book displaying the words “Te Deum Laudamus” (we

praise Thee, O God), and pen in hand, with the mis- sionary Robert Hunt below; and St. Augustine, Bishop of Hippo Mundia, with crozier. In the right hand clerestory window in the east wall are: St. Cyril, Patriarch of Alexandria, with book and staff; St. John Chrysostom, Bishop of Constantinople, with staff, chalice and Book of Homilies, with the missionary John Robir- son below; and St. Ignatius, Bishop of Antioch, holding a palm. The windows were made by Messrs. C. E.. Kempe & Co. of London. In two canopied niches in
~The founder of a see is usually represented holding the model of a cathedral.
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the west wall are Statues of Thomas a Becket (left) and St. Boniface (right) ; and in a niche in the east wall is one of Erasmus. ‘Three wrought iron Lamps are sus- pended by iron chains from the ceiling; and at the en- trance is a handsome wrought iron Screen adorned with escutcheons bearing the ife monogram and surmounted by a floriated cross before explained. On one of the walls is inscribed :
“The Chapel of St. Boniface. Consecrated February 29, 1916. Erected to the Glory of God by George Sullivan Bowdoin and His Wife, Julia Grinnell Bowdoin, and Their Children, Temple Bowdoin, Fanny Hamilton Kingsford, Edith Grinnell Bowdoin.”
Story of the Move of Peace. During the last year of the World War, an incident interesting in itself and illustrative of the origin of the legends and traditions which often grow up around cathedrals, occurred in con- nection with the chapel bearing the name of the Apostle of Germany. In the spring of 1918, some weeks after the great German drive of March 21 had begun and before the beginning of the counter-offensive of the second bat- tle of the Marne in July, the large stained glass window in the clerestory of the Choir above the entrance to the Chapel of St. Boniface arrived from England. All the ventilation openings in the Cathedral windows are screened to exclude birds, which, however interesting in their natural habitats, are a practical nuisance in the Cathedral. When the stained glass window above men- tioned arrived, the temporary window filling the space upove the entrance to the chapel was removed for its installation. While the window was thus open, and at a period in the war when the issue trembled in the balance and the world fairly held its breath in fearful expecta- tion of the event, a white dove,—very generally recog- nized as a symbol or harbinger of Peace—flew into the Cathedral over this chapel. On the following Sunday it soared around in the great dome of the Crossing and
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in the Choir, alighting in the most interesting places. When Dean Robbins ascended the stairs of the great marble pulpit, he found the dove perched on the edge of the pulpit directly before him. The dove then flew down and alighted on the back of a vacant chair between two occupied chairs in the midst of the congregation on the south side of the Crossing, and there remained quietly during the sermon. When the ushers started toward the Altar with the offertory, the bird soared across the con- gregation and alighted on the hat of a woman dressed in mourning who was sitting near the middle aisle, its snow white plumage contrasting strikingly with the sombre attire of the bereaved woman who seemed not to be dis- turbed by what perhaps she regarded as a happy omen. In a moment the dove flew to another part of the Cross- ing. It remained in the Cathedral a few days longer; and then one day, went out through an open door. Soon after this occurrence, the Allies facing the Marne salient, including the Americans at Chateau Thierry, began the great counter-movement which finally brought peace.* It was at least an interesting coincidence that this white dove came into the Cathedral over this chapel, at the very crisis of the war, and that almost immediately there- after began that series of determining events which led the Germans to make overtures for Peace.
* As an illustration of a peace legend connected with a Huro- pean church may be mentioned that of the Golden Virgin of the basilica of Notre Dame de Brebieres, in Albert, France. In the . bombardment of 1914, the figure of the Virgin and Child which surmounted the spire was thrown over and remained suspended at right angles for over three years; during which time the belief sprang up locally that when the Golden Virgin fell, peace would come. The Virgin fell during the bombardment of 1918, and peace ensued a few months later.
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The Chapel of St. Ansgarius
St. ANSGARIUS, or St. Ansgar, was born in Picardy in 801. With his co-laborer Autbert he went to preach Christianity to the northmen of Sleswick. In spite of much persecution, he was so successful that in 831 the Pope established an arch- bishopric in Hamburg, (afterwards transferred to Bremen), and Ansgarius was appointed first Archbishop. He made several missionary tours in Denmark, Sweden and other parts of the north, and died at Bremen in 865. He is called the Apostle of the North. The Memorial Day for St. Ansgarius is kept on February 3.
The Chapel of St. Ansgarius (19 on plan), de- signed by Mr. Henry Vaughan, architect of the Chapel of St. James, is in the same style of Architecture, 14th century Gothic, and about the same size, being 66 feet long and 41 wide, with a seating capacity of 250. It differs, however, from the Chapel of St. James in plan, the bay east of the turret stairs being here thrown into the Ambula- tory, while in the Chapel of St. James it is included as a sort of transept; and the north side of the Chapel of St. Ansgarius being divided into only two bays, while the south side of the Chapel of St. James is divided into three. On account of the amount of work required to secure a firm foundation, the Chapel of St. Ansgarius cost about $225,000, mak-
ing it the most expensive
mui’ GF oki ‘Cathedral Stones of the seven Chapels.
