{"collection":"scripture-revelation","full_text_available":true,"graph_url":"https://unchartedknowledge.5gfusion.net/v2/api/page/gutenberg_68112/graph","html_url":"https://unchartedknowledge.5gfusion.net/v2/page/gutenberg_68112","id":"gutenberg_68112","license":"Public Domain (US)","rights_basis":"gutenberg_metadata_copyright_false","source":"gutenberg","source_url":"https://www.gutenberg.org/ebooks/68112","summary":null,"tags":["Category: Architecture","Category: Art","Category: Religion/Spirituality","Category: Travel Writing","Cathedral of St. John the Divine (New York, N.Y.)"],"text":"A Guide to The Cathedral Church of St. John the Divine in the City of New\nYork.\n\n\n\n\n[Illustration: THE NORTH ELEVATION OF THE CATHEDRAL\n\n(From Architect\u2019s Design)]\n\n\n\n\n                             A Guide to the\n                            Cathedral Church\n                                   of\n                          Saint John the Divine\n                         in the City of New York\n                                   by\n                      Edward Hagaman Hall, L. H. D.\n\n                                New York\n                   The Laymen\u2019s Club of the Cathedral\n                                  1924\n\n                             Fifth Edition.\n\n                  Copyright, 1920, 1921, 1922, 1924, by\n                          The Laymen\u2019s Club of\n              The Cathedral Church of St. John the Divine,\n                             New York, N. Y.\n\n\n\n\nIntroductory Note\n\n\nThis Guide to the Cathedral of Saint John the Divine purposely departs\nfrom the conventional guide book in several respects. The Cathedral\nof St. John the Divine is not centuries old like those in Europe, but\nis in the building; and it has seemed appropriate in the first place\nto express something of its Spirit before describing the details of\nits Fabric. In the next place, the great majority of visitors to the\nCathedral are strangers, people of other denominations, and, on account\nof its proximity to one of the leading American universities, students.\nFor this reason, an effort has been made to avoid technical terms as far\nas possible; to explain the significance of much symbolism not generally\nunderstood; and to insert Bible references freely for the benefit of\nthose who wish to study further the meaning of the scenes and objects\ndescribed. Lest some of the explanations\u2014as, for instance, that in\nregard to the probable date of the completion of the Cathedral\u2014be deemed\nsuperfluous, it may be said that this, as well as nearly every other\nstatement in the following pages, is an answer to some question asked\namong the thousand and one interrogations which manifest popular interest\nin the Cathedral\u2019s growth. In response to more than one request, \u201csome\nof those little things that one would tell informally in explaining the\nCathedral to a friend\u201d have been included. Among these are the incident\nof the blind woman who \u201csaw\u201d the Cathedral, which possesses a touching\nhuman interest; and the story of the Dove of Peace, in which may be\nseen the beginning of the traditional lore that will grow up around the\nCathedral as the years roll on.\n\nFor their valuable cooperation in the preparation of the Guide, grateful\nacknowledgment is made to the Very Rev. Howard C. Robbins, D.D., Dean\nof the Cathedral, and to the Rev. George F. Nelson, D.D., and the\nRev. Robert Ellis Jones. D.D., Canons. Many thanks for courtesies and\naccommodations in photographing and studying the Cathedral are also due\nto Mr. Thomas Meatyard, the Verger.\n\n[Illustration: The Cathedral Flag\n\n(See Page 56)]\n\n\n\n\nContents\n\n\n           _I. THE SPIRIT OF THE CATHEDRAL._\n\n    The Real Cathedral                          11\n\n    Praise in its Greatness                     12\n\n    Praise in its Beauty                        12\n\n    Praise in its Service                       13\n\n    The Spirit of Democracy                     14\n\n    A Civic Institution                         15\n\n    A Great Symbol                              16\n\n    A Sign of Stability                         16\n\n          _II. THE FABRIC OF THE CATHEDRAL._\n\n    Name and Namesake                           19\n\n    Location and Access                         20\n\n    Administration and Clergy                   22\n\n    Seals                                       23\n\n    Services                                    25\n\n    Visitors                                    26\n\n    Architecture                                27\n\n    Plan and Size                               27\n\n    Progress of Construction                    28\n\n    Funds for Building                          29\n\n    Foundation and Structure                    31\n\n    Exterior of Chapels                         31\n\n    Clerestory of Choir                         33\n\n    Stone Shields                               33\n\n    West Front                                  34\n\n    Nave                                        36\n\n    Crossing                                    40\n\n    Pulpit                                      42\n\n    Tapestries                                  46\n\n    Litany Desk                                 46\n\n    Choir                                       48\n\n    Choir Parapet                               49\n\n    Pavements                                   51\n\n    Lectern                                     52\n\n    Choir Stalls                                54\n\n    Organ                                       55\n\n    Cathedral Flag                              56\n\n    High Altar                                  56\n\n    Credence Table                              58\n\n    Great Columns                               59\n\n    Clerestory Windows                          60\n\n    Ambulatory                                  66\n\n    Founder\u2019s Tomb                              68\n\n    Choir Boys\u2019 Stone                           69\n\n    Seven Chapels of Tongues                    69\n\n    Chapel of St. James                         71\n\n    Chapel of St. Ambrose                       76\n\n    Chapel of St. Martin                        80\n\n    Chapel of St. Saviour                       84\n\n    Chapel of St. Columba                       87\n\n    Chapel of St. Boniface                      90\n\n    Chapel of St. Ansgarius                     95\n\n    Corner Stone                               100\n\n    Crypt                                      100\n\n    Summary of Dimensions                      101\n\n    Bishops of New York                        102\n\n             _III. OTHER BUILDINGS, ETC._\n\n    Bishop\u2019s House                             104\n\n    Deanery                                    104\n\n    Choir School                               106\n\n    St. Faith\u2019s House                          110\n\n    Synod House                                110\n\n    Open Air Pulpit                            114\n\n    Cathedral Organizations                    115\n\n    Guide Book                                 116\n\n[Illustration: PLAN\n\n     1. West Front, not begun\n     2. Nave, foundation laid\n     3. Crossing\n     4. North Transept, not begun\n     5. South Transept, not begun\n     6. Altar Sacristy, not begun\n     7. Baptistery, begun May 29, 1924\n     8. Choir Sacristy, not begun\n          Dotted lines indicate cloisters connecting with Choir School\n     9. Dean\u2019s Office, with Canons\u2019 Offices adjoining, not begun\n    10. Choir\n    11. Sanctuary\n    12. Ambulatory\n\n_Seven Chapels of Tongues_\n\n    13. Chapel of St. James\n    14. Chapel of St. Ambrose\n    15. Chapel of St. Martin of Tours\n    16. Chapel of St. Saviour\n    17. Chapel of St. Columba\n    18. Chapel of St. Boniface\n    19. Chapel of St. Ansgarius\n\n    A. Bishop\u2019s House\n    B. Deanery\n    C. Choir School\n    D. St. Faith\u2019s House\n    E. New Synod House\n    F. Open Air Pulpit\n\nThe Old Synod House (formerly the Leake & Watts Orphan Asylum) stands on\nthe site of the South Transept (5) and is not represented on this plan.]\n\n\n\n\nIllustrations\n\n\n    Cathedral from northeast, complete exterior design, from\n        architect\u2019s drawing                                  _Frontispiece_\n\n    Flag of the Cathedral                                                6\n\n    Plan of the Cathedral and Close                                    8-9\n\n    East end of Cathedral (exterior)                                    18\n\n    Seal of the Diocese                                                 24\n\n    Seal of the Cathedral                                               24\n\n    \u0399\u03f9-\u03a7\u03f9-\u039d\u0399-\u039a\u0391 symbol \u201cJesus Christ Conquers\u201d                          34\n\n    SP-SF-SS symbol, \u201cHoly Father, Holy Son, Holy Spirit\u201d               34\n\n    Symbols of St. Luke                                                 34\n\n    West Front, from architect\u2019s drawing                                35\n\n    Nave (exterior), from composite photograph of model                 37\n\n    Nave (interior), from composite photograph of model                 39\n\n    Nave foundation and Crossing (exterior)                             41\n\n    Pulpit (indoors)                                                    43\n\n    Barberini tapestry, \u201cThe Last Supper\u201d                               45\n\n    Crossing and Choir (interior)                                       47\n\n    Choir Stalls, south side                                            53\n\n    High Altar                                                          57\n\n    Credence Table with Magna Charta Stones                             58\n\n    The Founder\u2019s Tomb                                                  67\n\n    Chapel of St. James (interior)                                      73\n\n    Coats of Arms in windows of Chapel of St. Martin:\n\n        City of Rheims                                                  82\n\n        Notre Dame Cathedral of Paris                                   82\n\n        Archbishop of Tours                                             82\n\n        Chapter of Poitiers                                             82\n\n        St. Martin of Tours                                             82\n\n        Archdiocese of Rheims                                           82\n\n        Dukes of Orleans                                                82\n\n    Niche of England Cathedral Stones                                   95\n\n    The Sacrifice                                                       99\n\n    Bishop\u2019s House                                                     105\n\n    Deanery                                                            107\n\n    Choir School                                                       109\n\n    Synod House                                                        111\n\n\n\n\nPart One\n\nThe Spirit of the Cathedral\n\n\nThe Real Cathedral\n\nOn Morningside Heights, in the City of New York, on ground consecrated\nby the blood of our forefathers in the War for Independence, stands a\ntrinity of institutions which represent with singular completeness the\nthree-fold nature of man: Columbia University, which ministers to the\nMind; St. Luke\u2019s Hospital, which ministers to the Body; and the Cathedral\nof St. John the Divine, which ministers to the Soul.\n\nThis little book is designed to assist visitors to understand the\nmeaning and purpose of the Cathedral of St. John the Divine. Some such\naid, either written or oral, is needed, for a great cathedral cannot\nbe comprehended in the glance of an eye. Certain features, such as its\nmagnitude and general beauty, are obvious; but inwrought with these is\na wealth of meaning which is the _soul_ of the Cathedral\u2014the _real_\nCathedral\u2014and which reveals itself only on intimate acquaintance. When\nRuskin called Amiens Cathedral \u201cThe Bible of Amiens,\u201d he used a figure of\nspeech applicable to all cathedrals. The Cathedral of St. John the Divine\nis \u201cThe Word in stone.\u201d It is a sacred book, written in massive pier and\nponderous arch, in sculptured marble and carved oak, in stained glass\nwindow and inlaid mosaic, in embroidered fabric and woven tapestry, whose\npages are full of delight, inspiration and help for those who will take\nthe trouble to read them.\n\nThe Cathedral performs its function as a place for the praise and worship\nof Almighty God in two ways\u2014statically in the grandeur and beauty of the\ntemple, and actively in the services held within it.\n\n\nPraise in its Greatness\n\nLike other great cathedrals, St. John the Divine first impresses by its\nsize. Its magnitude is not only becoming to its rank as the chief church\nof the great Diocese of New York and necessary for the accommodation\nof large congregations, but it also has a spiritual purpose, for it\ngives one the feeling of something bigger than one\u2019s self and of a\nPower greater than one\u2019s own. \u201cThe Cathedral gives me a feeling of\nhumility,\u201d said a man to Bishop Greer one day. \u201cWhen I go in,\u201d said a\ncollege girl to him, \u201cI forget myself.\u201d And a man whom the Bishop met\nin the Ambulatory said to him: \u201cIf I came here regularly, something\nabout it,\u2014its size, its spaciousness, its loftiness, its great receding\nChoir\u2014something about it would compel me to be a churchman.\u201d\n\n\nPraise in its Beauty\n\nThe Cathedral is designed also to praise God in the glory of its Beauty.\nRuskin, in \u201cThe Laws of Fesole,\u201d says that \u201call great art is praise.\u201d\nHere we have the three great and enduring arts of Architecture, Sculpture\nand Painting (the latter as yet only in stained glass,) combined in\na wonderful Te Deum of Beauty. For centuries the great cathedrals of\nthe world have been the caskets of certain kinds of art\u2014or, rather,\nof certain kinds of expression of art\u2014not elsewhere to be found; and\nin this respect the Cathedral of St. John the Divine fills a place in\nour American life which no secular building can fill. In the beauty of\nits general form, in the beauty of its detail, in the beauty of its\nsymbolism, and in the record of human achievement in godly living which\nthese express, the Cathedral stirs the most reverent emotions and creates\nthe noblest aspirations.\n\n\nPraise in its Service\n\nBut these silent though eloquent physical features are only adjuncts\nand helps to the active expression of praise in the Cathedral Service.\nIn this, the impressive rites of the church and the congregational\nparticipation are aided by music brought to a high degree of perfection,\nand the preaching from the pulpit aims to interpret the Christian\nreligion in terms of the practical every-day life of to-day.