D. F. Hamlin, Professor of Architecture at Columbia

University, says, “a copying or archeological imitation of
29
medieval exemplars. The French Gothic, as here used, is handled with such originality and boldness of invention as to form a new and distinctly American chapter in its development.”
Plan and Se
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’’).* Seven chapels, called the Chapels of Tongues, radiate from the Apse, or semi- circular eastern end of the Choir.
The loftiest features of the elevation are the two towers of the West Front (q.v.) and the great Central Tower above the Crossing. The latter, in the design now under consideration, consists of a dodecagonal lan- tern, carried up from the square Crossing in two stages, the upper smaller than the lower, and surmounted by a fléche or open-work spire rising to a height of 500 feet (including cross) above the ground.
When completed, the Cathedral will extend from Morningside drive to Amsterdam avenue, more than a tenth of a mile. It will be 601 feet long and 315 feet wide across the Transepts, and, with an area of 109,082 square feet, will be the third largest in the world, St. Peter’s at Rome being first and Seville Cathedral second.
The seating capacity of the Crossing in which the congregation ordinarily sits is 1500; but on special occa- sions, when chairs are placed in the Ambulatory and people are admitted to the Choir Stalls, the Cathedral . can accommodate about 3500. When the Cathedral is
Go eeide Heights are so named because they front east- ward.
30
BUILDING THE NAVE Steel framework is temporary.)
(Photograph taken August 9, 1926.
finished it will be possible to seat 10,000, and there will be standing space for thousands more.
| The late Alfred D. F. Hamlin characterized the design for the Cathedral as ‘“‘a stupendous and _inspir- ing monument of our faith and a triumphant vindica- tion equally of American religion and American art. Nothing comparable to this superb design has ever been erected in America, and the cathedrals of Eu- rope may fairly be challenged to surpass or even to equal Ite.
Progress of Construction
The Founder of the Cathedral was the Right Rev. Horatio Potter, 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, nephew and successor of Bishop Horatio Potter, actively for- ' warded 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.* The first service was held in the Crypt January 8, 1899, and the first service in the Choir and Crossing (being the consecration service) April 19, 1911. Ground was broken for the Nave May 8, 1916, by the Right Rev. David Hummell Greer. Ground was broken for the West Front on May 6, 1925, by the Right Rev. William Thomas Manning, present Bishop of New York, and on November 9, 1925 he laid the “foundation stone” of the Nave.+ The parts thus far built are the Crypt, Choir, seven Chapels of Tongues, Baptistry, and Crossing; a the West Front and the Nave are in course of construction.
*See description of corner-stone on page 106.
7 See description of foundation stone on page 42 and illustra- tion on page 43
32
Some details of the Choir and Crossing are unfinished. The completed portion of the Cathedral has cost over $5,000,000, and it is estimated that the other major units will cost approximately as follows: The Nave, $5,600,- 000; the West Front, $3,000,000; the two Transepts, $2,000,000; and the central tower and spire $3,700,000 ; making the total estimated cost of the Cathedral, $19,- 300,000. This does not include the cost of the Chapter House, $250,000; the Choir Sacristy and offices, $500,- 000; the completion of the Choir, $600,000; and other
lesser details. Funds for Building
Visitors to the Cathedral repeatedly ask when it will be finished. It is impossible to answer this question definitely. Some of the cathedrals of the Old World have been seven hundred years in building and are not yet completed. The things which endure the longest are generally of slow growth,* and the Cathedral of St. John the Divine is no exception to this rule. It is not a steel- frame structure, but is of massive masonry in the best traditions of Gothic architecture and is being built to stand for ages. Its physical construction must therefore necessarily be slow. |
It is to be remembered, also, that the financial re- sources for the building of a modern cathedral are dif- ferent from those which supplied the means for building many of the Old World churches. Westminster Abbey was built almost entirely from revenues of the Kings from Henry III. to Henry VII. St. Paul’s in London was partly built by the gifts of penitents who performed their penances in money. Occasionally an ancient shrine grew into a great church in consequence of some tradi- tion or superstition which caused a continuous stream of illustrious persons to shower wealth, privileges and honors
*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.
33
upon it. Pope Honorius prescribed collections in all Christendom for the building of Rheims Cathedral. ‘The metropolitan church of St. Rombold’s, in Malines, Bel- gium, was built with money paid by pilgrims who flocked thither in the 14th and 15th centuries to obtain in- dulgences issued by Pope Nicholas V.; and the Tour de Beurre (butter tower) of Bourges Cathedral, like the tower of the same name at Rouen, ‘‘derives its name from having been erected with money paid for indulgences to eat butter in Lent.’ (Baedeker.)
To-day, however, reliance is placed entirely upon voluntary contributions. Some of the larger gifts to the Cathedral of St. John the Divine are mentioned here- after, 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 in- spiration 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.