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The interior walls are of Indiana limestone; and the pavement of pink Knoxville, Tenn., marble and mottled Vermont marble. The Altar is of gray Knoxville mar- ble. On its front is carved the Madonna of the Chair, on the left of which, from the spectator’s standpoint, is St. Michael with sword and on the right St. Gabriel with lilies. In the middle of the sculptured Reredos, (above) is represented Christ holding the globe (symbol of sov- ereignty), and (below) the baptism of Christ by John the Baptist.
On the left of the figures are St. Ansgarius with crozier (above) and Gustavus Adolphus with sword (below), while on the right are St. Olaf with crown and scepter (above) and Luther in gown with book (be- low). The Altar and Reredos were given by Mrs. Julia Grinnell Bowdoin. In the left (northern) wall of the Sanctuary is a niche made of stones from Worcester and Ely Cathedrals, England. On the upper surface of the stone bracket forming the shelf of the niche is carved “Ely 1320.” The stones from the Lady Chapel of Wor- cester Cathedral were given to the Cathedral of St. John the Divine by Canon George William Douglas of New York who procured them from Canon J. M. Wilson, Archdeacon of Worcester.* On the stones on either side of the recess is carved:
“These Stones from the Cathedral of Christ and St. Mary the Virgin, Worcester, England, are Memorials to William
Reed Huntington, Sometime Rector of All Saints in Worcester, Massachusetts.”
* Some years ago, when Canon Douglas was visiting Worcester Cathedral, England, Canon Wilson pointed to a spot in the wall where an ancient carved stone had been replaced by a modern stone, and said: ‘‘A good while ago a man of the name of Hunt- ington, who introduced himself as Rector of a chureh in Wor- cester, Mass., begged me to give him a bit of earved stone as a- symbol of the ties between England and America.” This led Canon Douglas to ask for a similar gift to be placed in St. Ansgarius’ Chapel, which is a memorial of Dr. Huntington, in a House of God where Englishmen and Americans often meet and where members of the Daughter Church have constant occasion to reeall their indebtedness to the Mother Church of Hngland.
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Three small Vindows of two lights each in the Sanc- tuary contain (from left to right) representations of: (1) St. Willibrod with mitre, archiepiscopal staff, and model of cathedral; and St. Lucian with crown, scepter and sword; (2) St. Ansgarius with mitre and crozier; and King Olaf with crown and scepter; and (3) above the Reredos, St. Eric with crown and scepter; and St. Wilifred with mitre and archiepiscopal staff. The win- dow spaces at the right of the latter are walled up be- cause they are blanketed by the adjacent chapel. In the two bays of the north aisle are two noble stained glass windows, each having five lights and each light depicting two scenes. In the left hand or western window, the upper tier of scenes is chiefly devoted to Old Testament subjects as follows (left to right) : Adam and Eve (Gen. ii. 7-25) ; the visit of the three angels to Abraham bear- ing the promise of the birth of Isaac (Gen. xviii. 2-22) ; St. Michael fighting the dragon with a cross-shaped spear (Rev. xii. 7) ; Abraham offering to sacrifice Isaac (Gen. xxii. 9-13); and Jacob’s dream of the ladder (Gen. xxviii. 12). In the lower tier are five scenes prophetic of the birth of the Forerunner of Christ and of Christ himself: The angel’s visit to Zacharias to foretell the birth of John the Baptist (Luke i. 13) ; the annunciation to the Virgin Mary of the coming birth of Christ (Luke i. 28); St. Gabriel with lilies as Angel of the Annuncia- tion (Luke i. 28); the angels’ visit to the shepherds (Luke ii. 8-12) ; and the angel’s visit to Joseph, husband of Mary, to foretell the birth of Christ (Mat. i. 20). The right hand or eastern window depicts Acts of the Apostles. In its upper tier are: St. Peter preaching to the Disciples (Acts i. 15); St. Peter healing the lame man (Acts iii. 2-8); St. Peter with key; the stoning of St. Stephen (Acts vii. 59); and St. Philip baptizing the eunuch (Acts viii. 26-38); and in the lower tier: St. Peter raising Tabitha (Acts ix. 40); the conversion of St. Paul’s jailer at Philippi (Acts xvi. 23-31) ; St. Paul
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with sword; St. Paul laying hands on the Disciples (Acts xix. 6); and St. Paul before Felix (Acts xxiv. 24-25). All the windows are by Messrs. C. E. Kempe & Co. of London. In two high niches in the south wall are Statues of Eric, King of Sweden (left) and Canute, King of the English, Danes and Norwegians (right) ; and in a niche at the west end of the north aisle is a statue of King Eskiel, all crowned. On the Ambulatory side of the entrance bay are two statues: John the Baptist (above) and St. Ansgarius with crozier and mitre, hold- ing a small cathedral (below). The sculptures are by Mr. John Evans of Boston. In a bay of the chapel tem- porarily rests a symbolic group executed in Caen stone by Miss Malvina Hoffman of New York, entitled The Sacrifice. It is intended for Harvard University at Cambridge, Mass., as a memorial of Robert Bacon, sometime U.S. Ambassador to France and a Trustee of the University, and of the Harvard men who lost their lives in the World War. It represents a dead Crusader, such as those who went from Cambridge, Eng., in the 12th century, and gave their lives for an ideal, lying upon a cross with his head pillowed in a woman’s lap. According to the traditional position of the feet of the Crusader, he was one of those who never reached Jeru- salem, those who did so being traditionally represented with: their feet crossed. The woman may typify Alma Mater as well as those women who gave their best to a great cause and made their lonely grief their glory. The two figures symbolize mutual sacrifice. This chapel has an independent Organ played from a movable console on the floor. The chapel, which is the gift of many per- sons, was dedicated on April 3, 1918. On one of the walls is inscribed: : “The Chapel of Saint Ansgarius. Consecrated April 3, 1918, to the Worship of Almighty God and in Loving Memory of
William Reed Huntington, for 25 Years Rector of Grace Church, and for 22 Years Trustee of this Cathedral.”
