early 11th century, the largest trading center. From the beginning of the 11th century, it became the political center of the emerging Swedish state… Civitas magna Sictone ("the great city of Sigtuna") is mentioned repeatedly by Adam of Bremen (1060s). Swedish chronicles mention the capture of Sigtuna by Karelians in 1187. Sigtuna never recovered from the devastation and turned into an ordinary provincial town. It is believed that pirates took many valuables from the city, including the Sigtuna (Magdeburg) gates. The presence of these gates on the cathedral in Veliky Novgorod supports the theory of a Novgorodian attack on the Swedes.

Russian chronicles are silent about this event. Here is how it is described in Eric's chronicles:

“The Swedes suffered great harm from the plots of the Karelians — dark pagans.

They sailed up to the waters of Mälaren, whether there was a strong storm or calm seas.

They went unrestrained through the archipelago of the Swedes, uninvited guests, nurturing malice.

Once ships sailed to Sigtuna. They burned the city and vanished into the distance.

They burned everything to ashes and killed many. The city has never been revived since.

Archbishop Jon was slain there. The pagan rejoiced, happy

that the baptized were in such bad shape. The thought gave courage to the Russians and Karelians

that the Swedes could not withstand and that they could boldly ravage the country.

I have told the pure truth here: the glorious Earl Jon perished in Askanes,

he who for the last nine years, not seeing his home, clad in armor,

fought with the Russians and Izhora.”

The doors feature 48 multi-figure relief compositions with biblical scenes. Above the figures are explanatory Latin inscriptions, and below them — translations into Russian. The gates are divided by ornamental borders.

At the lower part of the left leaf are figures of the masters who, most likely (historians agree), cast the gates — Rikwin and Weismut. The Latin inscription explains: “Rikwin made me.” The door handles, following medieval tradition, are made in the form of animal masks with double-headed snakes attached to their jaws. It is believed these bas-reliefs symbolize Hell and the inevitability of the Last Judgment. In the mouths of the masks are human heads. Presumably, these are the heads of sinners. Above all compositions, Latin inscriptions are duplicated with Russian translations.

In the middle part of the left leaf of the gates, there is a plate with the image of a man, and above the image — a Russian inscription: “Master Abraham.” There is no doubt here either — this is the Novgorodian founder who assembled the gates after they were brought to Novgorod and supplemented them with figures of his own work and Old Russian inscriptions. It is no coincidence that we see a hammer and tongs in his hands.

Why was Abraham given such a significant role? There is a hypothesis that these gates were mounted after being brought to Novgorod not in their original form but with a disruption of the previous composition. Many parts were lost during transportation and replaced with reliefs and decorations from another similar monument, somewhat different in style. All this suggests that the gates were brought to Novgorod not as a purchase (in which case the original composition would have been carefully recorded and all details preserved), but as a war trophy.

Historians assert: since the gates were an exceptionally valuable object of Catholic church worship, it is impossible to assume that Catholics would sell them to heretics ("schismatics"), and, on the other hand, Novgorodians would hardly buy a Catholic cult object to decorate their main shrine (especially since some images on the gates are unacceptable as decoration for an Orthodox cathedral). The gates were most likely placed in St. Sophia Cathedral as a military trophy, commemorating some glorious victory of Novgorodian troops.”

Almost five centuries later, the Swedes, who occupied the Novgorod Land during the Time of Troubles, tried to return the lost relic. However, Swedish commander Delagardi did not dare to do so. In his letter to State Chancellor Oxenstierna, he wrote:

“Regarding the copper gates, which His Royal Majesty wishes to have sent from Novgorod for their significance, especially since they were once taken from Sigtuna — I would very much like to fulfill His Royal Majesty’s order, but since these gates… serve as the entrance to the main metropolitan church here in the Kremlin, where he goes daily, this would cause much outcry, complaints, and unrest. But since negotiations are underway between us, we should not touch these gates until we see the outcome of the talks; and if, contrary to our expectations, the negotiations are unsuccessful, then of course we must take not only these gates from here.”

The gates remained in Novgorod. Initially, they were located in the Chapel of the Nativity of the Theotokos of St. Sophia in Novgorod, and later were moved to the western portal of the cathedral. Today, they are opened only on holidays when the Archbishop of Novgorod and Staraya Russa serves in St. Sophia Cathedral.

Ancient Russian architecture took as its basis and developed Byzantine traditions. Romanesque and especially Gothic art monuments are practically nonexistent in our country. This is what makes the Magdeburg gates so interesting to us, as they are one of the most fascinating monuments of Romanesque sculpture.

Sources:

http://www.bibliotekar.ru/novgorod/58.htm

https://yourwo.com/2013/07/magdeburgskie-vorota-novgorod/

https://cyrillitsa.ru/posts/424-taina-korsunskih-vorot.html