During 1925 and 1926, a great popular movement, under the leadership of the Bishop and sponsored by a citizens’ committee representing all classes of people, has been conducted to raise funds for the completion of the Cathedral. One of the most extraordinary meetings ever held in the City of New York was that held in connection with this undertaking in Madison Square Garden on Sunday evening, January 18, 1925, when 15,000 people of all denominations were present and over 5,000 more were unable to gain admittance. Under . the inspiration of this movement, various groups of citi- zens, representing the Art, Educational, Historical and Patriotic, Military and Naval, Medical, Legal, Recreative and Athletic, Business, and Labor interests of the com-
34
THE EXTERIOR OF THE NAVE (Composite Photograph of Mode]. Human figure shows scale)
munity, the interests of Women and those of Children, etc., have undertaken to raise funds for building certain large units of the Cathedral. One of the great arches of the Nave, called the Children’s Arch, is being built by pennies from children; and funds for the pavement of the Nave, called the Pilgrim’s Pavement, are being raised by the Laymen’s Club by contributions from visi- tors to the Cathedral. Gifts to the building fund range all the way from a few cents given by a newsboy or a day’s wages by a workman, upward into the thousands given by those more fortunately blessed with riches. They come from Protestants, Catholics and Jews; from rich and poor; from men, women and children; from clerks, students, waitresses, working girls, working men, butlers, inmates of benevolent institutions, merchants, bankers, professional men,—every conceivable class of people. Every donor’s name, no matter what the size of the gift, is to be enrolled in the Golden Book of the Cathedral. Literature concerning the personnel, organi- zation and objectives of the Committee for Completing the Cathedral, together with detailed information con- cerning collective or separate features of the Cathedral toward which contributions may be made as memorials, will be sent upon request addressed to the Right Rev. William T. Manning, D.D., Honorary Chairman, or to Hon. Franklin D. Roosevelt, Chairman, at the Cathe- dral, Amsterdam avenue and 112th street, New York City. Remittances may be sent to Bishop Manning, or to the Treasurer of the Committee, Mr. Edward W. Sheldon, at the Cathedral. Contributions may also be placed in the alms basin at the Cathedral services, or in the box at the door.
Foundation and Superstructure
‘The foundation of the Cathedral is of Maine granite. Although the bed-rock of Morningside Heights (Man-
36
hattan 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 foun- dation alone cost over a million dollars. The main walls of the super-structure 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, ex- posed in their rugged unfinished state, exhibit the dark Maine granite. Local materials are mentioned in their appropriate places.
Exterior Surbep
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 Cathe- dral 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 connec- tion with the Bishop’s House and the Choir School by means of cloisters. It will be noted that the Old Synod House (brick, with Ionic-columned portico) occupies the site of the South Transept.
The Seven Chapels of Tongues, (see page 75 et seq.), may be identified on the exterior by the following characteristics (south to north): Chapel of St. James, rectangular plan, crenelated parapet of roof, and pin- nacles on buttresses. Chapel of St. Ambrose, half round window arches. Chapel of St. Martin of Tours, fleurs de lis in quatrefoils above large windows; narrow pointed arch windows with single lights in basement. Chapel o} St. Saviour (easternmost), rectangular plan; cross on gable; statues in niches of buttresses and wall. Chapel of
37
St. Columba, angel on roof; statues in niches of buttresses. Chapel of St. Boniface, statues in niches of buttresses; small mullioned windows of three lights in basement. Chapel of St. Ansgarius, rectangular plan; parapet of quatrefoil tracery; pinnacles on buttresses.
Three of the chapels have the following sculptures by Mr. Gutzon Borglum: Chapel of St. Saviour: On eastern wall above the great window, the Christ Child; in niches of buttresses on either side of window, Angels of the Resurrection ; and beneath the window, the Virgin, seated between (left) St. Simeon who blessed the infant Jesus (Luke ii. 25-35) and (right) St. Zacharias, father of John the Baptist (Luke i. 67-80).* Chapel of St. Columba: On roof, an angel with hands joined in prayer; in upper part of great window, St. Columba with tamed wolf, recalling how be 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 Eng- land in armor with cross on shield and dragon at feet; St. Andrew of Scotland with diagonal crosst; and St. Patrick of Ireland, in Bishop’s robes, with crozier in right hand and shamrock in left. Chapel of St. Boniface: In niches of buttresses, Charlemagne, with crown and sword; Alcuin, Charlemagne’s preceptor, in monastic garb with manuscripts in right hand; Gutenberg, with book in each hand, his initials “J.G.” on one; and Luther, in scholar’s gown, with book between hands.
The Clerestory of the Choir rises above the roofs of the chapels. In the canopied niches near the top of
* The 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.
+ 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 eross of a form different from the Saviour’s as he was not worthy to die on the same kind.