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AOMMOVS AHL
The Corner Stone of the Cathedral, which was laid by Bishop Henry C. Potter on St. John’s Day, December 27, 1892, is imbedded in the northwestern pier of the Chapel of St. Ansgarius and is only partly visible in the chamber under the chapel. It is a block of gray Quincy granite, 4 feet 4 inches square and 2 feet 414 inches thick. Upon the angle of the visible corner are inscribed a Greek cross and “I. H. S. St. John’s Day, Decem. X XVII, A. D. 1892.” It contains, among other things, a fragment of a Spanish Brick from Hispaniola (Hayti) which was given to the Cathedral by Mr. Malcolm McLean, Senior Warden of St. An- drew’s Church, New York City, and upon which is a silver plate inscribed:
“From the Ruin of the First Christian Church in the New World where the First Church was Erected by Christopher Columbus, 1493. Isabella, Hispaniola.’*
The Baptistrp
The Baptistryt (7 on diagram), one of the noblest structures of its kind in the world, designed by Messrs. Cram & Ferguson, is in Gothic Architecture, influenced by both French and Spanish detail of the 14th Century.
*The Corner Stone also contains a Bible, a Prayer Book, a Hymnal, Journals of the Diocesan Conventions 1882-1892, Journals of the General Conventions 1889-1892, Centennial History of the Diocese of New York, several church periodicals, three different almanacs for 1893, Catalogue of the General Theological Seminary and St. Stephen’s College 1892-1893, New York daily papers of December 27, 1892, the form of service for laying the Corner Stone, names of the Cathedral Trustees, several charges and ad- dresses delivered by Bishop Potter on various occasions, letters from the Bishop to the clergy and others concerning the Cathe- dral, the badge and rules of prayer of the Brotherhood of St. Andrew, medal of the Missionary Society, lists of principal officers of the United States, N. Y. State and N. Y. City governments, and a list of the objects placed in the stone.
; 7 The Baptistry, now (September 30, 1926) nearly completed, is here described as if it were finished.
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A VIEW IN THE BAPTISTRY
The Baptistry has eight sides, of which only one and part of another are shown. The Font in the center does not appear.
Its construction was begun on Ascension Day, 1924, with a service conducted by Bishop Manning. ‘The design is inspired principally by the symborio or lantern over the Saragossa Cathedral, but the characteristic Spanish, or Plateresque, detail of the Saragossa example has been eliminated and a more French type of detail used for moulding and ornament. In plan, it follows the octag- onal form so frequently used for baptistries in European countries, notably those of Ravenna, Pisa, Florence and Gerona. The interior is entirely of Indiana limestone. It has a vaulted dome and an octagonal lantern, and its principal interior dimensions are as follows: Diameter, 31 feet; height to the spring of the great vault, 26 feet; height to apex of vault, or beginning of lantern, 43 feet; height to keystone of vault of lantern, 57 feet. The ex- terior height from the floor level to the top of the finial over the lantern is 80 feet. Situated as it is, between the Ambulatory on the south, the Chapel of St. Ansgarius on the east, the Chapter House (not begun) on the north, and the North Transept (not begun) on the west, the only part visible from the outside is the lantern, with its finial. The principal entrance is from the Ambulatory through the Baptistry Vestibule. In the vestibule, over the doorway, is the coat-of-arms of the Netherlands, flanked by statues of St. Catherine and St. Nicholas. Under the figure of St. Catherine is a shield bearing her symbol, the bladed wheel, referring to her torture; and under that of St. Nicholas is his symbol, the three roun- dels, or balls, representing the three purses which he gave to the poor nobleman for his three daughters. On the east wall of the vestibule is a statue of Louise Coligny, wife of William of Orange; and on the west wall is one of Judith Bayard, wife of Peter Stuyvesant, last Director- General of New Netherland. From the Interior of the Baptistry, three other door-ways in alternate sides of the octagon lead to the Chapel of St. Ansgarius, the Chapter House and the North Transept. The lower parts of the
108
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walls between the four doors are relieved by ornamental arcades. In a spandrel of the arcade on the northeast wall is the coat-of-arms of Stuyvesant. Running around the Baptistry is a wide Frieze of sculpture illuminated in polychrome. In this frieze, on the eight sides of the octagon, are eight statues in niches, flanked by sixteen shields supported by figures of angels. The shields bear the symbols of the Twelve Apostles and four other saints displayed heraldically. Above each shield is an open book. The books above the symbols of the Twelve Apostles are inscribed with the portions of the Creed attributed to them respectively, and the other four have appropriate quota-
tions.
