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diff --git a/old/68112-0.txt b/old/68112-0.txt deleted file mode 100644 index 7a7ac1c..0000000 --- a/old/68112-0.txt +++ /dev/null @@ -1,3659 +0,0 @@ -The Project Gutenberg eBook of A guide to the Cathedral Church of -Saint John the Divine in the city of New York, by Edward Hagaman Hall - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: A guide to the Cathedral Church of Saint John the Divine in the - city of New York - Fifth Edition - -Author: Edward Hagaman Hall - -Release Date: May 17, 2022 [eBook #68112] - -Language: English - -Produced by: Charlene Taylor and the Online Distributed Proofreading - Team at https://www.pgdp.net (This file was produced from - images generously made available by The Internet - Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK A GUIDE TO THE CATHEDRAL -CHURCH OF SAINT JOHN THE DIVINE IN THE CITY OF NEW YORK *** - - - - - - -A Guide to The Cathedral Church of St. John the Divine in the City of New -York. - - - - -[Illustration: THE NORTH ELEVATION OF THE CATHEDRAL - -(From Architect’s Design)] - - - - - A Guide to the - Cathedral Church - of - Saint John the Divine - in the City of New York - by - Edward Hagaman Hall, L. H. D. - - New York - The Laymen’s Club of the Cathedral - 1924 - - Fifth Edition. - - Copyright, 1920, 1921, 1922, 1924, by - The Laymen’s Club of - The Cathedral Church of St. John the Divine, - New York, N. Y. - - - - -Introductory Note - - -This Guide to the Cathedral of Saint John the Divine purposely departs -from the conventional guide book in several respects. The Cathedral -of St. John the Divine is not centuries old like those in Europe, but -is in the building; and it has seemed appropriate in the first place -to express something of its Spirit before describing the details of -its Fabric. In the next place, the great majority of visitors to the -Cathedral are strangers, people of other denominations, and, on account -of its proximity to one of the leading American universities, students. -For this reason, an effort has been made to avoid technical terms as far -as possible; to explain the significance of much symbolism not generally -understood; and to insert Bible references freely for the benefit of -those who wish to study further the meaning of the scenes and objects -described. Lest some of the explanations—as, for instance, that in -regard to the probable date of the completion of the Cathedral—be deemed -superfluous, it may be said that this, as well as nearly every other -statement in the following pages, is an answer to some question asked -among the thousand and one interrogations which manifest popular interest -in the Cathedral’s growth. In response to more than one request, “some -of those little things that one would tell informally in explaining the -Cathedral to a friend” have been included. Among these are the incident -of the blind woman who “saw” the Cathedral, which possesses a touching -human interest; and the story of the Dove of Peace, in which may be -seen the beginning of the traditional lore that will grow up around the -Cathedral as the years roll on. - -For their valuable cooperation in the preparation of the Guide, grateful -acknowledgment is made to the Very Rev. Howard C. Robbins, D.D., Dean -of the Cathedral, and to the Rev. George F. Nelson, D.D., and the -Rev. Robert Ellis Jones. D.D., Canons. Many thanks for courtesies and -accommodations in photographing and studying the Cathedral are also due -to Mr. Thomas Meatyard, the Verger. - -[Illustration: The Cathedral Flag - -(See Page 56)] - - - - -Contents - - - _I. THE SPIRIT OF THE CATHEDRAL._ - - The Real Cathedral 11 - - Praise in its Greatness 12 - - Praise in its Beauty 12 - - Praise in its Service 13 - - The Spirit of Democracy 14 - - A Civic Institution 15 - - A Great Symbol 16 - - A Sign of Stability 16 - - _II. THE FABRIC OF THE CATHEDRAL._ - - Name and Namesake 19 - - Location and Access 20 - - Administration and Clergy 22 - - Seals 23 - - Services 25 - - Visitors 26 - - Architecture 27 - - Plan and Size 27 - - Progress of Construction 28 - - Funds for Building 29 - - Foundation and Structure 31 - - Exterior of Chapels 31 - - Clerestory of Choir 33 - - Stone Shields 33 - - West Front 34 - - Nave 36 - - Crossing 40 - - Pulpit 42 - - Tapestries 46 - - Litany Desk 46 - - Choir 48 - - Choir Parapet 49 - - Pavements 51 - - Lectern 52 - - Choir Stalls 54 - - Organ 55 - - Cathedral Flag 56 - - High Altar 56 - - Credence Table 58 - - Great Columns 59 - - Clerestory Windows 60 - - Ambulatory 66 - - Founder’s Tomb 68 - - Choir Boys’ Stone 69 - - Seven Chapels of Tongues 69 - - Chapel of St. James 71 - - Chapel of St. Ambrose 76 - - Chapel of St. Martin 80 - - Chapel of St. Saviour 84 - - Chapel of St. Columba 87 - - Chapel of St. Boniface 90 - - Chapel of St. Ansgarius 95 - - Corner Stone 100 - - Crypt 100 - - Summary of Dimensions 101 - - Bishops of New York 102 - - _III. OTHER BUILDINGS, ETC._ - - Bishop’s House 104 - - Deanery 104 - - Choir School 106 - - St. Faith’s House 110 - - Synod House 110 - - Open Air Pulpit 114 - - Cathedral Organizations 115 - - Guide Book 116 - -[Illustration: PLAN - - 1. West Front, not begun - 2. Nave, foundation laid - 3. Crossing - 4. North Transept, not begun - 5. South Transept, not begun - 6. Altar Sacristy, not begun - 7. Baptistery, begun May 29, 1924 - 8. Choir Sacristy, not begun - Dotted lines indicate cloisters connecting with Choir School - 9. Dean’s Office, with Canons’ Offices adjoining, not begun - 10. Choir - 11. Sanctuary - 12. Ambulatory - -_Seven Chapels of Tongues_ - - 13. Chapel of St. James - 14. Chapel of St. Ambrose - 15. Chapel of St. Martin of Tours - 16. Chapel of St. Saviour - 17. Chapel of St. Columba - 18. Chapel of St. Boniface - 19. Chapel of St. Ansgarius - - A. Bishop’s House - B. Deanery - C. Choir School - D. St. Faith’s House - E. New Synod House - F. Open Air Pulpit - -The Old Synod House (formerly the Leake & Watts Orphan Asylum) stands on -the site of the South Transept (5) and is not represented on this plan.] - - - - -Illustrations - - - Cathedral from northeast, complete exterior design, from - architect’s drawing _Frontispiece_ - - Flag of the Cathedral 6 - - Plan of the Cathedral and Close 8-9 - - East end of Cathedral (exterior) 18 - - Seal of the Diocese 24 - - Seal of the Cathedral 24 - - ΙϹ-ΧϹ-ΝΙ-ΚΑ symbol “Jesus Christ Conquers” 34 - - SP-SF-SS symbol, “Holy Father, Holy Son, Holy Spirit” 34 - - Symbols of St. Luke 34 - - West Front, from architect’s drawing 35 - - Nave (exterior), from composite photograph of model 37 - - Nave (interior), from composite photograph of model 39 - - Nave foundation and Crossing (exterior) 41 - - Pulpit (indoors) 43 - - Barberini tapestry, “The Last Supper” 45 - - Crossing and Choir (interior) 47 - - Choir Stalls, south side 53 - - High Altar 57 - - Credence Table with Magna Charta Stones 58 - - The Founder’s Tomb 67 - - Chapel of St. James (interior) 73 - - Coats of Arms in windows of Chapel of St. Martin: - - City of Rheims 82 - - Notre Dame Cathedral of Paris 82 - - Archbishop of Tours 82 - - Chapter of Poitiers 82 - - St. Martin of Tours 82 - - Archdiocese of Rheims 82 - - Dukes of Orleans 82 - - Niche of England Cathedral Stones 95 - - The Sacrifice 99 - - Bishop’s House 105 - - Deanery 107 - - Choir School 109 - - Synod House 111 - - - - -Part One - -The Spirit of the Cathedral - - -The Real Cathedral - -On Morningside Heights, in the City of New York, on ground consecrated -by the blood of our forefathers in the War for Independence, stands a -trinity of institutions which represent with singular completeness the -three-fold nature of man: Columbia University, which ministers to the -Mind; St. Luke’s Hospital, which ministers to the Body; and the Cathedral -of St. John the Divine, which ministers to the Soul. - -This little book is designed to assist visitors to understand the -meaning and purpose of the Cathedral of St. John the Divine. Some such -aid, either written or oral, is needed, for a great cathedral cannot -be comprehended in the glance of an eye. Certain features, such as its -magnitude and general beauty, are obvious; but inwrought with these is -a wealth of meaning which is the _soul_ of the Cathedral—the _real_ -Cathedral—and which reveals itself only on intimate acquaintance. When -Ruskin called Amiens Cathedral “The Bible of Amiens,” he used a figure of -speech applicable to all cathedrals. The Cathedral of St. John the Divine -is “The Word in stone.” It is a sacred book, written in massive pier and -ponderous arch, in sculptured marble and carved oak, in stained glass -window and inlaid mosaic, in embroidered fabric and woven tapestry, whose -pages are full of delight, inspiration and help for those who will take -the trouble to read them. - -The Cathedral performs its function as a place for the praise and worship -of Almighty God in two ways—statically in the grandeur and beauty of the -temple, and actively in the services held within it. - - -Praise in its Greatness - -Like other great cathedrals, St. John the Divine first impresses by its -size. Its magnitude is not only becoming to its rank as the chief church -of the great Diocese of New York and necessary for the accommodation -of large congregations, but it also has a spiritual purpose, for it -gives one the feeling of something bigger than one’s self and of a -Power greater than one’s own. “The Cathedral gives me a feeling of -humility,” said a man to Bishop Greer one day. “When I go in,” said a -college girl to him, “I forget myself.” And a man whom the Bishop met -in the Ambulatory said to him: “If I came here regularly, something -about it,—its size, its spaciousness, its loftiness, its great receding -Choir—something about it would compel me to be a churchman.” - - -Praise in its Beauty - -The Cathedral is designed also to praise God in the glory of its Beauty. -Ruskin, in “The Laws of Fesole,” says that “all great art is praise.” -Here we have the three great and enduring arts of Architecture, Sculpture -and Painting (the latter as yet only in stained glass,) combined in -a wonderful Te Deum of Beauty. For centuries the great cathedrals of -the world have been the caskets of certain kinds of art—or, rather, -of certain kinds of expression of art—not elsewhere to be found; and -in this respect the Cathedral of St. John the Divine fills a place in -our American life which no secular building can fill. In the beauty of -its general form, in the beauty of its detail, in the beauty of its -symbolism, and in the record of human achievement in godly living which -these express, the Cathedral stirs the most reverent emotions and creates -the noblest aspirations. - - -Praise in its Service - -But these silent though eloquent physical features are only adjuncts -and helps to the active expression of praise in the Cathedral Service. -In this, the impressive rites of the church and the congregational -participation are aided by music brought to a high degree of perfection, -and the preaching from the pulpit aims to interpret the Christian -religion in terms of the practical every-day life of to-day. - -In short, the Cathedral endeavors to employ all that is beautiful and -majestic in Art and Service to bring God closer to men and to draw men -closer to God. - -Those who live near enough to the Cathedral to be able to attend its -services frequently can appreciate the words of a man who lived most of -his life in one of the great cathedral towns of England, and who said: - -“I account it one of the greatest blessings of my life, and a -circumstance which gave a tone to my imagination which I would not resign -for many earthly gifts, that I lived in a place where the cathedral -service was duly and beautifully performed.... If the object of devotion -be to make us _feel_, and to carry away the soul from all earthly -thoughts, assuredly the grand chaunts of our cathedral service are not -without their use. I admire—none can admire more—the abstract idea of -an assembly of reasoning beings offering up to the Author of all good -things their thanksgivings in a pure and intelligible form of words; but -the question will always intrude, Does the heart go along with this lip -service? and is the mind sufficiently excited by this reasonable worship -to forget its accustomed associations with the business and vanities -and passions of the world? The cathedral service _does_ affect the -imagination and through that channel the heart.” - - -The Spirit of Democracy - -While the Cathedral of St. John the Divine is a Protestant Episcopal -Cathedral, its ministrations are not restricted. “Our democratic age,” -said Bishop Henry C. Potter, “demands a place of worship that will not -disregard the teachings of the Founder of Christianity. In this Cathedral -there will be no pews, no locked doors, no pre-payment for sittings, -no reserved rights of caste or rank, but one and the same welcome for -all.” And what Bishop Potter prophesied when the Cathedral was first -planned is literally true to-day. The charter of the Cathedral requires -that “the seats for worshippers in said Cathedral Church shall always be -free;” and the Cathedral welcomes everybody to its services, irrespective -of denominational affiliations, nationality or worldly estate. The -Cathedral also welcomes those who belong to no denomination. Its appeal -to the latter was particularly contemplated when Bishop Potter said: -“The person in the period of suspense as to certain fundamental beliefs -needs something larger, higher, wider and roomier, more impersonal for -the time being, than the parish church.” It is hardly necessary to add -as a corollary of the foregoing that there are no “strangers’ pews” -in the Cathedral; and nobody, however unaccustomed to the Cathedral -service, needs to feel any timidity or hesitation about attending. The -large proportion of men in the Cathedral congregations is particularly -noticeable. - - -A Civic Institution - -In its present state of incompletion, without Nave and Transepts, -the capacity of the Cathedral is taxed to the utmost by its ordinary -congregations, and on special occasions thousands are turned away unable -to enter. The completion of the Cathedral is therefore imperative; and -this is so for more than denominational reasons, for the many notable -special services held during and immediately following the late war -already foreshadow the position which it is destined to occupy as a -great Civic and National Institution. The Board of Trustees recently -said: “The city requires a religious edifice where people can gather -together in large numbers to express in a corporate way their religious -promptings and to find spiritual interpretation of great events.” Such -were the gatherings,—to mention but a few instances,—on the occasion -of the Kossovo Day service June 16, 1918; the thanksgiving for the -withdrawal of Austria from the war November 10, 1918; the thanksgiving -for the cessation of hostilities November 17; the thanksgiving of the -twelve Liberated Nationalities of middle Europe November 24; the great -Thanksgiving Day service for victory November 28;[1] the rendering of -Gounod’s “Death and Life” December 1, 1918, and Dvorak’s “Requiem” March -30, 1919, for all who died in the war; the memorial service of the -107th (including the former 7th) regiment April 27, 1919; the Lusitania -memorial service May 7; the New York Letter Carriers’ memorial service -May 25; etc. People rarely think of the English cathedrals as belonging -to the Church of England or of the French cathedrals as belonging to the -Roman Catholic church. They are regarded as belonging to everybody. And -such, it is believed, is the place which the Cathedral of St. John the -Divine will occupy in the minds of the people of the city and nation. - - -A Great Symbol - -The symbolism of various details of the Cathedral will be mentioned -hereafter; but it should be said here that the Cathedral as a whole is a -great and wonderful symbol. “The religion which is inwrought with all the -history of the American people,” said Bishop Potter, “stands for certain -lofty ideals of truth, purity, honesty, loyalty and self-sacrifice. -Every ideal must have some visible expression or symbol, and this ideal -of our religious faith from the very nature of it demands expression, -incarnation, visible and material utterance worthy of its majesty and -grandeur.” And the Trustees not long ago said: “New York is the chief -city of the Western World. It impresses the imagination at every turn -by visible evidence of the power and splendor of material achievements -in American life. Such a city should be dominated by a building which, -in its greatness, dignity and beauty, bears witness to those spiritual -forces without which material achievement is valueless because soulless.” - - -A Sign of Stability - -This ever-changing city also needs the Cathedral as an evidence of -stability. Business structures and apartment houses rise and disappear -in a generation under the exigencies of the city’s growth. Even parish -churches give way under this seemingly irresistible pressure. There is -consequently little upon which to fasten permanently one’s memories, -affections and historical traditions. Amid the changes and uncertainties -of human life, man instinctively looks to the Church for something of -permanence—something after all to which he can fasten his faith and upon -which he can anchor his hopes. The Cathedral of St. John the Divine, -resting in its massive solidity upon the ancient rocks of Morningside -Heights, gives an idea of firmness and stability in contrast with the -fleeting changes around it and symbolizes Eternity as nearly as anything -erected by the hands of man can. It will stand for unmeasured time as -an eloquent memorial of the best and noblest of human effort and will -serve as a visible bond to bind together generations of high endeavor. -“A cathedral,” said Dean Robbins in a sermon on December 17, 1916, “is a -symbol of continuity of life through the ages. It is a reminder of the -relatedness in which men stand not only to one another but also to those -who have preceded them, to all that is still memorable in a not quite -vanished past.” And looking to the future he spoke of the meaning of the -Cathedral to coming generations when it should have become adorned with -associations growing like ivy over walls made venerable by time. “Perhaps -they will be greater memories, more glorious associations, than our best -hopes can now forecast.... Who can tell what the hidden, wonderful, -all-possible future may have in store for our Cathedral, what hopes and -purposes and sorrows and rejoicings will receive their consecration -within its slowly aging walls?” - -[Illustration: THE EXTERIOR OF THE CHOIR, CHAPELS AND CROSSING, LOOKING -SOUTHWEST - -(Choir School at left)] - - - - -Part Two - -The Fabric of the Cathedral - - -Name and Namesake - -The legal title of the Cathedral is “the Cathedral Church of Saint -John the Divine in the City and Diocese of New York.” The adjective -“cathedral,” commonly used as a noun, is derived from the Greek word -“cathedra” which means “seat.” In the Cathedral is the cathedra of the -Bishop of the Diocese of New York. It is not a parish church and has no -members in the sense in which a parish church has members; but persons -desiring to assist in cathedral work may join the auxiliary organizations -mentioned on page 115 following. The Cathedral is the chief church of the -Diocese which embraces 294 different parishes and missions. - -The Cathedral is named after the author of the fourth Gospel, the three -“epistles general” bearing the name of John, and the book of “The -Revelation of St. John the Divine.” The word “Divine” in the title is -not an adjective[2] but is a noun in apposition with “St. John” and is -rendered in the seal of the Cathedral by the Latin word “theologus,” -meaning “theologian.” St. John was one of the twelve Apostles, and a -brother of St. James the Great. He was “the Disciple whom Jesus loved” -(John xiii. 23), an expression implying exceptional sweetness and -lovableness of character. He founded the seven churches in Asia referred -to in the Book of Revelation. Toward the end of his ministrations, in -which he suffered many persecutions, he was banished to the Isle of -Patmos, where he wrote the Book of Revelation. When he returned from this -exile, he continued his work until he died at the advanced age of over -90 years. His traditional grave is at Ephesus. The two principal symbols -of St. John are the eagle with book, (explained in connection with the -symbols of the four Evangelists on page 44) and the chalice, the latter -sometimes having a serpent issuing from it. The sacramental cup without -the serpent is sometimes interpreted to refer to Christ’s reply to James -and John: “Ye shall indeed drink of the cup that I drink of” (Mark x. -39). The cup with the serpent refers to the tradition related by St. -Isidore to the effect that at Rome an attempt was made to poison St. John -in the communion wine, but that by a miracle the poison vanished from the -chalice in the form of a serpent. The Memorial Day for St. John is kept -on December 27. - - -Location and Access - -The Cathedral is located between Cathedral parkway (110th street,) -Amsterdam avenue, 113th street, and Morningside drive. - -The Cathedral can be reached by taking the Broadway subway to 110th -street and walking one block east and two north; the Broadway surface -line to 112th street and walking one block east; the Amsterdam avenue -surface line to the entrance at 112th street; the 6th and 9th avenue -elevated line to 110th street and walking two blocks west and two north; -or Fifth avenue omnibuses marked route “4” via 110th street, or ’buses -transferring thereto. - -Morningside Heights being 100 feet above the level of the adjacent Harlem -Plain, the Cathedral commands a sweeping prospect toward the northeast, -east, and southeast, over the roofs of the city and past the trees of -Central Park to the regions beyond the Harlem and East rivers; while from -the main entrance at Amsterdam avenue and 112th street, one can look -westward to the Hudson and see the columned Palisades on the New Jersey -shore beyond. Morningside Heights is the modern name for the ground on -which the battle of Harlem Heights was fought on September 16, 1776. -Washington, whose figure occupies a niche in the Choir Parapet (page 51) -and adorns the entrance to the Synod House (p. 114), personally directed -the troops in this engagement. At that period an old colonial road ran -through the Cathedral site and down the Heights of Morningside Park to -the ancient King’s Highway or Post Road. During the War of 1812, the -Cathedral grounds were immediately within the lines of defence erected in -1814, one of the blockhouses of which stood on the bluff on the eastern -side of Morningside drive just northeast of 113th st.