\n\nIn short, the Cathedral endeavors to employ all that is beautiful and\nmajestic in Art and Service to bring God closer to men and to draw men\ncloser to God.\n\nThose who live near enough to the Cathedral to be able to attend its\nservices frequently can appreciate the words of a man who lived most of\nhis life in one of the great cathedral towns of England, and who said:\n\n\u201cI account it one of the greatest blessings of my life, and a\ncircumstance which gave a tone to my imagination which I would not resign\nfor many earthly gifts, that I lived in a place where the cathedral\nservice was duly and beautifully performed.... If the object of devotion\nbe to make us _feel_, and to carry away the soul from all earthly\nthoughts, assuredly the grand chaunts of our cathedral service are not\nwithout their use. I admire\u2014none can admire more\u2014the abstract idea of\nan assembly of reasoning beings offering up to the Author of all good\nthings their thanksgivings in a pure and intelligible form of words; but\nthe question will always intrude, Does the heart go along with this lip\nservice? and is the mind sufficiently excited by this reasonable worship\nto forget its accustomed associations with the business and vanities\nand passions of the world? The cathedral service _does_ affect the\nimagination and through that channel the heart.\u201d\n\n\nThe Spirit of Democracy\n\nWhile the Cathedral of St. John the Divine is a Protestant Episcopal\nCathedral, its ministrations are not restricted. \u201cOur democratic age,\u201d\nsaid Bishop Henry C. Potter, \u201cdemands a place of worship that will not\ndisregard the teachings of the Founder of Christianity. In this Cathedral\nthere will be no pews, no locked doors, no pre-payment for sittings,\nno reserved rights of caste or rank, but one and the same welcome for\nall.\u201d And what Bishop Potter prophesied when the Cathedral was first\nplanned is literally true to-day. The charter of the Cathedral requires\nthat \u201cthe seats for worshippers in said Cathedral Church shall always be\nfree;\u201d and the Cathedral welcomes everybody to its services, irrespective\nof denominational affiliations, nationality or worldly estate. The\nCathedral also welcomes those who belong to no denomination. Its appeal\nto the latter was particularly contemplated when Bishop Potter said:\n\u201cThe person in the period of suspense as to certain fundamental beliefs\nneeds something larger, higher, wider and roomier, more impersonal for\nthe time being, than the parish church.\u201d It is hardly necessary to add\nas a corollary of the foregoing that there are no \u201cstrangers\u2019 pews\u201d\nin the Cathedral; and nobody, however unaccustomed to the Cathedral\nservice, needs to feel any timidity or hesitation about attending. The\nlarge proportion of men in the Cathedral congregations is particularly\nnoticeable.\n\n\nA Civic Institution\n\nIn its present state of incompletion, without Nave and Transepts,\nthe capacity of the Cathedral is taxed to the utmost by its ordinary\ncongregations, and on special occasions thousands are turned away unable\nto enter. The completion of the Cathedral is therefore imperative; and\nthis is so for more than denominational reasons, for the many notable\nspecial services held during and immediately following the late war\nalready foreshadow the position which it is destined to occupy as a\ngreat Civic and National Institution. The Board of Trustees recently\nsaid: \u201cThe city requires a religious edifice where people can gather\ntogether in large numbers to express in a corporate way their religious\npromptings and to find spiritual interpretation of great events.\u201d Such\nwere the gatherings,\u2014to mention but a few instances,\u2014on the occasion\nof the Kossovo Day service June 16, 1918; the thanksgiving for the\nwithdrawal of Austria from the war November 10, 1918; the thanksgiving\nfor the cessation of hostilities November 17; the thanksgiving of the\ntwelve Liberated Nationalities of middle Europe November 24; the great\nThanksgiving Day service for victory November 28;[1] the rendering of\nGounod\u2019s \u201cDeath and Life\u201d December 1, 1918, and Dvorak\u2019s \u201cRequiem\u201d March\n30, 1919, for all who died in the war; the memorial service of the\n107th (including the former 7th) regiment April 27, 1919; the Lusitania\nmemorial service May 7; the New York Letter Carriers\u2019 memorial service\nMay 25; etc. People rarely think of the English cathedrals as belonging\nto the Church of England or of the French cathedrals as belonging to the\nRoman Catholic church. They are regarded as belonging to everybody. And\nsuch, it is believed, is the place which the Cathedral of St. John the\nDivine will occupy in the minds of the people of the city and nation.\n\n\nA Great Symbol\n\nThe symbolism of various details of the Cathedral will be mentioned\nhereafter; but it should be said here that the Cathedral as a whole is a\ngreat and wonderful symbol. \u201cThe religion which is inwrought with all the\nhistory of the American people,\u201d said Bishop Potter, \u201cstands for certain\nlofty ideals of truth, purity, honesty, loyalty and self-sacrifice.\nEvery ideal must have some visible expression or symbol, and this ideal\nof our religious faith from the very nature of it demands expression,\nincarnation, visible and material utterance worthy of its majesty and\ngrandeur.\u201d And the Trustees not long ago said: \u201cNew York is the chief\ncity of the Western World. It impresses the imagination at every turn\nby visible evidence of the power and splendor of material achievements\nin American life. Such a city should be dominated by a building which,\nin its greatness, dignity and beauty, bears witness to those spiritual\nforces without which material achievement is valueless because soulless.\u201d\n\n\nA Sign of Stability\n\nThis ever-changing city also needs the Cathedral as an evidence of\nstability. Business structures and apartment houses rise and disappear\nin a generation under the exigencies of the city\u2019s growth. Even parish\nchurches give way under this seemingly irresistible pressure. There is\nconsequently little upon which to fasten permanently one\u2019s memories,\naffections and historical traditions. Amid the changes and uncertainties\nof human life, man instinctively looks to the Church for something of\npermanence\u2014something after all to which he can fasten his faith and upon\nwhich he can anchor his hopes. The Cathedral of St. John the Divine,\nresting in its massive solidity upon the ancient rocks of Morningside\nHeights, gives an idea of firmness and stability in contrast with the\nfleeting changes around it and symbolizes Eternity as nearly as anything\nerected by the hands of man can. It will stand for unmeasured time as\nan eloquent memorial of the best and noblest of human effort and will\nserve as a visible bond to bind together generations of high endeavor.\n\u201cA cathedral,\u201d said Dean Robbins in a sermon on December 17, 1916, \u201cis a\nsymbol of continuity of life through the ages. It is a reminder of the\nrelatedness in which men stand not only to one another but also to those\nwho have preceded them, to all that is still memorable in a not quite\nvanished past.\u201d And looking to the future he spoke of the meaning of the\nCathedral to coming generations when it should have become adorned with\nassociations growing like ivy over walls made venerable by time. \u201cPerhaps\nthey will be greater memories, more glorious associations, than our best\nhopes can now forecast.... Who can tell what the hidden, wonderful,\nall-possible future may have in store for our Cathedral, what hopes and\npurposes and sorrows and rejoicings will receive their consecration\nwithin its slowly aging walls?\u201d\n\n[Illustration: THE EXTERIOR OF THE CHOIR, CHAPELS AND CROSSING, LOOKING\nSOUTHWEST\n\n(Choir School at left)]\n\n\n\n\nPart Two\n\nThe Fabric of the Cathedral\n\n\nName and Namesake\n\nThe legal title of the Cathedral is \u201cthe Cathedral Church of Saint\nJohn the Divine in the City and Diocese of New York.\u201d The adjective\n\u201ccathedral,\u201d commonly used as a noun, is derived from the Greek word\n\u201ccathedra\u201d which means \u201cseat.\u201d In the Cathedral is the cathedra of the\nBishop of the Diocese of New York. It is not a parish church and has no\nmembers in the sense in which a parish church has members; but persons\ndesiring to assist in cathedral work may join the auxiliary organizations\nmentioned on page 115 following. The Cathedral is the chief church of the\nDiocese which embraces 294 different parishes and missions.\n\nThe Cathedral is named after the author of the fourth Gospel, the three\n\u201cepistles general\u201d bearing the name of John, and the book of \u201cThe\nRevelation of St. John the Divine.\u201d The word \u201cDivine\u201d in the title is\nnot an adjective[2] but is a noun in apposition with \u201cSt. John\u201d and is\nrendered in the seal of the Cathedral by the Latin word \u201ctheologus,\u201d\nmeaning \u201ctheologian.\u201d St. John was one of the twelve Apostles, and a\nbrother of St. James the Great. He was \u201cthe Disciple whom Jesus loved\u201d\n(John xiii. 23), an expression implying exceptional sweetness and\nlovableness of character. He founded the seven churches in Asia referred\nto in the Book of Revelation. Toward the end of his ministrations, in\nwhich he suffered many persecutions, he was banished to the Isle of\nPatmos, where he wrote the Book of Revelation. When he returned from this\nexile, he continued his work until he died at the advanced age of over\n90 years. His traditional grave is at Ephesus. The two principal symbols\nof St. John are the eagle with book, (explained in connection with the\nsymbols of the four Evangelists on page 44) and the chalice, the latter\nsometimes having a serpent issuing from it. The sacramental cup without\nthe serpent is sometimes interpreted to refer to Christ\u2019s reply to James\nand John: \u201cYe shall indeed drink of the cup that I drink of\u201d (Mark x.\n39). The cup with the serpent refers to the tradition related by St.\nIsidore to the effect that at Rome an attempt was made to poison St. John\nin the communion wine, but that by a miracle the poison vanished from the\nchalice in the form of a serpent. The Memorial Day for St. John is kept\non December 27.\n\n\nLocation and Access\n\nThe Cathedral is located between Cathedral parkway (110th street,)\nAmsterdam avenue, 113th street, and Morningside drive.\n\nThe Cathedral can be reached by taking the Broadway subway to 110th\nstreet and walking one block east and two north; the Broadway surface\nline to 112th street and walking one block east; the Amsterdam avenue\nsurface line to the entrance at 112th street; the 6th and 9th avenue\nelevated line to 110th street and walking two blocks west and two north;\nor Fifth avenue omnibuses marked route \u201c4\u201d via 110th street, or \u2019buses\ntransferring thereto.\n\nMorningside Heights being 100 feet above the level of the adjacent Harlem\nPlain, the Cathedral commands a sweeping prospect toward the northeast,\neast, and southeast, over the roofs of the city and past the trees of\nCentral Park to the regions beyond the Harlem and East rivers; while from\nthe main entrance at Amsterdam avenue and 112th street, one can look\nwestward to the Hudson and see the columned Palisades on the New Jersey\nshore beyond. Morningside Heights is the modern name for the ground on\nwhich the battle of Harlem Heights was fought on September 16, 1776.\nWashington, whose figure occupies a niche in the Choir Parapet (page 51)\nand adorns the entrance to the Synod House (p. 114), personally directed\nthe troops in this engagement. At that period an old colonial road ran\nthrough the Cathedral site and down the Heights of Morningside Park to\nthe ancient King\u2019s Highway or Post Road. During the War of 1812, the\nCathedral grounds were immediately within the lines of defence erected in\n1814, one of the blockhouses of which stood on the bluff on the eastern\nside of Morningside drive just northeast of 113th st.[3]\n\nThe Cathedral grounds,\u2014called the \u201cClose,\u201d from the practice in olden\ntimes of securing the privacy of the cathedral precincts by enclosing\nthem with a wall and gates,\u2014comprise 11\u00bd acres. Upon them are situated,\nbesides the Cathedral, the Old Synod House (brick with columned portico,\nformerly the Leake & Watts Orphan Asylum,) the Bishop\u2019s House and\nDeanery, the Choir School, the New Synod House, and St. Faith\u2019s Training\nSchool for Deaconesses. See plan and descriptions of buildings hereafter.\nThe Close cost $850,000 and the buildings other than the Cathedral about\n$1,000,000. A portion of the Close is set apart for recreation grounds\nfor the boys of the choir; and a portion of the lawn as a playground for\nsmall children.\n\n\nAdministration and Clergy\n\nThe affairs of the Cathedral are in the hands of a Board of 25 Trustees\nwhich constitutes the Corporation, and is composed of the Bishop of New\nYork, 12 other clergymen and 12 laymen. The Bishop is President of the\nBoard.\n\nThe Clergy of the Cathedral are the Bishop, Dean, Canon Bursar, Canon\nSacrist, Canon Precentor, and the Honorary Canons, not to exceed seven\nin number. The _Bishop_ is elected by the Diocesan Convention and the\nelection must be confirmed by a majority of the Bishops and Dioceses of\nthe Episcopal Church. The Dean and Canons are nominated by the Bishop\nand elected by the Trustees. The Bishop, besides his diocesan duties,\nhas general direction of the services of the Cathedral, which direction\nhe expresses through the Dean. The use of the Cathedral for worship and\nfor charitable and benevolent work is entrusted to the Dean and Chapter.\nThe Chapter consists of the Dean, the Bursar, the Sacrist, and such other\nCanons as may be elected. The _Dean_ is Chairman of the Cathedral Chapter\nand the executive head of the Cathedral, leading and co-ordinating the\nvarious branches of its work. The _Canon Bursar_ is the agent of the\nTreasurer of the Corporation, receives the offerings and sees that they\nare applied to their proper objects, and is Supervisor of Buildings and\nGrounds. The _Canon Sacrist_ has the care of the Cathedral as a place\nof worship and is Master of Ceremonies on all occasions. The _Canon\nPrecentor_ is responsible for the fitting performance of the musical\nparts of the Cathedral services. The offices of Canon Sacrist and Canon\nPrecentor are vacant, their duties being performed by the _Precentor_.\nThe Dean and Canons may have Vicars as assistants.\n\nFollowing is the Cathedral Staff:\n\n_Bishop of New York_\n\n    The Right Rev. William Thomas Manning, D.D., LL.D., D.C.L.