38
THREE BAYS OF INTERIOR OF THE NAVE
Height from floor
oH tS 20 3 i=) Praia! ee n ie} .g eS ba! os | > £6 5a ™ 0 2 ° =
(Photograph from model.
the turrets and buttresses are 10 stone figures 914 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? ; St. Thomas with square (spiritual archi- tect); St. James the Great with staff (pilgrim); St. Peter with key (to the kingdom of Heaven); St. An- drew with diagonal cross; St. Matthew+ with drapery over head; and St. Simeon with saw, and St. Jude with spear, (indicating manner of their death), together on turret.
Fourteen Stone Shields (only 12 in place), in the spandrels of the clerestory windows above the seven Chapels of Tongues, bear (or will bear) the following devices (south to north): Above Chapel of St. James, (left) winged ox; and (right) -artist’s palette, brushes and maulsticks, and lily, symbolizing St. Luke.* Above Chapel of St. Ambrose (left) lily, and (right) rose, both symbols of the Virgin Mary. Above Chapel of St. Mar- tin of Tours, (left) eagle, and (right) chalice, symbols of St. John. Above Chapel of St. Saviour, (left) letters IC, XC, NI, KA,# in four quarters formed by a Greek cross, signifying Jesus Christ Conquers; and (right), ini-
+ The usual symbol of St. Bartholomew the knife with which he was flayed alive, and that of St. Matthew, the money bag, in- dieating his occupation before he was called, are not apparent.
* 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.
£IC and XC 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 NIKA 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.”
40
tials 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. 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.
Surmounting the roof of the Choir, and facing east- ward, is a bronze statue, 914 feet high, by Mr. Borglum, representing St. Gabriel as Angel of the Resurrection, blowing a trumpet.
1. Jesus Christ Conquers. 2, Holy Father, Holy Son, Holy Spirit. 3 and 4. Saint Luke
West Front
Returning to Amsterdam avenue at 112th street, we come to what will be the main entrance of the Cathedral. In the space between the sidewalk and the foundation of the Nave will be the West Front (see figure 1 on plan). The tentative design for the West Front (see p. 27) pro- vides 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 por- ta] is the great Rose Window, flanked by the mullioned
41
Gothic windows of the towers. Above these, extending entirely across the facade, are a series of niches contain- ing statues and a gallery of open arches. Above this level 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.
The Nave
Next east of the space to be occupied by the West Front is the Nave (figure 2 on plan) which is now under construction. The towering steel frame-work which is visible between the rising walls is for the support of the derricks, scaffolding, etc., and is temporary. During the past year extraordinary progress has been made on this part of the Cathedral. As before stated, the “foundation stone”’* of the Nave was laid. November 9, 1925, and at present writing (September 30, 1926) the walls and columns are rising above the triforium gallery. The Nave will be 225 feet long, 132 feet wide, 175 feet high out- side and 130 feet high inside, built in pure 13th century Gothic adapted to the requirements of the plan. The exterior walls are of Mohegan golden granite, faced
*The “foundation stone’ is on the south side of the Nave in the first buttress east of the St. Paul tower. It contains the Bible, the Prayer Book, the Hymnal, copies of prayers by Bishop Manning for the building of the Cathedral, the Journal of the General Convention (1922), Journals of the Diocesan Conventions (1921 to 1925), a list of contributors to the Cathedral building fund, copies of the Diocesan Bulletin, daily newspapers of No- vember 9, 1925, pamphlets relating to the campaign for building funds, a copy of the “Guide to the Cathedral Church of St. John the Divine,” by Edward Hagaman Hall, L.H.D., and a printed copy of “The Cathedral: A Poem on the Building of the Cathedral Church of St. John the Divine’ by the same author.
42
on the inside with Indiana limestone. The central aisle,*— as wide between the centers of piers as 112th street is between building lines —has two narrowet aisles on each side. Instead of the closely-grown-up forest effect produced by the columns of many Gothic cathe- drals, an air of openness and spaciousness, which dis- tinguishes this Cathedral throughout, is given by the
AAV 366A ° | GBAGS-USIMWEICES = TESUSCERISOED1O25 |
NAVE FOUNDATION STONE
The seven stars and candlesticks (Rev. i. 20) are from the Cathedral Seal. e quotation is from I Cor. iii ||
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),
* What is here informally called the central aisle is some- times called by architects the Nave, to distinguish it from the parallel passages called aisles.
43
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 sup- port the clerestory, an effect of great spaciousness and lofty aspiration is produced; and this arrangement, to- gether with the rhythmic alternation of great piers and relatively small clustered columns, allows a play of light and shade surpassing that of any medizval 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 28 stained glass windows—seven in the aisle and seven in the clere- story on each side,—and the great Rose Window in the west end.
If one were to stand at the west end of the founda- tion, and 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 would have an idea of the great vista of the completed church.
