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diff --git a/old/68112-h/68112-h.htm b/old/68112-h/68112-h.htm deleted file mode 100644 index 636c84e..0000000 --- a/old/68112-h/68112-h.htm +++ /dev/null @@ -1,5627 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of A guide to the Cathedral Church of St. John the Divine in the City of New York, by Edward Hagaman Hall, L. H. D. - </title> - - <link rel="coverpage" href="images/cover.jpg" /> - -<style type="text/css"> - -a { - text-decoration: none; -} - -body { - margin-left: 10%; - margin-right: 10%; -} - -h1,h2,h3,h4 { - text-align: center; - clear: both; -} - -h2.nobreak { - page-break-before: avoid; -} - -hr.chap { - margin-top: 2em; - margin-bottom: 2em; - clear: both; - width: 65%; - margin-left: 17.5%; - margin-right: 17.5%; -} - -div.chapter { - page-break-before: always; -} - -ul { - list-style-type: none; - padding-left: 0; -} - -ul.caption { - font-size: 90%; - text-align: left; -} - -li { - margin-top: .5em; -} - -li.isub1 { - padding-left: 2em; -} - -p { - margin-top: 0.5em; - text-align: justify; - margin-bottom: 0.5em; - text-indent: 1em; -} - -table { - margin: 1em auto 1em auto; - max-width: 35em; - border-collapse: collapse; -} - -td { - padding-left: 0.25em; - padding-right: 0.25em; - vertical-align: top; -} - -.contents td { - padding-left: 2.25em; - text-indent: -2em; - text-align: justify; -} - -.contents .tdpg { - vertical-align: bottom; - text-align: right; -} - -.contents .tdc, .tdc { - padding-left: 0.25em; - text-indent: 0; - text-align: center; - padding-top: 0.75em; -} - -.tdr { - text-align: right; -} - -.sub { - padding-left: 4.25em; -} - -.blockquote { - margin: 1.5em 10%; - font-size: 90%; -} - -.caption { - text-align: center; - margin-bottom: 1em; - font-size: 90%; - text-indent: 0em; -} - -.center { - text-align: center; - text-indent: 0em; -} - -.ditto { - margin-left: 0.75em; -} - -.figcenter { - margin: auto; - text-align: center; -} - -.figmulti { - display: inline-block; -} - -.footnotes { - margin-top: 1em; - border: dashed 1px; -} - -.footnote { - margin-left: 10%; - margin-right: 10%; - font-size: 0.9em; -} - -.footnote .label { - position: absolute; - right: 84%; - text-align: right; -} - -.fnanchor { - vertical-align: super; - font-size: .8em; - text-decoration: none; -} - -b,h1,h2,h3,h4 { - font-family: 'Old English Text MT', 'Old English', serif; -} - -.pagenum { - position: absolute; - right: 4%; - font-size: smaller; - text-align: right; - font-style: normal; -} - -.smaller { - font-size: 80%; -} - -.smcap { - font-variant: small-caps; - font-style: normal; -} - -.titlepage { - text-align: center; - margin-top: 3em; - text-indent: 0em; -} - -.transnote { - background-color: #E6E6FA; - color: black; - text-align: center; - font-size: smaller; - padding: 0.5em; - margin-bottom: 1em; -} - -.x-ebookmaker img { - max-width: 100%; - width: auto; - height: auto; -} - -.x-ebookmaker .blockquote { - margin: 1.5em 5%; -} - </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>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</p> -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. 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. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: A guide to the Cathedral Church of Saint John the Divine in the city of New York</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>Fifth Edition</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Edward Hagaman Hall</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: May 17, 2022 [eBook #68112]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>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.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK A GUIDE TO THE CATHEDRAL CHURCH OF SAINT JOHN THE DIVINE IN THE CITY OF NEW YORK ***</div> - -<p><span class="pagenum"><a id="Page_1"></a>[1]</span></p> - -<h1>A Guide to<br /> -The Cathedral Church of St. John the Divine<br /> -in the City of New York.</h1> - -<p><span class="pagenum"><a id="Page_2"></a>[2]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="figcenter" style="width: 700px;" id="illus1"> -<img src="images/illus1.jpg" width="700" height="500" alt="" /> -<p class="caption">THE NORTH ELEVATION OF THE CATHEDRAL</p> -<p class="caption">(From Architect’s Design)</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<p><span class="pagenum"><a id="Page_3"></a>[3]</span></p> - -<div class="figcenter" style="width: 450px;"> - -<img src="images/titlepage.jpg" width="450" height="700" alt="" /> - -<p class="center">A Guide to the<br /> -Cathedral Church<br /> -of<br /> -Saint John the Divine<br /> -in the City of New York<br /> -by<br /> -Edward Hagaman Hall, L. H. D.</p> - -<p class="center">New York<br /> -The Laymen’s Club of the Cathedral<br /> -1924</p> - -</div> - -<p class="titlepage">Fifth Edition.</p> - -<p><span class="pagenum"><a id="Page_4"></a>[4]</span></p> - -<p class="titlepage">Copyright, 1920, 1921, 1922, 1924, by<br /> -The Laymen’s Club of<br /> -The Cathedral Church of St. John the Divine,<br /> -New York, N. Y.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_5"></a>[5]</span></p> - -<h2 class="nobreak">Introductory Note</h2> - -</div> - -<p>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<span class="pagenum"><a id="Page_6"></a>[6]</span> -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.</p> - -<p>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.</p> - -<div class="figcenter" style="width: 400px;" id="illus2"> -<img src="images/illus2.jpg" width="400" height="500" alt="" /> -<p class="caption">The Cathedral Flag</p> -<p class="caption">(<a href="#Page_56">See Page 56</a>)</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_7"></a>[7]</span></p> - -<h2 class="nobreak">Contents</h2> - -</div> - -<table summary="Contents" class="contents"> - <tr> - <td colspan="2" class="tdc"><i><a href="#Part_One">I. THE SPIRIT OF THE CATHEDRAL.</a></i></td> - </tr> - <tr> - <td>The Real Cathedral</td> - <td class="tdpg"><a href="#heading1">11</a></td> - </tr> - <tr> - <td>Praise in its Greatness</td> - <td class="tdpg"><a href="#heading2">12</a></td> - </tr> - <tr> - <td>Praise in its Beauty</td> - <td class="tdpg"><a href="#heading3">12</a></td> - </tr> - <tr> - <td>Praise in its Service</td> - <td class="tdpg"><a href="#heading4">13</a></td> - </tr> - <tr> - <td>The Spirit of Democracy</td> - <td class="tdpg"><a href="#heading5">14</a></td> - </tr> - <tr> - <td>A Civic Institution</td> - <td class="tdpg"><a href="#heading6">15</a></td> - </tr> - <tr> - <td>A Great Symbol</td> - <td class="tdpg"><a href="#heading7">16</a></td> - </tr> - <tr> - <td>A Sign of Stability</td> - <td class="tdpg"><a href="#heading8">16</a></td> - </tr> - <tr> - <td colspan="2" class="tdc"><i><a href="#Part_Two">II. THE FABRIC OF THE CATHEDRAL.</a></i></td> - </tr> - <tr> - <td>Name and Namesake</td> - <td class="tdpg"><a href="#heading9">19</a></td> - </tr> - <tr> - <td>Location and Access</td> - <td class="tdpg"><a href="#heading10">20</a></td> - </tr> - <tr> - <td>Administration and Clergy</td> - <td class="tdpg"><a href="#heading11">22</a></td> - </tr> - <tr> - <td>Seals</td> - <td class="tdpg"><a href="#heading12">23</a></td> - </tr> - <tr> - <td>Services</td> - <td class="tdpg"><a href="#heading13">25</a></td> - </tr> - <tr> - <td>Visitors</td> - <td class="tdpg"><a href="#heading14">26</a></td> - </tr> - <tr> - <td>Architecture</td> - <td class="tdpg"><a href="#heading15">27</a></td> - </tr> - <tr> - <td>Plan and Size</td> - <td class="tdpg"><a href="#heading16">27</a></td> - </tr> - <tr> - <td>Progress of Construction</td> - <td class="tdpg"><a href="#heading17">28</a></td> - </tr> - <tr> - <td>Funds for Building</td> - <td class="tdpg"><a href="#heading18">29</a></td> - </tr> - <tr> - <td>Foundation and Structure</td> - <td class="tdpg"><a href="#heading19">31</a></td> - </tr> - <tr> - <td>Exterior of Chapels</td> - <td class="tdpg"><a href="#heading20">31</a></td> - </tr> - <tr> - <td>Clerestory of Choir</td> - <td class="tdpg"><a href="#heading21">33</a></td> - </tr> - <tr> - <td>Stone Shields</td> - <td class="tdpg"><a href="#heading22">33</a></td> - </tr> - <tr> - <td>West Front</td> - <td class="tdpg"><a href="#heading23">34</a></td> - </tr> - <tr> - <td>Nave</td> - <td class="tdpg"><a href="#heading24">36</a></td> - </tr> - <tr> - <td>Crossing</td> - <td class="tdpg"><a href="#heading25">40</a></td> - </tr> - <tr> - <td>Pulpit</td> - <td class="tdpg"><a href="#heading26">42</a></td> - </tr> - <tr> - <td>Tapestries</td> - <td class="tdpg"><a href="#heading27">46</a></td> - </tr> - <tr> - <td>Litany Desk</td> - <td class="tdpg"><a href="#heading28">46</a></td> - </tr> - <tr> - <td>Choir</td> - <td class="tdpg"><a href="#heading29">48</a></td> - </tr> - <tr> - <td>Choir Parapet</td> - <td class="tdpg"><a href="#heading30">49</a></td> - </tr> - <tr> - <td>Pavements</td> - <td class="tdpg"><a href="#heading31">51</a></td> - </tr> - <tr> - <td>Lectern</td> - <td class="tdpg"><a href="#heading32">52</a></td> - </tr> - <tr> - <td>Choir Stalls</td> - <td class="tdpg"><a href="#heading33">54</a></td> - </tr> - <tr> - <td>Organ</td> - <td class="tdpg"><a href="#heading34">55</a></td> - </tr> - <tr> - <td>Cathedral Flag</td> - <td class="tdpg"><a href="#heading35">56</a></td> - </tr> - <tr> - <td>High Altar</td> - <td class="tdpg"><a href="#heading36">56</a></td> - </tr> - <tr> - <td>Credence Table</td> - <td class="tdpg"><a href="#heading37">58</a></td> - </tr> - <tr> - <td>Great Columns</td> - <td class="tdpg"><a href="#heading38">59</a></td> - </tr> - <tr> - <td>Clerestory Windows</td> - <td class="tdpg"><a href="#heading39">60</a></td> - </tr> - <tr> - <td>Ambulatory</td> - <td class="tdpg"><a href="#heading40">66</a></td> - </tr> - <tr> - <td>Founder’s Tomb</td> - <td class="tdpg"><a href="#heading41">68</a></td> - </tr> - <tr> - <td>Choir Boys’ Stone</td> - <td class="tdpg"><a href="#heading42">69</a></td> - </tr> - <tr> - <td>Seven Chapels of Tongues</td> - <td class="tdpg"><a href="#heading43">69</a></td> - </tr> - <tr> - <td class="sub">Chapel of St. James</td> - <td class="tdpg"><a href="#heading44">71</a></td> - </tr> - <tr> - <td class="sub">Chapel of St. Ambrose</td> - <td class="tdpg"><a href="#heading45">76</a></td> - </tr> - <tr> - <td class="sub">Chapel of St. Martin</td> - <td class="tdpg"><a href="#heading46">80</a></td> - </tr> - <tr> - <td class="sub">Chapel of St. Saviour</td> - <td class="tdpg"><a href="#heading47">84</a></td> - </tr> - <tr> - <td class="sub">Chapel of St. Columba</td> - <td class="tdpg"><a href="#heading48">87</a></td> - </tr> - <tr> - <td class="sub">Chapel of St. Boniface</td> - <td class="tdpg"><a href="#heading49">90</a></td> - </tr> - <tr> - <td class="sub">Chapel of St. Ansgarius</td> - <td class="tdpg"><a href="#heading50">95</a></td> - </tr> - <tr> - <td>Corner Stone</td> - <td class="tdpg"><a href="#heading51">100</a></td> - </tr> - <tr> - <td>Crypt</td> - <td class="tdpg"><a href="#heading52">100</a></td> - </tr> - <tr> - <td>Summary of Dimensions</td> - <td class="tdpg"><a href="#heading53">101</a></td> - </tr> - <tr> - <td>Bishops of New York</td> - <td class="tdpg"><a href="#heading54">102</a></td> - </tr> - <tr> - <td colspan="2" class="tdc"><i><a href="#Part_Three">III. OTHER BUILDINGS, ETC.