\n\n_Dean_\n\n    The Very Rev. Howard Chandler Robbins, D.D.\n\n_Canon Bursar_\n\n    The Rev. Robert Ellis Jones, D.D.\n\n_Precentor_\n\n    The Rev. Henry Purcell Veazie, M.A. (Oxon.)\n\n_Honorary Canons_\n\n    The Rev. George Francis Nelson, D.D.\n    The Rev. George William Douglas, D.D.\n    The Rev. George Frederick Clover, M.A.\n    The Rev. Harold Adye Prichard, M.A.\n    The Rev. Pascal Harrower, M.A.\n\n_Head Master of the Choir School_\n\n    William Lester Henry, A.B.\n\n_Organist and Master of the Choristers_\n\n    Miles Farrow, M.A., Mus. Doc.\n\n_Head Verger_\n\n    Thomas Meatyard.\n\nThe post-office address of any of the above mentioned is \u201cThe Cathedral\nof St. John the Divine, New York, N. Y.\u201d\n\nThe Bishop\u2019s office is in the new Synod House at the corner of Amsterdam\nAvenue and Cathedral Parkway. The offices of the Dean, Canon Bursar,\netc., are in the old Synod House which stands on the site of the South\nTransept. (See page 9).\n\n\nSeals of Diocese and Cathedral\n\nThe seal of the Diocese is in the form of a pointed oval, or vesica,[4]\nand is as follows:\n\nQuarterly _gules_ and _argent_, over all a cross counter-changed of the\nsame. In dexter chief the American eagle with wings displayed _or_; in\nsinister chief and dexter base the sails of a windmill _proper_ from the\narms of the City of New York. In sinister base two swords in saltire _or_\nfrom the arms of the see of London. Surmounted by an episcopal mitre\n_proper_. The arms surmounted on a field _purpure_ and enclosed by a\nbordure _azure_ lined (or edged) _or_ bearing the legend \u201cSeal of the\nDiocese of New York MDCCLXXXV\u201d _or_.\n\nThe red color (gules) and the swords are historically reminiscent\nof the fact that prior to the Independence of the United States the\nchurch throughout the American Colonies was under the ecclesiastical\njurisdiction of the Diocese of London.\n\n[Illustration: Diocesan Seal]\n\n[Illustration: Cathedral Seal]\n\nThe seal of the Cathedral, also vesica-shaped, is as follows:\n\nTierce in pairle reversed. 1st, from the arms of the City of New York:\n_argent_ four sails of a windmill in saltire, between the ends in chief\nand base a beaver couchant, in fess dexter and sinister a barrel of flour\nall _proper_. 2d, from the arms of the State of New York: _azure_ in a\nlandscape the sun in fess rising in splendor _or_ behind a range of three\nmountains the middle one the highest, in base a ship and sloop under sail\npassing and about to meet on a river bordered below by a grassy shore\nfringed with shrubs all _proper_. 3d, _azure_ seven six-pointed stars\n_argent_ between as many candlesticks _or_. Surmounted by an episcopal\nmitre _proper_. Enclosed by a bordure _gules_ edged _or_ bearing the\nlegend \u201cSigil. Eccles. Cath. S. Johann. Theol. N. Ebor.\u201d _or_.\n\nThe seven stars and candlesticks refer to the Revelation of St. John the\nDivine, i. 20.\n\n\nServices\n\nThe Cathedral is open for private prayer and meditation every day of\nthe year from 7.30 a. m. to 5.30 p. m. There is a service in one of the\nchapels every week-day at 7.30 a. m. The principal Sunday services are\nat 8 a. m., 11 a. m. and 4 p. m., the latter two being with full choral\nservice and sermon. Other services are held on week-days and Sundays as\nannounced from time to time. As before stated, all seats are free, and\nresidents and strangers of all denominations are cordially welcome.\n\nThe Cathedral service is neither \u201chigh\u201d nor \u201clow.\u201d It is the prescribed\nliturgy of the Church, with a fully choral rendering and congregational\nparticipation. Except during the vacation season, there are usually about\n60 persons in the procession. The processional hymn is begun in the\nAmbulatory, through the south gate of which the procession enters the\nCrossing and goes to the Choir. First comes the crucifer, followed in\norder by the boys of the choir, the men of the choir, the Head Master of\nthe Choir School, the Verger and the clergy in inverse order of their\nrank. The Bishop, if present, comes last, and is immediately preceded\nby the Verger and an acolyte bearing the Bishop\u2019s pastoral staff.[5]\nIf the Bishop is absent, the Dean comes last, preceded by the Verger.\nIf neither Bishop nor Dean is present, the Verger precedes all the\nclergy. The Verger (in black gown with purple facings), carries a silver\nstaff surmounted by the figure of an angel holding a tablet on which is\nengraved the symbol of St. John the Divine, the chalice with emerging\nserpent. When preceding the Bishop he carries his staff upright at his\nright shoulder, but when going before the other clergy he carries it in\nthe hollow of his left arm. The organist and Master of the Choristers,\nwearing the gown and hood of Doctor of Music, is usually invisible, being\nseated at the console in the gallery on the screen at the south side of\nthe Choir. At extraordinary musical services, an orchestra is seated in\nthe Choir, between the stalls, and then the Master of the Choristers\nstands in the Choir, from which point he directs the singers, orchestra\nand assistant organist. The recessional is in the same order as the\nprocessional. After entering the Ambulatory, the procession halts while\na dismissal prayer or hymn is said or sung there, and the solemn service\nends with a far-away \u201cAmen\u201d from the unseen choir.[6]\n\n\nVisitors\n\nVisitors may see the Cathedral at all times between 7.30 a. m. and 5.30\np. m. except during the hours of service. The Verger is usually in\nattendance.\n\n\nArchitecture\n\nThe architects of the Cathedral have been: Messrs. George L. Heins and\nC. Grant LaFarge from July, 1891, until Mr. Heins\u2019 death in September,\n1907;[7] Mr. LaFarge from September, 1907, until the completion of the\nChoir in April, 1911; and Messrs. Cram & Ferguson from April, 1911,\nto the present time. Mr. Henry Vaughan was architect of three of the\nSeven Chapels of Tongues, Messrs. Heins & LaFarge of two, Messrs. Cram\n& Ferguson of one and Messrs. Carrere & Hastings of one, as mentioned\nhereafter.\n\nThe prevailing style of the Cathedral will be French Gothic. The north of\nFrance, it will be remembered, is the birthplace of Gothic architecture.\nThere, in the region so recently devastated by war, Gothic architecture\nrose and reached the flower of perfection in such monuments as Amiens,\nRheims, Notre Dame (Paris), Chartres, Beauvais, and Rouen Cathedrals and\nmany other churches, great and small.\n\n\nPlan and Size\n\nThe plan of the Cathedral is cruciform (symbolism, the cross on which\nChrist was crucified;) and is oriented so that the priest standing at the\nHigh Altar faces the east (the rising sun symbolizing the resurrection,\nand the orientation also connoting the ideas of Christ \u201cthe Sun of\nRighteousness,\u201d \u201cthe Dayspring from on High,\u201d and the \u201cMorning Star\u201d).[8]\nSeven chapels, called the Chapels of Tongues, radiate from the Apse, or\nsemi-circular eastern end of the Choir.\n\nThe loftiest features of the elevation are the two towers of the West\nFront (q. v.) and the great Central Tower above the Crossing. The\nlatter, in the design now under consideration, consists of a dodecagonal\nlantern, carried up from the square Crossing in two stages, the upper\nsmaller than the lower, and surmounted by a fl\u00e8che or open-work spire\nrising to a height of 500 feet (including cross) above the ground.\n\nWhen completed, the Cathedral will extend from Morningside drive to\nAmsterdam avenue, more than a tenth of a mile. It will be 601 feet long\nand 315 feet wide across the Transepts, and, with an area of 109,082\nsquare feet, will be the third largest in the world, St. Peter\u2019s at Rome\nbeing first and Seville Cathedral second.\n\nThe seating capacity of the Crossing in which the congregation ordinarily\nsits is 1,500; but on special occasions, when chairs are placed in the\nAmbulatory and people are admitted to the Choir Stalls, the Cathedral can\naccommodate about 3,500. When the church is finished, it will seat 7,000\nand will accommodate several thousand more standing.\n\n\nProgress of Construction\n\nThe Founder of the Cathedral was the Right Rev. Horatio Potter,\n(Provisional Bishop 1854-1861 and Bishop of New York 1861-1887), who\nproposed it in 1872. The charter was granted by the Legislature of the\nstate of New York in 1873. The Right Rev. Henry Codman Potter, (Assistant\nBishop 1883-1887 and Bishop of New York 1887-1908), nephew and successor\nof Bishop Horatio Potter, actively forwarded the movement for raising\nfunds in 1886. The Close was purchased from the Leake & Watts Orphan\nAsylum by deed dated October 31, 1891. The first service on the ground\nwas held January 1, 1892. The corner-stone was laid on St. John\u2019s Day,\nDecember 27, 1892.[9] The first service was held in the Crypt January\n8, 1899, and the first service in the Choir and Crossing (being the\nconsecration service) April 19, 1911. Ground was broken for the Nave\nMay 8, 1916, by the Right Rev. David Hummell Greer, (Bishop Coadjutor\n1904-1908 and Bishop of New York 1908-1919). The parts thus far built\nare the Crypt, Choir, seven Chapels of Tongues, Crossing and foundation\nfor the Nave. The Mohegan golden granite for the walls of the Nave is\nnow being quarried near Peekskill, N. Y., and is being delivered on the\ngrounds. Some details of the Choir and Crossing are unfinished. The\ncompleted portion of the Cathedral has cost about $4,000,000, and it is\nestimated that the Nave, West Front, Transepts, Spire, etc., will cost\nabout $15,000,000, making the total estimated cost about $19,000,000.\n\n\nFunds for Building\n\nVisitors to the Cathedral repeatedly ask when it will be finished. It is\nimpossible to answer this question definitely. Some of the cathedrals\nof the Old World have been seven hundred years in building and are not\nyet completed. The things which endure the longest are generally of slow\ngrowth,[10] and the Cathedral of St. John the Divine is no exception to\nthis rule. It is not a steel-frame structure, but is of massive masonry\nin the best traditions of Gothic architecture and is being built to stand\nfor ages. Its physical construction must therefore necessarily be slow.\n\nIt is to be remembered, also, that the financial resources for the\nbuilding of a modern cathedral are different from those which supplied\nthe means for building many of the Old World churches. Westminster Abbey\nwas built almost entirely from revenues of the Kings from Henry III.\nto Henry VII. St. Paul\u2019s in London was partly built by the gifts of\npenitents who performed their penances in money. Occasionally an ancient\nshrine grew into a great church in consequence of some tradition or\nsuperstition which caused a continuous stream of illustrious persons to\nshower wealth, privileges and honors upon it. Pope Honorius prescribed\ncollections in all Christendom for the building of Rheims Cathedral. The\nmetropolitan church of St. Rombold\u2019s, in Malines, Belgium, was built with\nmoney paid by pilgrims who flocked thither in the 14th and 15th centuries\nto obtain indulgences issued by Pope Nicholas V.; and the Tour de Beurre\n(butter tower) of Bourges Cathedral, like the tower of the same name at\nRouen, \u201cderives its name from having been erected with money paid for\nindulgences to eat butter in Lent.\u201d (Baedeker.)\n\nTo-day, however, reliance is placed entirely upon voluntary\ncontributions. Some of the larger gifts to the Cathedral of St. John\nthe Divine are mentioned hereafter, but there have been many other\nlarge ones and innumerable smaller ones equally acceptable from donors\nirrespective of denominational affiliations who have caught the civic\nand patriotic as well as the religious inspiration of what is to be\nAmerica\u2019s greatest cathedral. In a general way, it may be said that the\nCathedral will be finished as fast as funds are provided;\u2014and no faster,\nfor the authorities have rigidly maintained the provision of the statute,\nbuilding only what can be paid for, and worshippers are therefore not\nkneeling on any debt. Anyone desiring here to enshrine a loving memory or\nto embody the offering of a grateful heart may place a donation to the\nBuilding Fund in the alms-basin or in the box at the door, or send it to\nthe Dean at the Cathedral offices in the old Synod House, at Amsterdam\navenue and 112th street, New York City.\n\n\nFoundation and Superstructure\n\nThe foundation of the Cathedral is of Maine granite. Although the\nbed-rock of Morningside Heights (Manhattan schist) lies near the surface,\nit is so disintegrated near the top that it was necessary to go down 72\nfeet in some places in order that the Cathedral might rest securely on\nthe \u201cliving rock.\u201d The excavation and foundation alone cost a quarter\nof a million dollars. The main walls of the superstructure are also\nof granite, faced on the outside of the finished portion with Mohegan\ngolden granite quarried near Peekskill, N. Y., and on the inside with\na soft buff-colored limestone or dolomite called Frontenac stone from\nPepin county, Wis. The great flying buttresses and massive piers of the\nCrossing, exposed in their rugged unfinished state, exhibit the dark\nMaine granite. Local materials are mentioned in their appropriate places.\n\n\nExterior Survey\n\nBefore entering the Cathedral the visitor should make a circuit of\nthe Close (beginning on the south side and going eastward), comparing\nthe outlines of the Cathedral with the plan and noting the location\nof the other buildings. This will give him a better understanding of\nthe interior of the Cathedral and of its ultimate connection with the\nBishop\u2019s House and the Choir School by means of cloisters. It will be\nnoted that the Old Synod House (brick, with Ionic-columned portico)\noccupies the site of the South Transept.\n\n\n=The Seven Chapels of Tongues=, (see page 69 et seq.,) may be identified\non the exterior by the following characteristics (south to north):\n_Chapel of St. James_, rectangular plan, crenelated parapet of roof, and\npinnacles on buttresses. _Chapel of St. Ambrose_, half round window\narches. _Chapel of St. Martin of Tours_, fleurs de lis in quatrefoils\nabove large windows; narrow pointed arch windows with single lights\nin basement. _Chapel of St. Saviour_ (easternmost), rectangular plan;\ncross on gable; statues in niches of buttresses and wall. _Chapel of St.\nColumba_, angel on roof; statues in niches of buttresses. _Chapel of St.\nBoniface_, statues in niches of buttresses; small mullioned windows of\nthree lights in basement. _Chapel of St. Ansgarius_, rectangular plan;\nparapet of quatrefoil tracery; pinnacles on buttresses.