L. Ogden, Margaret Ogden, Mrs. Gardiner Sherman

and Mrs. Francis C. McNutt.
Che Ambulatory The Ambulatory (12-12-12) is a passage about 20
feet wide leading entirely around the Choir and giving access to the seven Chapels of Tongues, the Sacristy, and other environments of the Choir. Some of the features have already been described. The symbolism of the earthly life in the pavement, before mentioned (p. 55); 18 noticeable in the large areas of clay-red tiles with borders of grassy green serpentine and green marble from Pennsylvania. The beautifully colored wainscoting be- tween 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
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THE BAPTISM OF CHRIST 16th century painting signed: “* Eredes Pavli Caliarii faciebant””
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 por- trait medallions of Mr. and Mrs. Levi P. Morton, and bearing the following inscription:
“To the Glory of God and in Enduring Memory of Levi Parsons Morton, 1824-1920, Vice-President of the United States, Governor of the State of New York, and of His Wife, Anna Livingston Morton, 1846-1918, Whose Gifts Made Possible the Building and the Furnishing of the Choir of this Cathedral. Yea saith the Spirit, that They May Rest from Their Labours, and Their Works do Follow Them.”
A Notable Painting from the atelier of the brother and sons of Paolo Caliari (Paul Veronese, 16th century) portraying the Baptism of Christ, hangs in the Am- bulatory. It is signed in Latin with the frm name under which Paolo’s associates continued business after his death:
“The heirs of Paolo Caliari made it.” It was given to the Cathedral by Mr. F. Kleinberger, of New York.
The Founder’s Tomb, containing the remains of Bishop Horatio Potter, sixth Bishop of New York,* in the Ambulatory between the fourth and fifth great pillars opposite the entrance to St. Saviour’s Chapel, is a beau- tiful 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 lime- stone. ‘The figures, from left to right, are those of (1) Edward the Confessor, with crown, scepter and orb;
*Uncle of Bishop Henry Codman Potter, seventh Bishop of New York, whose tomb is in the Chapel of St. James.
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(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
THE FOUNDER'S TOMB
niches is a decorative moulding of oak leaves and acornst with little squirrels at the ends. On the edge of the slab on which the Bishop’s figure rests is inscribed:
+ The symbolism applicable to Bishop Potter’s work is that of the familiar adage, “Great oaks from little acorns grow.”
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“Horatio Potter, D.D., D.C.L., Oxon. Sixth Bishop of New York, Founder of this Cathedral. Died 2d Jany. 1887, Aged 85 Yrs.”
On the rear of the sarcophagus: is inscribed “St. John’s Day *k 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 cor- bels springing from the great granite columns on either side. A narrow stairway behind the columns and the tomb leads to a landing which permits a closer view of the figure of Bishop Potter. The architect was Mr. Thomas Nash of New York and the sculptor of the figures was Mr. Isidore Konti of Yonkers, N. Y.
The Brownell Memorial Tablet on the wall of the bay at the entrance to the Chapel of St. Ansgarius reads as follows:
“In Memory of The Right Reverend Thomas Church Brownell, S.T.D., LL.D. Born 1779; Died 1865; Third Bishop of Connecticut, 1819-1865; Presiding Bishop, 1852-1865; and in Grateful Remembrance of the Foundation of the Bishop Brownell Memorial Fund for the Endowment of the Cathedral by His Daughter, Frances Johnston Holland.”
The Choir Boys’ Stone on one of the piers of the Am- bulatory near the Chapel of St. Ansgarius, is the bust of a boy of the class of 1911, carved by Mr. William Scott. It repre- sents the choir boys’ contribution to the building of the Cathedral. | It contains, within a hollow, the names of the charter members of the Choir School and of the
Choir Boys? Stare members of the class of 1911. 74,
The Seven Chapels of Tongues
The seven Chapels of Tongues, built around the Choir on lines converging toward the Sanctuary and deriving their name from the fact that they were intended for services of the church in the languages of the prin- cipal ethnological groups or regions of the world, are one of the noblest conceptions of the Cathedral. In early Gothic churches, the fundamental idea of the apse with radiating chapels was Christ in the company of his Saints. Here, in the great cosmopolitan Diocese of New York, this idea has appropriately been carried a step further in these chapels to include the idea of all the nations of the earth gathered around the Altar of the Saviour of Mankind. They recall the cry of the multitude in Jerusalem at Pentecost: “How hear we every man in our own tongue wherein we were born . .. . the wonderful works of God” (Acts ii. 8, 11). Services in foreign languages are held in these chapels on special occasions, and have included services in the Armenian, Japanese, Chinese, Greek, Italian, Russian, Serbian, Spanish, Swedish and Welsh tongues. ( For two typical examples of such services see description of St. Saviour’s Chapel.) The spirit fostered by these chapels is occasion- ally 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.* 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 ex- press the catholic and democratic spirit of the Cathedral of St. John the Divine referred to on page 14. They may
*The congregational singing, always a feature of the Cathe- dral services, is remarkable on these occasions, especially with the colored congregations, among whom are often heard voices of exceptional quality.