[3] - -The Cathedral grounds,—called the “Close,” from the practice in olden -times of securing the privacy of the cathedral precincts by enclosing -them with a wall and gates,—comprise 11½ acres. Upon them are situated, -besides the Cathedral, the Old Synod House (brick with columned portico, -formerly the Leake & Watts Orphan Asylum,) the Bishop’s House and -Deanery, the Choir School, the New Synod House, and St. Faith’s Training -School for Deaconesses. See plan and descriptions of buildings hereafter. -The Close cost $850,000 and the buildings other than the Cathedral about -$1,000,000. A portion of the Close is set apart for recreation grounds -for the boys of the choir; and a portion of the lawn as a playground for -small children. - - -Administration and Clergy - -The affairs of the Cathedral are in the hands of a Board of 25 Trustees -which constitutes the Corporation, and is composed of the Bishop of New -York, 12 other clergymen and 12 laymen. The Bishop is President of the -Board. - -The Clergy of the Cathedral are the Bishop, Dean, Canon Bursar, Canon -Sacrist, Canon Precentor, and the Honorary Canons, not to exceed seven -in number. The _Bishop_ is elected by the Diocesan Convention and the -election must be confirmed by a majority of the Bishops and Dioceses of -the Episcopal Church. The Dean and Canons are nominated by the Bishop -and elected by the Trustees. The Bishop, besides his diocesan duties, -has general direction of the services of the Cathedral, which direction -he expresses through the Dean. The use of the Cathedral for worship and -for charitable and benevolent work is entrusted to the Dean and Chapter. -The Chapter consists of the Dean, the Bursar, the Sacrist, and such other -Canons as may be elected. The _Dean_ is Chairman of the Cathedral Chapter -and the executive head of the Cathedral, leading and co-ordinating the -various branches of its work. The _Canon Bursar_ is the agent of the -Treasurer of the Corporation, receives the offerings and sees that they -are applied to their proper objects, and is Supervisor of Buildings and -Grounds. The _Canon Sacrist_ has the care of the Cathedral as a place -of worship and is Master of Ceremonies on all occasions. The _Canon -Precentor_ is responsible for the fitting performance of the musical -parts of the Cathedral services. The offices of Canon Sacrist and Canon -Precentor are vacant, their duties being performed by the _Precentor_. -The Dean and Canons may have Vicars as assistants. - -Following is the Cathedral Staff: - -_Bishop of New York_ - - The Right Rev. William Thomas Manning, D.D., LL.D., D.C.L. - -_Dean_ - - The Very Rev. Howard Chandler Robbins, D.D. - -_Canon Bursar_ - - The Rev. Robert Ellis Jones, D.D. - -_Precentor_ - - The Rev. Henry Purcell Veazie, M.A. (Oxon.) - -_Honorary Canons_ - - The Rev. George Francis Nelson, D.D. - The Rev. George William Douglas, D.D. - The Rev. George Frederick Clover, M.A. - The Rev. Harold Adye Prichard, M.A. - The Rev. Pascal Harrower, M.A. - -_Head Master of the Choir School_ - - William Lester Henry, A.B. - -_Organist and Master of the Choristers_ - - Miles Farrow, M.A., Mus. Doc. - -_Head Verger_ - - Thomas Meatyard. - -The post-office address of any of the above mentioned is “The Cathedral -of St. John the Divine, New York, N. Y.” - -The Bishop’s office is in the new Synod House at the corner of Amsterdam -Avenue and Cathedral Parkway. The offices of the Dean, Canon Bursar, -etc., are in the old Synod House which stands on the site of the South -Transept. (See page 9). - - -Seals of Diocese and Cathedral - -The seal of the Diocese is in the form of a pointed oval, or vesica,[4] -and is as follows: - -Quarterly _gules_ and _argent_, over all a cross counter-changed of the -same. In dexter chief the American eagle with wings displayed _or_; in -sinister chief and dexter base the sails of a windmill _proper_ from the -arms of the City of New York. In sinister base two swords in saltire _or_ -from the arms of the see of London. Surmounted by an episcopal mitre -_proper_. The arms surmounted on a field _purpure_ and enclosed by a -bordure _azure_ lined (or edged) _or_ bearing the legend “Seal of the -Diocese of New York MDCCLXXXV” _or_. - -The red color (gules) and the swords are historically reminiscent -of the fact that prior to the Independence of the United States the -church throughout the American Colonies was under the ecclesiastical -jurisdiction of the Diocese of London. - -[Illustration: Diocesan Seal] - -[Illustration: Cathedral Seal] - -The seal of the Cathedral, also vesica-shaped, is as follows: - -Tierce in pairle reversed. 1st, from the arms of the City of New York: -_argent_ four sails of a windmill in saltire, between the ends in chief -and base a beaver couchant, in fess dexter and sinister a barrel of flour -all _proper_. 2d, from the arms of the State of New York: _azure_ in a -landscape the sun in fess rising in splendor _or_ behind a range of three -mountains the middle one the highest, in base a ship and sloop under sail -passing and about to meet on a river bordered below by a grassy shore -fringed with shrubs all _proper_. 3d, _azure_ seven six-pointed stars -_argent_ between as many candlesticks _or_. Surmounted by an episcopal -mitre _proper_. Enclosed by a bordure _gules_ edged _or_ bearing the -legend “Sigil. Eccles. Cath. S. Johann. Theol. N. Ebor.” _or_. - -The seven stars and candlesticks refer to the Revelation of St. John the -Divine, i. 20. - - -Services - -The Cathedral is open for private prayer and meditation every day of -the year from 7.30 a. m. to 5.30 p. m. There is a service in one of the -chapels every week-day at 7.30 a. m. The principal Sunday services are -at 8 a. m., 11 a. m. and 4 p. m., the latter two being with full choral -service and sermon. Other services are held on week-days and Sundays as -announced from time to time. As before stated, all seats are free, and -residents and strangers of all denominations are cordially welcome. - -The Cathedral service is neither “high” nor “low.” It is the prescribed -liturgy of the Church, with a fully choral rendering and congregational -participation. Except during the vacation season, there are usually about -60 persons in the procession. The processional hymn is begun in the -Ambulatory, through the south gate of which the procession enters the -Crossing and goes to the Choir. First comes the crucifer, followed in -order by the boys of the choir, the men of the choir, the Head Master of -the Choir School, the Verger and the clergy in inverse order of their -rank. The Bishop, if present, comes last, and is immediately preceded -by the Verger and an acolyte bearing the Bishop’s pastoral staff.[5] -If the Bishop is absent, the Dean comes last, preceded by the Verger. -If neither Bishop nor Dean is present, the Verger precedes all the -clergy. The Verger (in black gown with purple facings), carries a silver -staff surmounted by the figure of an angel holding a tablet on which is -engraved the symbol of St. John the Divine, the chalice with emerging -serpent. When preceding the Bishop he carries his staff upright at his -right shoulder, but when going before the other clergy he carries it in -the hollow of his left arm. The organist and Master of the Choristers, -wearing the gown and hood of Doctor of Music, is usually invisible, being -seated at the console in the gallery on the screen at the south side of -the Choir. At extraordinary musical services, an orchestra is seated in -the Choir, between the stalls, and then the Master of the Choristers -stands in the Choir, from which point he directs the singers, orchestra -and assistant organist. The recessional is in the same order as the -processional. After entering the Ambulatory, the procession halts while -a dismissal prayer or hymn is said or sung there, and the solemn service -ends with a far-away “Amen” from the unseen choir.[6] - - -Visitors - -Visitors may see the Cathedral at all times between 7.30 a. m. and 5.30 -p. m. except during the hours of service. The Verger is usually in -attendance. - - -Architecture - -The architects of the Cathedral have been: Messrs. George L. Heins and -C. Grant LaFarge from July, 1891, until Mr. Heins’ death in September, -1907;[7] Mr. LaFarge from September, 1907, until the completion of the -Choir in April, 1911; and Messrs. Cram & Ferguson from April, 1911, -to the present time. Mr. Henry Vaughan was architect of three of the -Seven Chapels of Tongues, Messrs. Heins & LaFarge of two, Messrs. Cram -& Ferguson of one and Messrs. Carrere & Hastings of one, as mentioned -hereafter. - -The prevailing style of the Cathedral will be French Gothic. The north of -France, it will be remembered, is the birthplace of Gothic architecture. -There, in the region so recently devastated by war, Gothic architecture -rose and reached the flower of perfection in such monuments as Amiens, -Rheims, Notre Dame (Paris), Chartres, Beauvais, and Rouen Cathedrals and -many other churches, great and small. - - -Plan and Size - -The plan of the Cathedral is cruciform (symbolism, the cross on which -Christ was crucified;) and is oriented so that the priest standing at the -High Altar faces the east (the rising sun symbolizing the resurrection, -and the orientation also connoting the ideas of Christ “the Sun of -Righteousness,” “the Dayspring from on High,” and the “Morning Star”).[8] -Seven chapels, called the Chapels of Tongues, radiate from the Apse, or -semi-circular eastern end of the Choir. - -The loftiest features of the elevation are the two towers of the West -Front (q. v.) and the great Central Tower above the Crossing. The -latter, in the design now under consideration, consists of a dodecagonal -lantern, carried up from the square Crossing in two stages, the upper -smaller than the lower, and surmounted by a flèche or open-work spire -rising to a height of 500 feet (including cross) above the ground. - -When completed, the Cathedral will extend from Morningside drive to -Amsterdam avenue, more than a tenth of a mile. It will be 601 feet long -and 315 feet wide across the Transepts, and, with an area of 109,082 -square feet, will be the third largest in the world, St. Peter’s at Rome -being first and Seville Cathedral second. - -The seating capacity of the Crossing in which the congregation ordinarily -sits is 1,500; but on special occasions, when chairs are placed in the -Ambulatory and people are admitted to the Choir Stalls, the Cathedral can -accommodate about 3,500. When the church is finished, it will seat 7,000 -and will accommodate several thousand more standing. - - -Progress of Construction - -The Founder of the Cathedral was the Right Rev. Horatio Potter, -(Provisional Bishop 1854-1861 and Bishop of New York 1861-1887), who -proposed it in 1872. The charter was granted by the Legislature of the -state of New York in 1873. The Right Rev. Henry Codman Potter, (Assistant -Bishop 1883-1887 and Bishop of New York 1887-1908), nephew and successor -of Bishop Horatio Potter, actively forwarded the movement for raising -funds in 1886. The Close was purchased from the Leake & Watts Orphan -Asylum by deed dated October 31, 1891. The first service on the ground -was held January 1, 1892. The corner-stone was laid on St. John’s Day, -December 27, 1892.[9] The first service was held in the Crypt January -8, 1899, and the first service in the Choir and Crossing (being the -consecration service) April 19, 1911. Ground was broken for the Nave -May 8, 1916, by the Right Rev. David Hummell Greer, (Bishop Coadjutor -1904-1908 and Bishop of New York 1908-1919). The parts thus far built -are the Crypt, Choir, seven Chapels of Tongues, Crossing and foundation -for the Nave. The Mohegan golden granite for the walls of the Nave is -now being quarried near Peekskill, N. Y., and is being delivered on the -grounds. Some details of the Choir and Crossing are unfinished. The -completed portion of the Cathedral has cost about $4,000,000, and it is -estimated that the Nave, West Front, Transepts, Spire, etc., will cost -about $15,000,000, making the total estimated cost about $19,000,000. - - -Funds for Building - -Visitors to the Cathedral repeatedly ask when it will be finished. It is -impossible to answer this question definitely. Some of the cathedrals -of the Old World have been seven hundred years in building and are not -yet completed. The things which endure the longest are generally of slow -growth,[10] and the Cathedral of St. John the Divine is no exception to -this rule. It is not a steel-frame structure, but is of massive masonry -in the best traditions of Gothic architecture and is being built to stand -for ages. Its physical construction must therefore necessarily be slow. - -It is to be remembered, also, that the financial resources for the -building of a modern cathedral are different from those which supplied -the means for building many of the Old World churches. Westminster Abbey -was built almost entirely from revenues of the Kings from Henry III. -to Henry VII. St. Paul’s in London was partly built by the gifts of -penitents who performed their penances in money. Occasionally an ancient -shrine grew into a great church in consequence of some tradition or -superstition which caused a continuous stream of illustrious persons to -shower wealth, privileges and honors upon it. Pope Honorius prescribed -collections in all Christendom for the building of Rheims Cathedral. The -metropolitan church of St. Rombold’s, in Malines, Belgium, was built with -money paid by pilgrims who flocked thither in the 14th and 15th centuries -to obtain indulgences issued by Pope Nicholas V.; and the Tour de Beurre -(butter tower) of Bourges Cathedral, like the tower of the same name at -Rouen, “derives its name from having been erected with money paid for -indulgences to eat butter in Lent.” (Baedeker.) - -To-day, however, reliance is placed entirely upon voluntary -contributions. Some of the larger gifts to the Cathedral of St. John -the Divine are mentioned hereafter, but there have been many other -large ones and innumerable smaller ones equally acceptable from donors -irrespective of denominational affiliations who have caught the civic -and patriotic as well as the religious inspiration of what is to be -America’s greatest cathedral. In a general way, it may be said that the -Cathedral will be finished as fast as funds are provided;—and no faster, -for the authorities have rigidly maintained the provision of the statute, -building only what can be paid for, and worshippers are therefore not -kneeling on any debt. Anyone desiring here to enshrine a loving memory or -to embody the offering of a grateful heart may place a donation to the -Building Fund in the alms-basin or in the box at the door, or send it to -the Dean at the Cathedral offices in the old Synod House, at Amsterdam -avenue and 112th street, New York City. - - -Foundation and Superstructure - -The foundation of the Cathedral is of Maine granite. Although the -bed-rock of Morningside Heights (Manhattan schist) lies near the surface, -it is so disintegrated near the top that it was necessary to go down 72 -feet in some places in order that the Cathedral might rest securely on -the “living rock.” The excavation and foundation alone cost a quarter -of a million dollars. The main walls of the superstructure are also -of granite, faced on the outside of the finished portion with Mohegan -golden granite quarried near Peekskill, N. Y., and on the inside with -a soft buff-colored limestone or dolomite called Frontenac stone from -Pepin county, Wis. The great flying buttresses and massive piers of the -Crossing, exposed in their rugged unfinished state, exhibit the dark -Maine granite. Local materials are mentioned in their appropriate places. - - -Exterior Survey - -Before entering the Cathedral the visitor should make a circuit of -the Close (beginning on the south side and going eastward), comparing -the outlines of the Cathedral with the plan and noting the location -of the other buildings. This will give him a better understanding of -the interior of the Cathedral and of its ultimate connection with the -Bishop’s House and the Choir School by means of cloisters. It will be -noted that the Old Synod House (brick, with Ionic-columned portico) -occupies the site of the South Transept. - - -=The Seven Chapels of Tongues=, (see page 69 et seq.,) may be identified -on the exterior by the following characteristics (south to north): -_Chapel of St. James_, rectangular plan, crenelated parapet of roof, and -pinnacles on buttresses. _Chapel of St. Ambrose_, half round window -arches. _Chapel of St. Martin of Tours_, fleurs de lis in quatrefoils -above large windows; narrow pointed arch windows with single lights -in basement. _Chapel of St. Saviour_ (easternmost), rectangular plan; -cross on gable; statues in niches of buttresses and wall. _Chapel of St. -Columba_, angel on roof; statues in niches of buttresses. _Chapel of St. -Boniface_, statues in niches of buttresses; small mullioned windows of -three lights in basement. _Chapel of St. Ansgarius_, rectangular plan; -parapet of quatrefoil tracery; pinnacles on buttresses. - -Three of the chapels have the following sculptures by Mr. Gutzon Borglum: -_Chapel of St. Saviour_: On eastern wall above the great window, the -Christ Child; in niches of buttresses on either side of window, Angels -of the Resurrection; and beneath the window, the Virgin, seated between -(left) St. Simeon who blessed the infant Jesus (Luke ii. 25-35) and -(right) St. Zacharias, father of John the Baptist (Luke i. 67-80).[11] -_Chapel of St. Columba_: On roof, an angel with hands joined in prayer; -in upper part of great window, St. Columba with tamed wolf, recalling -how he subdued wild beasts as well as wild tribes; and in niches of -buttresses the four patron saints of the British Isles (left to right): -St. David of Wales in beretta and fringed gown: St. George of England in -armor with cross on shield and dragon at feet; St. Andrew of Scotland -with diagonal cross[12]; and St. Patrick of Ireland, in Bishop’s -robes, with crozier in right hand and shamrock in left. _Chapel of St. -Boniface_: In niches of buttresses, Charlemagne, with crown and sword; -Alcuin, Charlemagne’s preceptor, in monastic garb with manuscripts in -right hand; Gutenberg, with book in each hand, his initials “J.G.” on -one; and Luther, in scholar’s gown, with book between hands. - - -=The Clerestory of the Choir= rises above the roofs of the chapels. -In the canopied niches near the top of the turrets and buttresses -are 10 stone figures 9½ feet high by Mr. Borglum, as follows (south -to north): St. James the Less with fuller’s club (indicating manner -of his martyrdom), and St. Philip with Latin cross (symbol of his -crucifixion), together on turret; St. Bartholomew[13]; St. Thomas with -square (spiritual architect); St. James the Great with staff (pilgrim); -St. Peter with key (to the kingdom of Heaven); St. Andrew with diagonal -cross; St. Matthew[13] with drapery over head; and St. Simeon with saw, -and St. Jude with spear, (indicating manner of their death), together on -turret. - - -=Fourteen Stone Shields= (only 12 in place), in the spandrels of the -clerestory windows above the seven Chapels of Tongues, bear (or will -bear) the following devices (south to north:) Above Chapel of St. James, -(left) winged ox; and (right) artist’s palette, brushes and maulsticks, -and lily, symbolizing St. Luke.