\n\nThree of the chapels have the following sculptures by Mr. Gutzon Borglum:\n_Chapel of St. Saviour_: On eastern wall above the great window, the\nChrist Child; in niches of buttresses on either side of window, Angels\nof the Resurrection; and beneath the window, the Virgin, seated between\n(left) St. Simeon who blessed the infant Jesus (Luke ii. 25-35) and\n(right) St. Zacharias, father of John the Baptist (Luke i. 67-80).[11]\n_Chapel of St. Columba_: On roof, an angel with hands joined in prayer;\nin upper part of great window, St. Columba with tamed wolf, recalling\nhow he subdued wild beasts as well as wild tribes; and in niches of\nbuttresses the four patron saints of the British Isles (left to right):\nSt. David of Wales in beretta and fringed gown: St. George of England in\narmor with cross on shield and dragon at feet; St. Andrew of Scotland\nwith diagonal cross[12]; and St. Patrick of Ireland, in Bishop\u2019s\nrobes, with crozier in right hand and shamrock in left. _Chapel of St.\nBoniface_: In niches of buttresses, Charlemagne, with crown and sword;\nAlcuin, Charlemagne\u2019s preceptor, in monastic garb with manuscripts in\nright hand; Gutenberg, with book in each hand, his initials \u201cJ.G.\u201d on\none; and Luther, in scholar\u2019s gown, with book between hands.\n\n\n=The Clerestory of the Choir= rises above the roofs of the chapels.\nIn the canopied niches near the top of the turrets and buttresses\nare 10 stone figures 9\u00bd feet high by Mr. Borglum, as follows (south\nto north): St. James the Less with fuller\u2019s club (indicating manner\nof his martyrdom), and St. Philip with Latin cross (symbol of his\ncrucifixion), together on turret; St. Bartholomew[13]; St. Thomas with\nsquare (spiritual architect); St. James the Great with staff (pilgrim);\nSt. Peter with key (to the kingdom of Heaven); St. Andrew with diagonal\ncross; St. Matthew[13] with drapery over head; and St. Simeon with saw,\nand St. Jude with spear, (indicating manner of their death), together on\nturret.\n\n\n=Fourteen Stone Shields= (only 12 in place), in the spandrels of the\nclerestory windows above the seven Chapels of Tongues, bear (or will\nbear) the following devices (south to north:) Above Chapel of St. James,\n(left) winged ox; and (right) artist\u2019s palette, brushes and maulsticks,\nand lily, symbolizing St. Luke.[14] Above Chapel of St. Ambrose (left)\nlily, and (right) rose, both symbols of the Virgin Mary. Above Chapel of\nSt. Martin of Tours, (left) eagle, and (right) chalice, symbols of St.\nJohn. Above Chapel of St. Saviour, (left) letters \u0399\u03f9, \u03a7\u03f9, \u039d\u0399, \u039a\u0391, in four\nquarters formed by a Greek cross, signifying Jesus Christ Conquers; and\n(right), initials SP, SF, SS, of the Latin words Sanctus Pater, Sanctus\nFilius, Sanctus Spiritus, (Holy Father, Holy Son, Holy Spirit,) in a\ntrefoil, symbolizing the Trinity.[15] Above Chapel of St. Columba, (left)\ncrossed keys, symbol of St. Peter, and (right) crossed swords, symbol of\nSt. Paul. Above Chapel of St. Boniface, (left) winged lion; and (right)\nfig tree, both symbols of St. Mark. Above Chapel of St. Ansgarius, (left)\nwinged man and (right) axe and book, both symbols of St. Matthew.\n\n[Illustration: 1. Jesus Christ Conquers. 2. Holy Father, Holy Son, Holy\nSpirit. 3 and 4. Saint Luke.]\n\nSurmounting the roof of the Choir, and facing eastward, is a bronze\nstatue, 9\u00bd feet high, by Mr. Borglum, representing St. Gabriel as Angel\nof the Resurrection, blowing a trumpet.\n\n[Illustration: THE WEST FRONT\n\n(From Architect\u2019s Drawing)]\n\n\nWest Front\n\nReturning to Amsterdam avenue at 112th street, we come to what will be\nthe main entrance of the Cathedral. In the space (now unoccupied) between\nthe sidewalk and the foundation of the Nave will be the West Front (see\nfigure 1 of plan). The tentative design for the West Front provides for\nthree large and two smaller recessed portals, similar to the plan of\nBourges Cathedral. Above the north and south portals rise two heavily\nbuttressed square towers, named after St. Peter (north) and St. Paul\n(south), presenting strong relief. Above the central portal is the great\nRose Window, flanked by the mullioned Gothic windows of the towers. Above\nthese, a gallery of niches containing statues extends entirely across the\nfa\u00e7ade, after the manner of the Gallery of Kings at Rheims Cathedral.\nAbove this rise the belfries of the two towers, each surmounted by\npointed turrets at the four corners, while between them, just above the\ngallery, appears the gable of the Nave. The West front is 220 feet wide\nand 80 feet deep, including the buttressing. The towers are 50 feet\nsquare, 235 feet high to the top of the parapets and 265 feet high to the\ntop of the pinnacles.\n\n[Illustration: THE EXTERIOR OF THE NAVE\n\n(Composite Photograph of Model. Human figure shows scale)]\n\n\nThe Nave\n\nCrossing the space to be occupied by the West Front, we ascend temporary\nsteps to the foundation of the Nave (figure 2 of plan). Superstructure\nnot yet begun (June 15th, 1924). Here the visitor should pause and\nimagine himself entering the western limb of the Cathedral, 225 feet\nlong, 132 feet wide, 175 feet high outside and 130 feet high inside,\nbuilt in pure 13th century Gothic adapted to the requirements of the\nplan. The central aisle,[16]\u2014as wide between the centers of piers as\n112th street is between building lines\u2014has two narrower aisles on each\nside. Instead of the closely-grown-up forest effect produced by the\ncolumns of many Gothic cathedrals, an air of openness and spaciousness,\nwhich distinguishes this Cathedral throughout, is given by the relatively\nsmall number of piers and columns and their ingenious disposition. In\nthis arrangement the architect has made two notable departures from\nthe ordinary Gothic type: One is the erection of the clerestory on\nthe secondary line of columns (those nearest the side walls,) which\nmodifies the exterior system of flying buttresses, and the other is\nthe introduction of intermediate slender columns in the primary line\nof piers, resolving the Nave into a system of four squares or double\nbays instead of eight rectangular bays. As the primary ranges of piers\nand columns rise to the spring of the arches which support the roof\nof the Nave, instead of being shortened to support the clerestory, an\neffect of great spaciousness and lofty aspiration is produced; and this\narrangement, together with the rhythmic alternation of great piers and\nrelatively small clustered columns, allows a play of light and shade\nsurpassing that of any mediaeval cathedral. Under the roofs of the north\nand south aisles runs the triforium gallery; and there are many beautiful\ndetails of ornament, including the tracery, panelling, capitals, niches,\npinnacles and sculptures. A light and cheerful effect is produced by the\nillumination through 32 stained glass windows\u2014eight in the aisle and\neight in the clerestory on each side,\u2014and the great Rose Window in the\nwest end.\n\nWhile standing at the west end of the foundation, the visitor should\nsurvey the great area of floor space that lies before him; then, looking\neastward 225 feet (the length of a city block and half the width of a\nstreet) imagine the present temporary west wall of the Crossing removed,\nand the view extended about 225 feet farther to the High Altar in the\nSanctuary. He will then have an idea of the great vista of the completed\nchurch.\n\n[Illustration: ONE SIDE OF THE INTERIOR OF THE NAVE\n\n(Composite Photograph of Model. Figures of choristers show scale)]\n\nSpeaking of the building of the Cathedral in general and of the Nave in\nparticular, in his address to the 138th Annual Convention of the Diocese\nof New York on May 11, 1921, Bishop Manning said: \u201cAs to the practical\nvalue and importance of the Cathedral, no one who knows anything of its\nwork or of the multitudes that gather here for worship can entertain a\nquestion. Large as it is, the present space is insufficient. The Nave\nis urgently needed, not only that the great ideal which the building\nembodies may be carried forward, but that there may be room for the\npeople who come for spiritual help, and that the Cathedral may meet\nits unequalled missionary opportunity. I hope that our people, and\nespecially those who have the stewardship of wealth, will keep this\ngreat spiritual and missionary enterprise in mind, and that many may be\nmoved to aid it. The building waits only for the necessary funds. And in\nthe revised drawings, we at last have plans which by their majesty and\nbeauty worthily express the aim and ideal of this great structure ...\nI believe that we have now a plan worthy of the unequalled opportunity\nof this glorious Temple of God, and of its relation to the greatest and\nmost complex city in the world. I believe that for the carrying forward\ntowards completion of such a building as this, of which the whole country\nmay be proud, and for the upholding of the spiritual, social and civic\nideals which it embodies, not only the people of our own Church but many\nothers in this metropolis and elsewhere will be glad to make their gifts\nand to have their part and share with us.\u201d\n\n\nThe Crossing\n\nWalking the length of the Nave foundation (2 on plan) we pass through\ntemporary doorways and enter the Crossing (3), so-called from its\nlocation at the intersection of the long and short arms of the cruciform\nground plan. In this space, 100 feet square, floored with concrete, are\n1500 chairs for the congregation. To the eastward, the Crossing opens\ninto the Choir (10) and Ambulatory (12-12). On the north, west and south\nsides the spaces between the ponderous piers of Maine granite are filled\nwith temporary windows and concrete walls which will be removed when\nthe Nave (2) and the North and South Transepts (4 and 5) are built. The\nremoval of these temporary walls will improve the acoustics. The rough,\nunadorned piers on the north, west and south sides will eventually be\nfaced with Frontenac stone like those on the east side. The massiveness\nof this masonry may be judged by the fact that a single pair of these\npiers with their connecting arch weighs 4000 tons. _The Dome_ of the\nCrossing, 162 feet (just the height of Niagara Falls) above the floor,\nis a remarkable piece of construction, the tiles having been laid by\nthe ingenious Gustavino method without the support of scaffolding. The\npresent dome is temporary; the permanent vault will be 200 feet above\nthe floor. Mr. J. P. Morgan, Mr. George S. Bowdoin and Mr. Harris C.\nFahnestock were large contributors to the building of the Crossing.\n\n[Illustration: THE NAVE FOUNDATION AND CROSSING]\n\n\n=The Pulpit=, a memorial of Bishop Henry Codman Potter, is made of\nKnoxville, Tenn., marble, an uncrystalline limestone favorable for very\nfine work. On the newel posts of the stairs are the figures of the two\ngreat prophets of the Old and New Testaments, Isaiah (south) and John\nthe Baptist (north.) In the five principal Gothic niches are as many\nscenes in the life of Christ (north to south): The Nativity, Jesus Among\nthe Doctors, the Crucifixion, the Resurrection, and the Supper at Emmaus\n(Luke xxiv. 30-31). In the smaller niches are the figures of eight great\nexponents of the Holy Scriptures and champions of human freedom (north\nto south); St. Jerome, St. Gregory, St. Chrysostom, St. Peter, St. Paul,\nHugh Latimer, Bossuet, and Bishop Phillips Brooks of Massachusetts.[17]\nBeneath these niches runs a moulding of grape-vine design symbolizing\nChrist the true vine[18] (John xv. 1) and beneath this one of roses\nsymbolizing Christ the Rose of Sharon (Cant. ii. 1). On the base are the\nsymbols of the four Evangelists: The winged man for St. Matthew, winged\nlion for St. Mark, winged ox for St. Luke, and eagle for St. John.[19]\nThe pulpit is surmounted by a carved oak canopy of Gothic tracery, upon\nwhich is the beginning of the Gloria in Excelsis:\n\n    \u201cGlory be to God on high and on \u2016 earth \u2016 peace \u2016 good will\n    towards \u2016 men. We praise thee \u2016 we bless thee, we \u2016 worship\n    \u2016 thee, we glorify thee, we give thanks \u2016 to thee for thy\n    great glory. O Lord God, heavenly King.\u201d\n\n[Illustration: THE PULPIT]\n\nOn the side of the stairs is inscribed:\n\n    \u201cIn Memory of \u2016 Henry Codman Potter \u2016 the gift of \u2016 Mrs.\n    Russell Sage \u2016 A.D. 1916.\u201d\n\nThe pulpit, which cost $30,000, was designed by Mr. Henry Vaughan and\nexecuted by Messrs. John Evans & Co. of Boston.\n\n[Illustration: ONE OF THE BARBERINI TAPESTRIES]\n\n\n=Barberini Tapestries.= The tapestries in the Crossing and Ambulatory\nwere woven in the first half of the 17th century on the papal looms\nfounded by Cardinal Barberini under the patronage of his uncle Pope\nUrban VIII. They were executed under the direction of the master weaver\nJacques della Riviera from cartoons painted by Jean Francois Romanelli.\nThe cartoons are now in the Vatican. The tapestries, originally designed\nfor the throne room of the Barberini Palace at Rome, afterward a part\nof the Ffoulke Collection in Washington, and finally presented to the\nCathedral by Mrs. Elizabeth U. Coles, are twelve in number and represent\nscenes in the life of Christ. Four of them hang in the Crossing as\nfollows: In the northeast corner, the Delivery of the Keys to St. Peter;\nsoutheast corner, the Last Supper; southwest corner, the Adoration of\nthe Shepherds; and northwest corner, the Flight of Joseph and Mary with\nthe infant Jesus into Egypt. Seven hang in the Ambulatory, as follows\n(north to south): Christ\u2019s Baptism, the Annunciation, the Adoration of\nthe Magi, the Crucifixion (directly behind and above the High Altar,)\nthe Transfiguration, the Resurrection, and the Agony in the Garden. The\ntwelfth, a map of the Holy Land, is not at present hung. These works are\nall 15 feet 8 inches high and average 14 feet 1 inch wide. The Delivery\nof the Keys to St. Peter, the Last Supper, and the Flight into Egypt are\nmore than 17 feet wide. These tapestries appear more like paintings than\nproducts of the loom.\n\n[Illustration: THE INTERIOR OF THE CROSSING AND CHOIR]\n\n\n=The Litany Desk= at the eastern end of the middle aisle (often removed)\nis of carved oak. Surmounting the ends are two praying angels, while on\nthe front are statues of St. Michael with sword, St. John with chalice,\nand St. Gabriel with lilies, all facing the Altar. An inscription reads:\n\n    \u201cWe beseech Thee to \u2016 hear us Good Lord \u2016 Grant us Thy Peace\n    \u2016 Have Mercy Upon us.\u201d\n\nThe desk was given by the Laymen\u2019s Club.\n\n\nThe Choir\n\n=Architecture.= The Choir (10) may best be surveyed from the eastern\nend of the Crossing. (Visitors not admitted to Choir during service\ntime except by permission.) The half-round arches and other features\nexhibit a late Romanesque style with Byzantine influence, which is\nnot inappropriate to the eastern end of the Cathedral, and which will\nrelatively become a local detail as the prevailing Gothic style of the\nwhole Cathedral develops.