name of Hilarion. When noble children were baptized, they took a second, Christian name to complement the Slav or Scandinavian names they mostly bore. Thus a Yaroslav or a Boris would also carry a Christian name likeAndrei, Dimitri, Alexander or Constantine. And all these names were Greek.
How huge the cathedral was. It was built of red granite, laid in long thin strips and fixed with almost equal layers of pink cement. It rose up a massive, rather square, red and pink block, a holy fortress designed to impress upon all the people the might of the newly adopted Christian God. Upon its centre sat a great burnished dome, in the shape of a flattened helmet – like that of the church in Constantinople – and around it were grouped twelve smaller domes. ‘They stand for Our Lord and the twelve disciples,’ Igor had told his son. The cathedral was almost finished. Only a small scaffolding on one side showed where work was still being done on the outside staircases. With a shiver Ivanushka stepped inside.
If the outside was like a fortress, the high, broad, gloomy spaces within seemed as vast as the universe. In the manner of the great churches of the Roman Empire, it proceeded from west to east in a broad line of five naves – a wide central nave, with two more on each side. At the eastern end were five semi-circular apses. At the western end, high above the floor, were galleries where the princes and their courtiers gathered to pray, looking down upon the people. And at the centre of the church, under the huge dome, was the great airy space where the priests in their shining vestments stood before the congregation and heaven met the earth.
But it was not the high dome, nor the five naves, nor the massive columns that dominated the cavernous interior. It was the mosaics.
They made Ivanushka tremble. From floor to distant ceiling they covered the walls. The Blessed Virgin with hands outstretched in the eastern attitude of prayer; the Fathers of the Church; the Annunciation; the Eucharist: in blues and browns, in reds and greens, against the background of shining gold, these awesome, august figures stared down upon the world. Enormous, pale, oval faces with dark hair and huge, black eyes gazed mournfully yet impersonally from their golden setting upon the little people in the passing world. And highest of all, the Pantokrator, creator of the world, gazed from the central dome, his large Greek eyes seeing all, seeing nothing – knowing all men yet unknowable, beyond all earthly wisdom.
Earth met heaven in the church; hundreds of candles flickered in the gloom; and upon the walls the golden mosaics glowed, their great and terrible light shining in the darkness of the world.
Some priests were chanting.
‘ Gospodi pomily .’ Lord have mercy. They sang in Church Slavonic – a nasal version of the spoken tongue that was both understandable but mysterious, hieratic.
Igor lit a candle and stood, in silent prayer, before an icon by one of the heavy pillars, while Ivanushka looked about him.
Everyone knew the story of the Blessed Vladimir’s conversion: how he had sent out to the three great religions – Islam, Judaism and Christianity – and how his ambassadors, having visited Constantinople, reported to him that in the Christian church of the Greek, ‘We did not know whether we were on earth or in heaven.’
In such cathedrals as this, the emperors of Constantinople – and now the princes of Kiev who copied them – brought the visible heavens to earth and reminded their people that they, the rulers who prayed in the galleries above, were regents for the eternal Godhead whose golden universe was present, though unknowable, amongst them.
Igor, part oriental, found peace in the contemplation of this absolute, unknowable authority. Ivanushka, half Slav, instinctively shrank from such a God; he yearned for a warmer, softer deity. And this was why, in the great church, he shivered as though from cold.
A few minutes later,
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