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be visited in order either from south to north or north to south; but by beginning on the south side they will be seen in the order in which they were observed on the exterior (p. 37), and by looking through the archways of the Choir to the opposite side of the Ambulatory, glimpses may be had of the tapestries and the clerestory windows in the order in which they have been described. The chapels are all separate gifts and are memorials of the persons mentioned under their respective headings following:
The Chapel of St. James
St. JAMEs, the Apostle, after whom this chapel is named, was the son of Zebedee and was a Galilean fisherman. He is sometimes called St. James the Great to distinguish him from another Apostle called St. James the Less. He was a brother of St. John the Divine. He went almost everywhere with the Lord. After the ascension, he preached a while in Judea and then in Spain. After his mission there, he was beheaded by the Jews, and, according to tradition, his body was miracu- lously 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 tle Spanish war-cry. His shrine at Compostella was one of the most popular for pilgrimages in the Middle Ages, and it was said that two visits to Compostella equaled one to Rome. St. James is usually represented in the dress of a pilgrim with a peculiar staff. His Memorial Day is July 25.
The Chapel of St. James (13 on plan), designed by Mr. Henry. Vaughan, is in pure English Gothic Archi- tecture of the 14th century; 66 feet long and 39 wide, with a sort of transept on the north side 15 feet wide; seats 250 persons, and cost about $200,000. Its interior walls are of Bedford, Ind., limestone. On the front of the Altar of gray Knoxville, Tenn., marble, is sculptured DaVinci’s Last Supper. The central feature of the lime- stone Reredos is a relief representing the Transfiguration,
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THE SANCTUARY OF THE CHAPEL OF ST. JAMES
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 Transfigu- ration is a smaller sculpture of the Nativity, with an alle- luia angel on each side. On four escutcheons, two on each side of the Nativity, are emblems of the condemna- tion and crucifixion (left to right) ; (1) Crown of thorns and spear (John xix. 2,5,34); (2) pillar to which Christ was bound for scourging, cord, knotted scourge (John xix. 1) and sponge on reed (John xix. 29); (3) ladder, sponge on reed and spear; and (4) hammer, pincers, coat, and three dice (Mark xv. 24). Beautifully carved canopies surmounted by six adoring angels crown the Reredos. The stained glass East Window, by C. E. Kempe & Co. of London, above the Reredos, depicts in its three lights (left to right) St. Lawrence, St. James and St. Vincent. In two walled-up panels of the window, one on each side of the glass, are statues of St. Peter with keys (left) and St. Paul with sword (right). The Saint James Window in the middle bay of the south aisle portrays in its four lights scenes in the life of the patron saint of Spain (see page 76) and other subjects, as fol- lows, reading from left to right: Bottom, (1) Coat-of- arms of St. James 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 IC-XC symbol; (2) “They bore 78
his body to a ship that sailed for Spain;’ (3) “Over his tomb they built a chapel passing fair ;” (4) Angel with Ichthus symbol.* In the tracery at the extreme top is a representation of the Crucifixion. The window was given by Bishop Potter’s daughters and was designed and made by Mr. Henry Wynd Young, glass-painter, of New York City. In niches of the walls of the chapel are the following statues and symbols: East Wail, St. Augustine of England with crozier (left) and St. Gregory the Great (who sent him to England) with papal tiara and papal cross (right). West Wall, end of main aisle, above, Christ between his kinsmen St. James the Great (left) and St. James the Less (right); and at end of south aisle, the Venerable Bede. On four escutcheons, two on each side of the west door, are: (1) A floriated cross (emblematic of the flowering or productiveness of the Christian religion); (2) the monogram ihe (represent- ing the first two and last letters, uncial form, of the Greek word for Jesust) ; (3) the Greek cross form of the chi rho monogram (first two Greek letters of the name Christ) ; and (+) the Alpha and Omega, the first and last letters of the Greek alphabet, (Rev. i. 8). North Wall, statue of William of Wykeham. In the upper part of the north wall is the gallery of the organ, which is independent of the great organ of the Cathedral. Choir Stalls near the Altar are a distinctive feature of this chapel. Two clustered columns divide the south aisle into three bays in the middle one of which is Bishop Potter’s Tomb of Siena marble. On the tomb is a re-
* Concerning the IC-XC symbol, see page 40. Concerning the Ichthus symbol, see page 131.