Following is a list of the statues and symbols,
beginning on the east side and reading to the right:
Symbols Statues Symbols Keys St. Willibrod Eagle St. Peter Apostle of Frisians St. John Matt. xvi. 19 658-739 See page 50 Scallop Shells Thomas a Kempis Diagonal Cross St. James Ascetic scholar St. Andrew See next page 1379-1471 See page 38 Basket of Loaves Erasmus Spears St. Philip Scholar and teacher St. Thomas John vi. 5-13 1467-1536 See next page Knives Grotius Cherub St. Bartholomew Jurist and scholar St. Matthew See page 40 1583-1645 See page 50 Fuller’s Bats William of Orange Fishes St. James Minor Netherlands Liberator St. Simon See next page 1533-1584 Luke vy. 5, 6, 10 Ship Henry Hudson Axes St. Jude Navigator and explorer St. Matthias See next page Died 1611 See next page Swords Peter Stuyvesant Tongues of Fire St. Paul Gov. New Netherland St. Barnabas See page 53 1602-1682 Acts xi. 22-24 Lion Bishop Compton Ox St. Mark See next page St. Luke See page 50 and page 28 See page 50
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In the top margin of the frieze* is the inscription:
“Go ye, therefore, and teach all nations, baptizing them in the name of the Father, and of the Son, and of the Holy Ghost; teaching them to observe all things whatsoever 1 have commanded you. And lo, I am with you alway, even unto the end of the world.”
In the heads of the great arches of the north, east, south and west walls are four rose windows; and in the corresponding spaces in the four alternate arches are cir- cular medallions of ornamental stone tracery, having at their centers the symbols of the four Evangelists. At the intersections of the ribs of the vaulted ceiling of the dome are sixteen sculptured Bosses. The eight in the inner circle represent scenes in the life of Christ: Isaiah’s Prophecy, the Annunciation, the Nativity, the Flight into Egypt, the Baptism, the Last Testament (Last Supper), the Crucifixion, and the Ascension. The eight in the outer circle symbolize the gifts of the Holy Spirit. One of the latter (the seven doves), represents the Seven Gifts, and the others represent in detail Wisdom, Understanding, Counsel, Ghostly Strength, Knowledge, Godliness, and
* The characters represented by the Statwes recall the history of the. Netherlands under whose auspices New Netherland (now New York) was settled. Hudson was an Englishman but sailed under a Dutch commission when he explored the Hudson River. Stuyvesant was the last Governor-General of New Netherland and was an ancestor of the donors of the Baptistry. Compton, Lord Bishop of London, was named first rector of Trinity Parish, New York City, in the charter granted by William III., formerly Prince of Orange and Stadtholder of the Netherlands (see also note on page 28). Some of the Symbols are explained on other pages cited in the foregoing table. The scallop shells symbolize St. James in the character of a pilgrim by sea, as the staff (page 40) represents him in the character of a pilgrim by land. The spear-heads recall the manner of St. Thomas’ death, of which Rubens has painted a famous picture. The symbol of St. James Minor refers to the tradition that he was killed by the blow of a fuller’s bat. A boat or ship is frequently associated with representations of St. Jude in art. It is the tradition that St. Matthias’ head was cloven by an axe or halberd. The tongues of fire in the symbol of St. Barnabas signify the Holy Spirit.
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Holy Fear. Within the latter circle is the opening of the Lantern, 11 feet in diameter. The lantern is illuminated by eight Gothic windows, and in its top is a sculpture representing the Father and the Son enthroned, and the Holy Ghost. In the smaller details of the Baptistry ap- pear lilies and thorns interwoven, tulips, and windmills, suggestive of the Netherlands, the letter ‘“S,” standing for Stuyvesant, and many other symbols. In the center of the Baptistry is the Font, a monumental structure about fifteen feet high. Conforming to the plan of the Baptistry, the Font, which is raised above the floor level by three steps, is octagonal in form. Each of its eight panels is richly carved with biblical scenes, one of which represents the baptism of our Lord. From its center rises an octagonal shaft, bearing two storeys of Gothic niches filled with statues. Above all, crowning the Font struc- ture, is a figure of our Lord as-a boy. The Baptistry cost approximately $300,000. Upon the northeast wall is inscribed :
“This Baptistry is Erected to the Glory of God and in Loy- ing Memory of Augustus Van Horne Stuyvesant and Harriet Le Roy Stuyvesant by their children Catherine E. S. Stuyvesant,
Augustus Van Horne Stuyvesant, Jr.. and Anne W. Stuyvesant. Dedicated Anno Domini.”
The Crypt
The Crypt, located beneath the Choir, is closed, pending work on other parts of the Cathedral. The delicate furnishings were removed in 1916, and entrusted to the care of Mr. Louis C. Tiffany, who designed them, and who. has placed them temporarily in the private chapel on his large country estate at Laurelton; L.I. The Crypt has a seating capacity of 500, and the first services in the Cathedral were held in it from Janu- ary 8, 1899, until the Choir and Crossing were opened on April 19, 1911. In its furnished state, it contains an
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THE BAPTISTRY FONT Architect's design
Altar, Reredos, font, lectern, and five stained glass win- dows which were exhibited by Mr. Tiffany at the World’s Fair at Chicago in 1893 and which were called collectively the Tiffany Chapel. The top and retable of the Altar are of Carrara marble, while the front and sides are adorned with medallions of mother of pearl, four smaller discs containing emblems of the four Evan- gelists, a central shield set with sapphires, topazes and mother of pearl, and 150,000 pieces of glass mosaic. The Reredos is of iridescent glass mosaic, as are the twelve Pillars back of the Altar symbolizing the twelve Apostles. The general effect is Byzantine. The Altar, Reredos, font, lectern and windows were given by Mrs. Celia Hermione Wallace in memory of her son. The follow- ing interments have been made in the Crypt: The Very Rev. William M. Grosvenor, D.D., Dean of the Cathe- dral, December 13, 1916; the Right Rev. David H. Greer, D.D., eighth Bishop of New York, May 23, 1919; and the Right Rev. Charles S. Burch, D.D., ninth Bishop of New York, December 23, 1920.