[14] Above Chapel of St. Ambrose (left) -lily, and (right) rose, both symbols of the Virgin Mary. Above Chapel of -St. Martin of Tours, (left) eagle, and (right) chalice, symbols of St. -John. Above Chapel of St. Saviour, (left) letters ΙϹ, ΧϹ, ΝΙ, ΚΑ, in four -quarters formed by a Greek cross, signifying Jesus Christ Conquers; and -(right), initials SP, SF, SS, of the Latin words Sanctus Pater, Sanctus -Filius, Sanctus Spiritus, (Holy Father, Holy Son, Holy Spirit,) in a -trefoil, symbolizing the Trinity.[15] Above Chapel of St. Columba, (left) -crossed keys, symbol of St. Peter, and (right) crossed swords, symbol of -St. Paul. Above Chapel of St. Boniface, (left) winged lion; and (right) -fig tree, both symbols of St. Mark. Above Chapel of St. Ansgarius, (left) -winged man and (right) axe and book, both symbols of St. Matthew. - -[Illustration: 1. Jesus Christ Conquers. 2. Holy Father, Holy Son, Holy -Spirit. 3 and 4. Saint Luke.] - -Surmounting the roof of the Choir, and facing eastward, is a bronze -statue, 9½ feet high, by Mr. Borglum, representing St. Gabriel as Angel -of the Resurrection, blowing a trumpet. - -[Illustration: THE WEST FRONT - -(From Architect’s Drawing)] - - -West Front - -Returning to Amsterdam avenue at 112th street, we come to what will be -the main entrance of the Cathedral. In the space (now unoccupied) between -the sidewalk and the foundation of the Nave will be the West Front (see -figure 1 of plan). The tentative design for the West Front provides for -three large and two smaller recessed portals, similar to the plan of -Bourges Cathedral. Above the north and south portals rise two heavily -buttressed square towers, named after St. Peter (north) and St. Paul -(south), presenting strong relief. Above the central portal is the great -Rose Window, flanked by the mullioned Gothic windows of the towers. Above -these, a gallery of niches containing statues extends entirely across the -façade, after the manner of the Gallery of Kings at Rheims Cathedral. -Above this rise the belfries of the two towers, each surmounted by -pointed turrets at the four corners, while between them, just above the -gallery, appears the gable of the Nave. The West front is 220 feet wide -and 80 feet deep, including the buttressing. The towers are 50 feet -square, 235 feet high to the top of the parapets and 265 feet high to the -top of the pinnacles. - -[Illustration: THE EXTERIOR OF THE NAVE - -(Composite Photograph of Model. Human figure shows scale)] - - -The Nave - -Crossing the space to be occupied by the West Front, we ascend temporary -steps to the foundation of the Nave (figure 2 of plan). Superstructure -not yet begun (June 15th, 1924). Here the visitor should pause and -imagine himself entering the western limb of the Cathedral, 225 feet -long, 132 feet wide, 175 feet high outside and 130 feet high inside, -built in pure 13th century Gothic adapted to the requirements of the -plan. The central aisle,[16]—as wide between the centers of piers as -112th street is between building lines—has two narrower aisles on each -side. Instead of the closely-grown-up forest effect produced by the -columns of many Gothic cathedrals, an air of openness and spaciousness, -which distinguishes this Cathedral throughout, is given by the relatively -small number of piers and columns and their ingenious disposition. In -this arrangement the architect has made two notable departures from -the ordinary Gothic type: One is the erection of the clerestory on -the secondary line of columns (those nearest the side walls,) which -modifies the exterior system of flying buttresses, and the other is -the introduction of intermediate slender columns in the primary line -of piers, resolving the Nave into a system of four squares or double -bays instead of eight rectangular bays. As the primary ranges of piers -and columns rise to the spring of the arches which support the roof -of the Nave, instead of being shortened to support the clerestory, an -effect of great spaciousness and lofty aspiration is produced; and this -arrangement, together with the rhythmic alternation of great piers and -relatively small clustered columns, allows a play of light and shade -surpassing that of any mediaeval cathedral. Under the roofs of the north -and south aisles runs the triforium gallery; and there are many beautiful -details of ornament, including the tracery, panelling, capitals, niches, -pinnacles and sculptures. A light and cheerful effect is produced by the -illumination through 32 stained glass windows—eight in the aisle and -eight in the clerestory on each side,—and the great Rose Window in the -west end. - -While standing at the west end of the foundation, the visitor should -survey the great area of floor space that lies before him; then, looking -eastward 225 feet (the length of a city block and half the width of a -street) imagine the present temporary west wall of the Crossing removed, -and the view extended about 225 feet farther to the High Altar in the -Sanctuary. He will then have an idea of the great vista of the completed -church. - -[Illustration: ONE SIDE OF THE INTERIOR OF THE NAVE - -(Composite Photograph of Model. Figures of choristers show scale)] - -Speaking of the building of the Cathedral in general and of the Nave in -particular, in his address to the 138th Annual Convention of the Diocese -of New York on May 11, 1921, Bishop Manning said: “As to the practical -value and importance of the Cathedral, no one who knows anything of its -work or of the multitudes that gather here for worship can entertain a -question. Large as it is, the present space is insufficient. The Nave -is urgently needed, not only that the great ideal which the building -embodies may be carried forward, but that there may be room for the -people who come for spiritual help, and that the Cathedral may meet -its unequalled missionary opportunity. I hope that our people, and -especially those who have the stewardship of wealth, will keep this -great spiritual and missionary enterprise in mind, and that many may be -moved to aid it. The building waits only for the necessary funds. And in -the revised drawings, we at last have plans which by their majesty and -beauty worthily express the aim and ideal of this great structure ... -I believe that we have now a plan worthy of the unequalled opportunity -of this glorious Temple of God, and of its relation to the greatest and -most complex city in the world. I believe that for the carrying forward -towards completion of such a building as this, of which the whole country -may be proud, and for the upholding of the spiritual, social and civic -ideals which it embodies, not only the people of our own Church but many -others in this metropolis and elsewhere will be glad to make their gifts -and to have their part and share with us.” - - -The Crossing - -Walking the length of the Nave foundation (2 on plan) we pass through -temporary doorways and enter the Crossing (3), so-called from its -location at the intersection of the long and short arms of the cruciform -ground plan. In this space, 100 feet square, floored with concrete, are -1500 chairs for the congregation. To the eastward, the Crossing opens -into the Choir (10) and Ambulatory (12-12). On the north, west and south -sides the spaces between the ponderous piers of Maine granite are filled -with temporary windows and concrete walls which will be removed when -the Nave (2) and the North and South Transepts (4 and 5) are built. The -removal of these temporary walls will improve the acoustics. The rough, -unadorned piers on the north, west and south sides will eventually be -faced with Frontenac stone like those on the east side. The massiveness -of this masonry may be judged by the fact that a single pair of these -piers with their connecting arch weighs 4000 tons. _The Dome_ of the -Crossing, 162 feet (just the height of Niagara Falls) above the floor, -is a remarkable piece of construction, the tiles having been laid by -the ingenious Gustavino method without the support of scaffolding. The -present dome is temporary; the permanent vault will be 200 feet above -the floor. Mr. J. P. Morgan, Mr. George S. Bowdoin and Mr. Harris C. -Fahnestock were large contributors to the building of the Crossing. - -[Illustration: THE NAVE FOUNDATION AND CROSSING] - - -=The Pulpit=, a memorial of Bishop Henry Codman Potter, is made of -Knoxville, Tenn., marble, an uncrystalline limestone favorable for very -fine work. On the newel posts of the stairs are the figures of the two -great prophets of the Old and New Testaments, Isaiah (south) and John -the Baptist (north.) In the five principal Gothic niches are as many -scenes in the life of Christ (north to south): The Nativity, Jesus Among -the Doctors, the Crucifixion, the Resurrection, and the Supper at Emmaus -(Luke xxiv. 30-31). In the smaller niches are the figures of eight great -exponents of the Holy Scriptures and champions of human freedom (north -to south); St. Jerome, St. Gregory, St. Chrysostom, St. Peter, St. Paul, -Hugh Latimer, Bossuet, and Bishop Phillips Brooks of Massachusetts.[17] -Beneath these niches runs a moulding of grape-vine design symbolizing -Christ the true vine[18] (John xv. 1) and beneath this one of roses -symbolizing Christ the Rose of Sharon (Cant. ii. 1). On the base are the -symbols of the four Evangelists: The winged man for St. Matthew, winged -lion for St. Mark, winged ox for St. Luke, and eagle for St. John.[19] -The pulpit is surmounted by a carved oak canopy of Gothic tracery, upon -which is the beginning of the Gloria in Excelsis: - - “Glory be to God on high and on ‖ earth ‖ peace ‖ good will - towards ‖ men. We praise thee ‖ we bless thee, we ‖ worship - ‖ thee, we glorify thee, we give thanks ‖ to thee for thy - great glory. O Lord God, heavenly King.” - -[Illustration: THE PULPIT] - -On the side of the stairs is inscribed: - - “In Memory of ‖ Henry Codman Potter ‖ the gift of ‖ Mrs. - Russell Sage ‖ A.D. 1916.” - -The pulpit, which cost $30,000, was designed by Mr. Henry Vaughan and -executed by Messrs. John Evans & Co. of Boston. - -[Illustration: ONE OF THE BARBERINI TAPESTRIES] - - -=Barberini Tapestries.= The tapestries in the Crossing and Ambulatory -were woven in the first half of the 17th century on the papal looms -founded by Cardinal Barberini under the patronage of his uncle Pope -Urban VIII. They were executed under the direction of the master weaver -Jacques della Riviera from cartoons painted by Jean Francois Romanelli. -The cartoons are now in the Vatican. The tapestries, originally designed -for the throne room of the Barberini Palace at Rome, afterward a part -of the Ffoulke Collection in Washington, and finally presented to the -Cathedral by Mrs. Elizabeth U. Coles, are twelve in number and represent -scenes in the life of Christ. Four of them hang in the Crossing as -follows: In the northeast corner, the Delivery of the Keys to St. Peter; -southeast corner, the Last Supper; southwest corner, the Adoration of -the Shepherds; and northwest corner, the Flight of Joseph and Mary with -the infant Jesus into Egypt. Seven hang in the Ambulatory, as follows -(north to south): Christ’s Baptism, the Annunciation, the Adoration of -the Magi, the Crucifixion (directly behind and above the High Altar,) -the Transfiguration, the Resurrection, and the Agony in the Garden. The -twelfth, a map of the Holy Land, is not at present hung. These works are -all 15 feet 8 inches high and average 14 feet 1 inch wide. The Delivery -of the Keys to St. Peter, the Last Supper, and the Flight into Egypt are -more than 17 feet wide. These tapestries appear more like paintings than -products of the loom. - -[Illustration: THE INTERIOR OF THE CROSSING AND CHOIR] - - -=The Litany Desk= at the eastern end of the middle aisle (often removed) -is of carved oak. Surmounting the ends are two praying angels, while on -the front are statues of St. Michael with sword, St. John with chalice, -and St. Gabriel with lilies, all facing the Altar. An inscription reads: - - “We beseech Thee to ‖ hear us Good Lord ‖ Grant us Thy Peace - ‖ Have Mercy Upon us.” - -The desk was given by the Laymen’s Club. - - -The Choir - -=Architecture.= The Choir (10) may best be surveyed from the eastern -end of the Crossing. (Visitors not admitted to Choir during service -time except by permission.) The half-round arches and other features -exhibit a late Romanesque style with Byzantine influence, which is -not inappropriate to the eastern end of the Cathedral, and which will -relatively become a local detail as the prevailing Gothic style of the -whole Cathedral develops.[20] The interior facing is of Frontenac stone. -Numerous symbols from the Revelation of St. John the Divine will appear -as the description of the Choir and its environs proceeds. The first to -attract attention is the broad course of red jasper from South Dakota -seen at the base of the piers of the great Choir arch. This foundation -course, which appears in the Ambulatory (12-12-12) running entirely -around the Choir, recalls St. John’s description of the Heavenly City: -“And the foundations of the wall of the city were garnished with all -manner of precious stones. The first foundation was of jasper” (Rev. xxi. -19). The green moulding above the jasper is Pennsylvania serpentine. -The floor of the Choir has three principal levels. From the Crossing 5 -steps lead to the Choir proper, which contains the stalls for the clergy -and choristers and which occupies the first two bays. An ascent of six -more steps leads to the second level which may be designated as the -Presbytery. Upon it are the two thrones hereafter mentioned and the altar -rail, the latter a step higher.[21] In the Sanctuary within the altar -rail, 4 steps lead to the third level upon which stands the Altar with -its 3 white steps.[22] Around the Sanctuary stand eight Great Columns -described hereafter. The principal donor to the building of the Choir was -the late Hon. Levi Parsons Morton (Vice-President of the United States -1889-93, Governor of the State of New York 1895-96) who, after the Great -Columns were erected, gave $600,000 toward the completion of the fabric -and the installation of the Altar, Reredos, Organ, Choir Stalls, Bishop’s -Throne, and some other furnishings. This sum was generously supplemented -by Mrs. Morton. The ornate _Altar Rail_ of English oak is inscribed: - - “To the Glory of God ‖ and in loving memory of ‖ Anna - Livingston Morton ‖ May 18, 1846-August 14, 1918 ‖ Given by - her daughter ‖ Edith Morton Eustis 1920.” - - -=The Parapet= at the entrance to the Choir is designed to represent -outstanding characters of 20 centuries of the Christian Era. It is in -two sections, one on each side of the steps leading from the Crossing -to the Choir, each section being 18½ feet long and 4 feet high. It is -built mainly of Champville (France) marble, in modified French Gothic -style. The twelve marble columns, alternately green, red and yellow, are -of Alps Green from Italy, Rouge de Rance from Italy, and Numidian from -Africa, respectively. The figures, from right to left, are as follows -(authorities differing slightly as to some of the dates given): (1) St. -Paul (died A. D. 66) with sword symbolizing his decapitation; (2) St. -Justin Martyr (100-165) with axe and block; (3) St. Clement of Alexandria -(150-220) holding cross in left hand; (4) St. Athanasius (296-373) -pouring baptismal water from a sea-shell, referring to a playful -incident of his boyhood which led to his calling; (5) St. Augustine of -Hippo (354-430) with miter, pen and tablet; (6) St. Benedict (480-543) -in habit of Benedictine monk pointing to scroll; (7) St. Gregory the -Great (550-604) with slave child in broken shackles, referring to his -intercession for pagan children in the slave market; (8) Charles Martel -(688-741) with crown, battle-axe and pennant; (9) Charlemagne (742-814) -with crown, scepter and orb; (10) Alfred the Great (849-901) crowned, -with sword by side, holding three burnt cakes on book;[23] (11) Godfrey -of Bouillon (1061-1100) crowned, with Crusader’s sword and shield; -(12) St. Bernard (1091-1153) in monk’s habit, holding aloft a cross in -his right hand and clasping a book in his left; (13) St. Francis of -Assisi (1182-1226) in Franciscan monk’s garb, contemplating a cross -in left hand, and preaching to birds[24] in tree; (14) John Wyckliffe -(1325-1384) with book and staff; (15) Columbus (1435-1506) lifting the -veil from the globe, symbolizing the age of discovery; (16) Archbishop -Cranmer (1489-1556) with right hand thrust voluntarily into the flame, -symbolizing his martyrdom; (17) Shakespeare (1564-1616) standing amidst -growing laurels; (18) Washington (1732-1799) in civilian attire as -President; (19) Lincoln (1809-1865) standing by a burial cross delivering -his Gettysburg Address; (20) uncarved block. The basis for selecting the -figures was the representative character of the nineteen men selected -in conjunction with their contribution to the development of Christian -civilization. The Parapet was designed by Messrs. Cram & Ferguson, and -the figures, modelled by Ferrari, were carved by John Evans & Co., of -Boston. The Parapet bears the following inscription: - - “To the Glory of God and in Memory of ‖ Richard Delafield, ‖ - Brigadier-General, Chief of Engineers, ‖ Brevet Major-General, - United States Army. ‖ Born September 1, 1798, Died November 5, - 1873, ‖ This Parapet is Erected by his Children, ‖ Albert, - Juliet Covington and Emma Delafield. ‖ Righteousness Exalteth - a Nation: But ‖ Sin is a Reproach to any People.” - - -=The Pavements= of the Ambulatory and Choir, designed by Mr. C. Grant -LaFarge in Romanesque and Byzantine motives, are related in their -symbolism. The colors in the Ambulatory are reddish, or earthy; while -those in the three ascents of the Choir progress through increasingly -rich designs of greens and whites (hope and purity) to greens, whites and -blues (hope, purity and heaven) until they reach the pure white steps of -the Altar. The risers of the steps leading from the Crossing to the Choir -proper are of yellow Numidian marble and the treads of green Pennsylvania -marble. The pavement of the Choir is richly inlaid with Numidian, Swiss -and other marbles and Grueby Faience tiles. The steps to the Presbytery -are of marble from Hauteville, France. In the center of the floor of the -Presbytery is a magnificent mosaic rug of tiles and marbles, 32½ feet -long and 10 feet wide, with smaller patterns at the ends. In the center -is an oval of black Belgian marble surrounded by violet marble from -Italy, while Grueby tiles of many colors, and Grecian, red Numidian and -other marbles form the rest of the design. The pavement of the Sanctuary, -within the communion rail, in addition to its rich designs of tiles and -marbles, contains, immediately in front of the steps to the Altar, a red -tile surrounded by a square brass border, inscribed: - - “Whoever shall have prayed at this spot will have pressed with - his feet a tile from the ancient Church of St. John the Divine - at Ephesus, built by the Emperor Justinian in the year DXL over - the traditional site of St. John’s grave.” - -The tile was presented to the Cathedral by Bishop Kinsman of Delaware, -its authenticity being attested by Prof. George Weber of Smyrna, who -procured it from the ruins on the hill of Ayassolouk and who, in his -lifetime, was a leading authority on Ephesian archaeology. - - -=The Eagle Lectern= of bronze at the north side of the Choir steps is a -replica of an ancient lectern found near St. Albans Cathedral, England, -in a lake into which it had been cast when that structure was destroyed -in the Saxon invasion. The eagle, standing on a globe, is the symbol of -St. John in his capacity as an Evangelist. Around the lectern are the -figures of the four Evangelists: St. Matthew with open book, St. Mark -with closed book and pen, St. Luke with open book in one hand and pen -in other, and St. John with chalice. Below are their respective symbols -(p. 44). The lectern was made by the Gorham Co. It bears the following -inscription, the initials at the end being those of the donor, Mary -Gertrude Edson Aldrich: - - “In Memoriam ‖ Horatio Potter ‖ Bishop of New York ‖ - 1854-1887 ‖ M. G. E. A.” - -[Illustration: THE BISHOP’S THRONE, CHOIR STALLS AND DEAN’S STALL] - - -=The Choir Stalls=, rising in four tiers on either side of the Choir -proper, are of carved American oak. The canopies are after studies of -those in the Chapel of Henry VII in Westminster Abbey used as the Chapel -of the Knights of the Order of the Bath. The finials of the stalls are -figures of great musicians and composers of church music, as follows: - - _East._ - - _Left._ _Right._ - - Bortniansky Mendelssohn - Handel Haydn - Bach Purcell - Tallis Palestrina - Pope Gregory St. Cecelia - Asaph King David - - _West._ - -The figures, modeled by Mr. Otto Jahnsen, are represented in the costumes -of their day; and the features of all but those of David and his chief -musician Asaph are from portraits. - -The high canopied stall nearest the Crossing on the south side of the -Choir is the _Dean’s Stall_.