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
4
By ye a USE ARAL TAH 131 Pie era
THE INTERIOR OF THE CROSSING AND CHOIR
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 es- pecially 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 build- ing 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 glori- ous 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 build- ing as this, of which the whole country may be proud, and for the upholding of the spiritual, social and civic ideals which it embodies, not only the people of our own Church but many others in this metropolis and elsewhere will be glad to make their gifts and to have their part and share with us.”
The Crossing
Walking the length of the Nave foundation (2 on plan) we pass through temporary doorways and enter the Crossing (3), so-called from its location at the inter- section of the long and short arms of the cruciform ground plan. Jn this space, 100 feet square, floored with concrete, are 1500 chairs for the congregation. To the eastward, the Crossing opens into the Choir (10) and Ambulatory (12-12). On the north, west and south sides the spaces between the ponderous piers of Maine granite are filled with temporary windows and concrete walls which will be removed when the Nave (2) and the North and South Transepts (4 and 5) are built. The ~ removal of these temporary walls will improve the acous- tics. The rough, unadorned piers on the north, west and south sides will eventually be faced with Frontenac
46
THE PULPIT
stone like those on the east side. The massiveness of this masonry may be judged by the fact that a single pair of these piers with their connecting arch weighs 4000 tons. The Dome of the Crossing, 162 feet (just the height of Niagara Falls) above the floor, is a remarkable piece of construction, the tiles having been laid by the ingenious Gustavino method without the support of scaffolding. The present dome is temporary; the permanent vault will be 200 feet above the floor. Mr. J. P. Morgan, Mr. George S. Bowdoin and Mr. Harris C. Fahnestock were large contributors.to the building of the Crossing.
The Pulpit, a memorial of Bishop Henry Codman Potter, is made of Knoxville, Tenn., marble, an uncrys- talline 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 Doc- tors, the Crucifixion, the Resurrection and the Supper at Emmaus (Luke xxiv. 30-31). In the smaller niches are the figures of eight great exponents of the Holy Scriptures and champions of human freedom (north to south): St. Jerome, St. Gregory, St. Chrysostom, St. Peter, St. Paul, Hugh Latimer, Bossuet, and Bishop Phillips Brooks of Massachusetts.* Beneath these niches runs a moulding of grape-vine design symbolizing Christ the true vinet (John xv. 1) and beneath this one of roses symbolizing
* 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 cruci- fixion, their attitudes and facial expressions, and the vein stand- ing out on the neck of the one in the foreground.
+ 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 cen- tury, 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.)
48
Nn s 4 & n ta o, Be Z 4 [#3) faa] % ise) ea) I be ic ie) &) Z fe)
Christ the Rose of Sharon (Cant. ii. 1). On the base are the symbols of the four Evangelists: The winged man for St. Matthew, winged lion for St. Mark, winged ox for St. Luke, and eagle for St. John.t The pulpit is sur- mounted by a carved oak canopy of Gothic tracery, upon which is the beginning of the Gloria in Excelsis:
“Glory be to God on high, and on earth peace, good will to- wards 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.”
On the side of the stairs is inscribed:
“In Memory of Henry Codman Potter. The gift of Mrs. Russell Sage. A.D. 1916.”
The pulpit, which cost $30,000, was designed by Mr. Henry Vaughan and executed by Messrs. John Evans & Co. of Boston.
Barberini Tapestries. The tapestries in the Crossing and Ambulatory were woven in the first half of the 17th century on the papal looms founded by Cardinal Bar- berini 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
t+ These symbols, supposed to be derived from the Revelation of St. John (iv. 7) and the prophecy of Hzekiel (i.10), are vari- ously 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 his-~ torian 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.
50
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 Ambula- tory, 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 Trans- figuration, the Resurrection, and the Agony in the Gar- den. 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 ap- pear more like paintings than products of the loom.
The Litany Wesk 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 in- scription reads:
“We beseech Thee to hear us Good Lord. Grant us Thy Peace. Have Mercy Upon us.”
The desk was given by the Laymen’s Club.
The Choir
Architecture. Ihe Choir (10) may best be surveyed from the eastern end of the Crossing. (Visitors not admitted to Choir during service time except by per- mission.) “The half-round arches and other features ex- hibit 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
51
develops.* The interior facing 1s of Frontenac stone. Numerous symbols from the Revelation of St. John the Divine will appear as the description of the Choir and its environs proceeds. The first to attract attention is the broad course of red jasper from South Dakota seen at the base of the piers of the great Choir arch. This foundation course, which appears in the Ambulatory (12-12-12) running entirely around the Choir, recalls St. John’s description of the Heavenly City: “And the foundations of the wall of the city were garnished with all manner of precious stones. The first foundation was of jasper” (Rev. xxi. 19). The green moulding above the jasper is Pennsylvania serpentine. The floor of the Choir has three principal levels. From the Crossing 5 steps lead to the Choir proper, which contains the stalls for the clergy and choristers and which occupies the first two bays. An ascent of six more steps leads to the second level which may be designated as the Presbytery. Upon it are the two thrones hereafter mentioned and the altar rail, the latter a step higher.t In the Sanctuary within the altar rail, 4 steps lead to the third level upon which stands the Altar with its 3 white steps.t 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
* These Romanesque features are part of the original design which was subsequently abandoned. There is a plan for chang- ing them to Gothic.
