The cathedral on this centerpiece takes after Christ the Savior Church in Moscow but is not an exact reproduction. It is an abstract rendition that symbolizes a cathedral for all saints and the revival of the Church after the fall of communism. On the upper corners, the designation or name for this icon was written against the golden background in a stylized calligraphy developed during the 15th century. The assembly of newly glorified martyrs stands in front of the temple and around the altar covered in bright red. This color symbolizes eternity, Easter joy, victory over hell and death, and the rejoicing that takes place in the Celestial Kingdom, the place where martyrs are said to go.

Though somewhat hidden, the connection between the altar and the church to the back is rather obvious. On the altar, the open Gospel reveals the words of Christ the Savior as noted in Matthew 10:28: "And fear not them which kill the body, but are not able to kill the soul…" Standing between the altar and the church, an oversized cross suggests both the great number of martyrs in the icon as well as the Church's victory over sin a persecution. As a compositional element, the cross also determines the arrangement of those depicted on this icon.

Right below the cross stand the group of noble martyrs with sovereign Nikolai II in the center. The royal family personifies divine authority and order, the force that organizes chaos. Also, the tsarist family is portrayed with Byzantine garments, a symbol of the eternal connection between Byzantium and Russia.

To the right and left of the cross, two high clergy groups are respectively flanked by the holy patriarch Tikhon and by St. Peter. Behind the first rows of prominent Church figures, stands a sea of halos representing the large number of martyrs who couldn't be explicitly represented here, or who died without their names being registered properly.
Below and at the level of the royal family stand a number of prominent bishops, priests, monks and laymen who were also martyrs and who are now saints. Also represented here are groups of nameless laymen, husbands, wives and children with a diverse and individual appearance. They too died for the church and are now glorified.
This centerpiece tries to symbolically embrace the entirety of the Russian Church together with its new martyrs, its confessors and all other components. Above this composition, in the skies, the eternal reign of Christ stands triumphant in His Kingdom.