Comparative Dimensions
Following are the principal dimensions of the Cathe- dral. As cathedrals are compared in size by their areas, the Cathedral of St. John the Divine will rank, after St. Peter’s at Rome and Seville Cathedral, the third largest in the world.
Area Area, oi Cathedralesaessuenenn 109,082 square feet Length Western slo we rsa iin ee aeiee eens 50 feet INaVe. navies, ae sneinte ne meee a ee 225i CEOSSING Bie keh eee tera ee ae eae ne Oe 100) “ ChOlE cic aerte to aera aera ee 17 ORES Sta Saviour'ss Chapel. = seni ede eats AS ‘TLotal-lengthon. sa. eee eee sil
Widin West Front (including buttresses)
Nave and Aisles (exterior)........ ERTANSEDESS Unies site panne ok ae KEK OSSIN i nite thew te ee tia eae HOLTER S Seine i ait ee Colin: EAMG Ato Tver. abs see dene a iy, Height Westerman lowers apes certs Ridge of Nave Roof....4..0..4:5 Nave Vaults (above floor)......... Choir Vaults (above floor)........ Crossing Vault (above floor)...... Centrale Bleches srs, acencne ate cease Pinta Cross) (30! feelin. 0c. dens Finial Cross above tide-water.....
se eee
Following are the principal dimensions of 16 great cathedrals. The area is given in square feet and other measurements in linear feet. The exterior height is that
of dome, tower or spire.
S
Cathedral
oI SEG eters MROME vaicaes st ie os 227,069 Seville Cathedrals. .cceccesns 128,570 St. John the Divine, New York.. 109,082 Diomon Milani anes a. 6s 2 107,000 Chinist. Liverpool! coke. Soc ct aus 101,000 See betes, Colognes, nate. 91,464 Notre Dame, Amiens........... 71,208 St. Sophia, Constantinople...... 70,000 Notre Dame, Chartres.......... 68,260 Notre Dame Parise 7s). eteniacss 64,108 Worle Minster s,s ciecsietntec cone 63,800 StyRauls, Londons ..eescsasecc 59,700 Sts Patricks: New Work... 4-20. 57,768 Holy Trinity, Winchester....... 53,480 Notre Dame, Rheims........... 48,985
Westminster Abbey, London.... 46,000
Height Exterior
339 270 225
=e 2s Sees ~s &8 ce Ng 150 718 150 430 130 601 153 500 173 619 145 511 140-521 184 350 122 507 110 390 99 486 89 460 112° 332 78 556 124 483 101 511
The cathedral in Liverpool, England, like the Cathe- dral of St. John the Divine in New York City, is in
course of erection. : 115
Bishops of New Bork
Following is a list of the Bishops of New York since the erection of the Diocese:
First: The Right Rev. Samuel Provoost, D.D.; born February 24, 1742; Bishop of New York 1787- 1815; died September 6, 1815.
Second: The Right Rev. Benjamin Moore; born November 5, 1748;.Assistant Bishop 1801-1815; Bishop of New York 1815-1816; died February 29, 1816.
Third: The Right Rev. John Henry Hobart, D.D.; born September 14, 1775; Assistant Bishop 1811-1816; Bishop of New York 1816-1830; died September 12, 1830.
Fourth: The Right Rev. Benjamin Tredwell Onder- donk; born July 15, 1791; Bishop of New York, active 1830-1845, inactive 1845-1861; died April 30, 1861.
Fifth: The Right Rev. Jonathan Mayhew Wain- wright, D.D., D.C.L.; born February 24, 1792; Pro- visional Bishop 1852-1854; died September 21, 1854.
Sixth: The Right Rev. Horatio Potter, D.D., D.C.L.., Oxon. ; born February 9, 1802; Provisional Bishop 1854- 1861; Bishop of New York 1861-1887; died January Ze i887:
Seventh: The Right Rev. Henry Codman Potter, D.D., LL.D.; born May 25, 1834; Assistant Bishop 1883-1887; Bishop of New York 1887-1908; died July 21, 1908.
Eighth: The Right Rev. David Hummell Greer, D.D., 8.T.D., LL.D.; born March 20, 1844; Bishop Coadjutor 1904-1908; Bishop of New York 1908-1919; died May 19, 1919.
Ninth: The Right Rev. Charles Sumner Burch, D.D., L.H.D., LL.D; born June 30, 1855; Bishop Suffragan
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1911-1919; Bishop of New York 1919-1920; died De- cember 20, 1920.
Tenth: The Right Rev. William Thomas Manning, D.D., D.C.L.. LL.D.; born May 12, 1866. Bishop of New York 1921.
THE BISHOP'S THRONE 117
Part Three Other Buildings, Etc.