[20] The interior facing is of Frontenac stone.\nNumerous symbols from the Revelation of St. John the Divine will appear\nas the description of the Choir and its environs proceeds. The first to\nattract attention is the broad course of red jasper from South Dakota\nseen at the base of the piers of the great Choir arch. This foundation\ncourse, which appears in the Ambulatory (12-12-12) running entirely\naround the Choir, recalls St. John\u2019s description of the Heavenly City:\n\u201cAnd the foundations of the wall of the city were garnished with all\nmanner of precious stones. The first foundation was of jasper\u201d (Rev. xxi.\n19). The green moulding above the jasper is Pennsylvania serpentine.\nThe floor of the Choir has three principal levels. From the Crossing 5\nsteps lead to the Choir proper, which contains the stalls for the clergy\nand choristers and which occupies the first two bays. An ascent of six\nmore steps leads to the second level which may be designated as the\nPresbytery. Upon it are the two thrones hereafter mentioned and the altar\nrail, the latter a step higher.[21] In the Sanctuary within the altar\nrail, 4 steps lead to the third level upon which stands the Altar with\nits 3 white steps.[22] Around the Sanctuary stand eight Great Columns\ndescribed hereafter. The principal donor to the building of the Choir was\nthe late Hon. Levi Parsons Morton (Vice-President of the United States\n1889-93, Governor of the State of New York 1895-96) who, after the Great\nColumns were erected, gave $600,000 toward the completion of the fabric\nand the installation of the Altar, Reredos, Organ, Choir Stalls, Bishop\u2019s\nThrone, and some other furnishings. This sum was generously supplemented\nby Mrs. Morton. The ornate _Altar Rail_ of English oak is inscribed:\n\n    \u201cTo the Glory of God \u2016 and in loving memory of \u2016 Anna\n    Livingston Morton \u2016 May 18, 1846-August 14, 1918 \u2016 Given by\n    her daughter \u2016 Edith Morton Eustis 1920.\u201d\n\n\n=The Parapet= at the entrance to the Choir is designed to represent\noutstanding characters of 20 centuries of the Christian Era. It is in\ntwo sections, one on each side of the steps leading from the Crossing\nto the Choir, each section being 18\u00bd feet long and 4 feet high. It is\nbuilt mainly of Champville (France) marble, in modified French Gothic\nstyle. The twelve marble columns, alternately green, red and yellow, are\nof Alps Green from Italy, Rouge de Rance from Italy, and Numidian from\nAfrica, respectively. The figures, from right to left, are as follows\n(authorities differing slightly as to some of the dates given): (1) St.\nPaul (died A. D. 66) with sword symbolizing his decapitation; (2) St.\nJustin Martyr (100-165) with axe and block; (3) St. Clement of Alexandria\n(150-220) holding cross in left hand; (4) St. Athanasius (296-373)\npouring baptismal water from a sea-shell, referring to a playful\nincident of his boyhood which led to his calling; (5) St. Augustine of\nHippo (354-430) with miter, pen and tablet; (6) St. Benedict (480-543)\nin habit of Benedictine monk pointing to scroll; (7) St. Gregory the\nGreat (550-604) with slave child in broken shackles, referring to his\nintercession for pagan children in the slave market; (8) Charles Martel\n(688-741) with crown, battle-axe and pennant; (9) Charlemagne (742-814)\nwith crown, scepter and orb; (10) Alfred the Great (849-901) crowned,\nwith sword by side, holding three burnt cakes on book;[23] (11) Godfrey\nof Bouillon (1061-1100) crowned, with Crusader\u2019s sword and shield;\n(12) St. Bernard (1091-1153) in monk\u2019s habit, holding aloft a cross in\nhis right hand and clasping a book in his left; (13) St. Francis of\nAssisi (1182-1226) in Franciscan monk\u2019s garb, contemplating a cross\nin left hand, and preaching to birds[24] in tree; (14) John Wyckliffe\n(1325-1384) with book and staff; (15) Columbus (1435-1506) lifting the\nveil from the globe, symbolizing the age of discovery; (16) Archbishop\nCranmer (1489-1556) with right hand thrust voluntarily into the flame,\nsymbolizing his martyrdom; (17) Shakespeare (1564-1616) standing amidst\ngrowing laurels; (18) Washington (1732-1799) in civilian attire as\nPresident; (19) Lincoln (1809-1865) standing by a burial cross delivering\nhis Gettysburg Address; (20) uncarved block. The basis for selecting the\nfigures was the representative character of the nineteen men selected\nin conjunction with their contribution to the development of Christian\ncivilization. The Parapet was designed by Messrs. Cram & Ferguson, and\nthe figures, modelled by Ferrari, were carved by John Evans & Co., of\nBoston. The Parapet bears the following inscription:\n\n    \u201cTo the Glory of God and in Memory of \u2016 Richard Delafield, \u2016\n    Brigadier-General, Chief of Engineers, \u2016 Brevet Major-General,\n    United States Army. \u2016 Born September 1, 1798, Died November 5,\n    1873, \u2016 This Parapet is Erected by his Children, \u2016 Albert,\n    Juliet Covington and Emma Delafield. \u2016 Righteousness Exalteth\n    a Nation: But \u2016 Sin is a Reproach to any People.\u201d\n\n\n=The Pavements= of the Ambulatory and Choir, designed by Mr. C. Grant\nLaFarge in Romanesque and Byzantine motives, are related in their\nsymbolism. The colors in the Ambulatory are reddish, or earthy; while\nthose in the three ascents of the Choir progress through increasingly\nrich designs of greens and whites (hope and purity) to greens, whites and\nblues (hope, purity and heaven) until they reach the pure white steps of\nthe Altar. The risers of the steps leading from the Crossing to the Choir\nproper are of yellow Numidian marble and the treads of green Pennsylvania\nmarble. The pavement of the Choir is richly inlaid with Numidian, Swiss\nand other marbles and Grueby Faience tiles. The steps to the Presbytery\nare of marble from Hauteville, France. In the center of the floor of the\nPresbytery is a magnificent mosaic rug of tiles and marbles, 32\u00bd feet\nlong and 10 feet wide, with smaller patterns at the ends. In the center\nis an oval of black Belgian marble surrounded by violet marble from\nItaly, while Grueby tiles of many colors, and Grecian, red Numidian and\nother marbles form the rest of the design. The pavement of the Sanctuary,\nwithin the communion rail, in addition to its rich designs of tiles and\nmarbles, contains, immediately in front of the steps to the Altar, a red\ntile surrounded by a square brass border, inscribed:\n\n    \u201cWhoever shall have prayed at this spot will have pressed with\n    his feet a tile from the ancient Church of St. John the Divine\n    at Ephesus, built by the Emperor Justinian in the year DXL over\n    the traditional site of St. John\u2019s grave.\u201d\n\nThe tile was presented to the Cathedral by Bishop Kinsman of Delaware,\nits authenticity being attested by Prof. George Weber of Smyrna, who\nprocured it from the ruins on the hill of Ayassolouk and who, in his\nlifetime, was a leading authority on Ephesian archaeology.\n\n\n=The Eagle Lectern= of bronze at the north side of the Choir steps is a\nreplica of an ancient lectern found near St. Albans Cathedral, England,\nin a lake into which it had been cast when that structure was destroyed\nin the Saxon invasion. The eagle, standing on a globe, is the symbol of\nSt. John in his capacity as an Evangelist. Around the lectern are the\nfigures of the four Evangelists: St. Matthew with open book, St. Mark\nwith closed book and pen, St. Luke with open book in one hand and pen\nin other, and St. John with chalice. Below are their respective symbols\n(p. 44). The lectern was made by the Gorham Co. It bears the following\ninscription, the initials at the end being those of the donor, Mary\nGertrude Edson Aldrich:\n\n    \u201cIn Memoriam \u2016 Horatio Potter \u2016 Bishop of New York \u2016\n    1854-1887 \u2016 M. G. E. A.\u201d\n\n[Illustration: THE BISHOP\u2019S THRONE, CHOIR STALLS AND DEAN\u2019S STALL]\n\n\n=The Choir Stalls=, rising in four tiers on either side of the Choir\nproper, are of carved American oak. The canopies are after studies of\nthose in the Chapel of Henry VII in Westminster Abbey used as the Chapel\nof the Knights of the Order of the Bath. The finials of the stalls are\nfigures of great musicians and composers of church music, as follows:\n\n              _East._\n\n     _Left._           _Right._\n\n    Bortniansky       Mendelssohn\n    Handel            Haydn\n    Bach              Purcell\n    Tallis            Palestrina\n    Pope Gregory      St. Cecelia\n    Asaph             King David\n\n              _West._\n\nThe figures, modeled by Mr. Otto Jahnsen, are represented in the costumes\nof their day; and the features of all but those of David and his chief\nmusician Asaph are from portraits.\n\nThe high canopied stall nearest the Crossing on the south side of the\nChoir is the _Dean\u2019s Stall_.[25] It was designed in the office of Messrs.\nCram & Ferguson and is a very skillful blending of styles to harmonize\nwith the Jacobean canopies of the Choir Stalls and the Flamboyant note\nin the stalls themselves. It has many interesting details of carving,\nnotably the three panels depicting the Good Shepherd (front), Learning\n(east side), and Charity (west side). On the back of the stall is\ninscribed:\n\n    \u201cIn the Name of the \u2016 Father Son & Holy Ghost \u2016 This Stall\n    is Dedicated by \u2016 The Head Mistresses Association \u2016 to the\n    Memory of \u2016 Agnes Irwin \u2016 1841-1914 \u2016 Holding fast the\n    faithful word as she \u2016 had been taught herself being not\n    dis- \u2016 obedient unto the heavenly vision \u2016 Head Mistress of\n    the Agnes Irwin School 1867-1894 \u2016 First Dean of Radcliffe\n    College 1894-1909 \u2016 First President of the \u2016 Head Mistresses\n    Association \u2016 1911-1914.\u201d\n\nIn the Presbytery, on the south side, is the lofty _Bishop\u2019s Throne_ of\ncarved oak, while opposite to it is one with a little lower canopy for\nthe use of a bishop other than the Diocesan.\n\nOn one of the Choir Stalls is inscribed:\n\n    \u201cThese Stalls are Erected to \u2016 the Glory of God \u2016 and in\n    Loving Memory of \u2016 Susan Watts Street \u2016 1818-1893 \u2016 By her\n    Daughter \u2016 Anna L. Morton.\u201d\n\nOn a tablet in the Choir is inscribed:\n\n    \u201cThe Stalls \u2016 of the Sanctuary \u2016 and the Choir \u2016 are Erected\n    to \u2016 the Glory of God \u2016 and in Memory of \u2016 Susan Watts\n    Street \u2016 1818-1893 \u2016 By her Daughter \u2016 Anna Livingston \u2016\n    Morton.\u201d\n\nThe stalls and the cathedra of the Diocesan were made by the John Barber\nCo., of Philadelphia, and the corresponding Bishop\u2019s throne on the north\nside by Messrs. Irving & Casson, of Boston.\n\n\n=The Organ=, seen in the upper arches on either side of the Choir,\ncontains 7,000 pipes and a chime, connected by electric wires with the\nconsole located in the gallery on the south choir screen. The console has\nfour manuals and two octaves of pedals, 106 speaking stops, 31 couplers,\nand 33 pistons. The organist, invisible to the congregation, can see the\nchoir and clergy either directly or by means of mirrors. A Gothic tablet\nin the south Ambulatory is inscribed:\n\n    \u201cThis Organ \u2016 is Dedicated \u2016 to the Praise of \u2016 the Blessed\n    Trinity \u2016 and \u2016 in Loving Memory of \u2016 Lena Kearny Morton \u2016\n    1875-1904 \u2016 By her Parents \u2016 Levi Parsons Morton \u2016 and \u2016\n    Anna Livingston Morton.\u201d\n\nThe organ was built by the Ernest M. Skinner Co., of Boston. (See also\nChoir School, page 106).\n\n\n=The Cathedral Flag= which hangs above the choir stalls on the north\nside of the Choir opposite the American flag, bears upon a purple field\na white Latin cross, on the crossing of which is a shield displaying\nthe arms of the Cathedral. The shield is divided by radial lines into\nthree parts: In the upper left-hand part (as viewed) are the arms of the\ncity of New York, in the upper right-hand part the arms of the state;\nand at the bottom the seven candlesticks and seven stars of the Book of\nRevelation (ii. 1) symbolizing the seven churches and seven spirits of\nthe churches founded by St. John the Divine in Asia Minor. The Cathedral\nflag and the American flag were given by Mrs. J. Herman Aldrich. The\nAmerican flag which is sometimes carried in the procession and which was\nfirst used in the victory celebration in 1918, was given by Mrs. William\nIselin. (See page 6).\n\n\n=The High Altar= is of white Vermont marble. The beautiful Gothic\n_Reredos_ is of pierre de Lens, quarried in the vicinity of the city of\nthat name in the north of France which was so terribly ravaged in the\nlate war. In the center is a majestic figure of Christ. On His left, (in\norder from center to spectator\u2019s right) are Isaiah, Jeremiah, Ezekiel and\nMoses, representing the Old Testament; and on His right (in order from\ncenter to spectator\u2019s left) are St. John, St. James, St. Peter and John\nthe Baptist, representing the New Testament. The scale of the Cathedral\nmay be judged from the size of the figure of our Saviour, which is seven\nfeet high. Those of Moses and John the Baptist are 6 feet 10 inches high.\nIn smaller niches on the front and sides are 16 angels holding various\nemblems\u2014palm, sword, shield, swinging lamp, crown, trumpet, etc. Under\nthe pedestals of the statues are clusters of grapes, symbolizing Him who\ngave His body and blood for man. The statue of Christ was made by Sig.\nLeo Lentelli under the direction of Mr. Carl Bitter. The other figures\nwere made by Mr. Otto Jahnsen. The great rectangular panel in the lower\npart of the Reredos is filled with a rare Spanish embroidery in arabesque\ndesign, 200 years old. The Altar and Reredos were built by the Barr, Thaw\n& Fraser Co. Upon the Altar is the following inscription:\n\n    \u201cTo the Glory of God \u2016 and in Memory of \u2016 Anna Livingston \u2016\n    Morton \u2016 1846-1918.\u201d\n\n[Illustration: THE HIGH ALTAR]\n\n\n=The Credence Table=, at the right (south) side of the High Altar, is\nsupported by a shaft composed of three stones from the ruins of the\nancient Abbey of Bury St. Edmunds, England, in which the Barons met on\nNovember 20, 1214, and swore before the altar to secure from King John\nthe liberties which they embodied in _Magna Charta_. These relics are of\nCaen stone, and may be recognized by their gray color. They were given to\nthe Cathedral in 1922, with the consent of the Abbey authorities, by the\nMarquis of Bristol through Dr. Raphael Constantian of New York. Near the\nshaft is the following inscription:\n\n    \u201cThe Adjoining Shaft \u2016 Was Once a Part of \u2016 the High Altar\n    of the \u2016 Abbey of Bury St. Edmunds \u2016 Upon Which on \u2016\n    November 20, 1214, \u2016 the Barons Swore Fealty \u2016 to Each Other\n    in Wresting \u2016 the Great Charter \u2016 from King John. \u2016 It is\n    Placed Here \u2016 as a Symbol of \u2016 the Community of \u2016 Political\n    Tradition, \u2016 Laws and Liberties, \u2016 Which is the Inheritance\n    \u2016 of the English Speaking \u2016 Commonwealths \u2016 Throughout the\n    World.