7 These letters ihe and the corresponding capitals IHC (iota. eta, sigma), are the first two and last letters of the Greek word for Jesus. They are frequently associated with the letters XPC (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).
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cumbent figure of the Bishop in Serevezza marble, by Mr. James E. Frazer. The Bishop is represented in his episcopal robes, and the execution is so fine that even the texture of the lawn sleeves is apparent. On the front of the tomb is inscribed:
Henry Codman Potter. MDCCCLXXXIII Assistant Bishop of New York MDCCCLXXXVII; Bishop of New York,
MDCCCLXXXVII-MCMVIII. Upholder of Righteousness and Truth. Soldier and Servant of Jesus Christ.”
On the rear:
“He laboured that this Cathedral Church Should rise to the Glory of God and as a witness to the Life of our Lord and Master Jesus Christ, that here the prayers of the chlidren of many lands should rise to that Father in whom alone all men are brothers, Whose service is perfect freedom.”
Around the edge of the top slab:
“T saw the Holy City coming down from God out of Heaven, and I heard a great voice saying, Behold the tabernacle of God is with men and he will dwell with them and they shall be his people.”
On the west wall is inscribed:
“The Chapel of St. James. Consecrated May 2, 1916, To th: Worship of Almighty God, And in Loving Memory of Henry Codman Potter, Bishop of New York: Born May 25, 1834; Died July 21, 1908. The Gift of His Wife, Elizabeth Scriven Potter: Born September 30, 1848; Died March 4, 1909.”
Story of the Blind Tfoman. A beautiful and touch- ing 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 Cathe- dral 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.
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When she came to the Chapel of St. James, she wished to feel of Bishop Potter’s features as reproduced in the effigy on his tomb, but on account of the delicacy of the marble, visitors are not allowed to touch it. The blind woman, however, produced from her bag a pair of thia white gloves, and by signs asked if she might feel of the statue if she put them on. The Verger assenting, she ran her fingers deftly over the Bishop’s countenance, felt of the signet ring on his finger, etc., and then, satisfied, proceeded to the Altar. Here she knelt down and began to feel of the relief representing DaVinci’s Last Supper. As soon as she recognized the work, she threw up her hands in ecstasy and exclaimed in broken accents, the best she could utter, “Vinci! Vinci!” The venerable Verger, in relating this incident, said that he was moved to tears by the spectacle of the blind woman, kneeling before the Altar, with up-raised hands, “‘seeing’’ the Cathedral through the sense of touch. One may well ask, if this blind woman could see so much spiritual beauty in the Cathedral without eyes, how much more ought those to see who have the blessed gift of sight.
The Chapel of St. Ambrose
St. AmBrRosE, 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 th? 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 beehive, 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.
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The Chapel of St. Ambrose (14 on plan), designed by Messrs. Carrere & Hastings, is in modern Renais- sance Architecture. It is about 50 feet long and 27 wide, ‘seats 100 persons and cost over $150,000. The floor is inlaid with grey Siena and red Verona marbles, bor- dered 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*, with triangular nim- bus, 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 per- spective of the side walls is similar to that in the Sacristy of the Cathedral of Siena. Jn 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 artistically modeled in low relief. From the ceiling hang four silver lamps, one an antique Italian lamp and the others copied from it. On the front of the Altar of alabaster are three golden ornaments, representing the Paschal Lamb (Christ) between two angels swinging censers, the latter symbolizing the prayers of all saints (Rev. viii. 3). The Reredos, not copied from any one European prototype but inspired by many examples found in the transitional and early Renaissance period in Italy, is of carved wood over- laid with gold leaf. The lower part consists of a triptych,
* 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. The Father is also represented in human form, seated on the throne, in the symbol of the Trinity in the lantern of the Baptistry, q. v.