[25] It was designed in the office of Messrs. -Cram & Ferguson and is a very skillful blending of styles to harmonize -with the Jacobean canopies of the Choir Stalls and the Flamboyant note -in the stalls themselves. It has many interesting details of carving, -notably the three panels depicting the Good Shepherd (front), Learning -(east side), and Charity (west side). On the back of the stall is -inscribed: - - “In the Name of the ‖ Father Son & Holy Ghost ‖ This Stall - is Dedicated by ‖ The Head Mistresses Association ‖ to the - Memory of ‖ Agnes Irwin ‖ 1841-1914 ‖ Holding fast the - faithful word as she ‖ had been taught herself being not - dis- ‖ obedient unto the heavenly vision ‖ Head Mistress of - the Agnes Irwin School 1867-1894 ‖ First Dean of Radcliffe - College 1894-1909 ‖ First President of the ‖ Head Mistresses - Association ‖ 1911-1914.” - -In the Presbytery, on the south side, is the lofty _Bishop’s Throne_ of -carved oak, while opposite to it is one with a little lower canopy for -the use of a bishop other than the Diocesan. - -On one of the Choir Stalls is inscribed: - - “These Stalls are Erected to ‖ the Glory of God ‖ and in - Loving Memory of ‖ Susan Watts Street ‖ 1818-1893 ‖ By her - Daughter ‖ Anna L. Morton.” - -On a tablet in the Choir is inscribed: - - “The Stalls ‖ of the Sanctuary ‖ and the Choir ‖ are Erected - to ‖ the Glory of God ‖ and in Memory of ‖ Susan Watts - Street ‖ 1818-1893 ‖ By her Daughter ‖ Anna Livingston ‖ - Morton.” - -The stalls and the cathedra of the Diocesan were made by the John Barber -Co., of Philadelphia, and the corresponding Bishop’s throne on the north -side by Messrs. Irving & Casson, of Boston. - - -=The Organ=, seen in the upper arches on either side of the Choir, -contains 7,000 pipes and a chime, connected by electric wires with the -console located in the gallery on the south choir screen. The console has -four manuals and two octaves of pedals, 106 speaking stops, 31 couplers, -and 33 pistons. The organist, invisible to the congregation, can see the -choir and clergy either directly or by means of mirrors. A Gothic tablet -in the south Ambulatory is inscribed: - - “This Organ ‖ is Dedicated ‖ to the Praise of ‖ the Blessed - Trinity ‖ and ‖ in Loving Memory of ‖ Lena Kearny Morton ‖ - 1875-1904 ‖ By her Parents ‖ Levi Parsons Morton ‖ and ‖ - Anna Livingston Morton.” - -The organ was built by the Ernest M. Skinner Co., of Boston. (See also -Choir School, page 106). - - -=The Cathedral Flag= which hangs above the choir stalls on the north -side of the Choir opposite the American flag, bears upon a purple field -a white Latin cross, on the crossing of which is a shield displaying -the arms of the Cathedral. The shield is divided by radial lines into -three parts: In the upper left-hand part (as viewed) are the arms of the -city of New York, in the upper right-hand part the arms of the state; -and at the bottom the seven candlesticks and seven stars of the Book of -Revelation (ii. 1) symbolizing the seven churches and seven spirits of -the churches founded by St. John the Divine in Asia Minor. The Cathedral -flag and the American flag were given by Mrs. J. Herman Aldrich. The -American flag which is sometimes carried in the procession and which was -first used in the victory celebration in 1918, was given by Mrs. William -Iselin. (See page 6). - - -=The High Altar= is of white Vermont marble. The beautiful Gothic -_Reredos_ is of pierre de Lens, quarried in the vicinity of the city of -that name in the north of France which was so terribly ravaged in the -late war. In the center is a majestic figure of Christ. On His left, (in -order from center to spectator’s right) are Isaiah, Jeremiah, Ezekiel and -Moses, representing the Old Testament; and on His right (in order from -center to spectator’s left) are St. John, St. James, St. Peter and John -the Baptist, representing the New Testament. The scale of the Cathedral -may be judged from the size of the figure of our Saviour, which is seven -feet high. Those of Moses and John the Baptist are 6 feet 10 inches high. -In smaller niches on the front and sides are 16 angels holding various -emblems—palm, sword, shield, swinging lamp, crown, trumpet, etc. Under -the pedestals of the statues are clusters of grapes, symbolizing Him who -gave His body and blood for man. The statue of Christ was made by Sig. -Leo Lentelli under the direction of Mr. Carl Bitter. The other figures -were made by Mr. Otto Jahnsen. The great rectangular panel in the lower -part of the Reredos is filled with a rare Spanish embroidery in arabesque -design, 200 years old. The Altar and Reredos were built by the Barr, Thaw -& Fraser Co. Upon the Altar is the following inscription: - - “To the Glory of God ‖ and in Memory of ‖ Anna Livingston ‖ - Morton ‖ 1846-1918.” - -[Illustration: THE HIGH ALTAR] - - -=The Credence Table=, at the right (south) side of the High Altar, is -supported by a shaft composed of three stones from the ruins of the -ancient Abbey of Bury St. Edmunds, England, in which the Barons met on -November 20, 1214, and swore before the altar to secure from King John -the liberties which they embodied in _Magna Charta_. These relics are of -Caen stone, and may be recognized by their gray color. They were given to -the Cathedral in 1922, with the consent of the Abbey authorities, by the -Marquis of Bristol through Dr. Raphael Constantian of New York. Near the -shaft is the following inscription: - - “The Adjoining Shaft ‖ Was Once a Part of ‖ the High Altar - of the ‖ Abbey of Bury St. Edmunds ‖ Upon Which on ‖ - November 20, 1214, ‖ the Barons Swore Fealty ‖ to Each Other - in Wresting ‖ the Great Charter ‖ from King John. ‖ It is - Placed Here ‖ as a Symbol of ‖ the Community of ‖ Political - Tradition, ‖ Laws and Liberties, ‖ Which is the Inheritance - ‖ of the English Speaking ‖ Commonwealths ‖ Throughout the - World.” - -[Illustration: Credence Table with Shaft made of Magna Charta Stones] - - -=The Eight Great Columns= standing in a semicircle around the Sanctuary -and forming seven interspaces opposite the seven Chapels of Tongues, are -among the marvels of the Cathedral. They are approached in size only -by those in St. Isaac’s Cathedral, Petrograd. The shafts of light gray -granite from Bear Island, near Vinal Haven on the coast of Maine, were -quarried as monoliths and turned on a special lathe which cost $50,000. -When the first two were subjected to the pressure of polishing they -broke, and the contractor then obtained permission to make the shafts in -two pieces. The lower stone in each shaft is 38 feet high and weighs 90 -tons, and the upper stone is 17 feet high and weighs 40 tons, the total -height between base and capital being 55 feet and the weight 130 tons. -The octagonal capitals of pierre de Lens by Mr. Post represent singing -angels. The columns were given as memorials of the men whose names are -carved on the bases seen in the Ambulatory (south to north:) “Alonzo -Potter,[26] Bishop of Pennsylvania, 1800-1865;” “Colonel Richard Tylden -Auchmuty, U. S. V., 1831-1893;” “Harry Manigault Morris, 1817-1892;” -“Eugene Augustus Hoffman, 1829-1902;” “John Jacob Astor, 1763-1848;” -“John Divine Jones, 1814-1895;” “Josiah Mason Fiske, 1823-1892;” and -“Joseph Lawrence, 1788-1872.” Each column cost $25,000, not including the -expense of erection. They were made by Mr. John Pierce of Vinal Haven, -Me. - - -=The Clerestory Windows= of the Choir, nine in number, of which seven -are above the entrances to the seven Chapels of Tongues, are designed -to depict the Book of Revelation of St. John the Divine. Seven of them -are in place. They are of painted mosaic glass made by Messrs. James -Powell & Sons of Whitefriars, London, according to the methods used in -the thirteenth century and cost $10,000 and upwards apiece. Each window -is of three lights with rose window at the top, and is 28 feet high and -17 feet wide. The seven windows above the entrances to the Seven Chapels -of Tongues (north to south) are designed to symbolize in their circular -lights the messages to the seven churches in Asia mentioned in the -Book of Revelation (i. 11), in the order there named: Ephesus, Smyrna, -Pergamos, Thyatira, Sardis, Philadelphia and Laodicea. They are connected -by the inscriptions in their lower borders which read consecutively as -follows: - - “Grace be unto you and Peace from Him ‖ Which is and Which was - and Which is to come ‖ From the Seven Spirits which are before - His throne ‖ Jesus Christ the Faithful Witness ‖ The First - Begotten of the Dead ‖ The Prince of the Kings of the Earth. - ‖ To Him be Glory and Dominion for ever and ever” (Rev. i. - 4-6). - -These windows, which are of surpassing charm to the unaided eye, flash -out with extraordinary brilliancy of color and affecting beauty of -composition and execution, particularly those called “Christ Reigning -in Glory” and “the Woman in the Sun,” when examined with long distance -glasses (apply to Verger), although the less brilliant windows contain -subtle details well worth studying, as, for instance, the symbolisms of -the elements held by the angels in the window above the Chapel of St. -Boniface. Individually, from north to south: - -=St. John and the Seven Churches= are the subject of the window above the -_Chapel of St. Ansgarius_. In the upper part of the central light, St. -John between two praying angels is depicted in the character of Apostle, -beardless, and holding the sacramental cup—the young St. John, symbolical -of love and high ideals and the feeling which filled all his writings; -while in the lower part he appears as the aged exile on the Isle of -Patmos, sitting with book in lap and pen in hand, listening to the angel -behind him who commands him to write (Rev. i. 11). In the side lights -are the angels of the seven churches (i. 11), bearing on scrolls their -names: (Upper left) Ephesus; (lower left) Smyrna and Pergamos; (upper -right) Thyatira and Sardis; (lower right) Philadelphia and Laodicea. In -the circular light at the top are the name “Ephesus” and a shield bearing -the seven candles mentioned in the message to the church of Ephesus (ii. -1). In the lower border of the three lights runs the inscription: “Grace -be ‖ unto you and Peace ‖ from Him.” The window was given by Mrs. E. C. -Ludlow Johnson in memory of Gabriel Ludlow. - -=The Natural Elements= upon which the vials of the wrath of God were -poured (Rev. xvi. 2-17) are the principal subject of the window above -the _Chapel of St. Boniface_. In the lower part of the left side light -is an angel holding between his hands the earth (green foliage); in the -middle light three angels respectively holding the air (invisible), the -sun (yellow glow), and the sea (green waves); and in the right side light -an angel holding the rivers and fountains (blue currents). In the upper -part of the middle light is the Lamb that was slain (v. 12) between the -four beasts (iv. 7) which are in the side lights—on the left, the lion -and the beast with the face of a man; and on the right, the ox and the -eagle.[27] In the circular light at the top are the word “Smyrna” and a -shield bearing the crown of life mentioned in the message to the church -in Smyrna (ii. 10). In the bottom border is the inscription: “Which is -and ‖ Which was and Which ‖ is to come.” A tablet in the Ambulatory -reads as follows: - - “The Clerestory Window Above ‖ the Chapel of Saint Boniface ‖ - is Dedicated ‖ to the Glory of God ‖ and ‖ in Loving Memory - of ‖ Annie Allen Wallace ‖ February 14, 1853-August 25, - 1890.”[28] - -=The Seven Angels with Trumpets= (Rev. viii. 2) are the main subject of -the window above the _Chapel of St. Columba_. Three of them are in the -lower part of the middle light and two in each of the side lights. In -the upper part of the middle light is the mighty angel of the cloud, -overarched by the rainbow, standing upon the sea, and holding aloft in -his left hand the little open book (x. 1, 2). In the upper part of the -left side light is the angel with the seal of the living God (vii. 2) and -in the right side light the angel with the golden censer (viii. 3). In -the middle of the side lights are four angels (two left and two right) -blowing the four winds of the earth (vii. 1). In the circular light at -the top are the name “Pergamos” and a shield bearing the sharp two-edged -sword of Him who sent the message to the church in Pergamos (ii. 12) -between the Greek letters ΙΗϹ and ΧΡϹ (Jesus Christ.)[29] In the bottom -border are the words: “From the seven ‖ Spirits which are before ‖ His -throne.” A tablet in the Ambulatory reads as follows: - - “The Clerestory Window Above the ‖ Chapel of Saint Columba‖ - is Erected ‖ to the Glory of God ‖ and ‖ in Loving Memory ‖ - of ‖ 1797 John Williams Leeds 1873 ‖ 1800 Eliza Leeds 1885 ‖ - Emily Irene Hardenbergh 1899 ‖ By Their Daughter and Sister ‖ - Josephine Eliza Leeds ‖A. D. 1915.” - -=Christ Reigning in Glory=, as described in the first chapter of the -Book of Revelation, is the principal subject of the great central window -above the _Chapel of St. Saviour_. In the central light is the Son of -Man, with up-raised hands, vested as King and Priest, wearing a royal -crown, a crimson mantle and a golden pallium. He stands in the midst of -the seven candlesticks (i. 13), holds in his right hand the seven stars -(i. 16, 20), and is surrounded by winged seraphim. Beneath him a rainbow -(iv. 3) over-arches the sea of glass (iv. 6). In the side lights are the -four principal archangels: St. Michael (left, above,) is depicted in -armor as the Prince of the Celestial Armies, while the balance in his -left hand, supposed to contain the souls of the dead, symbolizes his -character as Guardian Angel of Departed Spirits. St. Raphael, below him, -with pilgrim’s staff, is represented as the friendly traveller, recalling -Milton’s “affable archangel.” St. Gabriel (right, above,) appears as -Angel of the Annunciation, as indicated by the lilies (symbol of purity) -in his right hand; and below him is St. Uriel, as Angel of Light, holding -the sun.[30] In the circular window at the top are two angels holding the -morning star mentioned in the message to the church in Thyatira (ii. 28), -but the name “Thyatira” is lacking. In the border at the bottom of the -three lights are the words: “Jesus Christ ‖ the Faithful ‖ Witness.” -The window was given by Mrs. Whitelaw Reid. A tablet in the Ambulatory -reads: - - “The East Window ‖ is Erected in Memory of ‖ Whitelaw Reid ‖ - October 27, 1837-December 15, 1912.” - -=The Seven Last Plagues= (Rev. xv. 1) are the principal subject of the -window above the entrance to the _Chapel of St. Martin of Tours_. These -are represented in the lower part of the window by seven angels holding -the seven vials containing the plagues, three in the central light and -two in each of the side lights. In the upper part of the middle light -is an angel holding aloft in his right hand the everlasting Gospel -(xiv. 6) in the form of a scroll bearing (obscurely) the symbols of -the four Evangelists. In the upper part of the left side light is the -angel with the measuring rod (xi. 1), and in the right side light is the -angel standing in the sun (not to be confused with the woman in the sun -mentioned in the next window,) calling the fowls of the air to the supper -of the great God (xix. 17). In the circular light at the top are the name -“Sardis” and a shield bearing a white dove in the midst of the seven -stars (the seven Spirits of God,) mentioned in the message to the church -in Sardis (iii. 1). In the border at the bottom of the three lights -are the words: “The First ‖ Begotten of ‖ the Dead.” A tablet in the -Ambulatory reads: - - “The Clerestory Window Above ‖ the Chapel of St. Martin of - Tours ‖ is Erected to the Glory of God ‖ and in Loving - Memory of ‖ Sophia R. C. Furniss ‖ and ‖ Mary B. Hubber ‖ - by ‖ Margaret E. Zimmerman ‖ nee Furniss ‖ Blessed are the - peace-makers for they ‖ shall be called the children of God.” - -=The Woman in the Sun= is the title of the window above the entrance to -the _Chapel of St. Ambrose_. In the central light is the woman clothed -with the sun and wearing the crown of twelve stars (Rev. xii. 1). She is -surrounded by a dazzling radiance of flaming rays. Above her, a cloud -of glory is carrying her Child up to the throne of God (xii. 5). In -the left side light, above, is the angel proclaiming the fall of Babylon -(xiv. 8), and below, symbolizing that wicked city, the woman in scarlet -holding the golden cup of abominations and seated on the beast from the -bottomless pit (xvii. 4, 18). In the right side light, above, is the -angel with the sharp sickle and the clusters of the vine (xiv. 18), -and below, the angel with the keys to the bottomless pit and the chain -to bind the dragon (xx. 1). The whole window symbolizes the triumph of -Christ over the forces of evil. In the circular light at the top are the -name “Philadelphia” and a shield upon which, between six D’s, is the key -of David mentioned in the message to the church in Philadelphia (iii. 7). -In the border at the bottom are the words: “The Prince ‖ of the Kings of -‖ the Earth.” A tablet in the Ambulatory is inscribed: - - “The Clerestory Window Above ‖ the Chapel of Saint Ambrose ‖ - is Erected to ‖ the Glory of God ‖ and in Loving Memory of - ‖ Morgan Lewis Livingston ‖ 1800-1869 ‖ and ‖ Catharine - Manning Livingston ‖ 1810-1886 ‖ By Their Daughter ‖ Julia - Livingston ‖ 1916.” - -=The Heavenly City= is the principal subject of the window above the -entrance to the _Chapel of St. James_. In the lower part of the middle -light is the angel showing to St. John the Heavenly City (Rev. xxi. 10 et -seq.) and in the upper part is a glorified figure symbolizing the holy -city, new Jerusalem, coming down from God out of heaven prepared as a -bride adorned for her husband (xxi. 2). Beneath this figure in the upper -part is the pure river of water of life, and on either side of it is the -tree of life whose leaves are for the healing of the nations (xxii. 1-2). -In the lower part of the left-hand light is the angel with the Alpha, and -in the corresponding part of the right-hand light is the angel with the -Omega (xxii. 13); while above each of them is a beckoning angel saying -“Come” (xxii. 17). In the circular light at the top are the name of the -church of Laodicea and the word “Amen”—the latter being the name of the -sender of the message to the Laodiceans (iii. 14) and the word with which -the Book of Revelation and the Bible end (xxii. 21). In the bottom border -of the three lights is the inscription: “To Him be Glory ‖ and Dominion -for ‖ Ever and Ever.” The window was given in memory of Mary C. and Dr. -John D. Ogden by their children Francis L. Ogden, Margaret Ogden, Mrs. -Gardiner Sherman and Mrs. Francis C. McNutt. - - -The Ambulatory - -The Ambulatory (12-12-12) is a passage about 20 feet wide leading -entirely around the Choir and giving access to the seven Chapels of -Tongues, the Sacristy, and other environments of the Choir. Some of the -features have already been described. The symbolism of the earthly life -in the pavement, before mentioned (p. 51), is noticeable in the large -areas of clay-red tiles with borders of grassy green serpentine and green -marble from Pennsylvania. The beautifully colored wainscoting between -the great pillars is of Grecian marble from the island of Scyrus. The -Ambulatory is entered through elaborately wrought steel gateways, 30 feet -high, in the archways on either side of the great arch of the Choir. The -gates, made by Messrs. Warren & Wetmore, were presented by the Cathedral -League and the Diocesan Auxiliary. In the south Ambulatory gateway is -a white marble tablet, showing in relief two angels and two portrait -medallions of Mr. and Mrs. Levi P. Morton, and bearing the following -inscription: - - “To the Glory of God ‖ and ‖ in Enduring Memory of ‖ Levi - Parsons Morton ‖ 1824-1920 ‖ Vice-President of the United - States ‖ Governor of the State of New York ‖ and ‖ of His - Wife ‖ Anna Livingston Morton ‖ 1846-1918 ‖ Whose Gifts Made - Possible the ‖ Building and the Furnishing of ‖ the Choir of - this Cathedral ‖ Yea saith the Spirit that They ‖ May Rest - from Their Labours ‖ and Their Works do Follow Them.” - -[Illustration: THE FOUNDER’S TOMB] - - -=The Founder’s Tomb=, containing the remains of Bishop Horatio Potter, -sixth Bishop of New York,[31] in the Ambulatory between the fourth and -fifth great pillars opposite the entrance to St. Saviour’s Chapel, is a -beautiful example of an “altar tomb” such as are seen in many English -churches. Its position, immediately behind the High Altar, is that -traditionally reserved for the Founder of a cathedral. It is designed in -the English Gothic style of the 15th century after studies of the tomb of -Edward the Confessor in Westminster Abbey. The sarcophagus, the recumbent -figure of the Bishop and the figures of the five ornamental niches of -the front are of Indiana limestone. The figures, from left to right, are -those of (1) Edward the Confessor, with crown, scepter and orb; (2) St. -Remigius, with cup and scourge; (3) St. John the Divine, with pen, book -and eagle; (4) St. Isidore, with miter, pallium and crozier; and (5) St. -Theodosius of the Eastern Church, wearing a coronet with cross, holding -a staff and reading from a scroll. Above the niches is a decorative -moulding of oak leaves and acorns[32] with little squirrels at the ends. -On the edge of the slab on which the Bishop’s figure rests is inscribed: - - “Horatio Potter, D.D., D.C.L., Oxon. ‖ Sixth Bishop of New - York, Founder of this Cathedral. Died 2d Jany. 1887, Aged 85 - Yrs.” - -On the rear of the sarcophagus is inscribed “St. John’s Day ✠ Anno -Domini 1921,” the day on which the Bishop’s remains were transferred -from Poughkeepsie to this tomb. Above the tomb, reaching to a height -of 15 feet above the pavement, is a canopy of American oak with richly -carved frieze and cresting, supported on corbels springing from the great -granite columns on either side. A narrow stairway behind the columns and -the tomb leads to a landing which permits a closer view of the figure -of Bishop Potter. The architect was Mr. Thomas Nash of New York and the -sculptor of the figures was Mr. Isidore Konti of Yonkers, N. Y. - - -=The Brownell Memorial Tablet= on the wall of the bay at the entrance to -the Chapel of St. Ansgarius reads as follows: - - “In Memory of ‖ The Right Reverend ‖ Thomas Church Brownell, - S.T.D., LL.D. ‖ Born 1779 Died 1865 ‖ Third Bishop of - Connecticut 1819-1865 ‖ Presiding Bishop 1852-1865 ‖ and ‖ - in Grateful Remembrance of the Foundation of ‖ the Bishop - Brownell Memorial Fund for the ‖ Endowment of the Cathedral by - His Daughter ‖ Frances Johnston Holland.” - - -=The Choir Boys’ Stone= on one of the piers of the Ambulatory near the -Chapel of St. Ansgarius, is the bust of a boy of the class of 1911, -carved by Mr. William Scott. It represents the choir boys’ contribution -to the building of the Cathedral. - - -The Seven Chapels of Tongues - -The seven Chapels of Tongues, built around the Choir on lines converging -toward the Sanctuary and deriving their name from the fact that they were -intended for services of the church in the languages of the principal -ethnological groups or regions of the world, are one of the noblest -conceptions of the Cathedral. In early Gothic churches, the fundamental -idea of the apse with radiating chapels was Christ in the company of his -Saints. Here, in the great cosmopolitan Diocese of New York, this idea -has appropriately been carried a step further in these chapels to include -the idea of all the nations of the earth gathered around the Altar of the -Saviour of Mankind. They recall the cry of the multitude in Jerusalem at -Pentecost: “How hear we every man in our own tongue wherein we were born -... the wonderful works of God” (Acts ii. 8, 11). Among the interesting -services held in these chapels are those in the eastern (St. Saviour’s) -chapel for the Japanese and Chinese in their languages and for colored -people in English. The spirit fostered by these chapels is occasionally -reflected in great congregations, entirely of Italians, entirely of -negroes, or predominantly of some other race, at services held in the -main part of the Cathedral filling it to its utmost capacity.