+ 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 eonfusing the reader with conflicting definitions. }
{For details of intentional departures from absolute levels, and from regularity of height and spacing of arches, see ‘‘Tem- peramental Architecture’ in ‘“‘The New York Architect” for April, 1911.
52
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 furnish- ings. This sum was generously supplemented by Mrs. Morton. The ornate Altar Rail of English oak was given in memory of Mrs. Morton by one of her daughters. Its ten supports are in the form of narrow Gothic arches in which are as many figures of angels bearing censers, lyres, scrolls, ete.
Che Parapet at the entrance to the Choir is de- signed 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 1814 feet long and 4 feet high. It is built mainly of Champville (France) marble, in modified French Gothic style. The twelve marble columns, alter- nately green, red and yellow, are of Alps Green from Italy, Rouge de Rance from Italy, and Numidian from Africa, respectively. The figures, from right to left, are as follows (authorities differing slightly as to some of the dates given): (1) St. Paul (died A. D. 66) with sword symbolizing his decapitation; (2) St. Justin Martyr (100-165) with axe and block; (3) St. Clement of Alexandria (150-220) holding cross in left hand; (4) St. Athanasius (296-373) pouring baptismal water from a sea-shell, referring to a playful incident of his boyhood which led to his calling; (5) St. Augustine of Hippo (354-430) with miter, pen and tablet; (6) St. Benedict (480-543) in habit of Benedictine monk pointing to scroll; (7) St. Gregory the Great (550-604) with slave child in broken shackles, referring to his intercession for pagan children in the slave market; (8) Charles Martel (688-741) with crown, battle-axe and pennant; (9) Charlemagne (742-814) with crown, scepter and orb; (10) Alfred the Great (849-901) crowned, with sword
53
by side, holding three burnt cakes on book;* (11) God- frey 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{ 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 volun- tarily into the flame, symbolizing his martyrdom; (17) Shakespeare (1564-1616) standing amidst growing lau- rels; (18) Washington (1732-1799) in civilian attire as President; (19) Lincoln (1809-1865) standing by a burial cross delivering his Gettysburg Address; (20) un- carved block. The basis for selecting the figures was the representative character of the nineteen men selected in conjunction with their contribution to the development of Christian civilization. The Parapet was designed by Messrs. Cram & Ferguson, and the figures, modelled by Ferrari, were carved by John Evans & Co., of Boston. The Parapet bears the following inscription:
“To the Glory of God and in Memory of Richard Delafield, Brigadier-General, Chief of Engineers, Brevet Major-General, United States Army. Born September 1, 1798, Died November 5, 1873, This Parapet is Erected by his Children, Albert, Juliet
*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 fireplace 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,
+ St. Francis, founder of the Franciscan Order, literally in- - terpreted 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.
54
Covington and Emma Delafield. Righteousness Exalteth a Na- tion: But Sin is a Reproach to any People.”
The Pavements of the Ambulatory and Choir, de- signed by Mr. C. Grant LaFarge in Romanesque and Byzantine motives, are related in their symbolism. ‘The colors in the Ambulatory are reddish, or earthy, bordered with green, like grass, symbolizing the earthly life; 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, symbolizing the progress toward the perfect life. 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, 3214 feet long and 10 feet wide, with smaller patterns at the ends. In the center is an oval of black Belgian marble surrounded by violet marble from Italy, while Grueby tiles of many colors, and Grecian, red Numidian and other marbles form the rest of the design. The pavement of the Sanctuary, within the communion rail, in addition to its rich designs of tiles and marbles, contains, immediately in front of the steps to the Altar, a red tile surrounded by a square brass border, inscribed:
“Whoever shall have prayed at this spot will have pressed with his feet a tile from the ancient Church of St. John the Divine at Ephesus, built by the Emperor Justinian in the year DXL over the traditional site of St. John’s grave.”
The tile was presented to the Cathedral by Bishop Kinsman of Delaware, its authenticity being attested by Prof. George Weber of Smyrna, who procured it from
55
the ruins on the hill of Ayassolouk and who, in his life- time, was a leading authority on Ephesian archaeology.