</a></i></td> - </tr> - <tr> - <td>Bishop’s House</td> - <td class="tdpg"><a href="#heading55">104</a></td> - </tr> - <tr> - <td>Deanery</td> - <td class="tdpg"><a href="#heading56">104</a></td> - </tr> - <tr> - <td>Choir School</td> - <td class="tdpg"><a href="#heading57">106</a></td> - </tr> - <tr> - <td>St. Faith’s House</td> - <td class="tdpg"><a href="#heading58">110</a></td> - </tr> - <tr> - <td>Synod House</td> - <td class="tdpg"><a href="#heading59">110</a></td> - </tr> - <tr> - <td>Open Air Pulpit</td> - <td class="tdpg"><a href="#heading60">114</a></td> - </tr> - <tr> - <td>Cathedral Organizations</td> - <td class="tdpg"><a href="#heading61">115</a></td> - </tr> - <tr> - <td>Guide Book</td> - <td class="tdpg"><a href="#heading62">116</a></td> - </tr> -</table> - -<hr class="chap x-ebookmaker-drop" /> - -<p><span class="pagenum"><a id="Page_8"></a>[8]</span></p> - -<div class="figcenter" style="width: 500px;" id="illus3"> - -<div class="transnote"> -Transcriber's Note: Click plan for larger version. -</div> - -<a href="images/illus3-full.jpg"><img src="images/illus3.jpg" width="500" height="450" alt="" /></a> - -<p><span class="pagenum"><a id="Page_9"></a>[9]</span></p> - -<p class="caption">PLAN</p> - -<ul class="caption"> -<li>1. West Front, not begun</li> -<li>2. Nave, foundation laid</li> -<li>3. Crossing</li> -<li>4. North Transept, not begun</li> -<li>5. South Transept, not begun</li> -<li>6. Altar Sacristy, not begun</li> -<li>7. Baptistery, begun May 29, 1924</li> -<li>8. Choir Sacristy, not begun</li> -<li class="isub1">Dotted lines indicate cloisters connecting with Choir School</li> -<li>9. Dean’s Office, with Canons’ Offices adjoining, not begun</li> -<li>10. Choir</li> -<li>11. Sanctuary</li> -<li>12. Ambulatory</li> -</ul> - -<p class="caption"><i>Seven Chapels of Tongues</i></p> - -<ul class="caption"> -<li>13. Chapel of St. James</li> -<li>14. Chapel of St. Ambrose</li> -<li>15. Chapel of St. Martin of Tours</li> -<li>16. Chapel of St. Saviour</li> -<li>17. Chapel of St. Columba</li> -<li>18. Chapel of St. Boniface</li> -<li>19. Chapel of St. Ansgarius</li> -</ul> - -<ul class="caption"> -<li>A. Bishop’s House</li> -<li>B. Deanery</li> -<li>C. Choir School</li> -<li>D. St. Faith’s House</li> -<li>E. New Synod House</li> -<li>F. Open Air Pulpit</li> -</ul> - -<p class="caption">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.</p> - -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_10"></a>[10]</span></p> - -<h2 class="nobreak">Illustrations</h2> - -</div> - -<table summary="Illustrations" class="contents"> - <tr> - <td>Cathedral from northeast, complete exterior design, from architect’s drawing</td> - <td class="tdpg"><a href="#illus1"><i>Frontispiece</i></a></td> - </tr> - <tr> - <td>Flag of the Cathedral</td> - <td class="tdpg"><a href="#illus2">6</a></td> - </tr> - <tr> - <td>Plan of the Cathedral and Close</td> - <td class="tdpg"><a href="#illus3">8-9</a></td> - </tr> - <tr> - <td>East end of Cathedral (exterior)</td> - <td class="tdpg"><a href="#illus4">18</a></td> - </tr> - <tr> - <td>Seal of the Diocese</td> - <td class="tdpg"><a href="#illus5">24</a></td> - </tr> - <tr> - <td>Seal of the Cathedral</td> - <td class="tdpg"><a href="#illus6">24</a></td> - </tr> - <tr> - <td>ΙϹ-ΧϹ-ΝΙ-ΚΑ symbol “Jesus Christ Conquers”</td> - <td class="tdpg"><a href="#illus7-8-9">34</a></td> - </tr> - <tr> - <td>SP-SF-SS symbol, “Holy Father, Holy Son, Holy Spirit”</td> - <td class="tdpg"><a href="#illus7-8-9">34</a></td> - </tr> - <tr> - <td>Symbols of St. Luke</td> - <td class="tdpg"><a href="#illus7-8-9">34</a></td> - </tr> - <tr> - <td>West Front, from architect’s drawing</td> - <td class="tdpg"><a href="#illus10">35</a></td> - </tr> - <tr> - <td>Nave (exterior), from composite photograph of model</td> - <td class="tdpg"><a href="#illus11">37</a></td> - </tr> - <tr> - <td>Nave (interior), from composite photograph of model</td> - <td class="tdpg"><a href="#illus12">39</a></td> - </tr> - <tr> - <td>Nave foundation and Crossing (exterior)</td> - <td class="tdpg"><a href="#illus13">41</a></td> - </tr> - <tr> - <td>Pulpit (indoors)</td> - <td class="tdpg"><a href="#illus14">43</a></td> - </tr> - <tr> - <td>Barberini tapestry, “The Last Supper”</td> - <td class="tdpg"><a href="#illus15">45</a></td> - </tr> - <tr> - <td>Crossing and Choir (interior)</td> - <td class="tdpg"><a href="#illus16">47</a></td> - </tr> - <tr> - <td>Choir Stalls, south side</td> - <td class="tdpg"><a href="#illus17">53</a></td> - </tr> - <tr> - <td>High Altar</td> - <td class="tdpg"><a href="#illus18">57</a></td> - </tr> - <tr> - <td>Credence Table with Magna Charta Stones</td> - <td class="tdpg"><a href="#illus19">58</a></td> - </tr> - <tr> - <td>The Founder’s Tomb</td> - <td class="tdpg"><a href="#illus20">67</a></td> - </tr> - <tr> - <td>Chapel of St. James (interior)</td> - <td class="tdpg"><a href="#illus21">73</a></td> - </tr> - <tr> - <td>Coats of Arms in windows of Chapel of St. Martin:</td> - <td class="tdpg"></td> - </tr> - <tr> - <td>City of Rheims</td> - <td class="tdpg"><a href="#illus22">82</a></td> - </tr> - <tr> - <td>Notre Dame Cathedral of Paris</td> - <td class="tdpg"><a href="#illus22">82</a></td> - </tr> - <tr> - <td>Archbishop of Tours</td> - <td class="tdpg"><a href="#illus22">82</a></td> - </tr> - <tr> - <td>Chapter of Poitiers</td> - <td class="tdpg"><a href="#illus22">82</a></td> - </tr> - <tr> - <td>St. Martin of Tours</td> - <td class="tdpg"><a href="#illus22">82</a></td> - </tr> - <tr> - <td>Archdiocese of Rheims</td> - <td class="tdpg"><a href="#illus22">82</a></td> - </tr> - <tr> - <td>Dukes of Orleans</td> - <td class="tdpg"><a href="#illus22">82</a></td> - </tr> - <tr> - <td>Niche of England Cathedral Stones</td> - <td class="tdpg"><a href="#illus23">95</a></td> - </tr> - <tr> - <td>The Sacrifice</td> - <td class="tdpg"><a href="#illus24">99</a></td> - </tr> - <tr> - <td>Bishop’s House</td> - <td class="tdpg"><a href="#illus25">105</a></td> - </tr> - <tr> - <td>Deanery</td> - <td class="tdpg"><a href="#illus26">107</a></td> - </tr> - <tr> - <td>Choir School</td> - <td class="tdpg"><a href="#illus27">109</a></td> - </tr> - <tr> - <td>Synod House</td> - <td class="tdpg"><a href="#illus28">111</a></td> - </tr> -</table> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_11"></a>[11]</span></p> - -<h2 class="nobreak" id="Part_One"><span class="smaller">Part One</span><br /> -The Spirit of the Cathedral</h2> - -</div> - -<h3 id="heading1">The Real Cathedral</h3> - -<p>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.</p> - -<p>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 <i>soul</i> of the Cathedral—the <i>real</i> 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.</p> - -<p><span class="pagenum"><a id="Page_12"></a>[12]</span></p> - -<p>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.</p> - -<h3 id="heading2">Praise in its Greatness</h3> - -<p>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.”</p> - -<h3 id="heading3">Praise in its Beauty</h3> - -<p>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<span class="pagenum"><a id="Page_13"></a>[13]</span> -human achievement in godly living which these -express, the Cathedral stirs the most reverent emotions -and creates the noblest aspirations.</p> - -<h3 id="heading4">Praise in its Service</h3> - -<p>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.</p> - -<p>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.</p> - -<p>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:</p> - -<p>“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 <i>feel</i>, 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<span class="pagenum"><a id="Page_14"></a>[14]</span> -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 -<i>does</i> affect the imagination and through that -channel the heart.”</p> - -<h3 id="heading5">The Spirit of Democracy</h3> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_15"></a>[15]</span></p> - -<h3 id="heading6">A Civic Institution</h3> - -<p>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;<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a> 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<span class="pagenum"><a id="Page_16"></a>[16]</span> -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.</p> - -<h3 id="heading7">A Great Symbol</h3> - -<p>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.”</p> - -<h3 id="heading8">A Sign of Stability</h3> - -<p>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<span class="pagenum"><a id="Page_17"></a>[17]</span> -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?”</p> - -<p><span class="pagenum"><a id="Page_18"></a>[18]</span></p> - -<div class="figcenter" style="width: 700px;" id="illus4"> -<img src="images/illus4.jpg" width="700" height="500" alt="" /> -<p class="caption">THE EXTERIOR OF THE CHOIR, CHAPELS AND CROSSING, LOOKING SOUTHWEST</p> -<p class="caption">(Choir School at left)</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_19"></a>[19]</span></p> - -<h2 class="nobreak" id="Part_Two"><span class="smaller">Part Two</span><br /> -The Fabric of the Cathedral</h2> - -</div> - -<h3 id="heading9">Name and Namesake</h3> - -<p>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 -<a href="#Page_115">page 115</a> following. The Cathedral is the chief church -of the Diocese which embraces 294 different parishes -and missions.</p> - -<p>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<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a> 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<span class="pagenum"><a id="Page_20"></a>[20]</span> -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 <a href="#Page_44">page 44</a>) 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.</p> - -<h3 id="heading10">Location and Access</h3> - -<p>The Cathedral is located between Cathedral parkway -(110th street,) Amsterdam avenue, 113th street, -and Morningside drive.