The Bishop's Bouse
The Bishop’s House (A. on plan), is in French Gothic architecture of the chateau type, with lofty roof and high dormer windows, and is built of Germantown micaceous schist. It is designed to be connected with the Cathedral by cloisters, and is connected with the Deanery by a vaulted porch above which is to be built the Bishop’s private chapel. The extreme outside dimensions of the Bishop’s House are 77 by 126 feet, including the porch. The architects were Messrs. Cram & Ferguson.* The occupants of the house have been Bishop Greer from the time of its opening in 1914 until his death May 19, 1919; Bishop Burch from his installation October 28, 1919, until his death December 20, 1920; and Bishop
Manning since his consecration on May 11, 1921.
The Deanery
The Deanery (B. on plan) adjoins the Bishop’s House as above mentioned. It is by the same architect, is in the same style but of a more domestic type, forms a part of the same architectural composition, and is built of the same kind of stone. It is not so lofty a structure as the Bishop’s House, but has many interesting details, particularly on the southern facade. Its extreme outside measurements are about 79 by 93 feet. The late Dean
* For details, see description in the Architectural Record for August, 1914. ;
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THE_BISHOP’S HOUSE
Grosvenor occupied the Deanery from the time of its erection until his death December 9, 1916, and was succeeded by Dean Robbins in June, 1917. A tablet in the porch is inscribed:
“The Deanery. Erected in Faithful Remembrance of Clinton Ogilvie, 1838-1900, by his wife, Helen Slade Ogilvie. A.D.
1913,” The Choir School
The Choir School (C. on plan), has a special inter- est for everyone who goes to the Cathedral, for here are educated and trained the boys who sing in the Cathedral services. The school was founded by Bishop H. C. Pot- ter in 1901 and was formerly located in the Old Synod House. The present building, erected in 1912 and built of the same kind of stone as the Bishop’s House and Deanery, is in the English Collegiate Gothic style of architecture; is three stories high, and has extreme out- side dimensions of 83 by 150 feet. Messrs. Walter Cook and Winthrop A. Welch were the architects. The build- ing contains offices, a general school room which is equipped with apparatus for both stereopticon and mov- ing pictures, a choir rehearsal room with stalls, individual rooms for vocal and instrumental practice, a fine large common room with open fire-;lace for reading and social intercourse, dining room, kitchen, dormitories, a big gym- nasium, a sick room to which a boy is transferred upon the first sign of any illness, etc.. Accommodations are provided for 40 resident scholars and 20 day scholars. Their musical training is under the personal direction of the organist and Master of the Choristers, and their general education under the direction of the Head Mas- ter and staff of under-masters. A sympathetic House Mother looks out for the personal wants of the boys: and directs the domestic service; and competent physicians and trained nurses are in attendance when necessary. Boys are admitted to the school at the age of 9 and re-
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main until their voices change, which is usually between the ages of 13 and 14. They come from all parts of the United States and possessions, two boys recently having come from Alaska. An applicant is first recetved on pro- bation, and if he manifests a good character and disposi- tion, and gives promise of a good voice, he is accepted as a chorister. Until they become full choristers, vested with cassock and cotta, probationers sit in separate choir stalls in the Cathedral services and wear only their black student gowns. During their residence at the school, the boys are under strict but gentle discipline and have the finest education and musical training that can be given them. Their board, education and musical training are free, in return for which they give their services as choristers. When they leave the school, they are fol- lowed by the interest of the Cathedral organizations which endeavor to secure scholarships for their higher education. The men of the choir, of whom there are about 20, do not reside at the Choir School. The usual number of choristers, men and boys, in the Cathedral services is about 60, except during the summer vacation when the number is somewhat reduced. There is prob- ably no finer choir school in the world, and the Cathedral music is the highest expression of this form of musical art in this country.
The Choir School building, which cost nearly $180,000, is the gift of Mrs. J. Jarrett Blodgett in memory of her father, Mr. John Hinman Sherwood. At Eastertide, 1914, the late Commodore Frederick G. Bourne, who had sung as a boy in Trinity Church and in later years in the Church of the Incarnation, endowed the school with $500,000; and by. his will, probated March 15, 1919, gave $100,000 to. the Cathedral toward the building of the Nave and about the same amount: to the Choir School endowment. Members of the Dio- cesan Auxiliary to the Cathedral contributed generously toward the furnishing of the school. A tablet in the porch reads:
1922
‘IOOHOS YIOHD AHL
“In Faithful Memory of John Hinman Sherwood. Just, Up- right, True. Erected by his daughter, 1912.”
St. Faith's Bouse
St. Faith’s House (D. on plan) is the home of the New York Training School for Deaconesses, an inde- pendent corporation which was founded in 1890 by the late Rev. William Reed Huntington, D.D., and which occupies a site in the Cathedral Close by permission of the Trustees of the Cathedral. The building of Indiana limestone and brick is in Tudor Gothic architecture, and measures 68 by 137 feet on the outside. It is the gift of Archdeacon Charles C. Tiffany in memory of his wife. The architects were Messrs. Heins & LaFarge.