\u201d\n\n[Illustration: Credence Table with Shaft made of Magna Charta Stones]\n\n\n=The Eight Great Columns= standing in a semicircle around the Sanctuary\nand forming seven interspaces opposite the seven Chapels of Tongues, are\namong the marvels of the Cathedral. They are approached in size only\nby those in St. Isaac\u2019s Cathedral, Petrograd. The shafts of light gray\ngranite from Bear Island, near Vinal Haven on the coast of Maine, were\nquarried as monoliths and turned on a special lathe which cost $50,000.\nWhen the first two were subjected to the pressure of polishing they\nbroke, and the contractor then obtained permission to make the shafts in\ntwo pieces. The lower stone in each shaft is 38 feet high and weighs 90\ntons, and the upper stone is 17 feet high and weighs 40 tons, the total\nheight between base and capital being 55 feet and the weight 130 tons.\nThe octagonal capitals of pierre de Lens by Mr. Post represent singing\nangels. The columns were given as memorials of the men whose names are\ncarved on the bases seen in the Ambulatory (south to north:) \u201cAlonzo\nPotter,[26] Bishop of Pennsylvania, 1800-1865;\u201d \u201cColonel Richard Tylden\nAuchmuty, U. S. V., 1831-1893;\u201d \u201cHarry Manigault Morris, 1817-1892;\u201d\n\u201cEugene Augustus Hoffman, 1829-1902;\u201d \u201cJohn Jacob Astor, 1763-1848;\u201d\n\u201cJohn Divine Jones, 1814-1895;\u201d \u201cJosiah Mason Fiske, 1823-1892;\u201d and\n\u201cJoseph Lawrence, 1788-1872.\u201d Each column cost $25,000, not including the\nexpense of erection. They were made by Mr. John Pierce of Vinal Haven,\nMe.\n\n\n=The Clerestory Windows= of the Choir, nine in number, of which seven\nare above the entrances to the seven Chapels of Tongues, are designed\nto depict the Book of Revelation of St. John the Divine. Seven of them\nare in place. They are of painted mosaic glass made by Messrs. James\nPowell & Sons of Whitefriars, London, according to the methods used in\nthe thirteenth century and cost $10,000 and upwards apiece. Each window\nis of three lights with rose window at the top, and is 28 feet high and\n17 feet wide. The seven windows above the entrances to the Seven Chapels\nof Tongues (north to south) are designed to symbolize in their circular\nlights the messages to the seven churches in Asia mentioned in the\nBook of Revelation (i. 11), in the order there named: Ephesus, Smyrna,\nPergamos, Thyatira, Sardis, Philadelphia and Laodicea. They are connected\nby the inscriptions in their lower borders which read consecutively as\nfollows:\n\n    \u201cGrace be unto you and Peace from Him \u2016 Which is and Which was\n    and Which is to come \u2016 From the Seven Spirits which are before\n    His throne \u2016 Jesus Christ the Faithful Witness \u2016 The First\n    Begotten of the Dead \u2016 The Prince of the Kings of the Earth.\n    \u2016 To Him be Glory and Dominion for ever and ever\u201d (Rev. i.\n    4-6).\n\nThese windows, which are of surpassing charm to the unaided eye, flash\nout with extraordinary brilliancy of color and affecting beauty of\ncomposition and execution, particularly those called \u201cChrist Reigning\nin Glory\u201d and \u201cthe Woman in the Sun,\u201d when examined with long distance\nglasses (apply to Verger), although the less brilliant windows contain\nsubtle details well worth studying, as, for instance, the symbolisms of\nthe elements held by the angels in the window above the Chapel of St.\nBoniface. Individually, from north to south:\n\n=St. John and the Seven Churches= are the subject of the window above the\n_Chapel of St. Ansgarius_. In the upper part of the central light, St.\nJohn between two praying angels is depicted in the character of Apostle,\nbeardless, and holding the sacramental cup\u2014the young St. John, symbolical\nof love and high ideals and the feeling which filled all his writings;\nwhile in the lower part he appears as the aged exile on the Isle of\nPatmos, sitting with book in lap and pen in hand, listening to the angel\nbehind him who commands him to write (Rev. i. 11). In the side lights\nare the angels of the seven churches (i. 11), bearing on scrolls their\nnames: (Upper left) Ephesus; (lower left) Smyrna and Pergamos; (upper\nright) Thyatira and Sardis; (lower right) Philadelphia and Laodicea. In\nthe circular light at the top are the name \u201cEphesus\u201d and a shield bearing\nthe seven candles mentioned in the message to the church of Ephesus (ii.\n1). In the lower border of the three lights runs the inscription: \u201cGrace\nbe \u2016 unto you and Peace \u2016 from Him.\u201d The window was given by Mrs. E. C.\nLudlow Johnson in memory of Gabriel Ludlow.\n\n=The Natural Elements= upon which the vials of the wrath of God were\npoured (Rev. xvi. 2-17) are the principal subject of the window above\nthe _Chapel of St. Boniface_. In the lower part of the left side light\nis an angel holding between his hands the earth (green foliage); in the\nmiddle light three angels respectively holding the air (invisible), the\nsun (yellow glow), and the sea (green waves); and in the right side light\nan angel holding the rivers and fountains (blue currents). In the upper\npart of the middle light is the Lamb that was slain (v. 12) between the\nfour beasts (iv. 7) which are in the side lights\u2014on the left, the lion\nand the beast with the face of a man; and on the right, the ox and the\neagle.[27] In the circular light at the top are the word \u201cSmyrna\u201d and a\nshield bearing the crown of life mentioned in the message to the church\nin Smyrna (ii. 10). In the bottom border is the inscription: \u201cWhich is\nand \u2016 Which was and Which \u2016 is to come.\u201d A tablet in the Ambulatory\nreads as follows:\n\n    \u201cThe Clerestory Window Above \u2016 the Chapel of Saint Boniface \u2016\n    is Dedicated \u2016 to the Glory of God \u2016 and \u2016 in Loving Memory\n    of \u2016 Annie Allen Wallace \u2016 February 14, 1853-August 25,\n    1890.\u201d[28]\n\n=The Seven Angels with Trumpets= (Rev. viii. 2) are the main subject of\nthe window above the _Chapel of St. Columba_. Three of them are in the\nlower part of the middle light and two in each of the side lights. In\nthe upper part of the middle light is the mighty angel of the cloud,\noverarched by the rainbow, standing upon the sea, and holding aloft in\nhis left hand the little open book (x. 1, 2). In the upper part of the\nleft side light is the angel with the seal of the living God (vii. 2) and\nin the right side light the angel with the golden censer (viii. 3). In\nthe middle of the side lights are four angels (two left and two right)\nblowing the four winds of the earth (vii. 1). In the circular light at\nthe top are the name \u201cPergamos\u201d and a shield bearing the sharp two-edged\nsword of Him who sent the message to the church in Pergamos (ii. 12)\nbetween the Greek letters \u0399\u0397\u03f9 and \u03a7\u03a1\u03f9 (Jesus Christ.)[29] In the bottom\nborder are the words: \u201cFrom the seven \u2016 Spirits which are before \u2016 His\nthrone.\u201d A tablet in the Ambulatory reads as follows:\n\n    \u201cThe Clerestory Window Above the \u2016 Chapel of Saint Columba\u2016\n    is Erected \u2016 to the Glory of God \u2016 and \u2016 in Loving Memory \u2016\n    of \u2016 1797 John Williams Leeds 1873 \u2016 1800 Eliza Leeds 1885 \u2016\n    Emily Irene Hardenbergh 1899 \u2016 By Their Daughter and Sister \u2016\n    Josephine Eliza Leeds \u2016A. D. 1915.\u201d\n\n=Christ Reigning in Glory=, as described in the first chapter of the\nBook of Revelation, is the principal subject of the great central window\nabove the _Chapel of St. Saviour_. In the central light is the Son of\nMan, with up-raised hands, vested as King and Priest, wearing a royal\ncrown, a crimson mantle and a golden pallium. He stands in the midst of\nthe seven candlesticks (i. 13), holds in his right hand the seven stars\n(i. 16, 20), and is surrounded by winged seraphim. Beneath him a rainbow\n(iv. 3) over-arches the sea of glass (iv. 6). In the side lights are the\nfour principal archangels: St. Michael (left, above,) is depicted in\narmor as the Prince of the Celestial Armies, while the balance in his\nleft hand, supposed to contain the souls of the dead, symbolizes his\ncharacter as Guardian Angel of Departed Spirits. St. Raphael, below him,\nwith pilgrim\u2019s staff, is represented as the friendly traveller, recalling\nMilton\u2019s \u201caffable archangel.\u201d St. Gabriel (right, above,) appears as\nAngel of the Annunciation, as indicated by the lilies (symbol of purity)\nin his right hand; and below him is St. Uriel, as Angel of Light, holding\nthe sun.[30] In the circular window at the top are two angels holding the\nmorning star mentioned in the message to the church in Thyatira (ii. 28),\nbut the name \u201cThyatira\u201d is lacking. In the border at the bottom of the\nthree lights are the words: \u201cJesus Christ \u2016 the Faithful \u2016 Witness.\u201d\nThe window was given by Mrs. Whitelaw Reid. A tablet in the Ambulatory\nreads:\n\n    \u201cThe East Window \u2016 is Erected in Memory of \u2016 Whitelaw Reid \u2016\n    October 27, 1837-December 15, 1912.\u201d\n\n=The Seven Last Plagues= (Rev. xv. 1) are the principal subject of the\nwindow above the entrance to the _Chapel of St. Martin of Tours_. These\nare represented in the lower part of the window by seven angels holding\nthe seven vials containing the plagues, three in the central light and\ntwo in each of the side lights. In the upper part of the middle light\nis an angel holding aloft in his right hand the everlasting Gospel\n(xiv. 6) in the form of a scroll bearing (obscurely) the symbols of\nthe four Evangelists. In the upper part of the left side light is the\nangel with the measuring rod (xi. 1), and in the right side light is the\nangel standing in the sun (not to be confused with the woman in the sun\nmentioned in the next window,) calling the fowls of the air to the supper\nof the great God (xix. 17). In the circular light at the top are the name\n\u201cSardis\u201d and a shield bearing a white dove in the midst of the seven\nstars (the seven Spirits of God,) mentioned in the message to the church\nin Sardis (iii. 1). In the border at the bottom of the three lights\nare the words: \u201cThe First \u2016 Begotten of \u2016 the Dead.\u201d A tablet in the\nAmbulatory reads:\n\n    \u201cThe Clerestory Window Above \u2016 the Chapel of St. Martin of\n    Tours \u2016 is Erected to the Glory of God \u2016 and in Loving\n    Memory of \u2016 Sophia R. C. Furniss \u2016 and \u2016 Mary B. Hubber \u2016\n    by \u2016 Margaret E. Zimmerman \u2016 nee Furniss \u2016 Blessed are the\n    peace-makers for they \u2016 shall be called the children of God.\u201d\n\n=The Woman in the Sun= is the title of the window above the entrance to\nthe _Chapel of St. Ambrose_. In the central light is the woman clothed\nwith the sun and wearing the crown of twelve stars (Rev. xii. 1). She is\nsurrounded by a dazzling radiance of flaming rays. Above her, a cloud\nof glory is carrying her Child up to the throne of God (xii. 5). In\nthe left side light, above, is the angel proclaiming the fall of Babylon\n(xiv. 8), and below, symbolizing that wicked city, the woman in scarlet\nholding the golden cup of abominations and seated on the beast from the\nbottomless pit (xvii. 4, 18). In the right side light, above, is the\nangel with the sharp sickle and the clusters of the vine (xiv. 18),\nand below, the angel with the keys to the bottomless pit and the chain\nto bind the dragon (xx. 1). The whole window symbolizes the triumph of\nChrist over the forces of evil. In the circular light at the top are the\nname \u201cPhiladelphia\u201d and a shield upon which, between six D\u2019s, is the key\nof David mentioned in the message to the church in Philadelphia (iii. 7).\nIn the border at the bottom are the words: \u201cThe Prince \u2016 of the Kings of\n\u2016 the Earth.\u201d A tablet in the Ambulatory is inscribed:\n\n    \u201cThe Clerestory Window Above \u2016 the Chapel of Saint Ambrose \u2016\n    is Erected to \u2016 the Glory of God \u2016 and in Loving Memory of\n    \u2016 Morgan Lewis Livingston \u2016 1800-1869 \u2016 and \u2016 Catharine\n    Manning Livingston \u2016 1810-1886 \u2016 By Their Daughter \u2016 Julia\n    Livingston \u2016 1916.\u201d\n\n=The Heavenly City= is the principal subject of the window above the\nentrance to the _Chapel of St. James_. In the lower part of the middle\nlight is the angel showing to St. John the Heavenly City (Rev. xxi. 10 et\nseq.) and in the upper part is a glorified figure symbolizing the holy\ncity, new Jerusalem, coming down from God out of heaven prepared as a\nbride adorned for her husband (xxi. 2). Beneath this figure in the upper\npart is the pure river of water of life, and on either side of it is the\ntree of life whose leaves are for the healing of the nations (xxii. 1-2).\nIn the lower part of the left-hand light is the angel with the Alpha, and\nin the corresponding part of the right-hand light is the angel with the\nOmega (xxii. 13); while above each of them is a beckoning angel saying\n\u201cCome\u201d (xxii. 17). In the circular light at the top are the name of the\nchurch of Laodicea and the word \u201cAmen\u201d\u2014the latter being the name of the\nsender of the message to the Laodiceans (iii. 14) and the word with which\nthe Book of Revelation and the Bible end (xxii. 21). In the bottom border\nof the three lights is the inscription: \u201cTo Him be Glory \u2016 and Dominion\nfor \u2016 Ever and Ever.\u201d The window was given in memory of Mary C. and Dr.\nJohn D. Ogden by their children Francis L. Ogden, Margaret Ogden, Mrs.\nGardiner Sherman and Mrs. Francis C. McNutt.