</p> - -<p>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.</p> - -<p>Morningside Heights being 100 feet above the level -of the adjacent Harlem Plain, the Cathedral commands<span class="pagenum"><a id="Page_21"></a>[21]</span> -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 (<a href="#Page_51">page 51</a>) and adorns the entrance -to the Synod House (<a href="#Page_114">p. 114</a>), 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.<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a></p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_22"></a>[22]</span></p> - -<h3 id="heading11">Administration and Clergy</h3> - -<p>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.</p> - -<p>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 <i>Bishop</i> 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 <i>Dean</i> is Chairman of the Cathedral -Chapter and the executive head of the Cathedral, -leading and co-ordinating the various branches of its -work. The <i>Canon Bursar</i> 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 <i>Canon -Sacrist</i> has the care of the Cathedral as a place of -worship and is Master of Ceremonies on all occasions. -The <i>Canon Precentor</i> 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 <i>Precentor</i>. The Dean and Canons may have Vicars -as assistants.</p> - -<p>Following is the Cathedral Staff:</p> - -<p><span class="pagenum"><a id="Page_23"></a>[23]</span></p> - -<p class="center"><i>Bishop of New York</i></p> - -<ul class="center"> -<li>The Right Rev. William Thomas Manning, D.D., LL.D., D.C.L.</li> -</ul> - -<p class="center"><i>Dean</i></p> - -<ul class="center"> -<li>The Very Rev. Howard Chandler Robbins, D.D.</li> -</ul> - -<p class="center"><i>Canon Bursar</i></p> - -<ul class="center"> -<li>The Rev. Robert Ellis Jones, D.D.</li> -</ul> - -<p class="center"><i>Precentor</i></p> - -<ul class="center"> -<li>The Rev. Henry Purcell Veazie, M.A. (Oxon.)</li> -</ul> - -<p class="center"><i>Honorary Canons</i></p> - -<ul class="center"> -<li>The Rev. George Francis Nelson, D.D.</li> -<li>The Rev. George William Douglas, D.D.</li> -<li>The Rev. George Frederick Clover, M.A.</li> -<li>The Rev. Harold Adye Prichard, M.A.</li> -<li>The Rev. Pascal Harrower, M.A.</li> -</ul> - -<p class="center"><i>Head Master of the Choir School</i></p> - -<ul class="center"> -<li>William Lester Henry, A.B.</li> -</ul> - -<p class="center"><i>Organist and Master of the Choristers</i></p> - -<ul class="center"> -<li>Miles Farrow, M.A., Mus. Doc.</li> -</ul> - -<p class="center"><i>Head Verger</i></p> - -<ul class="center"> -<li>Thomas Meatyard.</li> -</ul> - -<p>The post-office address of any of the above mentioned -is “The Cathedral of St. John the Divine, New -York, N. Y.”</p> - -<p>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. (<a href="#Page_9">See page 9</a>).</p> - -<h3 id="heading12">Seals of Diocese and Cathedral</h3> - -<p>The seal of the Diocese is in the form of a -pointed oval, or vesica,<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[4]</a> and is as follows:</p> - -<p><span class="pagenum"><a id="Page_24"></a>[24]</span></p> - -<p>Quarterly <i>gules</i> and <i>argent</i>, over all a cross counter-changed -of the same. In dexter chief the American -eagle with wings displayed <i>or</i>; in sinister chief -and dexter base the sails of a windmill <i>proper</i> from -the arms of the City of New York. In sinister base -two swords in saltire <i>or</i> from the arms of the see of -London. Surmounted by an episcopal mitre <i>proper</i>. -The arms surmounted on a field <i>purpure</i> and enclosed -by a bordure <i>azure</i> lined (or edged) <i>or</i> bearing -the legend “Seal of the Diocese of New York -MDCCLXXXV” <i>or</i>.</p> - -<p>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.</p> - -<div class="figcenter" style="width: 750px;"> - -<div class="figmulti" style="width: 350px;" id="illus5"> -<img src="images/illus5.jpg" width="350" height="500" alt="" /> -<p class="caption">Diocesan Seal</p> -</div> - -<div class="figmulti" style="width: 350px;" id="illus6"> -<img src="images/illus6.jpg" width="350" height="500" alt="" /> -<p class="caption">Cathedral Seal</p> -</div> - -</div> - -<p>The seal of the Cathedral, also vesica-shaped, is -as follows:</p> - -<p>Tierce in pairle reversed. 1st, from the arms of -the City of New York: <i>argent</i> four sails of a windmill<span class="pagenum"><a id="Page_25"></a>[25]</span> -in saltire, between the ends in chief and base -a beaver couchant, in fess dexter and sinister a barrel -of flour all <i>proper</i>. 2d, from the arms of the State -of New York: <i>azure</i> in a landscape the sun in fess -rising in splendor <i>or</i> 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 <i>proper</i>. 3d, <i>azure</i> seven six-pointed stars <i>argent</i> -between as many candlesticks <i>or</i>. Surmounted by an -episcopal mitre <i>proper</i>. Enclosed by a bordure <i>gules</i> -edged <i>or</i> bearing the legend “Sigil. Eccles. Cath. S. -Johann. Theol. N. Ebor.” <i>or</i>.</p> - -<p>The seven stars and candlesticks refer to the Revelation -of St. John the Divine, i. 20.</p> - -<h3 id="heading13">Services</h3> - -<p>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.</p> - -<p>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<span class="pagenum"><a id="Page_26"></a>[26]</span> -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.<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">[5]</a> 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.<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">[6]</a></p> - -<h3 id="heading14">Visitors</h3> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_27"></a>[27]</span></p> - -<h3 id="heading15">Architecture</h3> - -<p>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;<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">[7]</a> -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.</p> - -<p>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.</p> - -<h3 id="heading16">Plan and Size</h3> - -<p>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”).<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">[8]</a> Seven -chapels, called the Chapels of Tongues, radiate from -the Apse, or semi-circular eastern end of the Choir.</p> - -<p>The loftiest features of the elevation are the two -towers of the West Front (q. v.) and the great Central<span class="pagenum"><a id="Page_28"></a>[28]</span> -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.</p> - -<p>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.</p> - -<p>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.</p> - -<h3 id="heading17">Progress of Construction</h3> - -<p>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.<a id="FNanchor_9" href="#Footnote_9" class="fnanchor">[9]</a> The first service was held in the Crypt January<span class="pagenum"><a id="Page_29"></a>[29]</span> -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.</p> - -<h3 id="heading18">Funds for Building</h3> - -<p>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,<a id="FNanchor_10" href="#Footnote_10" class="fnanchor">[10]</a> 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.</p> - -<p>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<span class="pagenum"><a id="Page_30"></a>[30]</span> -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.)</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_31"></a>[31]</span></p> - -<h3 id="heading19">Foundation and Superstructure</h3> - -<p>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.</p> - -<h3 id="heading20">Exterior Survey</h3> - -<p>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.</p> - -<p><b>The Seven Chapels of Tongues</b>, (<a href="#Page_69">see page 69 et -seq.</a>,) may be identified on the exterior by the following -characteristics (south to north): <i>Chapel of -St. James</i>, rectangular plan, crenelated parapet of -roof, and pinnacles on buttresses. <i>Chapel of St.<span class="pagenum"><a id="Page_32"></a>[32]</span> -Ambrose</i>, half round window arches. <i>Chapel of St. -Martin of Tours</i>, fleurs de lis in quatrefoils above -large windows; narrow pointed arch windows with -single lights in basement. <i>Chapel of St. Saviour</i> -(easternmost), rectangular plan; cross on gable; -statues in niches of buttresses and wall. <i>Chapel of -St. Columba</i>, angel on roof; statues in niches of buttresses. -<i>Chapel of St. Boniface</i>, statues in niches of -buttresses; small mullioned windows of three lights -in basement. <i>Chapel of St. Ansgarius</i>, rectangular -plan; parapet of quatrefoil tracery; pinnacles on buttresses.</p> - -<p>Three of the chapels have the following sculptures -by Mr. Gutzon Borglum: <i>Chapel of St. Saviour</i>: 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).<a id="FNanchor_11" href="#Footnote_11" class="fnanchor">[11]</a> <i>Chapel of St. Columba</i>: 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<a id="FNanchor_12" href="#Footnote_12" class="fnanchor">[12]</a>; and St. -Patrick of Ireland, in Bishop’s robes, with crozier in -right hand and shamrock in left. <i>Chapel of St. Boniface</i>:<span class="pagenum"><a id="Page_33"></a>[33]</span> -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.</p> - -<p id="heading21"><b>The Clerestory of the Choir</b> 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<a id="FNanchor_13" href="#Footnote_13" class="fnanchor">[13]</a>; 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<a href="#Footnote_13" class="fnanchor">[13]</a> -with drapery over head; and St. Simeon with -saw, and St. Jude with spear, (indicating manner of -their death), together on turret.</p> - -<p id="heading22"><b>Fourteen Stone Shields</b> (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.<a id="FNanchor_14" href="#Footnote_14" class="fnanchor">[14]</a> Above Chapel of St. Ambrose -(left) lily, and (right) rose, both symbols of the -Virgin Mary. Above Chapel of St. Martin of Tours,<span class="pagenum"><a id="Page_34"></a>[34]</span> -(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.<a id="FNanchor_15" href="#Footnote_15" class="fnanchor">[15]</a> -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.</p> - -<div class="figcenter" style="width: 700px;" id="illus7-8-9"> -<img src="images/illus7-8-9.jpg" width="700" height="200" alt="" /> -<p class="caption">1. Jesus Christ Conquers. 2. Holy Father, Holy Son, Holy -Spirit. 3 and 4. Saint Luke.