The Eagle Lectern of bronze at the north side of the Choir steps is a replica of an ancient lectern found near St. Albans Cathedral, England, in a lake into which it had been cast when that structure was destroyed in the Saxon invasion. The eagle, standing on a globe, is the symbol of St. John in his capacity as an Evangelist. Around the lectern are the figures of the four Evangelists : St. Matthew with open book, St. Mark with closed book and pen, St. Luke with open book in one hand and pen in other, and St. John with chalice. Below are their respective symbols (p. 50). The lectern was made by the Gorham Co. It bears the following inscription, the initials at the end being those of the donor, Mary Ger- trude Edson Aldrich:
“In Memoriam. Horatio Potter, Bishop of New York, 1854- 1887. M.G.E. A.”
The Choir Stalls, rising in four tiers on either side of the Choir proper, are of carved American oak. The canopies are after studies of those in the Chapel of Henry VII in Westminster Abbey used as the Chapel of the Knights of the Order of the Bath. The finials of the stalls are figures of great musicians and composers of church music, as follows:
East.
Left. Right. Bortniansky Mendelssohn Handel Haydn Bach Purcell Tallis Palestrina Pope Gregory St. Cecilia Asaph King David
W est.
The figures, modeled by Mr. Otto Jahnsen, are rep- resented in the costumes of their day; and the features
56
CHOIR STALLS
of all but those of David and his chief musician Asaph are from portraits.
The high canopied stall nearest the Crossing on the south side of the Choir is the Dean’s Stall.* 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 Flam- boyant note in the stalls themselves. It has many interest- ing details of carving, notably the three panels depicting the Good Shepherd (front), Learning (east side), and Charity (west side). On the back of the stall is inscribed:
“In the Name of the Father, Son & Holy Ghost. This Stall is Dedicated by The Head Mistresses Association to the Mem- ory of Agnes Irwin. 1841-1914. Holding fast the faithful word as she had been taught, herself being not disobedient unto the heavenly vision. Head Mistress of the Agnes Irwin School, 1867-1894. First Dean of Radcliffe College, 1894-1909. First President ,of the Head Mistresses Association, 1911-1914.”
In the Presbytery, on the south side, is the lofty Bishop's Throne of carved oak, while opposite to it is one with a little lower canopy for the use of a bishop other than the Diocesan.
On one of the Choir Stalls is inscribed:
“These Stalls are Erected to the Glory of God and in Loy- ing Memory of Susan Watts Street. 1818-1893. By her Daugh- ter, Anna L. Morton.”
On a tablet in the Choir is inscribed:
“The Stalls of the Sanctuary and the Choir are Erected to the Glory of God and in Memory of Susan Watts Street. 1818- 1893. By her Daughter, Anna Livingston Morton.”
The stalls and the cathedra of the Diocesan were made by the John Barber Co., of Philadelphia, and the
*“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.
58
corresponding Bishop’s throne on the north side by Messrs. Irving & Casson, of Boston.
The Screens in the Sanctuary back of the sedilia are of oak in decorated Gothic style. On the middle panel of the northern (left) screen, behind the Bishop’s seat, is the coat-of-arms of the Diocese of New York. The Screens were given in memory of George Macculloch Miller and his wife Elizabeth Hoffman Miller by their children and grandchildren.
The Prgan, seen in the upper arches on either side of the Choir, contains 7,000 pipes and a chime, con- nected by electric wires with the console located in the gallery on the south choir screen. The console has four manuals and two octaves of pedals, 106 speaking stops, 31 couplers, and 33 pistons. The organist, invisible to the congregation, can see the choir and clergy either directly or by means of mirrors. A Gothic tablet in the south Ambulatory is inscribed:
“This Organ is Dedicated to the Praise of the Blessed Trinity and in Loving Memory of Lena Kearny Morton. 1875- 1904. By her Parents, Levi Parsons Morton and Anna Living- ston Morton.”
The organ was built by the Ernest M. Skinner Co. of Boston. (See also Choir School, page 120.)
The Cathedral lag which hangs above the choir stalls on the north side of the Choir opposite the Ameri- can 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 Reve- lation (ii. 1) symbolizing the seven churches and seven spirits of the churches founded by St. John the Divine in Asia Minor. The Cathedral Hag and the American
59
flag were given by Mrs. J. Herman Aldrich. The Ameri- can flag which is sometimes carried in the procession and which was first used in the victory celebration in 1918, was given by Mrs. William Iselin. (See page 6.)
