# The Way of Martha and the Way of Mary/Part 3/Chapter 5

. . . new Jerusalem, coming down from God out of heaven . . . as a bride adorned for her husband.
Kingsley remarks that though Cyril thought he was establishing the kingdom of God upon earth, he was in reality establishing a sort of devil's kingdom. The kingdom of God was independent of Cyril. And yet, of course, a great deal of the material success of Christianity was due to Cyril—if Christianity can really have such a thing as material success. Cyril was a sort of Cæsar to whom must be rendered the things that are Cæsar's. And in his day imperial Cæsar himself had become Christian, and kings were to arise who would claim as a divine right, not only the things that are Cæsar's but also the things that are God's.
They were in their day accounted great, and there was noise about them and lights, and throngs of those who flock to noise and light. But though some were mighty instruments of the Divine Will, the spiritual power did not proceed from them but from the silences and the obscurities and privacies ​of life. But for the holy men in the desert Cyril could no more have gloried and lasted than could a blossom without root. And on the other hand, Cyril and his like, and what they stood for, were in one sense the blossom and fruit of the seed sown by the hermits. It was the hermits who gave the spiritual impulse to Alexandria. Alexandria in turn gave new hermits to the desert—as new seeds fall from flowers in autumn. Such is the unity of the Church.
It seems at first as if the rude cave or cell of the hermit cannot be reconciled with the splendour of the churches of their time, with, for instance, the wondrous cathedral of St. Sophia, as if the wretched cave or hole in the earth were a contradiction of the great marble temple, painted and gilded and set with all manner of gold ornament and precious stone—and yet there is this obvious reconciliation, that the one is the seed, the other the blossom; the one the prayer in secret, the other the reward made openly; one the white light, the other the rainbow of Creation.
The first centuries of Christianity were a wild time. Many religions and philosophies were in the throes of glorious death, exchanging their mortality for Christian immortality. The music of change streams upward in wild, rapturous, sensuous, and agonising melody. Ten thousand passions and tragedies of conflicting import ravish the senses, and the heart leaps and the blood dances in the veins at ​the spectacle of death becoming life, or the heart sinks and the face pales at the dread of life turning to death. Only the calm soul sees the myriad colours blend at last and become reconciled in the whiteness of Christ.
And that whiteness into which the other creeds must merge is the Holy Wisdom, the Sancta Sophia, with the name of which the early Eastern Church identified itself, representing the Bride of Christ as a new Athene, Sophia, the Christian Wisdom.
The Holy Wisdom distilled from Isis and Athene and thousands of other goddesses and conceptions that died to become Christian, the water of life distilled from all the magical fluids of antiquity. The wild waste of passion and colour, the almost barbarous pageantry of the early Church, is the pageantry of autumn; the reds and browns and yellows, the flame-colours and death-colours, that go before the whiteness of Christmas.
The cathedral of St. Sophia itself, the beautiful symbol of the Bride of Christ, is the representation of the death of thousands of creeds to become immortal in the new Christian conception. There is not an idea that is being transmuted that does not find its counterpart in the sacred edifice.
A mystic wrote: "St. Sophia was not born or created, but was built." A relic, the dust or bones of those who had died for the faith, was built between every tenth stone in the walls of the cathedral. The walls were of granite and marble; ​the pillars of porphyry, malachite, and glimmering alabaster; the floor of polished marble; the doors of cedar inlaid with ivory and amber. Its height was as the height of heaven, its breadth as that of the earth. They brought the glory and honour of the nations into it. Trees of silver with lights for fruit sprang from the floor, like the tree of life in the midst of the City. Silver boats with oil and floating wicks hung from the domes. The stone canopy above the ambo bore a great cross inlaid with diamonds and pearls. Above the screen which shut off the choir were twelve columns overlaid with silver, and between them representations of the Jewish prophets, the Holy Family, and the four Evangelists—the past, the present, and the future of Christianity. The altar was raised upon a throne of gold, and was formed of thousands of precious stones and gems and pearls that had been crushed to dust and diffused in molten gold—as if of the pure lives and passions of all men a wine had been pressed into a precious chalice. On all the walls and on many of the pillars were painted the pageant of the Church, the prophets walking with God, the Saviour revealing God, the saints and martyrs and champions living and dying for the truth. There was not a religious history nor a Christian life that did not find its counterpart or emblem in the frescoes of St. Sophia. The cathedral and the idea of Sophia functionised every true conception and beautiful life lived in its day. It was "The Word" written in ​stone, and standing instead of the ruined and almost illegible tablets of Moses. It was the white stone in which the new name was written.
The idea of St. Sophia is reduplicated throughout the Eastern Church. It is a-gleam in millions of ikons, endeavours to paint the all of Christianity and the living breathing Church itself, the Bride. It is the inspiration of such a cathedral as that of St. Basil, that marvellous mediæval passion in stone built by Ivan the Terrible in the Red Square of Moscow—hence its many colours, its extraordinary diversity of shapes, its harmonisation of incongruous angles and solecisms of form, its many chapels and standing places by which the Byzantine architect endeavoured to suggest that each and every one who entered the cathedral might find a particular place where it was most fitting he should stand and praise, a particular chapel where he might kneel in secret. Astonishing to find the architectural idea coming up again in such an unlikely place as New York, in the cathedral of St. John, which will be the largest church in the world, and pre-eminently the cathedral of the West. Into the walls and body of this new cathedral bits of every kind of stone existent in America are being built. St. John, built from the substance of the world, will be the counterpart of St. Sophia, built of the substance of the other world, and having the dust of martyrs between each tenth stone—the ​cathedral of the way of Martha and the West balancing the cathedral of the way of Mary and the East.
Roman Catholicism was founded on the rock of apostolic succession. St. Peter's represents the House built upon a rock, the House that shall survive all storms and tempests. Eastern Christianity or Orthodoxy was founded on St. Sophia, the Holy Wisdom; and whereas Catholicism is a House built on the earth, Orthodoxy is a House vouchsafed from heaven, the new Jerusalem coming down from God out of heaven . . . as a bride adorned for her husband.
The word is one and the same. But the Roman Catholic is the least free of individuals, religiously. The rock of apostolic succession is the rock of infallibility. And whereas a foundation of wisdom implies freedom of individual thought, a foundation of infallibility implies intellectual and religious servitude. A Roman Catholic who thinks for himself in religious matters has already begun to be a heretic and has a sin to confess to his father confessor.
The service in one of our London churches frequently ends on the antiphone:
I am the Living Bread, Which came down from heaven. Whoso eateth Me shall live for ever.
down together to a meal makes a certain intimacy. The loaf which is broken for you and me and another goes to make flesh and blood in each of us. Without any reflection or thought we know that we are nearer because we have broken bread together. At the symbolical meal, Communion, we are consciously nearer. By virtue of the bread that was broken for us we know ourselves nearer to one another.
Unity is the deepest knowledge. There are moments when one feels one would with deep emotion offer one's ego and individuality upon the altar of unity, when one would cease to be John Brown or Ivan Ivanovitch, and become one with the human race, giving up one's rich treasure of memories and experiences, character, developed intelligence, dear idiosyncrasies. In the depths of that humility is discovered a new graciousness and love, a new faith.
Only at death do we pass completely to the unity, though in life at rare moments we can apprehend it. That unity is not necessarily the unity of the family, of the human race as a family; it may be the human race is after all only one human being—Sophia, the Bride of Christ.