\n\n\nThe Ambulatory\n\nThe Ambulatory (12-12-12) is a passage about 20 feet wide leading\nentirely around the Choir and giving access to the seven Chapels of\nTongues, the Sacristy, and other environments of the Choir. Some of the\nfeatures have already been described. The symbolism of the earthly life\nin the pavement, before mentioned (p. 51), is noticeable in the large\nareas of clay-red tiles with borders of grassy green serpentine and green\nmarble from Pennsylvania. The beautifully colored wainscoting between\nthe great pillars is of Grecian marble from the island of Scyrus. The\nAmbulatory is entered through elaborately wrought steel gateways, 30 feet\nhigh, in the archways on either side of the great arch of the Choir. The\ngates, made by Messrs. Warren & Wetmore, were presented by the Cathedral\nLeague and the Diocesan Auxiliary. In the south Ambulatory gateway is\na white marble tablet, showing in relief two angels and two portrait\nmedallions of Mr. and Mrs. Levi P. Morton, and bearing the following\ninscription:\n\n    \u201cTo the Glory of God \u2016 and \u2016 in Enduring Memory of \u2016 Levi\n    Parsons Morton \u2016 1824-1920 \u2016 Vice-President of the United\n    States \u2016 Governor of the State of New York \u2016 and \u2016 of His\n    Wife \u2016 Anna Livingston Morton \u2016 1846-1918 \u2016 Whose Gifts Made\n    Possible the \u2016 Building and the Furnishing of \u2016 the Choir of\n    this Cathedral \u2016 Yea saith the Spirit that They \u2016 May Rest\n    from Their Labours \u2016 and Their Works do Follow Them.\u201d\n\n[Illustration: THE FOUNDER\u2019S TOMB]\n\n\n=The Founder\u2019s Tomb=, containing the remains of Bishop Horatio Potter,\nsixth Bishop of New York,[31] in the Ambulatory between the fourth and\nfifth great pillars opposite the entrance to St. Saviour\u2019s Chapel, is a\nbeautiful example of an \u201caltar tomb\u201d such as are seen in many English\nchurches. Its position, immediately behind the High Altar, is that\ntraditionally reserved for the Founder of a cathedral. It is designed in\nthe English Gothic style of the 15th century after studies of the tomb of\nEdward the Confessor in Westminster Abbey. The sarcophagus, the recumbent\nfigure of the Bishop and the figures of the five ornamental niches of\nthe front are of Indiana limestone. The figures, from left to right, are\nthose of (1) Edward the Confessor, with crown, scepter and orb; (2) St.\nRemigius, with cup and scourge; (3) St. John the Divine, with pen, book\nand eagle; (4) St. Isidore, with miter, pallium and crozier; and (5) St.\nTheodosius of the Eastern Church, wearing a coronet with cross, holding\na staff and reading from a scroll. Above the niches is a decorative\nmoulding of oak leaves and acorns[32] with little squirrels at the ends.\nOn the edge of the slab on which the Bishop\u2019s figure rests is inscribed:\n\n    \u201cHoratio Potter, D.D., D.C.L., Oxon. \u2016 Sixth Bishop of New\n    York, Founder of this Cathedral. Died 2d Jany. 1887, Aged 85\n    Yrs.\u201d\n\nOn the rear of the sarcophagus is inscribed \u201cSt. John\u2019s Day \u2720 Anno\nDomini 1921,\u201d the day on which the Bishop\u2019s remains were transferred\nfrom Poughkeepsie to this tomb. Above the tomb, reaching to a height\nof 15 feet above the pavement, is a canopy of American oak with richly\ncarved frieze and cresting, supported on corbels springing from the great\ngranite columns on either side. A narrow stairway behind the columns and\nthe tomb leads to a landing which permits a closer view of the figure\nof Bishop Potter. The architect was Mr. Thomas Nash of New York and the\nsculptor of the figures was Mr. Isidore Konti of Yonkers, N. Y.\n\n\n=The Brownell Memorial Tablet= on the wall of the bay at the entrance to\nthe Chapel of St. Ansgarius reads as follows:\n\n    \u201cIn Memory of \u2016 The Right Reverend \u2016 Thomas Church Brownell,\n    S.T.D., LL.D. \u2016 Born 1779 Died 1865 \u2016 Third Bishop of\n    Connecticut 1819-1865 \u2016 Presiding Bishop 1852-1865 \u2016 and \u2016\n    in Grateful Remembrance of the Foundation of \u2016 the Bishop\n    Brownell Memorial Fund for the \u2016 Endowment of the Cathedral by\n    His Daughter \u2016 Frances Johnston Holland.\u201d\n\n\n=The Choir Boys\u2019 Stone= on one of the piers of the Ambulatory near the\nChapel of St. Ansgarius, is the bust of a boy of the class of 1911,\ncarved by Mr. William Scott. It represents the choir boys\u2019 contribution\nto the building of the Cathedral.\n\n\nThe Seven Chapels of Tongues\n\nThe seven Chapels of Tongues, built around the Choir on lines converging\ntoward the Sanctuary and deriving their name from the fact that they were\nintended for services of the church in the languages of the principal\nethnological groups or regions of the world, are one of the noblest\nconceptions of the Cathedral. In early Gothic churches, the fundamental\nidea of the apse with radiating chapels was Christ in the company of his\nSaints. Here, in the great cosmopolitan Diocese of New York, this idea\nhas appropriately been carried a step further in these chapels to include\nthe idea of all the nations of the earth gathered around the Altar of the\nSaviour of Mankind. They recall the cry of the multitude in Jerusalem at\nPentecost: \u201cHow hear we every man in our own tongue wherein we were born\n... the wonderful works of God\u201d (Acts ii. 8, 11). Among the interesting\nservices held in these chapels are those in the eastern (St. Saviour\u2019s)\nchapel for the Japanese and Chinese in their languages and for colored\npeople in English. The spirit fostered by these chapels is occasionally\nreflected in great congregations, entirely of Italians, entirely of\nnegroes, or predominantly of some other race, at services held in the\nmain part of the Cathedral filling it to its utmost capacity.[33]\nServices in English are held in one or more of the chapels every day of\nthe year, and oftentimes weddings and baptisms are held in them. As a\ngroup, the seven Chapels of Tongues eloquently express the catholic and\ndemocratic spirit of the Cathedral of St. John the Divine referred to on\npage 14. They may be visited in order either from south to north or north\nto south; but by beginning on the south side they will be seen in the\norder in which they were observed on the exterior (p. 31), and by looking\nthrough the archways of the Choir to the opposite side of the Ambulatory,\nglimpses may be had of the tapestries and the clerestory windows in the\norder in which they have been described. The chapels are all separate\ngifts and are memorials of the persons mentioned under their respective\nheadings following:\n\n\nThe Chapel of St. James\n\nST. JAMES, the Apostle, after whom this chapel is named, was the son of\nZebedee and was a Galilean fisherman. He is sometimes called St. James\nthe Great to distinguish him from another Apostle called St. James the\nLess. He was a brother of St. John the Divine. He went almost everywhere\nwith the Lord. After the ascension, he preached a while in Judea and\nthen in Spain. After his mission there, he was beheaded by the Jews,\nand, according to tradition, his body was miraculously transported\nback to Spain, where his relics are said to rest at Compostella.\nSpanish historians chronicle 38 instances in which he is believed to\nhave descended from heaven and in shining white armor led the Spanish\narmies against the Moors. Under the Spanish equivalent of his name, St.\nIago or Santiago, he became the patron saint of Spain and his name was\nadopted as the Spanish war-cry. His shrine at Compostella was one of\nthe most popular for pilgrimages in the Middle Ages, and it was said\nthat two visits to Compostella equaled one to Rome. St. James is usually\nrepresented in the dress of a pilgrim with a peculiar staff. His Memorial\nDay is July 25.\n\nThe Chapel of St. James (13 on plan), designed by Mr. Henry Vaughan, is\nin pure English Gothic _Architecture_ of the 14th century; 66 feet long\nand 39 wide, with a sort of transept on the north side 15 feet wide;\nseats 250 persons, and cost about $200,000. Its interior walls are of\nBedford, Ind., limestone. On the front of the _Altar_ of gray Knoxville,\nTenn. marble, is sculptured DaVinci\u2019s Last Supper. The central feature\nof the limestone _Reredos_ is a relief representing the Transfiguration,\nafter Raphael. In four niches, two on either side of the Transfiguration,\nare statues of the four Evangelists with their appropriate emblems\nat their feet (left to right:) St. Matthew with winged man; St.\nMark with lion; St. Luke with ox; and St. John with eagle. Beneath\nthe Transfiguration is a smaller sculpture of the Nativity, with an\nalleluia angel on each side. On four escutcheons, two on each side of\nthe Nativity, are emblems of the condemnation and crucifixion (left to\nright:) (1) Crown of thorns and spear (John xix. 2, 5, 34); (2) pillar to\nwhich Christ was bound for scourging, cord, knotted scourge (John xix. 1)\nand sponge on reed (John xix. 29); (3) ladder, sponge on reed and spear;\nand (4) hammer, pincers, coat, and three dice (Mark xv. 24). Beautifully\ncarved canopies surmounted by six adoring angels crown the Reredos. The\nstained glass _East Window_, by C. E. Kempe & Co. of London above the\nReredos, depicts in its three lights (left to right) St. Lawrence, St.\nJames and St. Vincent. In two walled-up panels of the window, one on\neach side of the glass, are statues of St. Peter with keys (left) and\nSt. Paul with sword (right). _The Saint James Window_ in the middle bay\nof the south aisle portrays in its four lights scenes in the life of\nthe patron saint of Spain (see page 71) and other subjects, as follows,\nreading from left to right: Bottom, (1) Coat-of-arms of St. John and the\nwords, \u201cJames, servant of God;\u201d (2) St. James preaching to the natives of\nSpain; (3) St. James before the judge, forgiving his accuser and giving\nhim his blessing, \u201cPeace be with thee;\u201d (4) Coat-of-arms of King Ramira\nI of Spain, and the words (to be read with those first quoted), \u201cAnd of\nthe Lord Jesus Christ.\u201d Middle, (1) \u201cUnto his shrine the mighty and the\nlowly fared on pilgrimage;\u201d (2) \u201cSt. James, the radiant knight, upon\na great white horse;\u201d (3) \u201cBefore the banner of his name the Moorish\nwarriors fled;\u201d (4) \u201cAt Compostella still men serve Santiago\u2019s shrine.\u201d\nTop, (1) angel with \u0399\u03f9-\u03a7\u03f9 symbol; (2) \u201cThey bore his body to a ship that\nsailed for Spain;\u201d (3) \u201cOver his tomb they built a chapel passing fair;\u201d\n(4) Angel with Ichthus symbol.[34] In the tracery at the extreme top is\na representation of the Crucifixion. The window was given by Bishop\nPotter\u2019s daughters and was designed and made by Mr. Henry Wynd Young,\nglass-painter, of New York City. In niches of the walls of the chapel\nare the following statues and symbols: _East Wall_, St. Augustine of\nEngland with crozier (left) and St. Gregory the Great (who sent him to\nEngland) with papal tiara and papal cross (right) _West Wall_, end of\nmain aisle, above, Christ between his kinsmen St. James the Great (left)\nand St. James the Less (right); and at end of south aisle, the Venerable\nBede. On four escutcheons, two on each side of the west door, are: (1)\nA floriated cross (emblematic of the flowering or productiveness of the\nChristian religion); (2) the monogram =ihc= (representing the first two\nand last letters, uncial form, of the Greek word for Jesus[35]); (3) the\nGreek cross form of the chi rho monogram (first two Greek letters of the\nname Christ); and (4) the Alpha and Omega, the first and last letters\nof the Greek alphabet, (Rev. i. 8). _North Wall_, statue of William of\nWykeham. In the upper part of the north wall is the gallery of the organ,\nwhich is independent of the great organ of the Cathedral. Choir Stalls\nnear the Altar are a distinctive feature of this chapel. Two clustered\ncolumns divide the south aisle into three bays in the middle one of which\nis _Bishop Potter\u2019s Tomb_, of Siena marble. On the tomb is a recumbent\nfigure of the Bishop in Serevezza marble, by Mr. James E. Frazer. The\nBishop is represented in his episcopal robes, and the execution is so\nfine that even the texture of the lawn sleeves is apparent. On the front\nof the tomb is inscribed:\n\n    \u201cHenry Codman Potter \u2016 MDCCCLXXXIII Assistant Bishop of New\n    York MDCCCLXXXVII \u2016 Bishop of New York \u2016 MDCCCLXXXVII-MCMVIII\n    \u2016 Upholder of Righteousness and Truth \u2016 Soldier and Servant\n    of Jesus Christ.\u201d\n\n[Illustration: THE SANCTUARY OF THE CHAPEL OF ST. JAMES]\n\nOn the rear:\n\n    \u201cHe laboured that this Cathedral Church \u2016 Should rise to the\n    Glory of God and as \u2016 A witness to the Life of our Lord and\n    Master Jesus \u2016 Christ that here the prayers of the children \u2016\n    of many lands should rise to that \u2016 Father in whom alone all\n    men are brothers \u2016 Whose service is perfect freedom.\u201d\n\nAround the edge of the top slab:\n\n    \u201cI saw the Holy City coming down from God out of Heaven \u2016 and\n    I heard a great voice saying \u2016 Behold the tabernacle of God is\n    with men and he will dwell with them \u2016 and they shall be his\n    people.\u201d\n\nOn the west wall is inscribed:\n\n    \u201cThe Chapel of St. James \u2016 Consecrated \u2016 May 2, 1916 \u2016 To\n    the Worship of \u2016 Almighty God \u2016 And in Loving Memory of \u2016\n    Henry Codman Potter \u2016 Bishop of New York \u2016 Born May 25, 1834\n    \u2016 Died July 21, 1908 \u2016 The Gift of His Wife \u2016 Elizabeth\n    Scriven Potter \u2016 Born September 30, 1848 \u2016 Died March 4,\n    1909.\u201d\n\n=Story of the Blind Woman.= A beautiful and touching incident occurred\nin the Chapel of St. James a few years ago. One day, a woman who was\nblind, deaf, and could make only a few hardly articulate sounds, but who\nwas cultured and could read by touch, visited the Cathedral with another\nwoman. The Verger, the late Charles F. Barnard, first led her the full\nlength of the Cathedral in order that she might comprehend its size.\nThen the general features of the edifice were communicated by her friend\nby the touch of their hands. The wood and stone carvings, however, she\nread with her own fingers. When she came to the Chapel of St. James, she\nwished to feel of Bishop Potter\u2019s features as reproduced in the effigy\non his tomb, but on account of the delicacy of the marble, visitors are\nnot allowed to touch it. The blind woman, however, produced from her bag\na pair of thin white gloves, and by signs asked if she might feel of the\nstatue if she put them on. The Verger assenting, she ran her fingers\ndeftly over the Bishop\u2019s countenance, felt of the signet ring on his\nfinger, etc., and then, satisfied, proceeded to the Altar. Here she knelt\ndown and began to feel of the relief representing DaVinci\u2019s Last Supper.\nAs soon as she recognized the work, she threw up her hands in ecstasy and\nexclaimed in broken accents, the best she could utter, \u201cVinci! Vinci!\u201d\nThe venerable Verger, in relating this incident, said that he was moved\nto tears by the spectacle of the blind woman, kneeling before the Altar,\nwith up-raised hands, \u201cseeing\u201d the Cathedral through the sense of touch.\nOne may well ask, if this blind woman could see so much spiritual beauty\nin the Cathedral without eyes, how much more ought those to see who have\nthe blessed gift of sight.