[33] -Services in English are held in one or more of the chapels every day of -the year, and oftentimes weddings and baptisms are held in them. As a -group, the seven Chapels of Tongues eloquently express the catholic and -democratic spirit of the Cathedral of St. John the Divine referred to on -page 14. They may be visited in order either from south to north or north -to south; but by beginning on the south side they will be seen in the -order in which they were observed on the exterior (p. 31), and by looking -through the archways of the Choir to the opposite side of the Ambulatory, -glimpses may be had of the tapestries and the clerestory windows in the -order in which they have been described. The chapels are all separate -gifts and are memorials of the persons mentioned under their respective -headings following: - - -The Chapel of St. James - -ST. JAMES, the Apostle, after whom this chapel is named, was the son of -Zebedee and was a Galilean fisherman. He is sometimes called St. James -the Great to distinguish him from another Apostle called St. James the -Less. He was a brother of St. John the Divine. He went almost everywhere -with the Lord. After the ascension, he preached a while in Judea and -then in Spain. After his mission there, he was beheaded by the Jews, -and, according to tradition, his body was miraculously transported -back to Spain, where his relics are said to rest at Compostella. -Spanish historians chronicle 38 instances in which he is believed to -have descended from heaven and in shining white armor led the Spanish -armies against the Moors. Under the Spanish equivalent of his name, St. -Iago or Santiago, he became the patron saint of Spain and his name was -adopted as the Spanish war-cry. His shrine at Compostella was one of -the most popular for pilgrimages in the Middle Ages, and it was said -that two visits to Compostella equaled one to Rome. St. James is usually -represented in the dress of a pilgrim with a peculiar staff. His Memorial -Day is July 25. - -The Chapel of St. James (13 on plan), designed by Mr. Henry Vaughan, is -in pure English Gothic _Architecture_ of the 14th century; 66 feet long -and 39 wide, with a sort of transept on the north side 15 feet wide; -seats 250 persons, and cost about $200,000. Its interior walls are of -Bedford, Ind., limestone. On the front of the _Altar_ of gray Knoxville, -Tenn. marble, is sculptured DaVinci’s Last Supper. The central feature -of the limestone _Reredos_ is a relief representing the Transfiguration, -after Raphael. In four niches, two on either side of the Transfiguration, -are statues of the four Evangelists with their appropriate emblems -at their feet (left to right:) St. Matthew with winged man; St. -Mark with lion; St. Luke with ox; and St. John with eagle. Beneath -the Transfiguration is a smaller sculpture of the Nativity, with an -alleluia angel on each side. On four escutcheons, two on each side of -the Nativity, are emblems of the condemnation and crucifixion (left to -right:) (1) Crown of thorns and spear (John xix. 2, 5, 34); (2) pillar to -which Christ was bound for scourging, cord, knotted scourge (John xix. 1) -and sponge on reed (John xix. 29); (3) ladder, sponge on reed and spear; -and (4) hammer, pincers, coat, and three dice (Mark xv. 24). Beautifully -carved canopies surmounted by six adoring angels crown the Reredos. The -stained glass _East Window_, by C. E. Kempe & Co. of London above the -Reredos, depicts in its three lights (left to right) St. Lawrence, St. -James and St. Vincent. In two walled-up panels of the window, one on -each side of the glass, are statues of St. Peter with keys (left) and -St. Paul with sword (right). _The Saint James Window_ in the middle bay -of the south aisle portrays in its four lights scenes in the life of -the patron saint of Spain (see page 71) and other subjects, as follows, -reading from left to right: Bottom, (1) Coat-of-arms of St. John and the -words, “James, servant of God;” (2) St. James preaching to the natives of -Spain; (3) St. James before the judge, forgiving his accuser and giving -him his blessing, “Peace be with thee;” (4) Coat-of-arms of King Ramira -I of Spain, and the words (to be read with those first quoted), “And of -the Lord Jesus Christ.” Middle, (1) “Unto his shrine the mighty and the -lowly fared on pilgrimage;” (2) “St. James, the radiant knight, upon -a great white horse;” (3) “Before the banner of his name the Moorish -warriors fled;” (4) “At Compostella still men serve Santiago’s shrine.” -Top, (1) angel with ΙϹ-ΧϹ symbol; (2) “They bore his body to a ship that -sailed for Spain;” (3) “Over his tomb they built a chapel passing fair;” -(4) Angel with Ichthus symbol.[34] In the tracery at the extreme top is -a representation of the Crucifixion. The window was given by Bishop -Potter’s daughters and was designed and made by Mr. Henry Wynd Young, -glass-painter, of New York City. In niches of the walls of the chapel -are the following statues and symbols: _East Wall_, St. Augustine of -England with crozier (left) and St. Gregory the Great (who sent him to -England) with papal tiara and papal cross (right) _West Wall_, end of -main aisle, above, Christ between his kinsmen St. James the Great (left) -and St. James the Less (right); and at end of south aisle, the Venerable -Bede. On four escutcheons, two on each side of the west door, are: (1) -A floriated cross (emblematic of the flowering or productiveness of the -Christian religion); (2) the monogram =ihc= (representing the first two -and last letters, uncial form, of the Greek word for Jesus[35]); (3) the -Greek cross form of the chi rho monogram (first two Greek letters of the -name Christ); and (4) the Alpha and Omega, the first and last letters -of the Greek alphabet, (Rev. i. 8). _North Wall_, statue of William of -Wykeham. In the upper part of the north wall is the gallery of the organ, -which is independent of the great organ of the Cathedral. Choir Stalls -near the Altar are a distinctive feature of this chapel. Two clustered -columns divide the south aisle into three bays in the middle one of which -is _Bishop Potter’s Tomb_, of Siena marble. On the tomb is a recumbent -figure of the Bishop in Serevezza marble, by Mr. James E. Frazer. The -Bishop is represented in his episcopal robes, and the execution is so -fine that even the texture of the lawn sleeves is apparent. On the front -of the tomb is inscribed: - - “Henry Codman Potter ‖ MDCCCLXXXIII Assistant Bishop of New - York MDCCCLXXXVII ‖ Bishop of New York ‖ MDCCCLXXXVII-MCMVIII - ‖ Upholder of Righteousness and Truth ‖ Soldier and Servant - of Jesus Christ.” - -[Illustration: THE SANCTUARY OF THE CHAPEL OF ST. JAMES] - -On the rear: - - “He laboured that this Cathedral Church ‖ Should rise to the - Glory of God and as ‖ A witness to the Life of our Lord and - Master Jesus ‖ Christ that here the prayers of the children ‖ - of many lands should rise to that ‖ Father in whom alone all - men are brothers ‖ Whose service is perfect freedom.” - -Around the edge of the top slab: - - “I saw the Holy City coming down from God out of Heaven ‖ and - I heard a great voice saying ‖ Behold the tabernacle of God is - with men and he will dwell with them ‖ and they shall be his - people.” - -On the west wall is inscribed: - - “The Chapel of St. James ‖ Consecrated ‖ May 2, 1916 ‖ To - the Worship of ‖ Almighty God ‖ And in Loving Memory of ‖ - Henry Codman Potter ‖ Bishop of New York ‖ Born May 25, 1834 - ‖ Died July 21, 1908 ‖ The Gift of His Wife ‖ Elizabeth - Scriven Potter ‖ Born September 30, 1848 ‖ Died March 4, - 1909.” - -=Story of the Blind Woman.= A beautiful and touching incident occurred -in the Chapel of St. James a few years ago. One day, a woman who was -blind, deaf, and could make only a few hardly articulate sounds, but who -was cultured and could read by touch, visited the Cathedral with another -woman. The Verger, the late Charles F. Barnard, first led her the full -length of the Cathedral in order that she might comprehend its size. -Then the general features of the edifice were communicated by her friend -by the touch of their hands. The wood and stone carvings, however, she -read with her own fingers. When she came to the Chapel of St. James, she -wished to feel of Bishop Potter’s features as reproduced in the effigy -on his tomb, but on account of the delicacy of the marble, visitors are -not allowed to touch it. The blind woman, however, produced from her bag -a pair of thin white gloves, and by signs asked if she might feel of the -statue if she put them on. The Verger assenting, she ran her fingers -deftly over the Bishop’s countenance, felt of the signet ring on his -finger, etc., and then, satisfied, proceeded to the Altar. Here she knelt -down and began to feel of the relief representing DaVinci’s Last Supper. -As soon as she recognized the work, she threw up her hands in ecstasy and -exclaimed in broken accents, the best she could utter, “Vinci! Vinci!” -The venerable Verger, in relating this incident, said that he was moved -to tears by the spectacle of the blind woman, kneeling before the Altar, -with up-raised hands, “seeing” the Cathedral through the sense of touch. -One may well ask, if this blind woman could see so much spiritual beauty -in the Cathedral without eyes, how much more ought those to see who have -the blessed gift of sight. - - -The Chapel of St. Ambrose - -ST. AMBROSE, or Ambrogio, the namesake of this chapel, was born in Treves -about 340, the son of a Roman Prefect in Gaul (now France). While in his -cradle one day, a swarm of bees settled upon him, clustering around his -mouth, but doing him no harm. A similar thing having happened to Plato, -it was considered an omen of future greatness. He studied law at Rome, -became a magistrate in upper Italy with court at Milan, and by his wisdom -and gentleness won such popular esteem that when called upon to settle of -succession of the bishopric of Milan between the Arians and Catholics he -himself was chosen by both parties to be Bishop of that see. He was one -of the most celebrated fathers of the church. His most distinctive symbol -is the bee-hive, although two human bones, the scourge, the crozier, the -mitre, etc. are sometimes used. The Memorial Day for St Ambrose is kept -on April 4. - -The Chapel of St. Ambrose (14 on plan), designed by Messrs. Carrere & -Hastings, is in modern Renaissance _Architecture_. It is about 50 feet -long and 27 wide, seats 100 persons and cost over $150,000. The floor -is inlaid with grey Siena and red Verona marbles, bordered with cream -colored Cenere marble. The walls are lined with Rosato marble. On the -under side of the marble archway at the entrance are reliefs representing -the Three Persons of the Trinity with angels, as follows: (Left) the -Father in human form[36], with triangular nimbus, holding the globe of -sovereignty; angel with lute; angel with lily; (top) the Holy Ghost in -form of the dove; angel with trumpet; angel praying; and (right) the Son -in form of the Paschal Lamb. The false perspective of the side walls -is similar to that in the Sacristy of the Cathedral of Siena. In the -spandrels of the false arches of the left-hand wall (as one faces the -Altar) are figures in relief (reading from entrance toward Altar) of: -Moses and the prophets Isaiah, Jeremiah and Ezekiel; and on the opposite -wall, in same order, St. Matthew with cherub, St. Mark with lion, St. -Luke with ox, and St. John with eagle. The ceiling is of white marble -carved in low relief. From the ceiling hang four silver lamps, one an -antique Italian lamp and the others copied from it. On the front of the -_Altar_ of alabaster are three golden ornaments, representing the Paschal -Lamb (Christ) between two angels swinging censers, the latter symbolizing -the prayers of all saints (Rev. viii. 3). The _Reredos_, not copied from -any one European prototype but inspired by many examples found in the -transitional and early Renaissance period in Italy, is of carved wood -overlaid with gold leaf. The lower part consists of a triptych, covered -by an elaborate canopy and flanked by niches in which are statues of St. -Francis (left) and St. Ambrose (right). In niches at the left of the -canopy are figures (left to right) of a kneeling angel, St. Benedict with -crozier, St. Agnes in female apparel, and Dante in red gown and hood; and -at the right (same order) Fra Angelico, Galileo with globe, Savonarola, -and kneeling angel. Upon the cross of the canopy is a dove, symbolizing -God the Holy Ghost; above that is the all-seeing eye in a triangle within -a sun-burst, symbolizing God the Father; and on the top-most spire is the -figure of God the Son, holding a cross and pronouncing a benediction. -_The Apse Windows_, one on each side of the Altar, transmit a soft amber -light which gives a peculiar charm to this chapel. Each has a border -of Italian Renaissance tracery, within which is a field of many small -panes of leaded glass. In the _left window_ these panes are ornamented -with repeated designs representing the chalice with emerging serpent and -the eagle (symbols of St. John), flowers, and the chi-rho monogram. In -the upper part are the seven stars and candlesticks from the Cathedral -seal, and the legend, “Sigil. Eccles. Cath. S. Johan;” and in the lower -part the words, “For God is the King of all the Earth. Sing ye Praises -with Understanding.” In the _right window_ the panes are ornamented -with repetitions of the bee-hive, mitre and scourges (symbols of St. -Ambrose), the cross and wreath, flowers, and the ΙϹ-ΧϹ and IHS symbols. -Near the middle is a small fragment of brown glass, marked with an “R”, -from Rheims Cathedral. In the upper part is the coat-of-arms of St. -Ambrose—the bee-hive, mitre and croziers—with the legend, “Sigil. Sanct. -Ambrosii,” and in the lower part are the words, “God is our Refuge and -Strength, a Very Present Help in Trouble.” The windows were made by Mr. -Henry Wynd Young, glass-painter, under the supervision of Messrs. Godwin -& Sullivant, architects, of New York. Along the side walls are _Stalls -and Wainscoting_ of dark Italian walnut, inlaid with pear-wood in designs -including the star of the east, chalice, Latin cross, patriarchal cross, -and Bishop’s mitre. Inlaid in the top border of the wainscoting is this -inscription: - - (Left) “Holy, Holy, Holy, Lord God of Hosts. Heaven and earth - are ‖ full of thy glory. Glory be to Thee, O Lord Most High. - ‖ Blessed is he that cometh in the name of the Lord. Hosannah - in the Highest. ‖ (Right) O Lamb of God, that takest away the - sins of the world, grant us thy peace. ‖ Glory be to God on - high, and on earth peace, good will towards men. ‖ Thou only, - O Christ, with the Holy Ghost, art most high in the Glory of - God the Father.” - -The wrought iron _Italian Screen_ at the entrance to the chapel is -best seen from the inside. Upon the finials at either end are angels -blowing trumpets, and the space between them is divided by seven tall -candlesticks into eight spaces, in which are bronze groups representing -scenes in the life of St. Ambrose (left to right:) (1) His youth; (2) -settling the succession of the bishopric of Milan; (3) his baptism; (4) -nuns and (5) monks, listening to the preaching of St. Ambrose, who stands -between them facing the Altar; (6) the public penance before St. Ambrose -of Emperor Theodosius who caused the massacre of the Thessalonians; (7) -laying the corner-stone of the Church of St. Ambrogio in Milan; and (8) -his death. Beneath the figure of St. Ambrose who stands between the nuns -and monks is a bee-hive with crossed croziers. The screen was designed by -Mr. Thomas Hastings and was made by Messrs. E. F. Caldwell & Co., of New -York. On the south wall is inscribed: - - “To the ‖ Glory of God ‖ and in ‖ Loving Memory ‖ of ‖ - Augustus Whiting ‖ Sarah Swan Whiting ‖ Jane Whiting ‖ - Amelia Whiting Davis ‖ Augustus Whiting, Jr., ‖ Natica Rives - Burden ‖ This Chapel ‖ has been Erected by ‖ Sara Whiting - Rives.” - - -The Chapel of St. Martin of Tours - -ST. MARTIN, after whom this chapel is named, born in 316, in his young -manhood was a Roman soldier in Gaul. One wintry day, (according to -the traditional story related by Ruskin in his “Bible of Amiens,”) -when Martin was riding forth from the city of Amiens, he saw a beggar -shivering by the roadside; whereupon he divided his cloak with his sword -and gave one half to the beggar. That night in a vision he saw Christ -wearing the half cloak and surrounded by angels. And Christ said to the -angels: “Know ye who hath thus arrayed me? My servant Martin, though yet -unbaptized, hath done this.” After this, Martin was baptized; but he -remained a soldier for 17 years. Then, after several years of religious -works, he was made Bishop of Tours. It is related that one day, when -going to church in his full robes, he practically repeated the charitable -act beforementioned by giving his stole to a ragged beggar; and when St. -Martin was at the altar, elevating the Host, a globe of light appeared -above him and angels descended and hung chains of gold and jewels (not of -earth) on his bare arms. Sweet, serene and dearly beloved, he was Bishop -and Knight of the Poor, and the divided cloak and sword are his special -symbols. The Memorial Day for St. Martin is kept on November 11. - -The Chapel of St. Martin of Tours (15 on plan), designed by Messrs. Cram -& Ferguson, is in early 13th century Gothic _Architecture_; about the -same size as the Chapel of St. Ambrose; and cost about $150,000. Its -interior walls are faced with light colored Bedford, Ind. limestone. The -lower half of the walls is occupied by Gothic arcatures, in the trefoiled -arches of which are fleurs de lis. Under the fleurs de lis, in mediaeval -text, runs the inscription: - - (Left side:) “They that ‖ be wise ‖ shall shine ‖ as the - bright- ‖ ness of ‖ the firm- ‖ ament ‖ and they ‖ that - turn ‖ many to ‖ righteous-‖ ness as the ‖ stars forever ‖ - and ever ‖ (Right side:) The Peace ‖ of God which ‖ passeth - ‖ all under- ‖ standing ‖ shall keep ‖ your hearts ‖ and - minds ‖ through ‖ Christ ‖ Jesus.” - -A little above the arcature is a border of roses. The upper half of the -side walls presents a unique feature in a sort of triforium gallery -built in the thickness of the wall. The pavement of Knoxville, Tenn. -pink marble is bordered with black Belgian marble. The simple marble -_Altar_ in the form of a table resting on red marble pillars has no -reredos. The _Seven Windows_, three in the Sanctuary and four in the -clerestory, by Mr. Charles Connick of Boston, Mass., are of grisaille[37] -work in geometrical designs, the Sanctuary windows being inset with -pictorial medallions in painted mosaic glass in the mediaeval style. -In the central window over the Altar the medallions depict scenes in -the life of St. Martin as follows, beginning at the bottom and reading -upward: In the left-hand light (1) St. Martin receives sword and enters -army; (2) divides his cloak with the beggar; (3) has vision of Christ -wearing the severed cloak which he had given to the beggar; and (4) is -baptized. In the middle light, (1) He converts the robber; (2) revives -the dead man; (3) is affectionately welcomed on his return to Tours; -and (4) destroys the heathen temple. In the right-hand light, (1) He -intercedes with Count Avitianus for the release of prisoners; (2) pleads -for Priscillian’s life; (3) dies; and (4) the ship bearing his body is -mysteriously propelled. In the middle light of the window at the left of -the Altar are scenes in the life of St. Louis: (1) His coronation; (2) -his release of prisoners at Paris; (3) his ministration to sick soldiers -during the first Crusade; and (4) his departure on the second Crusade. -In the middle light of the window at the right of the Altar are scenes -in the life of Joan of Arc: (1) Her vision; (2) the capture of Orleans; -(3) the coronation of Charles VII.; and (4) her martyrdom at the stake. -In the circular lights at the top of the seven windows are the following -coats-of-arms (left to right): (1) On a blue field, three golden -fleurs de lis above a white wreath of oak and laurel with red fruit, -representing the City of Rheims.