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covered by an elaborate canopy and flanked by niches in which are statues of St. Francis (left) and St. Ambrose (right). In niches at the left of the canopy are figures (left to right) of a kneeling angel, St. Benedict with crozier, St. Agnes in female apparel, and Dante in red gown and hood; and at the right (same order) Fra Angelico, Galileo with globe, Savonarola, and kneeling angel. Upon the cross of the canopy is a dove, symboliz- ing God the Holy Ghost; above that is the all-seeing eye in a triangle within a sun-burst, symbolizing God the Father; and on the top-most spire is the figure of God the Son holding a cross and pronouncing a benediction. The Apse Windows, one on each side of the Altar, transmit a soft amber light which gives a peculiar charm to this chapel. Each has a border of Italian Renaissance tracery, within which is a field of many small panes of leaded glass. In the left window these panes are orna- mented 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 Cathe- dral seal, and the legend, “Sigil. Eccles. Cath. S. Johan;” and in the lower part the words, “For God is the King of all the Earth. Sing ye Praises with Understanding.” In the right window the panes are ornamented with repe- titions of the bee-hive, mitre and scourges (symbols of St. Ambrose), the cross and wreath, flowers, and the IC-XC 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, archi- tects, of New York. Along the side walls are Stalls and
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Wainscoting of dark Italian walnut, inlaid with pear- wood in designs including the star of the east, chalice, Latin cross, patriarchal cross, and Bishop’s mitre. Inlaid in the top border of the wainscoting is this inscription:
(Left) “Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of thy glory. Glory be to Thee, O Lord Most High. Blessed is he that cometh in the name of the Lord. Hosannah in the Highest. (Right) O Lamb of God, that takest away the sins of the world, grant us thy peace. Glory be to God on high, and on earth peace, good will towards men. Thou only, O Christ, with the Holy Ghost, art most high in th: Glory of God the Father.”
The wrought iron Italian Screen at the entrance to the chapel is best seen from the inside. Upon the finials at either end are angels blowing trumpets, and the space between them is divided by seven tall candlesticks into eight spaces, in which are bronze groups representing scenes in the life of St. Ambrose (left to right): (1) His youth; (2) settling the succession of the bishopric of Milan; (3) his baptism; (4) nuns and (5) monks, listening to the preaching of St. Ambrose, who stands between them facing the Altar; (6) the public penance before St. Ambrose of Emperor Theodosius who caused the massacre of the Thessalonians;* (7) laying the corner- stone of the Church of St. Ambrogio in Milan; and (8) his death. Beneath the figure of St. Ambrose who stands between the nuns and monks is a bee-hive with crossed croziers. ‘Che screen was designed by Mr. Thomas Hast- ings and was made by Messrs. E. F. Caldwell & Co., of New York. On the south wall is inscribed:
“To the Glory of God and in Loving Memory of Augustus Whiting, Sarah Swan Whiting, Jane Whiting, Amelia Whiting
Davis, Augustus Whiting, Jr., Natica Rives Burden, This Chapel has been Erected by Sara Whiting Rives.”
* When Theodosius, in the year 390, caused the deliberate massacre of about 7,000 Thessalonians gathered in the circus, as punishment for lynching a brutal governor, Ambrose refused to admit the emperor to the sacrament until he publicly expressed his penitence before the whole congregation. Five years later the emperor expired in the arms of Ambrose.
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The Chapel of St. Martin of Tours
St. Martin, after whom this chapel is named, born in 316, in his young manhood was a Roman soldier in Gaul. One wintry day, (according to the traditional story related by Ruskin in his “Bible of Amiens”), when Martin was riding forth from the city of Amiens, he saw a beggar shivering by the roadside; whereupon he divided his cloak with his sword and gave one half to the beggar. That night in a vision he saw Christ wear- ing 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 ac. beforementioned by giving his stole to a ragged beggar; and when St. Martin was at the altar, elevating the Host, a globe of light appeared above him and angels descended and hung chains of gold and jewels (not of earth) on his bare arms. Sweet, serene and dearly beloved, he was Bishop and Knight of the Poor, and the divided cloak and sword are his special symbols. The Memorial Day for St. Martin is kept on November 11.