</p> -</div> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_35"></a>[35]</span></p> - -<div class="figcenter" style="width: 500px;" id="illus10"> -<img src="images/illus10.jpg" width="500" height="700" alt="" /> -<p class="caption">THE WEST FRONT</p> -<p class="caption">(From Architect’s Drawing)</p> -</div> - -<p><span class="pagenum"><a id="Page_36"></a>[36]</span></p> - -<h3 id="heading23">West Front</h3> - -<p>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 (<a href="#illus3">see figure 1 of plan</a>). 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.</p> - -<p><span class="pagenum"><a id="Page_37"></a>[37]</span></p> - -<div class="figcenter" style="width: 700px;" id="illus11"> -<img src="images/illus11.jpg" width="700" height="500" alt="" /> -<p class="caption">THE EXTERIOR OF THE NAVE</p> -<p class="caption">(Composite Photograph of Model. Human figure shows scale)</p> -</div> - -<p><span class="pagenum"><a id="Page_38"></a>[38]</span></p> - -<h3 id="heading24">The Nave</h3> - -<p>Crossing the space to be occupied by the West -Front, we ascend temporary steps to the foundation -of the Nave (<a href="#illus3">figure 2 of plan</a>). 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,<a id="FNanchor_16" href="#Footnote_16" class="fnanchor">[16]</a>—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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_39"></a>[39]</span></p> - -<div class="figcenter" style="width: 700px;" id="illus12"> -<img src="images/illus12.jpg" width="700" height="500" alt="" /> -<p class="caption">ONE SIDE OF THE INTERIOR OF THE NAVE</p> -<p class="caption">(Composite Photograph of Model. Figures of choristers show scale)</p> -</div> - -<p><span class="pagenum"><a id="Page_40"></a>[40]</span></p> - -<p>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.”</p> - -<h3 id="heading25">The Crossing</h3> - -<p>Walking the length of the Nave foundation (<a href="#illus3">2 on -plan</a>) we pass through temporary doorways and enter -the Crossing (<a href="#illus3">3</a>), so-called from its location at the<span class="pagenum"><a id="Page_41"></a>[41]</span> -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 (<a href="#illus3">10</a>) and Ambulatory (<a href="#illus3">12-12</a>). 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 (<a href="#illus3">2</a>) and the North and South Transepts -(<a href="#illus3">4 and 5</a>) 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. -<i>The Dome</i> 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.</p> - -<div class="figcenter" style="width: 700px;" id="illus13"> -<img src="images/illus13.jpg" width="700" height="500" alt="" /> -<p class="caption">THE NAVE FOUNDATION AND CROSSING</p> -</div> - -<p><span class="pagenum"><a id="Page_42"></a>[42]</span></p> - -<p id="heading26"><b>The Pulpit</b>, 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<span class="pagenum"><a id="Page_43"></a>[43]</span> -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.<a id="FNanchor_17" href="#Footnote_17" class="fnanchor">[17]</a> Beneath these niches runs -a moulding of grape-vine design symbolizing Christ -the true vine<a id="FNanchor_18" href="#Footnote_18" class="fnanchor">[18]</a> (John xv. 1) and beneath this one of -roses symbolizing Christ the Rose of Sharon (Cant.<span class="pagenum"><a id="Page_44"></a>[44]</span> -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.<a id="FNanchor_19" href="#Footnote_19" class="fnanchor">[19]</a> The pulpit is surmounted by -a carved oak canopy of Gothic tracery, upon which -is the beginning of the Gloria in Excelsis:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<div class="figcenter" style="width: 500px;" id="illus14"> -<img src="images/illus14.jpg" width="500" height="700" alt="" /> -<p class="caption">THE PULPIT</p> -</div> - -<p>On the side of the stairs is inscribed:</p> - -<div class="blockquote"> - -<p>“In Memory of ‖ Henry Codman Potter ‖ the gift of ‖ -Mrs. Russell Sage ‖ A.D. 1916.”</p> - -</div> - -<p>The pulpit, which cost $30,000, was designed by -Mr. Henry Vaughan and executed by Messrs. John -Evans & Co. of Boston.</p> - -<p><span class="pagenum"><a id="Page_45"></a>[45]</span></p> - -<div class="figcenter" style="width: 500px;" id="illus15"> -<img src="images/illus15.jpg" width="500" height="700" alt="" /> -<p class="caption">ONE OF THE BARBERINI TAPESTRIES</p> -</div> - -<p><span class="pagenum"><a id="Page_46"></a>[46]</span></p> - -<p id="heading27"><b>Barberini Tapestries.</b> 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.</p> - -<p><span class="pagenum"><a id="Page_47"></a>[47]</span></p> - -<div class="figcenter" style="width: 500px;" id="illus16"> -<img src="images/illus16.jpg" width="500" height="700" alt="" /> -<p class="caption">THE INTERIOR OF THE CROSSING AND CHOIR</p> -</div> - -<p><span class="pagenum"><a id="Page_48"></a>[48]</span></p> - -<p id="heading28"><b>The Litany Desk</b> 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:</p> - -<div class="blockquote"> - -<p>“We beseech Thee to ‖ hear us Good Lord ‖ Grant us -Thy Peace ‖ Have Mercy Upon us.”</p> - -</div> - -<p>The desk was given by the Laymen’s Club.</p> - -<h3 id="heading29">The Choir</h3> - -<p><b>Architecture.</b> The Choir (<a href="#illus3">10</a>) 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.<a id="FNanchor_20" href="#Footnote_20" class="fnanchor">[20]</a> 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 (<a href="#illus3">12-12-12</a>) 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<span class="pagenum"><a id="Page_49"></a>[49]</span> -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.<a id="FNanchor_21" href="#Footnote_21" class="fnanchor">[21]</a> In the Sanctuary within the altar -rail, 4 steps lead to the third level upon which stands -the Altar with its 3 white steps.<a id="FNanchor_22" href="#Footnote_22" class="fnanchor">[22]</a> 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 <i>Altar Rail</i> of English -oak is inscribed:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p id="heading30"><b>The Parapet</b> 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<span class="pagenum"><a id="Page_50"></a>[50]</span> -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;<a id="FNanchor_23" href="#Footnote_23" class="fnanchor">[23]</a> (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<a id="FNanchor_24" href="#Footnote_24" class="fnanchor">[24]</a> 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<span class="pagenum"><a id="Page_51"></a>[51]</span> -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:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p id="heading31"><b>The Pavements</b> 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<span class="pagenum"><a id="Page_52"></a>[52]</span> -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:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p>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.</p> - -<p id="heading32"><b>The Eagle Lectern</b> 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 (<a href="#Page_44">p. -44</a>). 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:</p> - -<div class="blockquote"> - -<p>“In Memoriam ‖ Horatio Potter ‖ Bishop of New -York ‖ 1854-1887 ‖ M. G. E. A.”</p> - -</div> - -<p><span class="pagenum"><a id="Page_53"></a>[53]</span></p> - -<div class="figcenter" style="width: 700px;" id="illus17"> -<img src="images/illus17.jpg" width="700" height="500" alt="" /> -<p class="caption">THE BISHOP’S THRONE, CHOIR STALLS AND DEAN’S STALL</p> -</div> - -<p><span class="pagenum"><a id="Page_54"></a>[54]</span></p> - -<p id="heading33"><b>The Choir Stalls</b>, 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:</p> - -<table summary=" "> - <tr> - <td colspan="2" class="tdc"><i>East.</i></td> - </tr> - <tr> - <td class="tdc"><i>Left.</i></td> - <td class="tdc"><i>Right.</i></td> - </tr> - <tr> - <td>Bortniansky</td> - <td>Mendelssohn</td> - </tr> - <tr> - <td>Handel</td> - <td>Haydn</td> - </tr> - <tr> - <td>Bach</td> - <td>Purcell</td> - </tr> - <tr> - <td>Tallis</td> - <td>Palestrina</td> - </tr> - <tr> - <td>Pope Gregory</td> - <td>St. Cecelia</td> - </tr> - <tr> - <td>Asaph</td> - <td>King David</td> - </tr> - <tr> - <td colspan="2" class="tdc"><i>West.</i></td> - </tr> -</table> - -<p>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.</p> - -<p>The high canopied stall nearest the Crossing on -the south side of the Choir is the <i>Dean’s Stall</i>.<a id="FNanchor_25" href="#Footnote_25" class="fnanchor">[25]</a> 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:</p> - -<div class="blockquote"> - -<p>“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<span class="pagenum"><a id="Page_55"></a>[55]</span> -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.”</p> - -</div> - -<p>In the Presbytery, on the south side, is the lofty -<i>Bishop’s Throne</i> of carved oak, while opposite to it -is one with a little lower canopy for the use of a bishop -other than the Diocesan.</p> - -<p>On one of the Choir Stalls is inscribed:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p>On a tablet in the Choir is inscribed:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p>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.</p> - -<p id="heading34"><b>The Organ</b>, 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:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p>The organ was built by the Ernest M. Skinner Co., -of Boston. (See also Choir School, <a href="#Page_106">page 106</a>).</p> - -<p><span class="pagenum"><a id="Page_56"></a>[56]</span></p> - -<p id="heading35"><b>The Cathedral Flag</b> 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. (<a href="#Page_6">See page 6</a>).</p> - -<p id="heading36"><b>The High Altar</b> is of white Vermont marble. The -beautiful Gothic <i>Reredos</i> 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:</p> - -<div class="blockquote"> - -<p>“To the Glory of God ‖ and in Memory of ‖ Anna -Livingston ‖ Morton ‖ 1846-1918.”</p> - -</div> - -<p><span class="pagenum"><a id="Page_57"></a>[57]</span></p> - -<div class="figcenter" style="width: 500px;" id="illus18"> -<img src="images/illus18.jpg" width="500" height="700" alt="" /> -<p class="caption">THE HIGH ALTAR</p> -</div> - -<p><span class="pagenum"><a id="Page_58"></a>[58]</span></p> - -<p id="heading37"><b>The Credence Table</b>, 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 <i>Magna -Charta</i>. 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:</p> - -<div class="blockquote"> - -<p>“The Adjoining Shaft ‖ Was Once a Part of ‖ the -High Altar of the ‖ Abbey of Bury St. Edmunds ‖ Upon<span class="pagenum"><a id="Page_59"></a>[59]</span> -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.”