The High Altar is of white Vermont marble. The beautiful Gothic Reredos is of pierre de Lens, quarried in the vicinity of the city of that name in the north of France which was so terribly ravaged in the late war. In the center is a majestic figure of Christ. On His left, (in order from center to spectator’s right) are Isaiah, Jeremiah, Ezekiel and Moses, representing the Old Testament; and on His right (in order from center to spectator’s left) are St. John, St. James, St. Peter and John the Baptist, representing the New Testament. The scale of the Cathedral may be judged from the size of the figure of our Sa- viour, which is 7 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 hold- ing various emblems — palm, sword, shield, swinging lamp, crown, trumpet, etc. Under the pedestals of the statues are clusters of grapes,. sym- bolizing Him who gave His body and blood for man. The statue of Christ was made by Sig. Leo Lentelli under the direc- Credence Table with Shaft made tion of Mr. Carl Bitter.
of Magna Charta Stones The other figures were
60
THE HIGH ALTAR
made by Mr. Otto Jahnsen. The great rectangular panel in the lower part of the Reredos is filled with a rare Spanish embroidery in arabesque design, 200 years old. The Altar and Reredos were built by the Barr, Thaw & Fraser Co. Upon the Altar is the following inscription:
“To the Glory of God and in Memory of Anna Livingston Morton. 1846-1918.”
The Credence Table, at the right (south) side of the High Altar, is supported by a shaft composed of three stones from the ruins of the ancient Abbey of Bury St. Edmunds, England, in which the Barons met on Novem- ber 20, 1214, and swore before the altar to secure from King John the liberties which they embodied in Magna Charta. ‘These relics are of Caen stone, and may be recognized by their gray color. ‘They were given to the Cathedral in 1922, with the consent of the Abbey au- thorities, by the Marquis of Bristol through Dr. Raphael Constantian of New York. Near the shaft is the follow- ing inscription:
“The Adjoining Shaft Was Once a Part of the High Altar of the Abbey of Bury St. Edmunds, Upon Which, on November 20, 1214, the Barons Swore Fealty to Each Other in Wresting the Great Charter from King John. It is Placed Here as a Symbol of the Community of Political Tradition, Laws and
Liberties, Which is the Inheritance of the English Speaking Commonwealths Throughout the World.”
The Cight Great Columns standing in a semi-circle around the Sanctuary and forming seven interspaces op- posite 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
62
74d an ee as 4H Tey uy
HL Sipe st yl
ae Ai
nn
SANCTUARY AND GREAT COLUMNS
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,* 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 Law- rence, 1788-1872.” Each column cost $25,000, not in- cluding the expense of erection. They were made by Mr. John Pierce of Vinal Haven, Me.
The Clerestory Windows of the Choir, nine in num- ber, 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, Philadel- © phia and Laodicea. They are connected by the inscrip-
*Brother of Horatio Potter and father of Henry Codman Potter, Bishops of New York.
64
tions in their lower borders which read consecutively as follows:
“Grace be unto you, and Peace, from Him Which is, and Which was, and Which is to come; From the Seven Spirits which are before His throne. Jesus Christ, the Faithful Witness, The First Begotten of the Dead, The Prince of the Kings of the Earth. To Him be Glory and Dominion for ever and ever” (Rev. i. 4-6).
These windows, which are of surpassing charm to the unaided eye, flash out with extraordinary brilliancy of color and affecting beauty of composition and execu- tion, 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 study- ing, as, for instance, the symbolisms of the elements held by the angels in the window above the Chapel of St. Boniface. Individually, from north to south:
St. Fohn and the Seven Churches are the subject of the window above the Chapel of St. Ansgarius. In the upper part of the central light, St. John between two praying angels is depicted in the character of Apostle, beardless, and holding the sacramental cup—the young St. John, symbolical of love and high ideals and the feel- ing 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 inscrip-
65
tion: ‘Grace be unto you, and Peace, from Him.” The window was given by Mrs. E. C. Ludlow Johnson in memory of Gabriel Ludlow.
The Natural Elements upon which the vials of the wrath of God were poured (Rev. xvi. 2-17) are the principal subject of the window above the Chapel of St. Boniface. In the lower part of the left side light is an angel holding between his hands the earth (green foli- age) ; 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 hold- ing the rivers and fountains (blue currents). In the upper part of the middle light is the Lamb that was slain (v. 12) between the four beasts (iv. 7) which are in the side lights—on the left, the lion and the beast with the face of a man; and on the right, the ox and the eagle.* In the circular light at the top are the word “Smyrna”’ and a shield bearing the crown of life mentioned in the message to the church in Smyrna (ii. 10). In the bottom border is the inscription: “Which is, and Which was, and Which is to come.” A tablet in the Ambulatory reads as follows:
“The Clerestory Window Above the Chapel of Saint Boni- face is Dedicated to the Glory of God and in Loving Memory of Annie Allen Wallace. February 14, 1853-August 25, 1890.”+
The Seven Angels with Trumpets (Rev. viii. 2) are the main subject of the window above the Chapel of St. Columba. Three of them are in the lower part of the middle light and two in each of the side lights. In the upper part of the middle light is the mighty angel of the cloud, overarched by the rainbow, standing upon the sea, and holding aloft in his left hand the little open book
- *See reference to the symbols of the four Evangelists on page 50.