The Chapel of St. Martin of Tours (15 on plan), designed by Messrs. Cram & Ferguson, is in early 13th century Gothic Architecture; about the same size as the Chapel of St. Ambrose; and cost about $150,000. Its interior walls are faced with light-colored Bedford, Ind., limestone. The lower half of the walls is occupied by Gothic arcatures, in the trefoiled arches of which are fleurs de lis. Under the fleurs de lis, in medizval text, runs the inscription:
(Left side): “They that be wise shall shine as the bright- ness of the firmament and they that turn many to righteousness as the stars forever and ever. (Right side): The Peace of God which passeth all understanding shall keep your hearts and minds, through Christ Jesus.”
A little above the arcature is a border of roses. The upper half of the side walls presents a unique feature in a sort of triforium gallery built in the thickness of the
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wall. The pavement of Knoxville, Tenn., pink marble is bordered with black Belgian marble. The simple marble Altar in the form of a table resting on red marble pillars has no reredos. The Seven Windows, three in the Sanctuary and four in the clerestory, by Mr. Charles Connick of Boston, Mass., are of grisaille* work in geo- metrical designs, the Sanctuary windows being inset with pictorial medallions in painted mosaic glass in the mediae- val style. In the central window over the Altar the medallions depict scenes in the life of St. Martin as fol- lows, beginning at the bottom and reading upward: In the left-hand light (1) St. Martin receives sword and enters army; (2) divides his cloak with the beggar; (3) has vision of Christ wearing the severed cloak which he had given to the beggar; and (4) is baptized. In the middle light, (1) He converts-the robber; (2) revives the dead man; (3) is affectionately welcomed on_ his return to Tours; and (4) destroys the heathen temple. In the right-hand light, (1) He intercedes with Count Avitianus for the release of prisoners; (2) pleads for Priscillian’s life; (3) dies; and (4) the ship bearing his body is mysteriously propelled. In the middle light of the window at the left of the Altar are scenes in the life of St. Louis: (1) His coronation; (2) his release of prisoners at Paris; (3) his ministration to sick soldiers during the first Crusade; and (4) his departure on the second Crusade. In the middle light of the window at the right of the Altar are scenes in the life of Joan of Arc: (1) Her vision; (2) the capture of Orleans; (3) the coronation of Charles VII.; and (4) her martyrdom at the stake. In the circular lights at the top of the seven windows are the following coats-of-arms (left to right): -
* 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
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(1) On a blue field, three golden fleurs de lis above a white wreath of oak and laurel with red fruit, represent- ing the City of Rheims.* (2) On a blue field sprinkled with golden fleurs de lis, the Mother and Child, repre- senting 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
_Coats of Arms in Windows of Chapel of St. Martin of Tours.
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.t (7) On a blue field, three golden fleurs de lis under a white “‘label’’ or mark of cadency of eldest son, being the royal arms of
*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.
+ Strictly, the arms of the Archbishop of Rheims are: On a blue field sprinkled with golden fleurs de lis, a silver cross over all.
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the Dukes of Orleans.t A Statue of Joan of Arc, express- ing 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, Presi- dent of the Joan of Arc Statue Committee which erected the equestrian statue of the Maid by the same sculptress in Riverside Drive. Near it are two rough stones from the Chateau de Rouen in which the Maid was imprisoned at the time of her trial and from which she was led to the stake. The wrought-iron Screen of beautiful tracery at the entrance, designed in the office of Messrs. Cram & Ferguson and made by Messrs. F. Krasser & Co., of Boston, is a particularly lovely example of this form of art. While not copied from any existing medizval proto- type, it shows the influence of the wrought-iron work of the Romanesque and early Gothic periods of France. The shell ornament in the section below the cornice is symbolical of St. Martin as a pilgrim, while the finials and cresting, blossoming with roses, signify the flowering of the Christian religion. In the frieze are four panels depicting four scenes which are described in a quaintly lettered inscription in the moulding above:
“S. Martin shares cloak with Beggar. Our Lord appears in cloak to S. Martin. S. Martin receives holy baptism. Saint Martin journeys to Rome.”
An inscription on the wall of the chapel reads:
“The Chapel of Saint Martin of Tours. Consecrated 1918 T» the worship of Almighty God and in Loving Memory of William P. Furniss and His Wife Sophia Furniss and their Daughter Sophia R. C. Furniss.”