</p> - -</div> - -<div class="figcenter" style="width: 325px;" id="illus19"> -<img src="images/illus19.jpg" width="325" height="500" alt="" /> -<p class="caption">Credence Table with Shaft made -of Magna Charta Stones</p> -</div> - -<p id="heading38"><b>The Eight Great Columns</b> 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,<a id="FNanchor_26" href="#Footnote_26" class="fnanchor">[26]</a> 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.</p> - -<p><span class="pagenum"><a id="Page_60"></a>[60]</span></p> - -<p id="heading39"><b>The Clerestory Windows</b> 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:</p> - -<div class="blockquote"> - -<p>“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).</p> - -</div> - -<p>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:</p> - -<p><span class="pagenum"><a id="Page_61"></a>[61]</span></p> - -<p><b>St. John and the Seven Churches</b> are the subject -of the window above the <i>Chapel of St. Ansgarius</i>. 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.</p> - -<p><b>The Natural Elements</b> upon which the vials of -the wrath of God were poured (Rev. xvi. 2-17) are -the principal subject of the window above the <i>Chapel -of St. Boniface</i>. 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;<span class="pagenum"><a id="Page_62"></a>[62]</span> -and on the right, the ox and the eagle.<a id="FNanchor_27" href="#Footnote_27" class="fnanchor">[27]</a> 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:</p> - -<div class="blockquote"> - -<p>“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.”<a id="FNanchor_28" href="#Footnote_28" class="fnanchor">[28]</a></p> - -</div> - -<p><b>The Seven Angels with Trumpets</b> (Rev. viii. 2) -are the main subject of the window above the <i>Chapel -of St. Columba</i>. 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.)<a id="FNanchor_29" href="#Footnote_29" class="fnanchor">[29]</a> In the bottom border are -the words: “From the seven ‖ Spirits which are before -‖ His throne.” A tablet in the Ambulatory reads -as follows:</p> - -<p><span class="pagenum"><a id="Page_63"></a>[63]</span></p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p><b>Christ Reigning in Glory</b>, as described in the first -chapter of the Book of Revelation, is the principal -subject of the great central window above the <i>Chapel -of St. Saviour</i>. 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.<a id="FNanchor_30" href="#Footnote_30" class="fnanchor">[30]</a> 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:</p> - -<p><span class="pagenum"><a id="Page_64"></a>[64]</span></p> - -<div class="blockquote"> - -<p>“The East Window ‖ is Erected in Memory of ‖ Whitelaw -Reid ‖ October 27, 1837-December 15, 1912.”</p> - -</div> - -<p><b>The Seven Last Plagues</b> (Rev. xv. 1) are the -principal subject of the window above the entrance -to the <i>Chapel of St. Martin of Tours</i>. 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:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p><b>The Woman in the Sun</b> is the title of the window -above the entrance to the <i>Chapel of St. Ambrose</i>. 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<span class="pagenum"><a id="Page_65"></a>[65]</span> -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:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p><b>The Heavenly City</b> is the principal subject of the -window above the entrance to the <i>Chapel of St. James</i>. -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);<span class="pagenum"><a id="Page_66"></a>[66]</span> -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.</p> - -<h3 id="heading40">The Ambulatory</h3> - -<p>The Ambulatory (<a href="#illus3">12-12-12</a>) 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 -(<a href="#Page_51">p. 51</a>), 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:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p><span class="pagenum"><a id="Page_67"></a>[67]</span></p> - -<div class="figcenter" style="width: 700px;" id="illus20"> -<img src="images/illus20.jpg" width="700" height="500" alt="" /> -<p class="caption">THE FOUNDER’S TOMB</p> -</div> - -<p><span class="pagenum"><a id="Page_68"></a>[68]</span></p> - -<p id="heading41"><b>The Founder’s Tomb</b>, containing the remains of -Bishop Horatio Potter, sixth Bishop of New York,<a id="FNanchor_31" href="#Footnote_31" class="fnanchor">[31]</a> -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<a id="FNanchor_32" href="#Footnote_32" class="fnanchor">[32]</a> with little squirrels at the ends. -On the edge of the slab on which the Bishop’s figure -rests is inscribed:</p> - -<div class="blockquote"> - -<p>“Horatio Potter, D.D., D.C.L., Oxon. ‖ Sixth Bishop -of New York, Founder of this Cathedral. Died 2d Jany. -1887, Aged 85 Yrs.”</p> - -</div> - -<p><span class="pagenum"><a id="Page_69"></a>[69]</span></p> - -<p>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.</p> - -<p><b>The Brownell Memorial Tablet</b> on the wall of the -bay at the entrance to the Chapel of St. Ansgarius -reads as follows:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p id="heading42"><b>The Choir Boys’ Stone</b> 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.</p> - -<h3 id="heading43">The Seven Chapels of Tongues</h3> - -<p>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<span class="pagenum"><a id="Page_70"></a>[70]</span> -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.<a id="FNanchor_33" href="#Footnote_33" class="fnanchor">[33]</a> 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 <a href="#Page_14">page 14</a>. -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 (<a href="#Page_31">p. 31</a>), 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:</p> - -<p><span class="pagenum"><a id="Page_71"></a>[71]</span></p> - -<h4 id="heading44">The Chapel of St. James</h4> - -<p><span class="smcap">St. James</span>, 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.</p> - -<p>The Chapel of St. James (<a href="#illus3">13 on plan</a>), designed by -Mr. Henry Vaughan, is in pure English Gothic <i>Architecture</i> -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 <i>Altar</i> of gray Knoxville, Tenn. marble, -is sculptured DaVinci’s Last Supper. The central -feature of the limestone <i>Reredos</i> 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<span class="pagenum"><a id="Page_72"></a>[72]</span> -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 -<i>East Window</i>, 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). <i>The Saint James -Window</i> in the middle bay of the south aisle portrays -in its four lights scenes in the life of the patron saint -of Spain (<a href="#Page_71">see page 71</a>) 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.<a id="FNanchor_34" href="#Footnote_34" class="fnanchor">[34]</a> -In the tracery at the extreme top is a representation<span class="pagenum"><a id="Page_73"></a>[73]</span> -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: -<i>East Wall</i>, St. Augustine of England with crozier -(left) and St. Gregory the Great (who sent him -to England) with papal tiara and papal cross (right) -<i>West Wall</i>, 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<span class="pagenum"><a id="Page_74"></a>[74]</span> -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 <b>ihc</b> (representing -the first two and last letters, uncial form, of -the Greek word for Jesus<a id="FNanchor_35" href="#Footnote_35" class="fnanchor">[35]</a>); (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). <i>North Wall</i>, 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 <i>Bishop Potter’s Tomb</i>, -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:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<div class="figcenter" style="width: 500px;" id="illus21"> -<img src="images/illus21.jpg" width="500" height="700" alt="" /> -<p class="caption">THE SANCTUARY OF THE CHAPEL OF ST. JAMES</p> -</div> - -<p><span class="pagenum"><a id="Page_75"></a>[75]</span></p> - -<p>On the rear:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p>Around the edge of the top slab:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p>On the west wall is inscribed:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p><b>Story of the Blind Woman.</b> 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<span class="pagenum"><a id="Page_76"></a>[76]</span> -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.</p> - -<h4 id="heading45">The Chapel of St. Ambrose</h4> - -<p><span class="smcap">St. Ambrose</span>, 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.</p> - -<p>The Chapel of St. Ambrose (<a href="#illus3">14 on plan</a>), designed -by Messrs. Carrere & Hastings, is in modern Renaissance<span class="pagenum"><a id="Page_77"></a>[77]</span> -<i>Architecture</i>. 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<a id="FNanchor_36" href="#Footnote_36" class="fnanchor">[36]</a>, 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 <i>Altar</i> 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 <i>Reredos</i>, 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).<span class="pagenum"><a id="Page_78"></a>[78]</span> -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. -<i>The Apse Windows</i>, 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 <i>left window</i> 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 <i>right -window</i> 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.<span class="pagenum"><a id="Page_79"></a>[79]</span> -Along the side walls are <i>Stalls and Wainscoting</i> -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:</p> - -<div class="blockquote"> - -<p>(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.”</p> - -</div> - -<p>The wrought iron <i>Italian Screen</i> 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:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p><span class="pagenum"><a id="Page_80"></a>[80]</span></p> - -<h4 id="heading46">The Chapel of St. Martin of Tours</h4> - -<p><span class="smcap">St. Martin</span>, 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.</p> - -<p>The Chapel of St. Martin of Tours (<a href="#illus3">15 on plan</a>), -designed by Messrs. Cram & Ferguson, is in early -13th century Gothic <i>Architecture</i>; 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:</p> - -<div class="blockquote"> - -<p>(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.”