[38] (2) On a blue field sprinkled with -golden fleurs de lis, the Mother and Child, representing the Cathedral -of Notre Dame in Paris. (3) Seven horizontal bars, alternately blue and -gold, being the arms of Bertrand d’Eschaux, Archbishop of Tours. (4) On -a blue field, a white Latin cross with trefoiled ends, being the arms of -the Chapter of Poitiers. (5) On a blue cloak surrounded by red, a white -sword, cross-hilt upward, emblematic of St. Martin. (6) On a blue field -sprinkled with golden fleurs de lis, a red Greek cross, representing -the Archdiocese of Rheims.[39] (7) On a blue field, three golden fleurs -de lis under a white “label” or mark of cadency of eldest son,[40] -being the royal arms of the Dukes of Orleans. A _Statue of Joan of Arc_, -expressing her spiritual character, by Miss Anna Vaughn Hyatt, was placed -in this chapel in 1922. It was given by Mr. J. Sanford Saltus through -Dr. George F. Kunz, President of the Joan of Arc Statue Committee which -erected the equestrian statue of the Maid by the same sculptress in -Riverside Drive. Near it are two rough stones from the Chateau de Rouen -in which the Maid was imprisoned at the time of her trial and from which -she was led to the stake. The wrought-iron _Screen_ of beautiful tracery -at the entrance, designed in the office of Messrs. Cram & Ferguson and -made by Messrs. F. Krasser & Co., of Boston, is a particularly lovely -example of this form of art. While not copied from any existing mediaeval -prototype, it shows the influence of the wrought-iron work of the -Romanesque and early Gothic periods of France. The shell ornament in the -section below the cornice is symbolical of St. Martin as a pilgrim, while -the finials and cresting, blossoming with roses, signify the flowering -of the Christian religion. In the frieze are four panels depicting four -scenes which are described in a quaintly lettered inscription in the -moulding above: - - “S. Martin shares cloak with Beggar ‖ Our Lord appears in - cloak to S. Martin ‖ S. Martin receives holy baptism ‖ Saint - Martin journeys to Rome.” - -[Illustration: Coats of Arms in Windows of Chapel of St. Martin of Tours.] - -An inscription on the wall of the chapel reads: - - “The Chapel of ‖ Saint Martin of Tours ‖ Consecrated 1918 ‖ - To the worship of ‖ Almighty God ‖ and in Loving Memory of - ‖ William P. Furniss ‖ and His Wife ‖ Sophia Furniss ‖ and - their Daughter ‖ Sophia R. C. Furniss.” - -In another panel is this inscription: - - “To the ‖ Glory of God ‖ and in Loving Memory of ‖ - Clementina Furniss ‖by Whose Gift ‖ this Chapel ‖ was - Erected ‖ and ‖ Margaret Elizabeth Zimmerman ‖ Daughters of - ‖ William P. Furniss ‖ and his wife ‖ Sophia Furniss.” - - -The Chapel of St. Saviour - -SAINT SAVIOUR, the name of this chapel, means Holy Saviour, the word -Saint being used in its primary sense as an adjective, derived from the -Latin “sanctus.” The Memorial Day for St. Saviour is kept on December 25. - -The Chapel of St. Saviour (16 on plan,) is the easternmost of the seven -Chapels of Tongues and forms the eastern extremity of the Cathedral. -Among the languages in which services are held in this chapel are -Japanese and Chinese. When the royal Abyssinian Commission to the United -States Government was formally received at the Cathedral on July 24, -1919, its members knelt at this altar. The chapel is in the English -Decorated Gothic style of _Architecture_ after designs by Messrs. Heins -& LaFarge. It is 56 feet long and 30½ feet wide, seats 150 persons, -and cost about $200,000. Its interior walls are of Minnesota dolomite, -around the base of which runs a foundation course of red jasper with -green serpentine moulding like those which run around the Choir. The -pavement is of stone from Hauteville, France, with a mosaic border. The -Sanctuary steps are of pink marble from Georgia. The _Altar_, made by -Messrs. Batterson & Eislie and carved by Mr. Schwartz, is of snow-white -Carrara marble. Its face and front corners are adorned by the figures of -six angels singing “Holy, Holy, Holy.” Carved on the face of the retable -is the crown of thorns, supported by two cherubs. The _Reredos_ is of -polished red Siena marble, bordered with Venetian mosaic. The _Chair and -Prayer Desk_ of black walnut at the left side of the Sanctuary have an -interesting history recited on a brass tablet on the desk as follows: - - “The first use of ‖ this chair and prayer desk was made by ‖ - the Most Reverend Randall Thomas Davidson, D.D., ‖ Archbishop - of Canterbury ‖ in the Crypt of the Cathedral of St. John the - Divine ‖ on Wednesday morning, September 28th, A. D. 1904 ‖ - at the celebration of the Holy Communion at which ‖ His Grace - was the celebrant and which preceded the ‖ opening of the One - hundred and twenty-first Convention ‖ of the Diocese of New - York, being also the first opening ‖ of the Diocesan Synod - Hall.” - -The _East Window_, a glorious work in stained glass by Mr. Hardman of -Birmingham, Eng., completely fills the end of the chapel. Its central -light is occupied by a representation of the Transfiguration (Mat. -xvii. 1-3). In the middle of the scene is the radiant Saviour, with -Moses (left) holding the Ten Commandments, and Elias (right) holding -the receptacle of the scrolls, representing respectively the Law and -the Prophets.[41] Surrounding the group are angels; and below it are -the three Disciples who were with Jesus on the mount: St. Peter (left) -looking up, St. James (middle) covering his eyes, and St. John, the -beardless Disciple (right), shading his face. In the left side light, -above, is Moses putting off his shoes on the holy ground before the -burning bush from which the angel of the Lord appears (Ex. iii. 5); and -below, Moses raising the brazen serpent for healing (Num. xxi. 9). The -serpent, seen indistinctly coiled around the pole, is by artistic license -represented in green. In the right side light, above, is the angel -appearing to Elijah (I. Kings xix. 5-8); and below, Elijah’s sacrifice -miraculously consumed by the fire of the Lord (I. Kings xviii. 30-38). -In niches on either side of the window are the following _Statues_ of -Bishops, saints and scholars of the Eastern church: - - _Left._ _Right._ - - St. Polycarp St. Chrysostom - b. 69 d. 155 b. 347 d. 407 - Bishop of Smyrna Archbp. of Constantinople - - St. Athanasius St. Basil - b. 296 d. 373 b. 329 d. 379 - Primate of Egypt Bishop of Caesarea - - Origen St. Clement of Alexandria - b. 185 d. 253 b. circ. 150 d. 213-220 - Great eastern scholar Celebrated Church Father - - St. Gregory Nazianzen St. Ignatius - b. 330 d. 389 b. circ. 50 d. 107 - Bishop of Nazianzus Bishop of Antioch - -In a niche in the upper part of the north wall is a statue of St. Peter -with key; and in a corresponding niche in the south wall one of St. Paul -with sword. Turning toward the entrance to the chapel, one sees in niches -between the clustered columns at the sides of the great archway in array -of angels, five on each side, one above the other, corresponding to as -many on the Ambulatory side,—twenty in all—representing the Heavenly -Choir. These lovely figures are worthy of more than passing notice. All -the statuary is by Mr. Gutzon Borglum. The four _Lamp Standards_ of -Carrara marble surmounted by alabaster bowls standing in the four corners -of the chapel, and carved in relief with many symbolical details, were -made by Messrs. E. F. Caldwell & Co. and carved by Messrs. F. Ruggeri and -P. Giuntini of New York. The elaborate wrought iron _Screen_, made by the -Wm. H. Jackson Co. of New York, at the entrance, is in the Italian style -after one in Orvieto, Italy. It is embellished in its upper part by two -golden angels holding a wreath at the foot of the cross. Looking outward -through the screen, one sees the back of the High Altar of the Cathedral. -On one of the walls of the chapel is inscribed: - - “This Chapel is Erected to ‖ the Glory of God ‖ and in - Loving Memory of ‖ Bessie Morgan Belmont ‖ by her Husband ‖ - August Belmont.” - - -The Chapel of St. Columba - -ST. COLUMBA was born in County Donegal, Ireland, in 521, of royal blood. -After study and religious work in Ireland, he set out in 563 with twelve -disciples and planted upon the Island of Iona, on the west coast of -Scotland, which he received from his kinsman Conal, King of Scots, a -monastery which, from the 6th to the 8th centuries, was second to hardly -any other in Great Britain. From it was conducted a wonderful missionary -work in Scotland, Ireland, the north of England, and small adjacent -islands. Many miracles are attributed to him, and he was accredited with -power to subdue not only wild tribes of men but also the beasts of the -wilderness (see p. 32). He died in 597, and his body was buried at Iona, -which is regarded as one of the great shrines of Christianity in Great -Britain. The Memorial Day for St. Columba is kept on June 9. - -The Chapel of St. Columba, (17 on plan), designed by Messrs. Heins & -LaFarge, is in the Norman style of _Architecture_. It is 50 feet long -and 27 wide, seats 100 persons, and cost about $150,000. The interior -walls are of Minnesota dolomite, separated from a base course of polished -Mohegan granite by a moulding of yellow Verona marble. The pavement is a -fine grained gray stone from Illinois. The semi-circular arched window -heads, and particularly the six large cylindrical pillars diversified by -spiral and diaper patterns, convey the idea of the Norman style which -one sees exemplified on a larger scale in Durham Cathedral and other -churches of that period in England. The vaulting over the _Sanctuary_ is -lined with gold mosaic, upon which appear black and white Celtic crosses. -The lectern, communion rail, Glastonbury chairs, and other wood work of -the Sanctuary were designed by Mr. Charles R. Lamb and made by J. & R. -Lamb of New York. They are carved in low relief with ornament expressive -of English Gothic feeling. The lectern shows a composition of three -figures: Christ in the center, between John the Baptist, his Forerunner, -and St. John the Divine, namesake of the Cathedral, who closes the -biblical record with the Book of Revelation. The _Altar_, of cream -colored Italian marble, is in the form of a table supported by marble -pillars. It has no _Reredos_. The _Sanctuary Windows_, three in number, -were made by Messrs. Clayton & Bell of London. In the central light of -the window above the Altar is represented the baptism of Christ by John -the Baptist, and in the side lights are St. John with cup (left), and St. -Paul with sword, (right.) In the bottom of the three lights are the four -symbols previously explained (p. 74), namely, the ΙΗϹ, the Alpha, the -Omega, and the Chi Rho. The windows on either side of the middle window -are in grisaille, copied from the famous lancet windows called the Five -Sisters in the North Transept of York Cathedral, although these windows -have only two lights each instead of five. The six wonderfully graceful -seven-branched _Candelabra_, after Donatello, were brought from Italy -by Mr. George Gordon King. Turning toward the entrance, in which is a -wrought iron _Screen_ in the Spanish style, designed by Mr. Samuel Yellen -and made by the Industrial Ornamental Iron Works of Philadelphia, Penn., -one sees an extremely interesting feature in the _Statues_ by Mr. Gutzon -Borglum of representatives of the successive stages of the development of -Christianity in England, which stand in the niches between the clustered -columns at the sides of the great entrance archway.[42] - -The figures, five on each side, one above the other, and corresponding -to as many on the Ambulatory side,—twenty in all,—are in the following -relative positions, it being understood that the left side as seen from -the chapel is the same as the right side as seen from the Ambulatory. - - _Seen from Chapel._ - - _Left._ _Right._ - - St. Aidan St. Augustine - Bishop of Northumbrians Archbishop of Canterbury - ac. 635 d. 651 ac. 597 d. 604 - - St. Anselm King Alfred - Archbishop of Canterbury King of Wessex - ac. 1093 d. 1109 b. 849 d. 901 - - Thomas Cranmer William of Wykeham - Archbishop of Canterbury Bishop of Winchester - b. 1489 d. 1556 ac. 1367 d. 1405 - - Joseph Butler Jeremy Taylor - Bishop of Durham Bishop of 3 Irish sees - b. 1692 d. 1752 b. 1613 d. 1667 - - John Keble Reginald Heber - leader in Oxford movement Bishop of Calcutta - b. 1792 d. 1866 b. 1783 d. 1826 - - _Seen from Ambulatory._ - - _Left._ _Right._ - - St. Alban Theodore of Tarsus - promartyr of Britain Archbishop of Canterbury - d. circ. 304 ac. 668 d. 690 - - The Venerable Bede Stephen Langton - chronicler and priest Archbishop of Canterbury - b. 673 d. 735 b. 1150 d. 1228 - - John Wyckliffe Matthew Parker - morning-star of Reformation Archbishop of Canterbury - b. 1325 d. 1384 b. 1504 d. 1575 - - Richard Hooker George Berkeley - Anglican theologian Bishop of Cloyne, etc. - b. 1554 d. 1600 b. 1684 d. 1753 - - John Wesley Frederic Denison Maurice - evangelical revivalist preacher and leader - b. 1703 d. 1791 b. 1805 d. 1872 - -The Cathedral has in its possession a _Stone from the Cathedral, or -Church of St. Mary_ (dating from the 13th-16th centuries) _on the Island -of Iona_, which may fittingly be placed in this chapel at some future -time. - -Upon the wall of the chapel is inscribed: - - “Chapel ‖ of ‖ Saint Columba ‖ To the Glory of God ‖ and - ‖ in Loving Memory of ‖ Mary Leroy King ‖ The Gift of Her - Mother ‖ Mary Augusta King ‖ Consecrated ‖ April 27th, 1911.” - - -The Chapel of St. Boniface - -ST. BONIFACE, whose original name was Winifred, was born in Devonshire, -England, about the year 680. He entered a Benedictine monastery at the -age of 13, learned rhetoric, history and theology, and became a priest -at the age of 30. At a time when England and Ireland were sending -missionaries to the heathen parts of Europe, Winifred was authorized -by Pope Gregory II. to preach the Gospel to the tribes of Germany, -and he is called the Apostle of Germany. While engaged in this work, -Gregory made him a Bishop and gave him the name of Bonifacius, or -Boniface, which means Doer of Good. The Bishoprics of Ratisbon, Erfurt, -Paderborn, Wurzburg, Eichstadt, Salzburg, and several others, owe their -establishment to his efforts. In 746 he was made Archbishop of Mainz. In -755, while carrying on his work in Dokkum, in West Friesland, he and his -congregation of converts there were slain by a mob of armed heathen. His -remains are buried in the famous abbey of Fulda, which he founded. In -art, he is depicted holding a book pierced by a sword, referring to the -manner of his death. The Memorial Day for St. Boniface is kept on June 5. - -The Chapel of St. Boniface, (18 on plan), designed by Mr. Henry Vaughan, -is a very pure specimen of English Gothic _Architecture_ of the 14th -century. It is about 48½ feet long and 28 wide, seats about 100 persons, -and cost about $175,000. The interior walls are of Indiana limestone; -the pavement of pink marble from Knoxville, Tenn., with heavy black -border of Belgian marble; and the steps to the Sanctuary also of pink -Knoxville marble. The _Altar_ is of gray marble from the same source. In -the three ornate panels on its face are the monogram IHS (see p. 74), -the floriated Greek cross (see note below), and the Greek cross form -of the Chi Rho (p. 74). The richly carved _Reredos_ has three canopied -niches, in the central one of which is represented the Adoration of the -Magi. In each of the side niches is an angel with scroll. In the recesses -of the windows on either side of the Altar are carved clergy stalls of -dark oak, with wainscoting of the same wood as high as the window sills. -There are six stained glass _Windows_, three in the Sanctuary and three -smaller ones in the clerestory. Each has three lights. In the middle -light of the central window above the Altar Christ is represented as -the Great Teacher. His robe is sprinkled with the =IHS= monogram (p. -74) and in His nimbus appear the ends of a floriated cross.[43] Above -His head are two angels, and above them the dove, symbolizing the Holy -Spirit. Below the figure of Christ is a scene representing Him teaching -the multitude. In the left side light is St. Boniface with mitre, -archiepiscopal staff,[44] and Bible pierced with sword; and below him a -scene representing him hewing down an oak in Geismar accounted sacred -by the idolators. In the right side light is St. Paul with sword; and -below him a scene representing him preaching to the men of Athens. In -the left window of the Sanctuary are three figures with scenes below -as follows (left to right): St. Birinus, Bishop of Dorchester, holding -a monstrance, and (below) St. Birinus baptizing King Cynegils of the -West Saxons; St. Augustine of Canterbury with archiepiscopal staff, -holding a tablet representing the crucifixion, and (below) St. Augustine -announcing the Word of Life to King Ethelbert; and St. Felix, Bishop of -Dunwich, with crozier and torch, and (below) St. Felix receiving the -blessing of the Archbishop of Canterbury. In the right Sanctuary window, -similarly, are: St. Chad, Bishop of Lichfield, holding crozier and model -of Lichfield Cathedral,[45] and (below) St. Chad listening to the songs -of angels; St. Columba in monastic garb with crozier and with monastery -(Iona) at his feet, and (below) St. Columba converting the Picts; and -St. Aidan with crozier, and (below) St. Aidan instructing the youthful -St. Chad and others. In the west clerestory window are: St. Patrick -with crozier ornamented with shamrocks; St. Gregory of Rome with papal -staff, holding an open music book displaying the Sursum Corda (referring -to him as founder of the Gregorian music), with Pere Marquette below; -and St. Martin of Tours with crozier and Bible. In the east wall are -two clerestory windows. In the left hand window of the two are: St. -Cyprian, Archbishop of Carthage, holding his staff and his best known -book concerning Church Unity, or the universal church; St. Ambrose, -Bishop of Milan, with crozier and open book displaying the words “Te Deum -Laudamus” (we praise Thee, O God,) and pen in hand, with the missionary -Robert Hunt below; and St. Augustine, Bishop of Hippo Mundia, with -crozier. In the right hand clerestory window in the east wall are: St. -Cyril, Patriarch of Alexandria, with book and staff; St. John Chrysostom, -Bishop of Constantinople, with staff, chalice and Book of Homilies, -with the missionary John Robinson below; and St. Ignatius, Bishop of -Antioch, holding a palm. The windows were made by Messrs. C. E. Kempe & -Co. of London. In two canopied niches in the west wall are _Statues_ of -Thomas a Becket (left) and St. Boniface (right); and in a niche in the -east wall is one of Erasmus. Three wrought iron _Lamps_ are suspended by -iron chains from the ceiling; and at the entrance is a handsome wrought -iron _Screen_ adorned with escutcheons bearing the =ihc= monogram and -surmounted by a floriated cross before explained. On one of the walls is -inscribed: - - “The Chapel of St. Boniface ‖ Consecrated ‖ February 29, 1916 - ‖ Erected to ‖ the Glory of God ‖ by ‖ George Sullivan - Bowdoin ‖ and His Wife ‖ Julia Grinnell Bowdoin ‖ and Their - Children ‖ Temple Bowdoin ‖ Fanny Hamilton Kingsford ‖ Edith - Grinnell Bowdoin.” - -=Story of the Dove Of Peace=. During the last year of the World War, an -incident interesting in itself and illustrative of the origin of the -legends and traditions which often grow up around cathedrals, occurred in -connection with the chapel bearing the name of the Apostle of Germany. -In the spring of 1918, some weeks after the great German drive of March -21 had begun and before the beginning of the counter-offensive of the -second battle of the Marne in July, the large stained glass window in the -clerestory of the Choir above the entrance to the Chapel of St. Boniface -arrived from England. All the ventilation openings in the Cathedral -windows are screened to exclude birds, which, however interesting in -their natural habitats, are a practical nuisance in the Cathedral. When -the stained glass window above mentioned arrived, the temporary window -filling the space above the entrance to the chapel was removed for its -installation. While the window was thus open, and at a period in the war -when the issue trembled in the balance and the world fairly held its -breath in fearful expectation of the event, a white dove,—very generally -recognized as a symbol or harbinger of Peace—flew into the Cathedral -over this chapel. On the following Sunday it soared around in the great -dome of the Crossing and in the Choir, alighting in the most interesting -places. When Dean Robbins ascended the stairs of the great marble pulpit, -he found the dove perched on the edge of the pulpit directly before -him. The dove then flew down and alighted on the back of a vacant chair -between two occupied chairs in the midst of the congregation on the south -side of the Crossing, and there remained quietly during the sermon. When -the ushers started toward the Altar with the offertory, the bird soared -across the congregation and alighted on the hat of a woman dressed in -mourning who was sitting near the middle aisle, its snow white plumage -contrasting strikingly with the sombre attire of the bereaved woman who -seemed not to be disturbed by what perhaps she regarded as a happy omen. -In a moment the dove flew to another part of the Crossing. It remained -in the Cathedral a few days longer; and then one day, went out through -an open door. Soon after this occurrence, the Allies facing the Marne -salient, including the Americans at Chateau Thierry, began the great -counter-movement which finally brought peace.