In another panel is this inscription:
{In 1876, Charles V. fixed the number of fleurs de lis in the royal arms at three “to symbolize the Holy Trinity.” Some per- sons consider that the three leaves of the conventional fleur de lis also symbolize the Trinity.
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JOAN OF ARC STATUE
“To the Glory of God and in Loving Memory of Clementina Furniss, by Whose Gift this Chapel was Erected, and Margaret Elizabeth Zimmerman, Daughters of William P. Furniss and his wife Sophia Furniss.”
The Chapel of St. Saviour
SatnT Saviour, the name of this chapel, means Holy Saviour, the word Saint being used in its primary sense as an adjective, derived from the Latin “sanctus.” The Memorial Day for St. Saviour is kept on December 25.
The Chapel of St. Saviour (16 on plan), is the east- ernmost of the seven Chapels of Tongues and forms the eastern extremity of the Cathedral. As typical of the special services for oriental peoples held in this eastern chapel may be mentioned the formal reception at the Cathedral of the Royal Abyssinian Commission to the United States Government on July 24, 1919, when its members knelt at this altar; and the specia} service for the Japanese people, conducted by a Japanese Bishop in the Japanese language, immediately after the Japanese earth- quake of September 1, 1923. The chapel is in the English Decorated Gothic style of Architecture after designs by Messrs. Heins & LaFarge. It is 56 feet long and 301% feet wide, seats 150 persons, and cost about $200,000. Its interior walls are of Minnesota dolomite, around the base of which runs a foundation course of red jasper with green serpentine moulding like those which run around the Choir. The pavement is of stone from Hauteville, France, with a mosaic border. The Sanctuary steps are of pink marble from Georgia. The Altar, made by Messrs. Batter- son & Eislie and carved by Mr. Schwartz, is of snow-white Carrara marble. Its face and front corners are adorned - by the figures of six angels singing “Holy, Holy, Holy.” Carved on the face of the retable is the crown of thorns, supported by two cherubs. The Reredos is of polished red Siena marble, bordered with Venetian mosaic. The Chair
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and Prayer Desk of black walnut at the left side of the Sanctuary have an interesting history recited on a brass tablet on the desk as follows:
“The first use of this chair and prayer desk was made by the Most Reverend Randall Thomas Davidson, D.D., Arch- bishop of Canterbury, in the Crypt of the Cathedral of St. John the Divine on Wednesday morning, September 28th, A.D. 1904, at the celebration of the Holy Communion, at which His Grace was the celebrant and which preceded the opening of the One hundred and twenty-first Convention of the Diocese of New York, being also the first opening of the Diocesan Synod Hall.”
The East Window, a glorious work in stained glass by Mr. Hardman of Birmingham, Eng., completely fills the end of the chapel. Its central light is occupied by a representation of the Transfiguration (Mat. xvii. 1-3). In the middle of the scene is the radiant Saviour, with Moses (left) holding the Ten Commandments, and Elias (right) holding the receptacle of the scrolls, representing respectively the Law and the Prophets.* 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 mirac- ulously consumed by the fire of the Lord (I. Kings xviii. 30-38). In niches on either side of the window
* This representation of the Transfiguration, like that in the reredos of the Chapel of Saint James deseribed on page 76, 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.
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are the following Statues of Bishops, saints and scholars of the Eastern church:
Left. Right. St. Polycarp St. Chrysostom b. 69 d. 155 b. 347 d.407 Bishop of Smyrna Archbp. of Constantinople St. Athanasius St. Basil b. 296 d. 373 b. 329 d.379 Primate of Egypt Bishop of Caesarea Origen St. Clement of Alexandria b. 185 d. 253 b. circ. 150 d. 213-220 Great eastern scholar Celebrated Church Father St. Gregory Nazianzen St. Ignatius b. 330 d.389 b. cire. 50 d. 107 Bishop of Nazianzus Bishop of Antioch
In a niche in the upper part of the north wall is a statue of St. Peter with key; and in a corresponding niche in the south wall one of St. Paul with sword. Turning toward the entrance to the chapel, one sees in niches between the clustered columns at the sides of the great archway an array of angels, five on each side, one above the other, corresponding to as many on the Ambulatory side——twenty in all—representing the Heavenly Choir. ‘These lovely figures are worthy of more than passing notice. All the statuary is by Mr. Gutzon Borglum. The four Lamp Standards of Car- rara marble surmounted by alabaster bowls standing in the four corners of the chapel, and carved in relief with many symbolical details, were made by Messrs. E. F. Caldwell & Co. and carved by Messrs. F. Ruggeri and P. Giuntini of New York. The elaborate wrought iron Screen, made by the Wm. H. Jackson Co. of New York, at the entrance, is in the Italian style after one in Orvieto, Italy. It is embellished in its upper part by two golden angels holding a wreath at the foot of the cross. Looking outward through the screen, one sees the back
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of the High Altar of the Cathedral. On one of the walls of the chapel is inscribed: “This Chapel is Erected to the Glory of God and in Loving
Memory of Bessie Morgan Belmont, by her Husband, August Belmont.”