</p> - -</div> - -<p>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<span class="pagenum"><a id="Page_81"></a>[81]</span> -thickness of the wall. The pavement of Knoxville, -Tenn. pink marble is bordered with black Belgian -marble. The simple marble <i>Altar</i> in the form of a -table resting on red marble pillars has no reredos. -The <i>Seven Windows</i>, three in the Sanctuary and four -in the clerestory, by Mr. Charles Connick of Boston, -Mass., are of grisaille<a id="FNanchor_37" href="#Footnote_37" class="fnanchor">[37]</a> 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<span class="pagenum"><a id="Page_82"></a>[82]</span> -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.<a id="FNanchor_38" href="#Footnote_38" class="fnanchor">[38]</a> (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.<a id="FNanchor_39" href="#Footnote_39" class="fnanchor">[39]</a> (7) On a blue field, three golden -fleurs de lis under a white “label” or mark of cadency<span class="pagenum"><a id="Page_83"></a>[83]</span> -of eldest son,<a id="FNanchor_40" href="#Footnote_40" class="fnanchor">[40]</a> being the royal arms of the Dukes of -Orleans. A <i>Statue of Joan of Arc</i>, 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 <i>Screen</i> 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:</p> - -<div class="blockquote"> - -<p>“S. Martin shares cloak with Beggar ‖ Our Lord appears -in cloak to S. Martin ‖ S. Martin receives holy baptism ‖ -Saint Martin journeys to Rome.”</p> - -</div> - -<div class="figcenter" style="width: 700px;" id="illus22"> -<img src="images/illus22.jpg" width="700" height="425" alt="" /> -<p class="caption">Coats of Arms in Windows of Chapel of St. Martin of Tours.</p> -</div> - -<p>An inscription on the wall of the chapel reads:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p>In another panel is this inscription:</p> - -<p><span class="pagenum"><a id="Page_84"></a>[84]</span></p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<h4 id="heading47">The Chapel of St. Saviour</h4> - -<p><span class="smcap">Saint Saviour</span>, 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.</p> - -<p>The Chapel of St. Saviour (<a href="#illus3">16 on plan</a>,) 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 <i>Architecture</i> -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 <i>Altar</i>, 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 <i>Reredos</i> is of polished red Siena marble, bordered -with Venetian mosaic. The <i>Chair and Prayer Desk</i> -of black walnut at the left side of the Sanctuary have -an interesting history recited on a brass tablet on the -desk as follows:</p> - -<p><span class="pagenum"><a id="Page_85"></a>[85]</span></p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p>The <i>East Window</i>, 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.<a id="FNanchor_41" href="#Footnote_41" class="fnanchor">[41]</a> 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 <i>Statues</i> of Bishops, saints -and scholars of the Eastern church:</p> - -<p><span class="pagenum"><a id="Page_86"></a>[86]</span></p> - -<table summary=" "> - <tr> - <td class="tdc"><i>Left.</i></td> - <td class="tdc"><i>Right.</i></td> - </tr> - <tr> - <td><p class="center">St. Polycarp<br /> -b. 69 d. 155<br /> -Bishop of Smyrna</p></td> - <td><p class="center">St. Chrysostom<br /> -b. 347 d. 407<br /> -Archbp. of Constantinople</p></td> - </tr> - <tr> - <td><p class="center">St. Athanasius<br /> -b. 296 d. 373<br /> -Primate of Egypt</p></td> - <td><p class="center">St. Basil<br /> -b. 329 d. 379<br /> -Bishop of Caesarea</p></td> - </tr> - <tr> - <td><p class="center">Origen<br /> -b. 185 d. 253<br /> -Great eastern scholar</p></td> - <td><p class="center">St. Clement of Alexandria<br /> -b. circ. 150 d. 213-220<br /> -Celebrated Church Father</p></td> - </tr> - <tr> - <td><p class="center">St. Gregory Nazianzen<br /> -b. 330 d. 389<br /> -Bishop of Nazianzus</p></td> - <td><p class="center">St. Ignatius<br /> -b. circ. 50 d. 107<br /> -Bishop of Antioch</p></td> - </tr> -</table> - -<p>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 <i>Lamp Standards</i> 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 <i>Screen</i>, 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:</p> - -<p><span class="pagenum"><a id="Page_87"></a>[87]</span></p><div class="blockquote"> - -<p>“This Chapel is Erected to ‖ the Glory of God ‖ and in -Loving Memory of ‖ Bessie Morgan Belmont ‖ by her Husband -‖ August Belmont.”</p> - -</div> - -<h4 id="heading48">The Chapel of St. Columba</h4> - -<p><span class="smcap">St. Columba</span> 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 (<a href="#Page_32">see p. 32</a>). 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.</p> - -<p>The Chapel of St. Columba, (<a href="#illus3">17 on plan</a>), designed -by Messrs. Heins & LaFarge, is in the Norman style -of <i>Architecture</i>. 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 <i>Sanctuary</i> 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:<span class="pagenum"><a id="Page_88"></a>[88]</span> -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 <i>Altar</i>, of cream colored -Italian marble, is in the form of a table supported -by marble pillars. It has no <i>Reredos</i>. The <i>Sanctuary -Windows</i>, 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 (<a href="#Page_74">p. 74</a>), 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 <i>Candelabra</i>, after Donatello, were -brought from Italy by Mr. George Gordon King. -Turning toward the entrance, in which is a wrought -iron <i>Screen</i> 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 <i>Statues</i> 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.<a id="FNanchor_42" href="#Footnote_42" class="fnanchor">[42]</a></p> - -<p>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<span class="pagenum"><a id="Page_89"></a>[89]</span> -from the chapel is the same as the right side as seen -from the Ambulatory.</p> - -<table summary=" "> - <tr> - <td colspan="2" class="tdc"><i>Seen from Chapel.</i></td> - </tr> - <tr> - <td><i>Left.</i></td> - <td class="tdc"><i>Right.</i></td> - </tr> - <tr> - <td><p class="center">St. Aidan<br /> -Bishop of Northumbrians<br /> -ac. 635 d. 651</p></td> - <td><p class="center">St. Augustine<br /> -Archbishop of Canterbury<br /> -ac. 597 d. 604</p></td> - </tr> - <tr> - <td><p class="center">St. Anselm<br /> -Archbishop of Canterbury<br /> -ac. 1093 d. 1109</p></td> - <td><p class="center">King Alfred<br /> -King of Wessex<br /> -b. 849 d. 901</p></td> - </tr> - <tr> - <td><p class="center">Thomas Cranmer<br /> -Archbishop of Canterbury<br /> -b. 1489 d. 1556</p></td> - <td><p class="center">William of Wykeham<br /> -Bishop of Winchester<br /> -ac. 1367 d. 1405</p></td> - </tr> - <tr> - <td><p class="center">Joseph Butler<br /> -Bishop of Durham<br /> -b. 1692 d. 1752</p></td> - <td><p class="center">Jeremy Taylor<br /> -Bishop of 3 Irish sees<br /> -b. 1613 d. 1667</p></td> - </tr> - <tr> - <td><p class="center">John Keble<br /> -leader in Oxford movement<br /> -b. 1792 d. 1866</p></td> - <td><p class="center">Reginald Heber<br /> -Bishop of Calcutta<br /> -b. 1783 d. 1826</p></td> - </tr> - <tr> - <td colspan="2" class="tdc"><i>Seen from Ambulatory.</i></td> - </tr> - <tr> - <td class="tdc"><i>Left.</i></td> - <td class="tdc"><i>Right.</i></td> - </tr> - <tr> - <td><p class="center">St. Alban<br /> -promartyr of Britain<br /> -d. circ. 304</p></td> - <td><p class="center">Theodore of Tarsus<br /> -Archbishop of Canterbury<br /> -ac. 668 d. 690</p></td> - </tr> - <tr> - <td><p class="center">The Venerable Bede<br /> -chronicler and priest<br /> -b. 673 d. 735</p></td> - <td><p class="center">Stephen Langton<br /> -Archbishop of Canterbury -b. 1150 d. 1228</p></td> - </tr> - <tr> - <td><p class="center">John Wyckliffe<br /> -morning-star of Reformation<br /> -b. 1325 d. 1384</p></td> - <td><p class="center">Matthew Parker<br /> -Archbishop of Canterbury -b. 1504 d. 1575</p></td> - </tr> - <tr> - <td><p class="center">Richard Hooker<br /> -Anglican theologian<br /> -b. 1554 d. 1600</p></td> - <td><p class="center">George Berkeley<br /> -Bishop of Cloyne, etc.<br /> -b. 1684 d. 1753</p></td> - </tr> - <tr> - <td><p class="center">John Wesley<br /> -evangelical revivalist<br /> -b. 1703 d. 1791</p></td> - <td><p class="center">Frederic Denison Maurice<br /> -preacher and leader<br /> -b. 1805 d. 1872</p></td> - </tr> -</table> - -<p>The Cathedral has in its possession a <i>Stone from<span class="pagenum"><a id="Page_90"></a>[90]</span> -the Cathedral, or Church of St. Mary</i> (dating from -the 13th-16th centuries) <i>on the Island of Iona</i>, which -may fittingly be placed in this chapel at some future -time.</p> - -<p>Upon the wall of the chapel is inscribed:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<h4 id="heading49">The Chapel of St. Boniface</h4> - -<p><span class="smcap">St. Boniface</span>, 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.</p> - -<p>The Chapel of St. Boniface, (<a href="#illus3">18 on plan</a>), designed -by Mr. Henry Vaughan, is a very pure specimen of -English Gothic <i>Architecture</i> 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 <i>Altar</i> is of gray -marble from the same source. In the three ornate<span class="pagenum"><a id="Page_91"></a>[91]</span> -panels on its face are the monogram IHS (<a href="#Page_74">see p. 74</a>), -the floriated Greek cross (<a href="#Footnote_43">see note below</a>), and the -Greek cross form of the Chi Rho (<a href="#Page_74">p. 74</a>). The richly -carved <i>Reredos</i> 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 <i>Windows</i>, -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 <b>IHS</b> monogram (<a href="#Page_74">p. 74</a>) and in His nimbus -appear the ends of a floriated cross.<a id="FNanchor_43" href="#Footnote_43" class="fnanchor">[43]</a> 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,<a id="FNanchor_44" href="#Footnote_44" class="fnanchor">[44]</a> 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<span class="pagenum"><a id="Page_92"></a>[92]</span> -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,<a id="FNanchor_45" href="#Footnote_45" class="fnanchor">[45]</a> -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<span class="pagenum"><a id="Page_93"></a>[93]</span> -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 <i>Statues</i> of Thomas a Becket (left) -and St. Boniface (right); and in a niche in the east -wall is one of Erasmus. Three wrought iron <i>Lamps</i> -are suspended by iron chains from the ceiling; and at -the entrance is a handsome wrought iron <i>Screen</i> -adorned with escutcheons bearing the <b>ihc</b> monogram -and surmounted by a floriated cross before explained. -On one of the walls is inscribed:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p><b>Story of the Dove Of Peace</b>. 