The Spnod House
The Synod House (E. on plan), standing in the southwestern angle of the Close on the corner of Cathe- dral parkway and Amsterdam avenue, is the meeting place of the Diocesan Convention and other secular gatherings of the Diocese. It also contains the Bishop’s office and the offices of the Suffragan Bishops, the Rt. Rev. Arthur Selden Lloyd, D.D., and the Rt. Rev. Her- bert Shipman, D.D. It is of Kingwood, W. Va., sand- stone with pink tinges, quite unlike any other stone in the Cathedral group. The Architecture is pure French Gothic of the 13th century, Messrs. Cram & Ferguson being the architects. Its outside dimensions are 73 by 171 feet. The Western Entrance is a fine example of a mediaeval recessed porch in its architecture and an inter- esting illustration of the progress of Civilization and” Christianity in its sculptures. It contains 43 figures in the round and a relief of 12 figures in the tympanum. The key-note to the composition is the relief in the Tympanum representing Christ sending out his Disciples
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ASNOH GONAS AHL
to baptize and teach all the nations of the world. Beneath this is the inscription:
“All power is given unto. me in heaven and earth. Go ye therefore, and teach all nations, baptizing them in the name of the Father, and of the Son, and of the Holy Ghost; teaching them to observe all things whatsoever I have commanded you;
and lo, I am with you alway, even unto the end of the world” (Mat. xxvili. 18-20).
The archivolt outside of the tympanum is composed of three ranges of Gothic niches in the voussoirs, con- taining 36 little figures in the round. The outer range represents 14 ancient and modern Apostles of Christianity as follows, beginning at the lowest figure on the left- hand side and reading upward to the center, and thence downward to the lowest right-hand figure: (1) Count Zinzendorf, 1700-1760, German reformer, founder of Moravian Brethren, missionary to American Indians; (2) St. Boniface, 680-755, Apostle of Germany; (3) St. Francis Xavier, 1506-1552, Apostle of the Indies, one of the founders of the Society of Jesus; (4) St. Denis, 3d century, Apostle of the Gauls, Patron Saint of France; (5) St. Olaf, 995-1030, Patron Saint and King of Nor- way; (6) St. Augustine, died 604, missionary to Britain, first Archbishop of Canterbury; (7) Innocent of Mos- cow,. 1797-1879, Apostle of Alaska and Kamchatka, Archbishop of Moscow; (8) St. Patrick, circ. 372-460, Apostle and Patron Saint of Ireland; (9) John Eliot, 1604-1690, Apostle of American Indians, translator of Bible into Indian language; (10) St. Willibrod, 658-739, Apostle of the Frisians, Archbishop of Utrecht; (11) St. Cyril, 827-869, Apostle of the Slavs, inventor of the Cyrillic alphabet ;. (12) David Livingstone, 1813-1873, British explorer and missionary in Africa; (13) St. Col- - umba, 521-597, Apostle of Caledonia; (14) Charles George Gordon, “Gordon Pasha,” 1833-1885, British General, promoter of Christianity in China and Egypt: The 12 figures in the middle range represent the Arts and
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SAINT WILLI-
CHRIST SENDING OUT HIS DISCIPLES TO PREACH
KEY TO FIGURES IN SYNOD HOUSE DOORWAY
Outer Range: Apostles of Christianity. Middle Range: Arts and Sciences.
Inner Range :- Crafts and Industries. Lower Range: Famous Christian Rulers.
Sciences. In the same order they are: (1) Natural Science, man with microscope; (2) Sculpture, man with mallet and chisel; (3) Medicine, man with book and skull; (4) Literature, woman reading a book; (5) Chemistry, woman holding aloft a retort; (6) Industrial | Art, man with vase; (7) Painting, man with palette; (8) Astronomy, man with globe; (9) Mathematics, man wearing spectacles and gown, holding cone and truncated pyramid; (10) Physics, woman with telephone; (11) Music, man with violoncello; (12) Architecture, man* holding model of building. The 10 figures in the inner- most range represent the Crafts and Industries, as fol- lows: (1) Bookbinding, man making a book; (2) Agri- culture, man sowing seed; (3) Metal Industry, man pouring molten metal from ladle; (4) Textile Industry, woman with distaff and shuttle; (5) Navigation, sailor holding telescope with rope at feet; (6) Building, man laying brick; (7) Engineering, man holding tape mea- sure; (8) Fishing, sailor with seine; (9) Mining, man with pickaxe and miner’s cap; (10) Shoemaking, cobbler at his last. Below these, in niches in the splays and cen- tral pilaster of the door-way, are 7 larger figures repre- senting Seven Famous Christian Rulers who have carried out the injunction in the tympanum, as follows, (left to right): (1) Emperor Constantine, once ruler of the Roman World and founder of Constantinople, who pro- claimed religious toleration and presided over the council which adopted the Nicene Creed; (2) Charlemagne, King of the Franks, Emperor of the revived western Roman empire, who introduced Christianity into con- quered countries, maintained popular assemblies, and . promoted science, art and letters; (3) Alexis, one of the ablest Emperors of Byzantium and friend of the Cru- saders; (4, in center) George Washington, to whose character as Christian soldier, statesman and first Presi-
* Ralph Adams Cram.