Che Chapel of St. Columba
St. CoLUMBA was born in County Donegal, Ireland, in 521, of royal blood. After study and religious work in Ireland, he set out in 563 with twelve disciples and planted upon the Island of Iona, on the west coast of Scotland, which he received from his kinsman Conal, King of Scots, a monastery which, from the 6th to the 8th centuries, was second to hardly any other in Great Britain. From it was conducted a wonderful mission- ary work in Scotland, Ireland, the north of England, and small adjacent islands. Many miracles are attributed to him, and he was accredited with power to subdue not only wild tribes of men but also the beasts of the wilderness (see p. 38). He died in 597, and his body was buried at Iona, which is regarded as one of the great shrines of Christianity in Great Britain. The Memorial Day for St. Columba is kept on June 9.
The Chapel of St. Columba, (17 on plan), designed by Messrs. Heins & LaFarge, is in the Norman style of Architecture. It is 50 feet long and 27 wide, seats 100 persons, and cost about $150,000. The interior walls are of Minnesota dolomite, separated from a base course of polished Mohegan granite by a moulding of yellow Verona marble. The pavement is a fine grained gray stone from Illinois. The semi-circular arched window heads, and particularly the six large cylindrical pillars diversified by spiral and diaper patterns, convey the idea of the Norman style which one sees exemplified on a larger scale in Durham Cathedral and other churches of that period in England. The vaulting over the Sanctuary is lined with gold mosaic, upon which appear black and white Celtic crosses. The lectern, communion rail, Glas- tonbury 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
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relief with ornament expressive of English Gothic feel- ing.. The lectern shows a composition of three figures: Christ in the center, between John the Baptist, his Fore- runner, and St. John the Divine, namesake of the Cathe- dral, who closes the biblical record with the Book of Revelation. The Altar, of cream colored Italian marble. is in the form of a table supported by marble pillars. It has no Reredos. ‘The Sanctuary Windows, three. in number, were made by Messrs. Clayton & Bell of Lon- don. In the central light of the window above the Altar is represented the baptism of Christ by John the Baptist, and in the side lights are St. John with cup (left), and St. Paul with sword, (right). In the bottom of the three lights are the four symbols previously explained (p. 79); namely, the IHC, the Alpha, the Omega, and the Chi Rho. The windows on either side of the middle window are in grisaille, copied from the famous lancet windows called the Five Sisters in the North Transept of York Cathedral, although these windows have only two lights each, instead of five. The six wonderfully graceful seven-branched Candelabra, after. Donatello, were brought from Italy by Mr. George Gordon King. Turning toward the entrance, in which is a wrought iron Screen in the Spanish style, designed by Mr. Samuel Yellen and made by the Industrial Ornamental Iron Works of Philadelphia, Penn., one sees an extremely interesting feature in the Statues by Mr. Gutzon Bor- glum 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.*
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
*In the following table ac. indicates date of accession to title. Some of the dates here and on page 92 are only approximate.
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being understood that the left side as seen from the chapel is the same as the right side as seen from the Ambulatory.
Seen from Chapel.
Left. Right.