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<span class="pagenum"><a id="Page_94"></a>[94]</span> -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.<a id="FNanchor_46" href="#Footnote_46" class="fnanchor">[46]</a> 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.</p> - -<p><span class="pagenum"><a id="Page_95"></a>[95]</span></p> - -<h4 id="heading50">The Chapel of St. Ansgarius</h4> - -<p><span class="smcap">St. Ansgarius</span>, 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.</p> - -<p>The Chapel of St. Ansgarius (<a href="#illus3">19 on plan</a>), designed -by Mr. Henry Vaughan, architect of the Chapel -of St. James, is in the same style of <i>Architecture</i>, 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.</p> - -<div class="figcenter" style="width: 350px;" id="illus23"> -<img src="images/illus23.jpg" width="350" height="500" alt="" /> -<p class="caption">Niche in St. Ansgarius Chapel -made of old Cathedral Stones</p> -</div> - -<p><span class="pagenum"><a id="Page_96"></a>[96]</span></p> - -<p>The interior walls are of Indiana limestone; and -the pavement of pink Knoxville, Tenn., marble and -mottled Vermont marble. The <i>Altar</i> 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 -<i>Reredos</i>, (above) is represented Christ holding the -globe (symbol of sovereignty), and (below) the baptism -of Christ by John the Baptist.</p> - -<p>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 <i>stones from -Worcester and Ely Cathedrals</i>, 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.<a id="FNanchor_47" href="#Footnote_47" class="fnanchor">[47]</a> -On the stones on either side of the recess -is carved:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p><span class="pagenum"><a id="Page_97"></a>[97]</span></p> - -<p>Three small <i>Windows</i> 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<span class="pagenum"><a id="Page_98"></a>[98]</span> -(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 <i>Statues</i> -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 <i>The Sacrifice</i>. 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 <i>Organ</i> 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:</p> - -<p><span class="pagenum"><a id="Page_99"></a>[99]</span></p> - -<div class="figcenter" style="width: 700px;" id="illus24"> -<img src="images/illus24.jpg" width="700" height="500" alt="" /> -<p class="caption">THE SACRIFICE</p> -</div> - -<p><span class="pagenum"><a id="Page_100"></a>[100]</span></p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<p id="heading51"><b>The Corner Stone</b> 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 <i>Spanish -Brick</i> 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:</p> - -<div class="blockquote"> - -<p>“From the Ruin of the First Christian Church in the -New World where the First Church was Erected by Christopher -Columbus, 1493. Isabella, Hispaniola.”<a id="FNanchor_48" href="#Footnote_48" class="fnanchor">[48]</a></p> - -</div> - -<h3 id="heading52">The Crypt</h3> - -<p>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<span class="pagenum"><a id="Page_101"></a>[101]</span> -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 <i>Tiffany Chapel</i>. -The top and retable of the <i>Altar</i> 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 <i>Reredos</i> is of -iridescent glass mosaic, as are the twelve <i>Pillars</i> 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.</p> - -<h3 id="heading53">Summary Dimensions</h3> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_102"></a>[102]</span></p> - -<table summary="The principal dimensions of the Cathedral"> - <tr> - <td colspan="3" class="tdc"><i>Length</i></td> - </tr> - <tr> - <td>Western Towers</td> - <td class="tdr">50</td> - <td>feet</td> - </tr> - <tr> - <td>Nave</td> - <td class="tdr">225</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td>Crossing</td> - <td class="tdr">100</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td>Choir</td> - <td class="tdr">170</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td>St. Saviour’s Chapel</td> - <td class="tdr">56</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td>Total length</td> - <td class="tdr">601</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td colspan="3" class="tdc"><i>Width</i></td> - </tr> - <tr> - <td>West Front (including buttresses)</td> - <td class="tdr">220</td> - <td>feet</td> - </tr> - <tr> - <td>Nave and Aisles (exterior)</td> - <td class="tdr">132</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td>Transepts</td> - <td class="tdr">315</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td>Crossing</td> - <td class="tdr">100</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td>Choir</td> - <td class="tdr">56</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td>Ambulatory</td> - <td class="tdr">20</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td colspan="3" class="tdc"><i>Height</i></td> - </tr> - <tr> - <td>Western Towers</td> - <td class="tdr">265</td> - <td>feet</td> - </tr> - <tr> - <td>Ridge of Nave Roof</td> - <td class="tdr">175</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td>Nave Vaults (above floor)</td> - <td class="tdr">130</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td>Choir Vaults (above floor)</td> - <td class="tdr">127</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td>Crossing Vault (above floor)</td> - <td class="tdr">200</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td>Central Fleche</td> - <td class="tdr">470</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td>Final Cross (30 feet)</td> - <td class="tdr">500</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td>Final Cross above tide-water</td> - <td class="tdr">631</td> - <td><span class="ditto">”</span></td> - </tr> - <tr> - <td colspan="3" class="tdc"><i>Area</i></td> - </tr> - <tr> - <td>Area of Cathedral</td> - <td class="tdr">109,082</td> - <td>square feet</td> - </tr> -</table> - -<h3 id="heading54">Bishops of New York</h3> - -<p>Following is a list of the Bishops of New York -since the erection of the Diocese:</p> - -<p><i>First</i>: The Right Rev. Samuel Provoost, D.D.; -born February 24, 1742; Bishop of New York 1787-1815; -died September 6, 1815.</p> - -<p><i>Second</i>: The Right Rev. Benjamin Moore; born -November 5, 1748; Assistant Bishop 1801-1815; -Bishop of New York 1815-1816; died February 29, -1816.</p> - -<p><i>Third</i>: The Right Rev. John Henry Hobart, D.D.; -born September 14, 1775; Assistant Bishop 1811-1816;<span class="pagenum"><a id="Page_103"></a>[103]</span> -Bishop of New York 1816-1830; died September 12, -1830.</p> - -<p><i>Fourth</i>: The Right Rev. Benjamin Tredwell Onderdonk; -born July 15, 1791; Bishop of New York, -active 1830-1845, inactive 1845-1861; died April 30, -1861.</p> - -<p><i>Fifth</i>: The Right Rev. Jonathan Mayhew Wainwright, -D.D., D.C.L.; born February 24, 1792; Provisional -Bishop 1852-1854; died September 21, 1854.</p> - -<p><i>Sixth</i>: 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.</p> - -<p><i>Seventh</i>: 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.</p> - -<p><i>Eighth</i>: 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.</p> - -<p><i>Ninth</i>: 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.</p> - -<p><i>Tenth</i>: The Right Rev. William Thomas Manning, -D.D., LL.D., D.C.L.; born May 12, 1866; -Bishop of New York 1921.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_104"></a>[104]</span></p> - -<h2 class="nobreak" id="Part_Three"><span class="smaller">Part Three</span><br /> -Other Buildings, Etc.</h2> - -</div> - -<h3 id="heading55">The Bishop’s House</h3> - -<p>The Bishop’s House (<a href="#illus3">A. on plan</a>) 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.<a id="FNanchor_49" href="#Footnote_49" class="fnanchor">[49]</a> 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.</p> - -<h3 id="heading56">The Deanery</h3> - -<p>The Deanery (<a href="#illus3">B. on plan</a>) 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:</p> - -<div class="blockquote"> - -<p>“The Deanery ‖ erected in ‖ Faithful Remembrance ‖ -of ‖ Clinton Ogilvie ‖ 1838-1900 ‖ by his wife ‖ Helen Slade -Ogilvie ‖ A. D. 1913.”</p> - -</div> - -<p><span class="pagenum"><a id="Page_105"></a>[105]</span></p> - -<div class="figcenter" style="width: 700px;" id="illus25"> -<img src="images/illus25.jpg" width="700" height="500" alt="" /> -<p class="caption">THE BISHOP’S HOUSE</p> -</div> - -<p><span class="pagenum"><a id="Page_106"></a>[106]</span></p> - -<h3 id="heading57">The Choir School</h3> - -<p>The Choir School (<a href="#illus3">C. on Plan</a>) 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<span class="pagenum"><a id="Page_107"></a>[107]</span> -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.</p> - -<p><span class="pagenum"><a id="Page_108"></a>[108]</span></p> - -<div class="figcenter" style="width: 700px;" id="illus26"> -<img src="images/illus26.jpg" width="700" height="500" alt="" /> -<p class="caption">THE DEANERY</p> -</div> - -<p><span class="pagenum"><a id="Page_109"></a>[109]</span></p> - -<div class="figcenter" style="width: 700px;" id="illus27"> -<img src="images/illus27.jpg" width="700" height="500" alt="" /> -<p class="caption">THE CHOIR SCHOOL</p> -</div> - -<p><span class="pagenum"><a id="Page_110"></a>[110]</span></p> - -<p>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:</p> - -<div class="blockquote"> - -<p>“In Faithful Memory of ‖ John Hinman Sherwood ‖ -Just Upright True ‖ Erected by his daughter ‖ 1912.”</p> - -</div> - -<h3 id="heading58">St. Faith’s House</h3> - -<p>St. Faith’s House (<a href="#illus3">D. on plan</a>) 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.</p> - -<h3 id="heading59">The Synod House</h3> - -<p>The Synod House, (<a href="#illus3">E. on plan</a>), 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 <i>Architecture</i> is -pure French Gothic of the 13th century, Messrs. Cram -& Ferguson being the architects. Its outside dimensions -are 73 by 171 feet. The <i>Western Entrance</i> 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 <i>Tympanum</i> representing -Christ sending out his Disciples to baptize and -teach all the nations of the world. Beneath this is -the inscription:</p> - -<div class="blockquote"> - -<p>“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).