The function of these liturgical veils is connected to the separation of the altar from the nave in the period preceding the apparition and development of today’s iconostasis.

The dveras covered the empty spaces beneath the icons, through which one circulated between the altar and the nave, with the possibility of sliding on verges to open or close the respective spaces. Their name comes from the Slavonic: “door”. They were placed at the upper part of the templon to cover the empty spaces. Only three embroidered dveras are kept at the Putna Monastery, two of them donated by Stephen the Great, and one belonging to Bogdan III, as well as two zavesas.

The Ascension zavesa was donated to Putna by Stephen the Great. The iconographic plan unfolds on two registers. In the first register, at the upper part of the piece, the Son of God is represented ascending in glory from earth to the heavens. Two archangels – Raphael and Uriel – accompany Him, with the sun and the moon embroidered to their right and left. In the lower part register of the zavesa, the Most Holy Mother of God is accompanied by Holy Archangels Michael and Gabriel. On the sides are the Holy Apostles, in two groups, with a palm tree at the edges. Above the faces of the Holy Apostles are sewn the initials of their names.

The Dormition of the Mother of God zavesa was gifted to the Putna Monastery by Stephen the Great. In the center of the icon, the lifeless body of the Mother of God is placed on a sumptuous bier covered in porphyry-colored material, with embroidered edges. Represented next to it is our Saviour Jesus Christ in glory, accompanied by four Holy Archangels and a seraphim. Our Savior holds in His arms the soul of His Mother, towards which the angels look piously and lovingly. Around the Holy Mother, in a calm stance, are represented the Holy Apostles and four other saints. In the lower part of the icon is embroidered Archangel Michael, cutting with his sword the hands of Jephonia the Jew, who intended to topple down the coffin. Three of the edges are adorned with a border made of semi-palmetto leaves.

Sometime towards the end of the 15th century, on June 13, Stephen the Great gifted Putna with a dvera embroidered with the Annunciation icon. Its composition is lavish and full of meaning. The Mother of God is represented in the foreground receiving Archangel Gabriel with the good tidings, which is God’s will to take flesh in her womb and become Man for the salvation of mankind from the slavery of sin. The Virgin says, “Behold the maidservant of the Lord! Let it be to me according to your word” (Luke 1:38). What impresses most in the composition is the Virgin’s face, full of profound humility and inner purity. It may be the most beautiful depiction of the Virgin Mary among Putna’s embroideries. In the background, the Holy Spirit, represented as a dove, descends over the Virgin, shadowing her and thus accomplishing the mystery of the Incarnation of the Lord. David and Solomon are represented to the left and the right, each with a prophecy in his hands: “The Lord said to my Lord: [Sit at My right hand, Till I make Your enemies Your footstool]” (Psalms 110:1) and “Wisdom has built Her house” (Proverbs 9:1). The first text talks about God having a Son, His equal in glory, while the second prophecy talks about the Word of God becoming Man at the fullness of time, His “house” being the human body He would assume from Virgin Mary.

On August 10, 1500, Stephen the Great donated to his necropolis the Crucifixion dvera. To the right and left of the Cross, on a red background, one can see the Virgin Mary, Mary Magdalene, Saint John the Apostle, a few myrrh bearers, Saint Longinus the Centurion, Joseph of Arimathea, and Nicodemus. The composition “impresses through its loftiness, the majesty of its characters and their grieving and restrained love, expressed with noble distinction”. The icon irradiates a deep sense of the sacred and a huge power of transfiguration. Prince Stephen is represented in the lower left corner in a pendant with his consort, Mary, depicted on the other side of the piece. They seem to be effectively participating in the Crucifixion scene. The representation of the Prince of Moldavia specifically on this icon could symbolize a legacy, also assumed by Bogdan III on the Dormition dvera from 1510.