[46] It was at least an -interesting coincidence that this white dove came into the Cathedral over -this chapel, at the very crisis of the war, and that almost immediately -thereafter began that series of determining events which led the Germans -to make overtures for Peace. - - -The Chapel of St. Ansgarius - -ST. ANSGARIUS, or St. Ansgar, was born in Picardy in 801. With his -co-laborer Autbert he went to preach Christianity to the northmen of -Sleswick. In spite of much persecution, he was so successful that in 831 -the Pope established an archbishopric in Hamburg, (afterwards transferred -to Bremen,) and Ansgarius was appointed first Archbishop. He made several -missionary tours in Denmark, Sweden and other parts of the north, and -died at Bremen in 865. He is called the Apostle of the North. The -Memorial Day for St. Ansgarius is kept on February 3. - -The Chapel of St. Ansgarius (19 on plan), designed by Mr. Henry -Vaughan, architect of the Chapel of St. James, is in the same style of -_Architecture_, 14th century Gothic, and about the same size, being -66 feet long and 41 wide, with a seating capacity of 250. It differs, -however, from the Chapel of St. James in plan, the bay east of the turret -stairs being here thrown into the Ambulatory, while in the Chapel of St. -James it is included as a sort of transept; and the north side of the -Chapel of St. Ansgarius being divided into only two bays, while the south -side of the Chapel of St. James is divided into three. On account of the -amount of work required to secure a firm foundation, the Chapel of St. -Ansgarius cost about $225,000, making it the most expensive of the seven -Chapels of Tongues. - -[Illustration: Niche in St. Ansgarius Chapel made of old Cathedral -Stones] - -The interior walls are of Indiana limestone; and the pavement of pink -Knoxville, Tenn., marble and mottled Vermont marble. The _Altar_ is of -gray Knoxville marble. On its front is carved the Madonna of the Chair -on the left of which, from the spectator’s standpoint, is St. Michael -with sword and on the right St. Gabriel with lilies. In the middle of the -sculptured _Reredos_, (above) is represented Christ holding the globe -(symbol of sovereignty), and (below) the baptism of Christ by John the -Baptist. - -On the left of the figures are St. Ansgarius with crozier (above) and -Gustavus Adolphus with sword (below), while on the right are St. Olaf -with crown and scepter (above) and Luther in gown with book (below). -The Altar and Reredos were given by Mrs. Julia Grinnell Bowdoin. In the -left (northern) wall of the Sanctuary is a niche made of _stones from -Worcester and Ely Cathedrals_, England. On the upper surface of the stone -bracket forming the shelf of the niche is carved “Ely 1320.” The stones -from the Lady Chapel of Worcester Cathedral were given to the Cathedral -of St. John the Divine by Canon George William Douglas of New York who -procured them from Canon J. M. Wilson, Archdeacon of Worcester.[47] On -the stones on either side of the recess is carved: - - “These Stones from ‖ the Cathedral ‖ of Christ and ‖ St. - Mary the Virgin ‖ Worcester, England, ‖ are Memorials to ‖ - William Reed ‖ Huntington ‖ Sometime Rector ‖ of All Saints - ‖ in Worcester ‖ Massachusetts.” - -Three small _Windows_ of two lights each in the Sanctuary contain -(from left to right) representations of: (1) St. Willibrod with mitre, -archiepiscopal staff, and model of cathedral; and St. Lucian with crown, -scepter and sword; (2) St. Ansgarius with mitre and crozier; and King -Olaf with crown and scepter; and (3) above the Reredos, St. Eric with -crown and scepter; and St. Wilifred with mitre and archiepiscopal staff. -The window spaces at the right of the latter are walled up because they -are blanketed by the adjacent chapel. In the two bays of the north aisle -are two noble stained glass windows, each having five lights and each -light depicting two scenes. In the left hand or western window, the upper -tier of scenes is chiefly devoted to Old Testament subjects as follows -(left to right): Adam and Eve (Gen. ii. 7-25); the visit of the three -angels to Abraham bearing the promise of the birth of Isaac (Gen. xviii. -2-22); St. Michael fighting the dragon with a cross-shaped spear (Rev. -xii. 7); Abraham offering to sacrifice Isaac (Gen. xxii. 9-13); and -Jacob’s dream of the ladder (Gen. xxviii. 12). In the lower tier are five -scenes prophetic of the birth of the Forerunner of Christ and of Christ -himself: The angel’s visit to Zacharias to foretell the birth of John the -Baptist (Luke i. 13); the annunciation to the Virgin Mary of the coming -birth of Christ (Luke i. 28); St. Gabriel with lilies as Angel of the -Annunciation (Luke i. 28); the angels’ visit to the shepherds (Luke ii. -8-12); and the angel’s visit to Joseph, husband of Mary, to foretell the -birth of Christ (Mat. i. 20). The right hand or eastern window depicts -Acts of the Apostles. In its upper tier are: St. Peter preaching to the -Disciples (Acts i. 15); St. Peter healing the lame man (Acts iii. 2-8); -St. Peter with key; the stoning of St. Stephen (Acts vii. 59); and St. -Philip baptizing the eunuch (Acts viii. 26-38); and in the lower tier: -St. Peter raising Tabitha (Acts ix. 40); the conversion of St. Paul’s -jailer at Philippi (Acts xvi. 23-31); St. Paul with sword; St. Paul -laying hands on the Disciples (Acts xix. 6); and St. Paul before Felix -(Acts xxiv. 24-25). All the windows are by Messrs. C. E. Kempe & Co. of -London. In two high niches in the south wall are _Statues_ of Eric, King -of Sweden (left) and Canute, King of the English, Danes and Norwegians -(right;) and in a niche at the west end of the north aisle is a statue -of King Eskiel, all crowned. On the Ambulatory side of the entrance -bay are two statues: John the Baptist (above) and St. Ansgarius with -crozier and mitre, holding a small cathedral (below). The sculptures are -by Mr. John Evans of Boston. In a bay of the chapel temporarily rests -a symbolic group executed in Caen stone by Miss Malvina Hoffman of New -York, entitled _The Sacrifice_. It is intended for Harvard University -at Cambridge, Mass., as a memorial of Robert Bacon, sometime U. S. -Ambassador to France and a Trustee of the University, and of the Harvard -men who lost their lives in the World War. It represents a dead Crusader, -such as those who went from Cambridge, Eng., in the 12th century, and -gave their lives for an ideal, lying upon a cross with his head pillowed -in a woman’s lap. According to the traditional position of the feet of -the Crusader, he was one of those who never reached Jerusalem, those -who did so being traditionally represented with their feet crossed. The -woman may typify Alma Mater as well as those women who gave their best to -a great cause and made their lonely grief their glory. The two figures -symbolize mutual sacrifice. This chapel has an independent _Organ_ played -from a movable console on the floor. The chapel, which is the gift of -many persons, was dedicated on April 3, 1918. On one of the walls is -inscribed: - -[Illustration: THE SACRIFICE] - - “The Chapel of Saint Ansgarius ‖ Consecrated April 3, 1918 ‖ - to the Worship of ‖ Almighty God ‖ and in Loving Memory of ‖ - William Reed Huntington ‖ for 25 Years Rector of Grace Church - ‖ and for 22 Years Trustee of this Cathedral.” - - -=The Corner Stone= of the Cathedral, which was laid by Bishop Henry -C. Potter on St. John’s Day, December 27, 1892, is imbedded in the -northwestern pier of the Chapel of St. Ansgarius and is only partly -visible in the chamber under the chapel. It is a block of gray Quincy -granite, 4 feet 4 inches square and 2 feet 4½ inches thick. Upon the -angle of the visible corner are inscribed a Greek cross and “I. H. S. St. -John’s Day, Decem. XXVII, A. D. 1892.” It contains, among other things, -a fragment of a _Spanish Brick_ from Hispaniola (Hayti) which was given -to the Cathedral by Mr. Malcolm McLean, Senior Warden of St. Andrew’s -Church, New York City, and upon which is a silver plate inscribed: - - “From the Ruin of the First Christian Church in the New World - where the First Church was Erected by Christopher Columbus, - 1493. Isabella, Hispaniola.”[48] - - -The Crypt - -The Crypt, located beneath the Choir, is closed, pending work on other -parts of the Cathedral. And on account of the consequent dampness, the -delicate furnishings were removed in September, 1916, and entrusted to -the care of Mr. Louis C. Tiffany, who designed them, and who has placed -them temporarily in the private chapel on his large country estate at -Laurelton, L. I. The Crypt has a seating capacity of 500, and the first -services in the Cathedral were held in it from January 8, 1899, until -the Choir and Crossing were opened on April 19, 1911. In its furnished -state, it contains an Altar, Reredos, font, lectern, and five stained -glass windows which were exhibited by Mr. Tiffany at the World’s Fair at -Chicago in 1893 and which were called collectively the _Tiffany Chapel_. -The top and retable of the _Altar_ are of Carrara marble, while the front -and sides are adorned with medallions of mother of pearl, four smaller -discs containing emblems of the four Evangelists, a central shield set -with sapphires, topazes and mother of pearl, and 150,000 pieces of glass -mosaic. The _Reredos_ is of iridescent glass mosaic, as are the twelve -_Pillars_ back of the Altar symbolizing the twelve Apostles. The general -effect is Byzantine. The Altar, Reredos, font, lectern and windows were -given by Mrs. Celia Hermione Wallace in memory of her son. The following -interments have been made in the Crypt: The Very Rev. William M. -Grosvenor, D.D., Dean of the Cathedral, December 13, 1916; the Right Rev. -David H. Greer, D.D., eighth Bishop of New York, May 23, 1919; and the -Right Rev. Charles S. Burch, D.D., ninth Bishop of New York, December 23, -1920. - - -Summary Dimensions - -Following are the principal dimensions of the Cathedral. As cathedrals -are compared in size by their areas, the Cathedral of St. John the Divine -will rank, after St. Peter’s at Rome and Seville Cathedral, the third -largest in the world. - - _Length_ - - Western Towers 50 feet - Nave 225 ” - Crossing 100 ” - Choir 170 ” - St. Saviour’s Chapel 56 ” - Total length 601 ” - - _Width_ - - West Front (including buttresses) 220 feet - Nave and Aisles (exterior) 132 ” - Transepts 315 ” - Crossing 100 ” - Choir 56 ” - Ambulatory 20 ” - - _Height_ - - Western Towers 265 feet - Ridge of Nave Roof 175 ” - Nave Vaults (above floor) 130 ” - Choir Vaults (above floor) 127 ” - Crossing Vault (above floor) 200 ” - Central Fleche 470 ” - Final Cross (30 feet) 500 ” - Final Cross above tide-water 631 ” - - _Area_ - - Area of Cathedral 109,082 square feet - - -Bishops of New York - -Following is a list of the Bishops of New York since the erection of the -Diocese: - -_First_: The Right Rev. Samuel Provoost, D.D.; born February 24, 1742; -Bishop of New York 1787-1815; died September 6, 1815. - -_Second_: The Right Rev. Benjamin Moore; born November 5, 1748; Assistant -Bishop 1801-1815; Bishop of New York 1815-1816; died February 29, 1816. - -_Third_: The Right Rev. John Henry Hobart, D.D.; born September 14, 1775; -Assistant Bishop 1811-1816; Bishop of New York 1816-1830; died September -12, 1830. - -_Fourth_: The Right Rev. Benjamin Tredwell Onderdonk; born July 15, 1791; -Bishop of New York, active 1830-1845, inactive 1845-1861; died April 30, -1861. - -_Fifth_: The Right Rev. Jonathan Mayhew Wainwright, D.D., D.C.L.; born -February 24, 1792; Provisional Bishop 1852-1854; died September 21, 1854. - -_Sixth_: The Right Rev. Horatio Potter, D.D., D.C.L., Oxon.; born -February 9, 1802; Provisional Bishop 1854-1861; Bishop of New York -1861-1887; died January 2, 1887. - -_Seventh_: The Right Rev. Henry Codman Potter, D.D., LL.D.; born May 25, -1834; Assistant Bishop 1883-1887; Bishop of New York 1887-1908; died July -21, 1908. - -_Eighth_: The Right Rev. David Hummell Greer, D.D., S.T.D., LL.D.; born -March 20, 1844; Bishop Coadjutor 1904-1908; Bishop of New York 1908-1919; -died May 19, 1919. - -_Ninth_: The Right Rev. Charles Sumner Burch, D.D., L.H.D., LL.D.; born -June 30, 1855; Bishop Suffragan 1911-1919; Bishop of New York 1919-1920; -died December 20, 1920. - -_Tenth_: The Right Rev. William Thomas Manning, D.D., LL.D., D.C.L.; born -May 12, 1866; Bishop of New York 1921. - - - - -Part Three - -Other Buildings, Etc. - - -The Bishop’s House - -The Bishop’s House (A. on plan) is in French Gothic architecture of -the chateau type, with lofty roof and high dormer windows, and is built -of Germantown micaceous schist. It is designed to be connected with the -Cathedral by cloisters, and is connected with the Deanery by a vaulted -porch above which is to be built the Bishop’s private chapel. The extreme -outside dimensions of the Bishop’s House are 77 by 126 feet, including -the porch. The architects were Messrs. Cram & Ferguson.[49] The occupants -of the house have been Bishop Greer from the time of its opening in 1914 -until his death May 19, 1919; Bishop Burch from his installation October -28, 1919, until his death December 20, 1920; and Bishop Manning since his -consecration on May 11, 1921. - - -The Deanery - -The Deanery (B. on plan) adjoins the Bishop’s House as above mentioned. -It is by the same architect, is in the same style but of a more domestic -type, forms a part of the same architectural composition, and is built of -the same kind of stone. It is not so lofty a structure as the Bishop’s -House, but has many interesting details, particularly on the southern -façade. Its extreme outside measurements are about 79 by 93 feet. The -late Dean Grosvenor occupied the Deanery from the time of its erection -until his death December 9, 1916, and was succeeded by Dean Robbins in -June, 1917. A tablet in the porch is inscribed: - - “The Deanery ‖ erected in ‖ Faithful Remembrance ‖ of ‖ - Clinton Ogilvie ‖ 1838-1900 ‖ by his wife ‖ Helen Slade - Ogilvie ‖ A. D. 1913.” - -[Illustration: THE BISHOP’S HOUSE] - - -The Choir School - -The Choir School (C. on Plan) has a special interest for everyone who -goes to the Cathedral, for here are educated and trained the boys who -sing in the Cathedral services. The school was founded by Bishop H. C. -Potter in 1901 and was formerly located in the Old Synod House. The -present building, erected in 1912 and built of the same kind of stone -as the Bishop’s House and Deanery, is in the English Collegiate Gothic -style of architecture; is three stories high, and has extreme outside -dimensions of 83 by 150 feet. Messrs. Walter Cook and Winthrop A. Welch -were the architects. The building contains offices, a general school -room which is equipped with apparatus for both stereopticon and moving -pictures, a choir rehearsal room with stalls, individual rooms for vocal -and instrumental practice, a fine large common room with open fire-place -for reading and social intercourse, dining room, kitchen, dormitories, -a big gymnasium, a sick room to which a boy is transferred upon the -first sign of any illness, etc. Accommodations are provided for 40 -resident scholars and 20 day scholars. Their musical training is under -the personal direction of the organist and Master of the Choristers, -and their general education under the direction of the Head Master -and staff of under-masters. A sympathetic House Mother looks out for -the personal wants of the boys and directs the domestic service; and -competent physicians and trained nurses are in attendance when necessary. -Boys are admitted to the school at the age of 9 and remain until their -voices change, which is usually between the ages of 13 and 14. They come -from all parts of the United States and possessions, two boys recently -having come from Alaska. An applicant is first received on probation, -and if he manifests a good character and disposition, and gives promise -of a good voice, he is accepted as a chorister. Until they become full -choristers, vested with cassock and cotta, probationers sit in separate -choir stalls in the Cathedral services and wear only their black student -gowns. During their residence at the school, the boys are under strict -but gentle discipline and have the finest education and musical training -that can be given them. Their board, education and musical training are -free, in return for which they give their services as choristers. When -they leave the school, they are followed by the interest of the Cathedral -organizations which endeavor to secure scholarships for their higher -education. The men of the choir, of whom there are about 20, do not -reside at the Choir School. The usual number of choristers, men and boys, -in the Cathedral services is about 60, except during the summer vacation -when the number is somewhat reduced. There is probably no finer choir -school in the world, and the Cathedral music is the highest expression of -this form of musical art in this country. - -[Illustration: THE DEANERY] - -[Illustration: THE CHOIR SCHOOL] - -The Choir School building, which cost nearly $180,000, is the gift -of Mrs. J. Jarrett Blodgett in memory of her father Mr. John Hinman -Sherwood. At Eastertide, 1914, the late Commodore Frederick G. Bourne, -who had sung as a boy in Trinity Church and in later years in the -Church of the Incarnation, endowed the school with $500,000; and by his -will, probated March 15, 1919, gave $100,000 to the Cathedral toward -the building of the Nave and about the same amount to the Choir School -endowment. Members of the Diocesan Auxiliary to the Cathedral contributed -generously toward the furnishing of the school. A tablet in the porch -reads: - - “In Faithful Memory of ‖ John Hinman Sherwood ‖ Just Upright - True ‖ Erected by his daughter ‖ 1912.” - - -St. Faith’s House - -St. Faith’s House (D. on plan) is the home of the New York Training -School for Deaconesses, an independent corporation which was founded in -1890 by the late Rev. William Reed Huntington, D.D., and which occupies -a site in the Cathedral Close by permission of the Trustees of the -Cathedral. The building of Indiana limestone and brick is in Tudor Gothic -architecture, and measures 68 by 137 feet on the outside. It is the gift -of Archdeacon Charles C. Tiffany in memory of his wife. The architects -were Messrs. Heins & LaFarge. - - -The Synod House - -The Synod House, (E. on plan), standing in the southwestern angle of the -Close on the corner of Cathedral parkway and Amsterdam avenue, is the -meeting place of the Diocesan Convention and other secular gatherings -of the Diocese. It also contains the Bishop’s office and the offices of -the Suffragan Bishops, the Rt. Rev. Arthur Selden Lloyd, D.D., and the -Rt. Rev. Herbert Shipman, D.D. It is of Kingwood. W. Va., sandstone with -pink tinges, quite unlike any other stone in the Cathedral group. The -_Architecture_ is pure French Gothic of the 13th century, Messrs. Cram & -Ferguson being the architects. Its outside dimensions are 73 by 171 feet. -The _Western Entrance_ is a fine example of a mediaeval recessed porch -in its architecture and an interesting illustration of the progress of -Civilization and Christianity in its sculptures. It contains 43 figures -in the round and a relief of 12 figures in the tympanum. The key-note -to the composition is the relief in the _Tympanum_ representing Christ -sending out his Disciples to baptize and teach all the nations of the -world. Beneath this is the inscription: - - “All power is given unto me in heaven and earth ‖ Go ye - therefore, and teach all nations, baptizing ‖ them in the - name of the Father, and of the Son, and ‖ of the Holy Ghost; - teaching them to observe all ‖ things whatsoever I have - commanded you; and lo ‖ I am with you always even unto the end - of the world” (Mat. xxviii. 