</p> - -</div> - -<p><span class="pagenum"><a id="Page_111"></a>[111]</span></p> - -<div class="figcenter" style="width: 700px;" id="illus28"> -<img src="images/illus28.jpg" width="700" height="500" alt="" /> -<p class="caption">THE SYNOD HOUSE</p> -</div> - -<p><span class="pagenum"><a id="Page_112"></a>[112]</span></p> - -<p>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 <i>Apostles of Christianity</i> -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<span class="pagenum"><a id="Page_113"></a>[113]</span> -Gordon, “Gordon Pasha,” 1833-1885, British General, -promoter of Christianity in China and Egypt. The 12 -figures in the middle range represent the <i>Arts and -Sciences</i>. 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<a id="FNanchor_50" href="#Footnote_50" class="fnanchor">[50]</a> holding model of building. -The 10 figures in the innermost range represent the -<i>Crafts and Industries</i>, 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 <i>Seven Famous Christian Rulers</i> 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<span class="pagenum"><a id="Page_114"></a>[114]</span> -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 <i>Interior</i> 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:</p> - -<div class="blockquote"> - -<p>“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.”</p> - -</div> - -<h3 id="heading60">Open Air Pulpit</h3> - -<p>The Open Air Pulpit (<a href="#illus3">F. on plan</a>) standing in the -midst of the Cathedral Close, is in the form of an<span class="pagenum"><a id="Page_115"></a>[115]</span> -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.</p> - -<h3 id="heading61">Organizations</h3> - -<p>The following organizations of men and women -aid in the Cathedral work:</p> - -<p><i>The Diocesan Auxiliary to the Cathedral</i>: 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.</p> - -<p><i>The Cathedral League</i>: President, Mr. John S. -Rogers; Vice-President, Hon. Thomas C. T. Crain; -Treasurer, Mr. John A. Hance; Secretary, Dr. John -B. Walker.</p> - -<p><i>The Laymen’s Club</i>: 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,<span class="pagenum"><a id="Page_116"></a>[116]</span> -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.</p> - -<p><i>The Cathedral Ushers</i> 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<a id="FNanchor_51" href="#Footnote_51" class="fnanchor">[51]</a> 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.”</p> - -<h3 id="heading62">Guide Book</h3> - -<p>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 -(<a href="#Page_23">p. 23</a>). In stiff paper covers 50 cents (by mail -60 cents); in purple cloth covers stamped with gold -$1.00 (by mail $1.10).</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="footnotes"> - -<div class="chapter"> - -<h2 class="nobreak">FOOTNOTES</h2> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> The quality of divinity appertaining only to the Deity.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_3" href="#FNanchor_3" class="label">[3]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_4" href="#FNanchor_4" class="label">[4]</a> See note on <a href="#Page_116">page 116</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_5" href="#FNanchor_5" class="label">[5]</a> 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 <a href="#Page_24">page 24</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_6" href="#FNanchor_6" class="label">[6]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_7" href="#FNanchor_7" class="label">[7]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_8" href="#FNanchor_8" class="label">[8]</a> Morningside Heights are so named because they front eastward.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_9" href="#FNanchor_9" class="label">[9]</a> See description of corner-stone on <a href="#Page_100">page 100</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_10" href="#FNanchor_10" class="label">[10]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_11" href="#FNanchor_11" class="label">[11]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_12" href="#FNanchor_12" class="label">[12]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_13" href="#FNanchor_13" class="label">[13]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_14" href="#FNanchor_14" class="label">[14]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_15" href="#FNanchor_15" class="label">[15]</a> 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.”</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_16" href="#FNanchor_16" class="label">[16]</a> What is here informally called the central aisle is sometimes -called by architects the Nave, to distinguish it from the parallel -passages called aisles.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_17" href="#FNanchor_17" class="label">[17]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_18" href="#FNanchor_18" class="label">[18]</a> 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.)</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_19" href="#FNanchor_19" class="label">[19]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_20" href="#FNanchor_20" class="label">[20]</a> These Romanesque features are part of the original design which -was subsequently abandoned. There is a plan for changing them to -Gothic.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_21" href="#FNanchor_21" class="label">[21]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_22" href="#FNanchor_22" class="label">[22]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_23" href="#FNanchor_23" class="label">[23]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_24" href="#FNanchor_24" class="label">[24]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_25" href="#FNanchor_25" class="label">[25]</a> “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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_26" href="#FNanchor_26" class="label">[26]</a> Brother of Horatio Potter and father of Henry Codman Potter, -Bishops of New York.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_27" href="#FNanchor_27" class="label">[27]</a> See reference to the symbols of the four Evangelists on <a href="#Page_44">page 44</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_28" href="#FNanchor_28" class="label">[28]</a> <a href="#Page_93">See page 93</a> for anecdote of the Dove of Peace connected with -this window.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_29" href="#FNanchor_29" class="label">[29]</a> <a href="#Page_74">See page 74</a> following.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_30" href="#FNanchor_30" class="label">[30]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_31" href="#FNanchor_31" class="label">[31]</a> Uncle of Bishop Henry Codman Potter, seventh Bishop of New -York, whose tomb is in the Chapel of St. James.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_32" href="#FNanchor_32" class="label">[32]</a> The symbolism applicable to Bishop Potter’s work is that of -the familiar adage, “Great oaks from little acorns grow.”</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_33" href="#FNanchor_33" class="label">[33]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_34" href="#FNanchor_34" class="label">[34]</a> Concerning the ΙϹ-ΧϹ symbol, <a href="#Page_34">see page 34</a>. Concerning the Ichthus -symbol, <a href="#Page_116">see page 116</a>.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_35" href="#FNanchor_35" class="label">[35]</a> 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).</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_36" href="#FNanchor_36" class="label">[36]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_37" href="#FNanchor_37" class="label">[37]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_38" href="#FNanchor_38" class="label">[38]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_39" href="#FNanchor_39" class="label">[39]</a> Strictly, the arms of the Archbishop of Rheims are: On a blue -field sprinkled with golden fleurs de lis, a silver cross over all.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_40" href="#FNanchor_40" class="label">[40]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_41" href="#FNanchor_41" class="label">[41]</a> This representation of the Transfiguration, like that in the reredos -of the Chapel of Saint James described on <a href="#Page_71">page 71</a>, 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_42" href="#FNanchor_42" class="label">[42]</a> In the following table <i>ac.</i> indicates date of accession to title. -Some of the dates here and on <a href="#Page_86">page 86</a> are only approximate.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_43" href="#FNanchor_43" class="label">[43]</a> 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 <a href="#Page_74">page 74</a> the flowering or productiveness of the Christian -religion.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_44" href="#FNanchor_44" class="label">[44]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_45" href="#FNanchor_45" class="label">[45]</a> The founder of a see is usually represented holding the model -of a cathedral.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_46" href="#FNanchor_46" class="label">[46]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_47" href="#FNanchor_47" class="label">[47]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_48" href="#FNanchor_48" class="label">[48]</a> 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.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_49" href="#FNanchor_49" class="label">[49]</a> For details, see description in the Architectural Record for -August, 1914.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_50" href="#FNanchor_50" class="label">[50]</a> Ralph Adams Cram.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_51" href="#FNanchor_51" class="label">[51]</a> 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.”</p> - -</div> - -</div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK A GUIDE TO THE CATHEDRAL CHURCH OF SAINT JOHN THE DIVINE IN THE CITY OF NEW YORK ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -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. 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