; St. Aidan St. Augustine Bishop of Northumbrians Archbishop of Canterbury ac. 635 d. 651 ac. 597 d. 604 St. Anselm King Alfred
Archbishop of Canterbury King of Wessex ac. 1093 d. 1109 b. 849 d. 901 Thomas Cranmer William of Wykeham Archbishop of Canterbury Bishop of Winchester b. 1489 d. 1556 ac. 1367 d.1405 Joseph Butler Jeremy Taylor Bishop of Durham Bishop of 3 Irish sees b. 1692 d.1752 b. 1613 d. 1667 John Keble Reginald Heber leader in Oxford movement Bishop of Calcutta b. 1792 d.1866 b. 1783 d. 1826 Seen from Ambulatory. Left. Right. St. Alban Theodore of Tarsus promartyr of Britain Archbishop of Canterbury d. circ. 304 ac. 668 d. 690 The Venerable Bede Stephen Langton chronicler and priest Archbishop of Canterbury b. 673 d. 735 b. 1150 d. 1228 John Wyckliffe Matthew Parker morning-star of Reformation Archbishop of Canterbury b. 1325. d. 1384 b. 1504 d. 1575 Richard Hooker George Berkeley Anglican theologian Bishop of Cloyne, etc. b. 1554 d. 1600 b. 1684 d.1753 John Wesley Frederic Denison Maurice evangelical revivalist preacher and leader b. 1703 d.1791 b. 1805 d. 1872
The Cathedral has in its possession a Stone from the Cathedral, or Church of St. Mary (dating from the
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13th-16th centuries) on the Island of Iona, which may fittingly be placed in this chapel at some future time.
Upon the wall of the chapel is inscribed:
“Chapel of Saint Columba. To the Glory of God and in Loving Memory of Mary Leroy King. The Gift of Her Mother, Mary Augusta King. Consecrated April 27th, 1911.”
The Chapel of St. Boniface
St. BonrIFACE, whose original name was Winifred, was born in Devonshire, England, about the year 680. He entered a Bene- dictine 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 Ratis- bon, Erfurt, Paderborn, Wurzburg, Eichstadt, Salzburg, and several others, owe their establishment to his efforts. In 746 he was made Archbishop of Mainz. In 755, while carrying on his work in Dokkum, in West Friesland, he and his congregation of converts there were slain by a mob of armed heathen. His remains are buried in the famous abbey of Fulda, which he founded. In art, he is depicted holding a book pierced by a sword, referring to the manner of his death. The Memorial Day. for St. Boniface is kept on June 5.
The Chapel of St. Boniface, (18 on plan), designed by Mr. Henry Vaughan, is a very pure specimen of English Gothic Architecture of the 14th century. It is about 4814 feet long and 28 wide, seats about 100 per- sons, 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 Knox- ville marble. The Altar is of gray marble from the same source. In the three ornate panels on its face are the monogram IHS (see p. 79), the floriated Greek cross (see page 97), and the Greek cross form of the Chi
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Rho (p. 79). The richly carved Reredos has three cano- pied niches, in the central one of which is represented the Adoration of the Magi. In each of the side niches is an angel with scroll. In the recesses of the windows on either side of the Altar are carved clergy stalls of dark oak, with wainscoting of the same wood as high as the window sills. There are six stained glass Windows, three in the Sanctuary and three smaller ones in the clerestory. Each has three lights. In the middle light of the central win- dow above the Altar Christ is represented as the Great Teacher. His robe is sprinkled with the the monogram (p. 79) and in His nimbus appear the ends of a floriated cross.* 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 multi- tude. In the left side light is St. Boniface with mitre, archiepiscopal staff,t and Bible pierced with sword; and below him a scene representing him hewing down an oak in Geismar accounted sacred by the idolators. In the right side light is St. Paul with sword; and below him a scene representing him preaching to the men of Athens. In the left window of the Sanctuary are three figures with scenes below as follows (left to right): St. Birinus, Bishop of Dorchester, holding a monstrance, and (be- low) St. Birinus baptizing King Cynegils of the West Saxons; St. Augustine of Canterbury with archiepiscopal
* Only the nimbus of the Deity is ornamented with the cross. In a front view, but three arms of the cross appear; and some- times these are represented as rays of light. A few writers, in- eluding G. J. French and W. & G. Audsley, contend that the three rays on the nimbus of the Deity have no connection with the cross, but symbolize the Trinity. The similarity of the floriated terminals to the French fleur de lis has no special meaning, the real significance being, as stated on page 79, the flowering or pro- ductiveness of the Christian religion.
jy 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 in- stead of a crook at the upper end; and a papal staff has a double cross at the upper end. See description of Bishop Manning’s erozier on page 26.
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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 Cathe- dral,t 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 croz- ier, 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