The Metropolitan Cathedral of the Holy and Equal-to-the-Apostles Mary Magdalene (Polish: Sobór metropolitalny Świętej Równej Apostołom Marii Magdaleny w Warszawie; Russian: Собор Святой Равноапостольной Марии Магдалины) is a Polish Orthodox cathedral, located at al. Solidarności 52 in Warsaw.

It opened in 1869, serving the needs of a growing community of Russians settling in the area of present-day Praga Północ.

In November 1865, the governor of the Polish Kingdom Friedrich Wilhelm Rembert von Berg granted consent for the formation of a committee to oversee the construction of the church.

The church Building Committee was founded by Prince Vladimir Cherkassky and General Yevgenii Rozhnov, for which the construction of the church at Praga was also an answer to the real needs of the population and an opportunity to build it in a strategic part of the city (opposite the Vilnius train station) to provide a long lasting sign that Warsaw belonged to the Russian Empire.

The strategic nature of the construction led to the architect of the Holy Synod, Nikolai Sychev, submitting a blueprint and cost estimate in 1867.

The Building Committee, wanting to obtain public funding for the investments, accepted the amendment and ordered construction of the church on a plan of a Greek cross with five domes.

The foundation stone of the church was laid June 14, 1867, but prior to this phase of construction stabilization of the soil was needed.

Despite these initial delays, the facility was ready in the raw state as early as the end of 1868, and work on the design was completed within the next six months.

The procession welcomed Archbishop Ioannicius, who began the ceremony and then celebrated the Holy Liturgy and the service of thanksgiving.

The sound of the bell blurs in their soul the thought of Poland as a place where much Russian blood has been shed.Because of this connection, and because of the special importance of the church by 1895, a general overhaul was requested by Archbishop Flavian (Gorodetskii) in a letter to the Holy Synod's, Konstantin Pobedonostsev.

To celebrate this decision, an icon to the Black Madonna of Częstochowa, an image especially revered by Polish Catholics, was placed in the cathedral.

In 1928, a second temple, the chapel of Christ's Passion, was created in the basement of the church, which stored part of the salvaged equipment from the Alexander Nevsky Cathedral.

The communist authorities granted a million złotys for this purpose, but against the enormity of losses inside the building in the absence of regular maintenance, the Committee also looked for other sources of support, including from abroad.

The poor state of the frescoes made the Arts and Theological Commission, cooperating with the Committee, consider completely new decorative painting.

On the side walls, the council planned the painting of the Three Holy Hierarchs images, St. Stefan and patrons of the Metropolitan of Warsaw: St. George, St. Dionysius, St. Timothy and St. Macarius.

The project did not represent the entire surface of the walls but included selected images of saints and scenes depicting 12 great feasts of the Orthodox Church.

The Renovation Committee organized a competition for the project, but this initiative was blocked by the Conservation Authority, ordering instead the exact reproduction of the frescoes from the first years of the council.

As part of the finer work inside a cathedral, Adam Stalony-Dobrzański made a new stained glass window showing the meeting of Christ with Mary Magdalene.

Originally on the west wall of the church, in Tondo form, Vinogradov was a composition depicting Christ surrounded by Saints Cyril and Methodius.

The main entrance to the church was located on the west with a closed semicircular portico with double half-columns situated on pedestals.

A group of 27 murals were painted by Sergei Vinogradov: he made firmament images of the Mother of God, Moses, Elijah, David, Isaac, evangelists, and ornate text format prayer to Our Father.

On the side walls of the church the same creator painted figures of Constantine the Great and St. Vladimir, and the apostles James, Philip, Bartholomew, Thomas, Simon and Jude Thaddaeus and Saints Basil the Great, John Chrysostom, Nicholas, Gregory the New Theologian, Sergius of Radonezh and the "Moscow miracle-workers" Saints Alexis, Jonah and Peter.

Characters of Old Testament prophets, according to the Byzantine tradition, are found on the inner side of the main drum, which was indicative of their mediation between earth and celestial sphere.

In contrast, figures of saints connected with the history of Russia would remind you of the status of the Orthodox Church as the state religion in that country.

The original plan was to install modern and unprecedented gas lighting in the church, against which the Archbishop Ioannikii demanded the use of traditional wax candles.

As the archbishop argued, wax softens the fire, which reminds man that his heart was becoming softer in the light of the teachings of Christ.

These icons were funded in 1869 by the Warsaw district military command, as a gift of gratitude for saving the life of Tsar Alexander II from another coup.

The side walls were dug closer to the foundations, increasing the area of the chapel and giving it the form of a cross.

In the right aisle, mosaic fragments by Viktor Vasnetsov of the Communion of the Apostles from the St. Alexander Nevsky Cathedral (which was demolished in 1926), which the parish received from the National Museum in 1985.

Across from the icon is placed the patron saint of the lower temple - St. Dionysius the Areopagite - a gift in 1933 from the Metropolitan Dionizy (Waledyński) from the diocese of Volhynia.