_.1 See page 99 for anecdote of the Dove of Peace connected with this window.
66
(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 IHC and XPC (Jesus Christ).{ In the bottom border are the words: “From the seven Spirits which are before His throne.”’ A tablet in the Ambulatory reads as follows:
“The Clerestory Window Above the Chapel of Saint Columba is Erected to the Glory of God and in Loving Memory of— 1797 John Williams Leeds 1873—1800 Eliza Leeds 1885—Emily
Irene Hardenbergh 1899—By Their Daughter and Sister, Jose- phine Eliza Leeds, A. D. 1915.”
Christ Reigning in Glory, as described in the first chapter of the Book of Revelation, is the principal sub- ject of the great central window above the Chapel of St. Saviour. In the central light is the Son of Man, with up-raised hands, vested as King and Priest, wearing a royal crown, a crimson mantle and a golden pallium. He stands in the midst of the seven candlesticks (i. 13), holds in his right hand the seven stars (i. 16, 20), and is surrounded by winged seraphim. Beneath him a rainbow (iv. 3) over-arches the sea of glass (iv.6). In the side lights are the four principal archangels: St. Michael (left, above), is depicted in armor as the Prince of the Celestial Armies, while the balance in his left hand, sup- posed 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 arch- angel.” St. Gabriel (right, above), appears as Angel of
+See page 79 following.
67
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.t In the circular win- dow 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 Ambula-
tory reads: ;
“The East Window is Erected in Memory of Whitelaw Reid. October 27, 1837—December 15, 1912.”
The Seven Last Plaques (Rev. xv. 1) are the prin- cipal subject of the window above the entrance to the Chapel of St. Martin of Tours. These are represented in the lower part of the window by seven angels holding the seven vials containing the plagues, three in the central light and two in each of the side lights. In the upper part of the middle light is an angel holding aloft in his right hand the everlasting Gospel (xiv.6) in the form of a scroll bearing (obscurely) the symbols of the four Evangelists. In the upper part of the left side light is the angel with the measuring rod (xi. 1), and in the right side light is the angel standing in the sun (not to be confused with the woman in the sun mentioned in the next window), calling the fowls of the air to the supper of the great God (xix. 17). In the circular light at the top are the name “Sardis” and a shield bearing a white dove in the midst of the seven stars (the seven Spirits of God), mentioned in the message to the church in Sardis (iii. 1). In the border at the bottom of the three lights are the words: “The First Begotten of the Dead.” A tablet in the Ambulatory reads:
1 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.
68
“The Clerestory Window Above the Chapel of St. Martin of Tours is Erected to the Glory of God and in Loving Memory of Sophia R. C. Furniss and Mary B. Hubber, by Margaret E. Zimmerman, nee Furniss. Blessed are the peace-makers, for they shall be called the children of God.”
The Wioman in the Sun is the title of the window above the entrance to the Chapel of St. Ambrose. In the central light is the woman clothed with the sun and wearing the crown of twelve stars (Rev. xii. 1). She is surrounded by a dazzling radiance of flaming rays. Above her, a cloud of glory is carrying her Child up to the throne of God (xii.5). In the left side light, above, is the angel proclaiming the fall of Babylon (xiv. 8), and below, symbolizing that wicked city, the woman in scarlet holding the golden cup of abominations and seated on the beast from the bottomless pit (xvii. 4, 18). In the right side light, above, is the angel with the sharp sickle and the clusters of the vine (xiv. 18), and below, the angel with the keys to the bottomless pit and the chain to bind the dragon (xx.1). The whole window sym- bolizes 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 Phila- delphia (iii.7). In the border at the bottom are the words: “The Prince of the Kings of the Earth.” A tablet in the Ambulatory is inscribed:
“The Clerestory Window Above the Chapel of Saint Am- brose is Erected to the Glory of God and in Loving Memory of Morgan Lewis Livingston, 1800-1869, and Catharine Man- ning Livingston, 1810-1886, By Their Daughter Julia Living- ston. 1916.”
The Beavenly City is the principal subject of the window above the entrance to the Chapel of St. James. In the lower part of the middle light is the angel show- ing to St. John the Heavenly City (Rev. xxi. 10 et seq.) and in the upper part is a glorified figure symbolizing the
69
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 na- tions (xxi. 1-2). In the lower part of the left-hand light is the angel with the Alpha, and in the corresponding part of the right-hand light is the angel with the Omega (xxii. 13) ; while above each of them is a beckoning angel saying “Come” (xxii. 17). In the circular light at the top are the name of the church of Laodicea and the word “Amen”— the latter being the name of the sender of the message to the Laodiceans (iii. 14) and the word with which the Book of Revelation and the Bible end (xxii. 21). In the bottom border of the three lights is the in- scription: ““To Him be Glory and Dominion for Ever and Ever,” The window was given in memory of Mary