18-20). - -[Illustration: THE SYNOD HOUSE] - -The archivolt outside of the tympanum is composed of three ranges of -Gothic niches in the voussoirs, containing 36 little figures in the -round. The outer range represents 14 ancient and modern _Apostles of -Christianity_ as follows, beginning at the lowest figure on the left-hand -side and reading upward to the center, and thence downward to the lowest -right-hand figure: (1) Count Zinzendorf, 1700-1760, German reformer, -founder of Moravian Brethren, missionary to American Indians; (2) St. -Boniface, 680-755, Apostle of Germany; (3) St. Francis Xavier, 1506-1552, -Apostle of the Indies, one of the founders of the Society of Jesus; (4) -St. Denis, 3d century, Apostle of the Gauls, Patron Saint of France; (5) -St. Olaf, 995-1030, Patron Saint and King of Norway; (6) St. Augustine, -died 604, missionary to Britain, first Archbishop of Canterbury; -(7) Innocent of Moscow, 1797-1879, Apostle of Alaska and Kamchatka, -Archbishop of Moscow; (8) St. Patrick, circ. 372-460, Apostle and Patron -Saint of Ireland; (9) John Eliot, 1604-1690, Apostle of American Indians, -translator of Bible into Indian language; (10) St. Willibrod, 658-739, -Apostle of the Frisians, Archbishop of Utrecht; (11) St. Cyril, 827-869, -Apostle of the Slavs, inventor of the Cyrillic alphabet; (12) David -Livingstone, 1813-1873, British explorer and missionary in Africa; (13) -St. Columba, 521-597, Apostle of Caledonia; (14) Charles George Gordon, -“Gordon Pasha,” 1833-1885, British General, promoter of Christianity in -China and Egypt. The 12 figures in the middle range represent the _Arts -and Sciences_. In the same order they are: (1) Natural Science, man with -microscope; (2) Sculpture, man with mallet and chisel; (3) Medicine, -man with book and skull; (4) Literature, woman reading a book; (5) -Chemistry, woman holding aloft a retort; (6) Industrial Art, man with -vase; (7) Painting, man with palette; (8) Astronomy, man with globe; (9) -Mathematics, man wearing spectacles and gown, holding cone and truncated -pyramid; (10) Physics, woman with telephone; (11) Music, man with -violoncello; (12) Architecture, man[50] holding model of building. The -10 figures in the innermost range represent the _Crafts and Industries_, -as follows: (1) Bookbinding, man making a book; (2) Agriculture, man -sowing seed; (3) Metal Industry, man pouring molten metal from ladle; (4) -Textile Industry, woman with distaff and shuttle; (5) Navigation, sailor -holding telescope with rope at feet; (6) Building, man laying brick; -(7) Engineering, man holding tape measure; (8) Fishing, sailor with -seine; (9) Mining, man with pickaxe and miner’s cap; (10) Shoemaking, -cobbler at his last. Below these, in niches in the splays and central -pilaster of the door-way, are 7 larger figures representing _Seven Famous -Christian Rulers_ who have carried out the injunction in the tympanum, -as follows, (left to right): (1) Emperor Constantine, once ruler of the -Roman World and founder of Constantinople, who proclaimed religious -toleration and presided over the council which adopted the Nicene Creed; -(2) Charlemagne, King of the Franks, Emperor of the revived western Roman -empire, who introduced Christianity into conquered countries, maintained -popular assemblies, and promoted science, art and letters; (3) Alexis, -one of the ablest Emperors of Byzantium and friend of the Crusaders; (4, -in center) George Washington, to whose character as Christian soldier, -statesman and first President of the United States, attaches local -interest from the fact that he commanded the American troops in the -Battle of Harlem Heights which was fought partly on the ground occupied -by the Cathedral Close; (5) Gustavus Adolphus, King of Sweden, one of -the greatest generals, who, with his army in Germany, saved the cause of -Protestantism in the Thirty Years War; (6) St. Louis, King of France, -the most distinguished monarch of his age, who was noted for his piety, -justice and mercy, and who died on a Crusade; and (7) Alfred the Great, -King of Wessex, who bore the brunt of the Danish invasions and was a -promoter of education and Christianity. The sculptures are by John Evans -& Co. of Boston. The _Interior_ decoration of the high roof and open -timbers of the truss-work in polychrome is typical of the Middle Ages -and the wood panelling is a reminder of 15th century work. The latter is -by Messrs. Wm. F. Ross & Co., of Cambridge, Mass. The grisaille windows -are by Mr. Charles J. Connick of Boston. The main hall, which seats 800 -on the floor and 400 in the gallery, has a large pipe organ built by the -Ernest M. Skinner Co. of Boston. The Undercroft (basement) is equipped -for use as a refectory. The building cost about $350,000. In the main -vestibule, over the outer door-way, is this inscription: - - “To the Glory of God and for the Service of His People ‖ - This Synod House was Given in the year A. D. 1912 by ‖ John - Pierpont Morgan and William Bayard Cutting.” - - -Open Air Pulpit - -The Open Air Pulpit (F. on plan) standing in the midst of the Cathedral -Close, is in the form of an open-work Gothic spire 40 feet high, built -of Daytona stone. On its four sides are the usual symbols of the four -Evangelists. The pulpit was designed by Messrs. Howells and Stokes and -was presented by Miss Olivia Phelps Stokes in memory of her sister Miss -Caroline Phelps Stokes. It was suggested by the outdoor services held -here before the Choir and Crossing were ready, and by the open air pulpit -attached to the cathedral church at Perugia. - - -Organizations - -The following organizations of men and women aid in the Cathedral work: - -_The Diocesan Auxiliary to the Cathedral_: President, Mrs. Henry W. -Munroe; Vice-Presidents, Mrs. John Greenough, Mrs. Haley Fiske, Mrs. -W. M. V. Hoffman; Secretary, Mrs. Louis Mansfield Ogden; Assistant -Secretary, Mrs. Francis C. Huntington; Treasurer, Mrs. Harold F. Hadden. - -_The Cathedral League_: President, Mr. John S. Rogers; Vice-President, -Hon. Thomas C. T. Crain; Treasurer, Mr. John A. Hance; Secretary, Dr. -John B. Walker. - -_The Laymen’s Club_: President, Mr. Theophilus Barratt; Vice-Presidents, -Messrs. William W. Borman, Henry M. Sperry, Robert Livingston Stedman; -Treasurer, Mr. Charles P. Dietz; Secretary, Mr. J. Hardwick Stagg. -Organized 1908, incorporated 1920, “to promote and stimulate interest -in the influence, growth and completion of the Cathedral; to bring the -Cathedral and its work more completely within the knowledge of the -community; and to promote the general welfare of the Cathedral.” Among -its activities are the publication of this Guide Book and the Cathedral -post-cards, the improvement of the Cathedral grounds, the assisting -of a choir boy to complete in some well-known preparatory school his -preparation for college, the training of the Cathedral Troop of Boy -Scouts, the giving of free lectures, the ushering in the Cathedral, etc. - -_The Cathedral Ushers_ are members of the Laymen’s Club as stipulated -in a resolution of the Cathedral Trustees passed April 25, 1911, and -are designated from week to week by the Canon Sacrist. The badge of -the Ushers is a vesica-shaped[51] gold medallion, having in the center -an episcopal mitre, surrounded by the legend “Ecclesia Cathedralis S. -Johannis Theologi;” suspended by a purple ribbon from a gold bar bearing -the word “Usher.” - - -Guide Book - -Copies of this Guide Book may be procured at the Cathedral from the -Verger or the Ushers, or will be sent by mail upon request addressed to -the Verger (p. 23). In stiff paper covers 50 cents (by mail 60 cents); in -purple cloth covers stamped with gold $1.00 (by mail $1.10). - - - - -FOOTNOTES - - -[1] The service on Nov. 24, when the flags of 12 liberated nationalities -were carried in the procession, and that on Thanksgiving Day when the -flags of 27 allied nations were carried, were two of the most moving -religious services ever held in this country. The liberated peoples -represented in the former were the Armenian, Albanian, Czecho-Slovak, -Jugo-Slav, Greek Irredentist, Italian Irredentist, Lithuanian, Polish, -Rumanian, Uhro-Rusin, Ukranian, and Zionist. - -[2] The quality of divinity appertaining only to the Deity. - -[3] This was a stone tower similar to the one so well preserved in -Central Park. The remains of another are at the northern end of -Morningside Park. - -[4] See note on page 116. - -[5] The pastoral staff was presented to Bishop Manning in 1923 by the -Bishop, clergy and laity of the Diocese of London. See reference to the -Diocese of London on page 24. - -[6] The processional cross, a memorial of the late Walter D. Davidge, -Chairman of Ushers, is overlaid with pure gold, and mounted upon a carved -mahogany staff. In its center is a large topaz jewel with many facets. It -was made by Messrs. J. & R. Lamb. - -[7] Mr. Heins was born May 24, 1860, in Philadelphia, Penn., and died -September 25, 1907, at Mohegan Lake, N. Y., where there is a church -erected in his memory. - -[8] Morningside Heights are so named because they front eastward. - -[9] See description of corner-stone on page 100. - -[10] This is true in both the natural and the spiritual worlds. The oak -grows more slowly than the pine; and the moral achievements which are -worth the most and last the longest are the hardest to accomplish. - -[11] The figures of the Virgin and the Child suggest the fact that the -Chapel of St. Saviour occupies the position usually given to the Lady -Chapel in European cathedrals. - -[12] The diagonal cross of St. Andrew symbolizes not only the mode of his -martyrdom but also humility. The legend is that when condemned to death, -he asked to be nailed to a cross of a form different from the Saviour’s, -as he was not worthy to die on the same kind. - -[13] The usual symbol of St. Bartholomew, the knife with which he was -flayed alive, and that of St. Matthew, the money bag, indicating his -occupation before he was called, are not apparent. - -[14] There is a tradition that St. Luke painted the first portrait of -Christ. Pictures of the Madonna attributed to Luke are not uncommon in -southern Italy. There is one such in the Cathedral of SS. Peter and Paul -at Citta Vecchia, Malta. See article entitled “Knights and Sights of -Malta” in Harper’s Magazine for July, 1923, p. 159. - -[15] ΙϹ and ΧϹ are the Greek letters iota sigma and chi sigma, (uncial -form,) being the first and last letters in each case of the Greek words -for Jesus Christ. The letters ΝΙΚΑ are read together and spell the Greek -word which means “conquers.” Mrs. Jenner, in her “Christian Symbolism,” -says that this inscription “is stamped upon every altar-bread of the -Orthodox Eastern Church, and it occurs on every eikon of our Lord.” - -[16] What is here informally called the central aisle is sometimes called -by architects the Nave, to distinguish it from the parallel passages -called aisles. - -[17] These sculptures are surpassingly beautiful. The Supper at Emmaus -has a particularly dramatic quality. Note the amazement of the two -Disciples as they recognize the Saviour after his crucifixion, their -attitudes and facial expressions, and the vein standing out on the neck -of the one in the foreground. - -[18] The use of the grape-vine to symbolize Christ dates from the very -beginning of the Christian era. A silver chalice found in Antioch by -Arabs in 1910 and believed to date from the 1st century, is covered with -a grape-vine of twelve branches in the midst of which are figures of -Christ and the writers of the Gospels and Epistles (See N. Y. Evening Sun -of Jan. 3, 1920, and N. Y. Times of May 14, 1922.) - -[19] These symbols, supposed to be derived from the Revelation of -St. John (iv. 7) and the prophecy of Ezekiel (i. 10), are variously -interpreted. One explanation of each follows: The man or cherub is given -to St. Matthew because he dwells on the human side of Christ; the lion -to St. Mark because he is called the historian of the resurrection, and -ancient naturalists believed that the lion was born inanimate and came to -life three days after birth; the ox, the emblem of sacrifice, to St. Luke -because he dwells on the priesthood of Christ; and the eagle to St. John -because he soared in the spirit to heaven and saw God. - -[20] These Romanesque features are part of the original design which was -subsequently abandoned. There is a plan for changing them to Gothic. - -[21] There is much ambiguity in the use by architects of terms to -indicate the sub-divisions of the eastern limb of a cathedral which is -called comprehensively the Choir. The designations here used—the Choir -proper, the Presbytery, and the Sanctuary—are sufficient for present -purposes without confusing the reader with conflicting definitions. - -[22] For details of intentional departures from absolute levels, and -from regularity of height and spacing of arches, see “Temperamental -Architecture” in “The New York Architect” for April, 1911. - -[23] See Abbott’s “History of King Alfred” for legends concerning the -cakes. One is, that Alfred, when a fugitive from the Danes, was hiding -one day in a peasant’s cottage, and while sitting by the fire-place -mending his bow, he was requested by the house-wife to watch her cakes -which were baking. Absorbed in thoughts of his kingdom, he forgot the -cakes, and for his neglect was roundly scolded by the woman who little -realized his character. - -[24] St. Francis, founder of the Franciscan Order, literally interpreted -the text “Go ye into all the world and preach the Gospel to every -creature” (Mark xvi. 15) and a famous fresco by Giotto in the church of -San Francesco, at Assisi, represents him preaching to the birds. - -[25] “Cathedral Choirs ... have for ages been divided into two portions -facing each other and respectively named Decani, or the side of the Dean, -... and Cantoris, or the side of the Cantor” or Precentor.—Hunt’s Concise -History of Music. - -[26] Brother of Horatio Potter and father of Henry Codman Potter, Bishops -of New York. - -[27] See reference to the symbols of the four Evangelists on page 44. - -[28] See page 93 for anecdote of the Dove of Peace connected with this -window. - -[29] See page 74 following. - -[30] The poetic beauty of this window tempts one to re-read Milton’s -“Paradise Lost.” The beautiful legend of St. Raphael, the friendly -traveller, a favorite subject of art, is to be found in the Book of -Tobit, in the Apochrypha. - -[31] Uncle of Bishop Henry Codman Potter, seventh Bishop of New York, -whose tomb is in the Chapel of St. James. - -[32] The symbolism applicable to Bishop Potter’s work is that of the -familiar adage, “Great oaks from little acorns grow.” - -[33] The congregational singing, always a feature of the Cathedral -services, is remarkable on these occasions, especially with the colored -congregations, among whom are often heard voices of exceptional quality. - -[34] Concerning the ΙϹ-ΧϹ symbol, see page 34. Concerning the Ichthus -symbol, see page 116. - -[35] These letters ihc and the corresponding capitals ΙΗϹ (iota, eta, -sigma,) are the first two and last letters of the Greek word for Jesus. -They are frequently associated with the letters ΧΡϹ (chi, rho, sigma,) -the first two and last letters of the word for Christ. When converted -into the Roman form of ihs or IHS, they are sometimes construed to be the -initials of the words Jesus Hominum Salvator (Jesus Saviour of Men). - -[36] This rare representation of God the Father in human form is after -examples developed during and confined almost entirely to the 14th-16th -centuries. The triangular nimbus is peculiarly the symbol of God the -Father. Note description of Reredos. - -[37] Grisaille, from the French “gris” meaning “gray,” so-called on -account of the grizzled or grayish brown glass often employed. Windows in -geometrical designs are also called pattern windows. Other examples of -grisaille windows are those in St. Columba Chapel. - -[38] The designer has taken artistic license with these colors. Strictly, -the arms of the City of Rheims are: On a silver field, a green wreath of -oak and laurel with red fruit; on a blue chief three fleurs de lis of -gold. - -[39] Strictly, the arms of the Archbishop of Rheims are: On a blue field -sprinkled with golden fleurs de lis, a silver cross over all. - -[40] In 1376, Charles V. fixed the number of fleurs de lis in the royal -arms at three “to symbolize the Holy Trinity.” Some persons consider that -the three leaves of the conventional fleur de lis also symbolize the -Trinity. - -[41] This representation of the Transfiguration, like that in the reredos -of the Chapel of Saint James described on page 71, is after Raphael’s -last work, the original of which is in the Vatican. In both cases the -poses of the six figures have been adapted to the spaces occupied. - -[42] In the following table _ac._ indicates date of accession to title. -Some of the dates here and on page 86 are only approximate. - -[43] Only the nimbus of the Deity is ornamented with the cross. In a -front view, but three arms of the cross appear; and sometimes these are -represented as rays of light. A few writers, including G. J. French -and W. & G. Audsley, contend that the three rays on the nimbus of the -Deity have no connection with the cross, but symbolize the Trinity. The -similarity of the floriated terminals to the French fleur de lis has no -special meaning, the real significance being, as stated on page 74 the -flowering or productiveness of the Christian religion. - -[44] A Bishop’s crozier is usually in the form of a pastoral staff, or -ornate shepherd’s crook; an Archbishop’s staff has a cross instead of a -crook at the upper end; and a papal staff has a double cross at the upper -end. - -[45] The founder of a see is usually represented holding the model of a -cathedral. - -[46] As an illustration of a peace legend connected with a European -church may be mentioned that of the Golden Virgin of the basilica of -Notre Dame de Brebieres, in Albert, France. In the bombardment of 1914, -the figure of the Virgin and Child which surmounted the spire was thrown -over and remained suspended at right angles for over three years; during -which time the belief sprang up locally that when the Golden Virgin fell, -peace would come. The Virgin fell during the bombardment of 1918, and -peace ensued a few months later. - -[47] Some years ago, when Canon Douglas was visiting Worcester Cathedral, -England, Canon Wilson pointed to a spot in the wall where an ancient -carved stone had been replaced by a modern stone, and said: “A good while -ago a man of the name of Huntington, who introduced himself as Rector of -a church in Worcester, Mass., begged me to give him a bit of carved stone -as a symbol of the ties between England and America.” This led Canon -Douglas to ask for a similar gift to be placed in St. Ansgarius’ Chapel, -which is a memorial of Dr. Huntington, in a House of God where Englishmen -and Americans often meet and where members of the Daughter Church have -constant occasion to recall their indebtedness to the Mother Church of -England. - -[48] The Corner Stone also contains a Bible, a Prayer Book, a Hymnal, -Journals of the Diocesan Conventions 1882-1892, Journals of the General -Conventions 1889-1892, Centennial History of the Diocese of New York, -several church periodicals, three different almanacs for 1893, Catalogue -of the General Theological Seminary and St. Stephen’s College 1892-1893, -New York daily papers of December 27, 1892, the form of service for -laying the Corner Stone, names of the Cathedral Trustees, several charges -and addresses delivered by Bishop Potter on various occasions, letters -from the Bishop to the clergy and others concerning the Cathedral, the -badge and rules of prayer of the Brotherhood of St. Andrew, medal of the -Missionary Society, lists of principal officers of the United States, N. -Y. State and N. Y. City governments, and a list of the objects placed in -the stone. - -[49] For details, see description in the Architectural Record for August, -1914. - -[50] Ralph Adams Cram. - -[51] Several ideas associated with the fish-shape of the vesica piscis -have caused it to be recognized as a symbol of Christ. In an ingenious -rebus of a very early date, the five letters of the Greek word for “fish” -ἰχθύς, form the initials of the Greek words Ἰησοῦς Χριστὸς, Θεοῦ Υἱὸς, -Σωτήρ, which mean “Jesus Christ, Son of God, Saviour.” - -*** END OF THE PROJECT GUTENBERG EBOOK A GUIDE TO THE CATHEDRAL CHURCH -OF SAINT JOHN THE DIVINE IN THE CITY OF NEW YORK *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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