dent of the United States, attaches local interest from the fact that he commanded the American troops in the Bat- tle of Harlem Heights which was fought partly on the ground occupied by the Cathedral Close; (5) Gustavus Adolphus, King of Sweden, one of the greatest generals, who, with his army in Germany, saved the cause of Protestantism in the Thirty Years War; (6) St. Louis, King of France, the most distinguished monarch of his age, who was noted for his piety, justice and mercy, and who died on a Crusade; and (7) Alfred the Great, King of Wessex, who bore the brunt of the Danish invasions and was a promoter of education and Christianity. The sculptures are by John Evans & Co. of Boston. The Interior decoration of the high roof and open timbers of the truss-work in polychrome is typical of the Middle Ages and the wood panelling is a reminder of 15th century work. The latter is by Messrs. Wm. F. Ross & Co., of Cambridge, Mass. The grisaille windows are by Mr. Charles J. Connick of Boston. The main hall, which seats 800 on the floor and 400 in the gallery, has a large pipe organ built by the Ernest M. Skinner Co. of Boston. The Undercroft (basement) is equipped for use as a refectory. The building cost about $350,000. In the main vestibule, over the outer doorway, is this in- scription :
“Yo the Glory of God and for the Service of His People,
This Synod House was Given in the year A.D. 1912, by John Pierpont Morgan and William Bayard Cutting.”
Open Air Pulpit
The Open Air Pulpit (F. on plan) standing in the midst of the Cathedral Close, is in the form of an open- work Gothic spire 40 feet high, built of Daytona stone, On its four sides are the usual symbols of the four Evangelists. The pulpit was designed by Messrs. Howells and Stokes and was presented by Miss Olivia Phelps
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Stokes in memory of her sister Miss Caroline Phelps Stokes. It was suggested by the outdoor services held here before the Choir and Crossing were ready, and by the open air pulpit attached to the cathedral church at Perugia.
@rgantsations
The following organizations of men and women aid in the Cathedral work:
The Diocesan Auxiliary to the Cathedral: President, Mrs. Henry W. Munroe; Vice-Presidents, Mrs. Haley Fiske, Mrs. John Greenough, Mrs. W. M. V. Hoffman; Secretary, Mrs. Andrew C. Zabriskie; Assistant Secre- tary, Mrs. Francis C. Huntington; Treasurer, Mrs. Harold, F. Hadden.
The Cathedral League: President, Mr. John S. Rogers; Vice-President, Hon. Thomas C. T. Crain; Treasurer, Mr. Harry Pelham Robbins; Secretary, Dr. John B. Walker.
The Laymen’s Club: President, Mr. William W. Borman; Vice-Presidents, Mr. Henry M. Sperry, Dr. John Leshure and Mr. Herbert W. Smith; Treasurer, Mr. Charles P. Dietz; Secretary, Mr. J. Hardwick Stagg. Organized 1908, incorporated 1920, ‘“‘to promote and stimulate interest in the influence, growth and com- pletion of the Cathedral; to bring the Cathedral and its work more completely within the knowledge of the com- munity; and to promote the general welfare of the Cathe- dral.” Among its activities are the publication of this Guide Book and the Cathedral post-cards, the improve-. ment of the Cathedral grounds, the assisting of a choir boy to complete in some well-known preparatory school his preparation for college, the training of the Cathedral Troop of Boy Scouts, the giving of free lectures, the ushering in the Cathedral, including the escorting of visi-
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tors in pilgrimages around the Cathedral, etc. The Club has also undertaken to raise the $100,000 needed for the marble pavement of the Nave.
The Cathedral Ushers are members of the Laymen’s Club as stipulated in a resolution of the Cathedral Trus- tees passed April 25, 1911, and are designated from week to week by the Canon Sacrist. The badge of the Ushers is a vesica-shaped* gold medallion, having in the center an episcopal mitre, surrounded by the legend “Ecclesia Cathedralis S$. Johannis Theologi;’’ suspended by a pur- ple ribbon from a gold bar bearing the word ‘“Usher.”
Publications
The following publications by the Laymen’s Club may be procured at the Cathedral from the Verger or the Ushers, or will be sent by mail upon receipt of re- quest, accompanied by remittance, addressed to the Verger (page 23): A Guide to the Cathedral Church of St. John the Divine in the City of New York, (this book) ; price, in illuminated paper covers, 50 cents (by mail 60 cents) ; in purple cloth covers stamped with gold, $1.00 (by mail, $1.10). The Cathedral: A Poem on the Building of the Cathedral Church of St. John the Divine, by the author of the Guide Book; the story of the Cathedral in rhymed English heroic verse, with explanatory notes; 24 pages and cover; price, 25 cents. Cathedral Post-Cards, 20 dif- ferent views, in sepia half-tone, in two sets of ten cards each; price, 25 cents for each set of ten cards.
* Several ideas associated with the fish-shape of the vesica piscis have caused it to be recognized as a symbol of Christ. In an ingenious rebus of a very early date, the five letters of the Greek word for “fish” iydUc, form the initials of the Greek words “Inootcs Xquotds, Oeod Yidc, Dwryno, which mean “Jesus Christ, Son of God, Saviour.”
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339018
BX Hall, Edward Hagaman, 1858-1936.
5980 _A guide to the Cathedral church of Saint John the Divine NS in the city of New York, by Edward Hagaman Hall, t. x. pv. J65 Sthed. New York, The Laymen’s club of the Cathedral, 1926.
19 26 181 p. locl. front., us. 17°,
1. New York (City). Cathedral of Ste John tha Divines : 2820838 Library of Congress "-BX5080.N5J65 1926 CCSC/mm
9018 33 ®