\n\n\nThe Chapel of St. Ambrose\n\nST. AMBROSE, or Ambrogio, the namesake of this chapel, was born in Treves\nabout 340, the son of a Roman Prefect in Gaul (now France). While in his\ncradle one day, a swarm of bees settled upon him, clustering around his\nmouth, but doing him no harm. A similar thing having happened to Plato,\nit was considered an omen of future greatness. He studied law at Rome,\nbecame a magistrate in upper Italy with court at Milan, and by his wisdom\nand gentleness won such popular esteem that when called upon to settle of\nsuccession of the bishopric of Milan between the Arians and Catholics he\nhimself was chosen by both parties to be Bishop of that see. He was one\nof the most celebrated fathers of the church. His most distinctive symbol\nis the bee-hive, although two human bones, the scourge, the crozier, the\nmitre, etc. are sometimes used. The Memorial Day for St Ambrose is kept\non April 4.\n\nThe Chapel of St. Ambrose (14 on plan), designed by Messrs. Carrere &\nHastings, is in modern Renaissance _Architecture_. It is about 50 feet\nlong and 27 wide, seats 100 persons and cost over $150,000. The floor\nis inlaid with grey Siena and red Verona marbles, bordered with cream\ncolored Cenere marble. The walls are lined with Rosato marble. On the\nunder side of the marble archway at the entrance are reliefs representing\nthe Three Persons of the Trinity with angels, as follows: (Left) the\nFather in human form[36], with triangular nimbus, holding the globe of\nsovereignty; angel with lute; angel with lily; (top) the Holy Ghost in\nform of the dove; angel with trumpet; angel praying; and (right) the Son\nin form of the Paschal Lamb. The false perspective of the side walls\nis similar to that in the Sacristy of the Cathedral of Siena. In the\nspandrels of the false arches of the left-hand wall (as one faces the\nAltar) are figures in relief (reading from entrance toward Altar) of:\nMoses and the prophets Isaiah, Jeremiah and Ezekiel; and on the opposite\nwall, in same order, St. Matthew with cherub, St. Mark with lion, St.\nLuke with ox, and St. John with eagle. The ceiling is of white marble\ncarved in low relief. From the ceiling hang four silver lamps, one an\nantique Italian lamp and the others copied from it. On the front of the\n_Altar_ of alabaster are three golden ornaments, representing the Paschal\nLamb (Christ) between two angels swinging censers, the latter symbolizing\nthe prayers of all saints (Rev. viii. 3). The _Reredos_, not copied from\nany one European prototype but inspired by many examples found in the\ntransitional and early Renaissance period in Italy, is of carved wood\noverlaid with gold leaf. The lower part consists of a triptych, covered\nby an elaborate canopy and flanked by niches in which are statues of St.\nFrancis (left) and St. Ambrose (right). In niches at the left of the\ncanopy are figures (left to right) of a kneeling angel, St. Benedict with\ncrozier, St. Agnes in female apparel, and Dante in red gown and hood; and\nat the right (same order) Fra Angelico, Galileo with globe, Savonarola,\nand kneeling angel. Upon the cross of the canopy is a dove, symbolizing\nGod the Holy Ghost; above that is the all-seeing eye in a triangle within\na sun-burst, symbolizing God the Father; and on the top-most spire is the\nfigure of God the Son, holding a cross and pronouncing a benediction.\n_The Apse Windows_, one on each side of the Altar, transmit a soft amber\nlight which gives a peculiar charm to this chapel. Each has a border\nof Italian Renaissance tracery, within which is a field of many small\npanes of leaded glass. In the _left window_ these panes are ornamented\nwith repeated designs representing the chalice with emerging serpent and\nthe eagle (symbols of St. John), flowers, and the chi-rho monogram. In\nthe upper part are the seven stars and candlesticks from the Cathedral\nseal, and the legend, \u201cSigil. Eccles. Cath. S. Johan;\u201d and in the lower\npart the words, \u201cFor God is the King of all the Earth. Sing ye Praises\nwith Understanding.\u201d In the _right window_ the panes are ornamented\nwith repetitions of the bee-hive, mitre and scourges (symbols of St.\nAmbrose), the cross and wreath, flowers, and the \u0399\u03f9-\u03a7\u03f9 and IHS symbols.\nNear the middle is a small fragment of brown glass, marked with an \u201cR\u201d,\nfrom Rheims Cathedral. In the upper part is the coat-of-arms of St.\nAmbrose\u2014the bee-hive, mitre and croziers\u2014with the legend, \u201cSigil. Sanct.\nAmbrosii,\u201d and in the lower part are the words, \u201cGod is our Refuge and\nStrength, a Very Present Help in Trouble.\u201d The windows were made by Mr.\nHenry Wynd Young, glass-painter, under the supervision of Messrs. Godwin\n& Sullivant, architects, of New York. Along the side walls are _Stalls\nand Wainscoting_ of dark Italian walnut, inlaid with pear-wood in designs\nincluding the star of the east, chalice, Latin cross, patriarchal cross,\nand Bishop\u2019s mitre. Inlaid in the top border of the wainscoting is this\ninscription:\n\n    (Left) \u201cHoly, Holy, Holy, Lord God of Hosts. Heaven and earth\n    are \u2016 full of thy glory. Glory be to Thee, O Lord Most High.\n    \u2016 Blessed is he that cometh in the name of the Lord. Hosannah\n    in the Highest. \u2016 (Right) O Lamb of God, that takest away the\n    sins of the world, grant us thy peace. \u2016 Glory be to God on\n    high, and on earth peace, good will towards men. \u2016 Thou only,\n    O Christ, with the Holy Ghost, art most high in the Glory of\n    God the Father.\u201d\n\nThe wrought iron _Italian Screen_ at the entrance to the chapel is\nbest seen from the inside. Upon the finials at either end are angels\nblowing trumpets, and the space between them is divided by seven tall\ncandlesticks into eight spaces, in which are bronze groups representing\nscenes in the life of St. Ambrose (left to right:) (1) His youth; (2)\nsettling the succession of the bishopric of Milan; (3) his baptism; (4)\nnuns and (5) monks, listening to the preaching of St. Ambrose, who stands\nbetween them facing the Altar; (6) the public penance before St. Ambrose\nof Emperor Theodosius who caused the massacre of the Thessalonians; (7)\nlaying the corner-stone of the Church of St. Ambrogio in Milan; and (8)\nhis death. Beneath the figure of St. Ambrose who stands between the nuns\nand monks is a bee-hive with crossed croziers. The screen was designed by\nMr. Thomas Hastings and was made by Messrs. E. F. Caldwell & Co., of New\nYork. On the south wall is inscribed:\n\n    \u201cTo the \u2016 Glory of God \u2016 and in \u2016 Loving Memory \u2016 of \u2016\n    Augustus Whiting \u2016 Sarah Swan Whiting \u2016 Jane Whiting \u2016\n    Amelia Whiting Davis \u2016 Augustus Whiting, Jr., \u2016 Natica Rives\n    Burden \u2016 This Chapel \u2016 has been Erected by \u2016 Sara Whiting\n    Rives.\u201d\n\n\nThe Chapel of St. Martin of Tours\n\nST. MARTIN, after whom this chapel is named, born in 316, in his young\nmanhood was a Roman soldier in Gaul. One wintry day, (according to\nthe traditional story related by Ruskin in his \u201cBible of Amiens,\u201d)\nwhen Martin was riding forth from the city of Amiens, he saw a beggar\nshivering by the roadside; whereupon he divided his cloak with his sword\nand gave one half to the beggar. That night in a vision he saw Christ\nwearing the half cloak and surrounded by angels. And Christ said to the\nangels: \u201cKnow ye who hath thus arrayed me? My servant Martin, though yet\nunbaptized, hath done this.\u201d After this, Martin was baptized; but he\nremained a soldier for 17 years. Then, after several years of religious\nworks, he was made Bishop of Tours. It is related that one day, when\ngoing to church in his full robes, he practically repeated the charitable\nact beforementioned by giving his stole to a ragged beggar; and when St.\nMartin was at the altar, elevating the Host, a globe of light appeared\nabove him and angels descended and hung chains of gold and jewels (not of\nearth) on his bare arms. Sweet, serene and dearly beloved, he was Bishop\nand Knight of the Poor, and the divided cloak and sword are his special\nsymbols. The Memorial Day for St. Martin is kept on November 11.\n\nThe Chapel of St. Martin of Tours (15 on plan), designed by Messrs. Cram\n& Ferguson, is in early 13th century Gothic _Architecture_; about the\nsame size as the Chapel of St. Ambrose; and cost about $150,000. Its\ninterior walls are faced with light colored Bedford, Ind. limestone. The\nlower half of the walls is occupied by Gothic arcatures, in the trefoiled\narches of which are fleurs de lis. Under the fleurs de lis, in mediaeval\ntext, runs the inscription:\n\n    (Left side:) \u201cThey that \u2016 be wise \u2016 shall shine \u2016 as the\n    bright- \u2016 ness of \u2016 the firm- \u2016 ament \u2016 and they \u2016 that\n    turn \u2016 many to \u2016 righteous-\u2016 ness as the \u2016 stars forever \u2016\n    and ever \u2016 (Right side:) The Peace \u2016 of God which \u2016 passeth\n    \u2016 all under- \u2016 standing \u2016 shall keep \u2016 your hearts \u2016 and\n    minds \u2016 through \u2016 Christ \u2016 Jesus.\u201d\n\nA little above the arcature is a border of roses. The upper half of the\nside walls presents a unique feature in a sort of triforium gallery\nbuilt in the thickness of the wall. The pavement of Knoxville, Tenn.\npink marble is bordered with black Belgian marble. The simple marble\n_Altar_ in the form of a table resting on red marble pillars has no\nreredos. The _Seven Windows_, three in the Sanctuary and four in the\nclerestory, by Mr. Charles Connick of Boston, Mass., are of grisaille[37]\nwork in geometrical designs, the Sanctuary windows being inset with\npictorial medallions in painted mosaic glass in the mediaeval style.\nIn the central window over the Altar the medallions depict scenes in\nthe life of St. Martin as follows, beginning at the bottom and reading\nupward: In the left-hand light (1) St. Martin receives sword and enters\narmy; (2) divides his cloak with the beggar; (3) has vision of Christ\nwearing the severed cloak which he had given to the beggar; and (4) is\nbaptized. In the middle light, (1) He converts the robber; (2) revives\nthe dead man; (3) is affectionately welcomed on his return to Tours;\nand (4) destroys the heathen temple. In the right-hand light, (1) He\nintercedes with Count Avitianus for the release of prisoners; (2) pleads\nfor Priscillian\u2019s life; (3) dies; and (4) the ship bearing his body is\nmysteriously propelled. In the middle light of the window at the left of\nthe Altar are scenes in the life of St. Louis: (1) His coronation; (2)\nhis release of prisoners at Paris; (3) his ministration to sick soldiers\nduring the first Crusade; and (4) his departure on the second Crusade.\nIn the middle light of the window at the right of the Altar are scenes\nin the life of Joan of Arc: (1) Her vision; (2) the capture of Orleans;\n(3) the coronation of Charles VII.; and (4) her martyrdom at the stake.\nIn the circular lights at the top of the seven windows are the following\ncoats-of-arms (left to right): (1) On a blue field, three golden\nfleurs de lis above a white wreath of oak and laurel with red fruit,\nrepresenting the City of Rheims.[38] (2) On a blue field sprinkled with\ngolden fleurs de lis, the Mother and Child, representing the Cathedral\nof Notre Dame in Paris. (3) Seven horizontal bars, alternately blue and\ngold, being the arms of Bertrand d\u2019Eschaux, Archbishop of Tours. (4) On\na blue field, a white Latin cross with trefoiled ends, being the arms of\nthe Chapter of Poitiers. (5) On a blue cloak surrounded by red, a white\nsword, cross-hilt upward, emblematic of St. Martin. (6) On a blue field\nsprinkled with golden fleurs de lis, a red Greek cross, representing\nthe Archdiocese of Rheims.[39] (7) On a blue field, three golden fleurs\nde lis under a white \u201clabel\u201d or mark of cadency of eldest son,[40]\nbeing the royal arms of the Dukes of Orleans. A _Statue of Joan of Arc_,\nexpressing her spiritual character, by Miss Anna Vaughn Hyatt, was placed\nin this chapel in 1922. It was given by Mr. J. Sanford Saltus through\nDr. George F. Kunz, President of the Joan of Arc Statue Committee which\nerected the equestrian statue of the Maid by the same sculptress in\nRiverside Drive. Near it are two rough stones from the Chateau de Rouen\nin which the Maid was imprisoned at the time of her trial and from which\nshe was led to the stake. The wrought-iron _Screen_ of beautiful tracery\nat the entrance, designed in the office of Messrs. Cram & Ferguson and\nmade by Messrs. F. Krasser & Co., of Boston, is a particularly lovely\nexample of this form of art. While not copied from any existing mediaeval\nprototype, it shows the influence of the wrought-iron work of the\nRomanesque and early Gothic periods of France. The shell ornament in the\nsection below the cornice is symbolical of St. Martin as a pilgrim, while\nthe finials and cresting, blossoming with roses, signify the flowering\nof the Christian religion. In the frieze are four panels depicting four\nscenes which are described in a quaintly lettered inscription in the\nmoulding above:\n\n    \u201cS. Martin shares cloak with Beggar \u2016 Our Lord appears in\n    cloak to S. Martin \u2016 S. Martin receives holy baptism \u2016 Saint\n    Martin journeys to Rome.\u201d\n\n[Illustration: Coats of Arms in Windows of Chapel of St. Martin of Tours.]\n\nAn inscription on the wall of the chapel reads:\n\n    \u201cThe Chapel of \u2016 Saint Martin of Tours \u2016 Consecrated 1918 \u2016\n    To the worship of \u2016 Almighty God \u2016 and in Loving Memory of\n    \u2016 William P. Furniss \u2016 and His Wife \u2016 Sophia Furniss \u2016 and\n    their Daughter \u2016 Sophia R. C. Furniss.\u201d\n\nIn another panel is this inscription:\n\n    \u201cTo the \u2016 Glory of God \u2016 and in Loving Memory of \u2016\n    Clementina Furniss \u2016by Whose Gift \u2016 this Chapel \u2016 was\n    Erected \u2016 and \u2016 Margaret Elizabeth Zimmerman \u2016 Daughters of\n    \u2016 William P. Furniss \u2016 and his wife \u2016 Sophia Furniss.\u201d\n\n\nThe Chapel of St. Saviour\n\nSAINT SAVIOUR, the name of this chapel, means Holy Saviour, the word\nSaint being used in its primary sense as an adjective, derived from the\nLatin \u201csanctus.\u201d The Memorial Day for St. Saviour is kept on December 25.\n\nThe Chapel of St. Saviour (16 on plan,) is the easternmost of the seven\nChapels of Tongues and forms the eastern extremity of the Cathedral.\nAmong the languages in which services are held in this chapel are\nJapanese and Chinese. When the royal Abyssinian Commission to the United\nStates Government was formally received at the Cathedral on July 24,\n1919, its members knelt at this altar. The chapel is in the English\nDecorated Gothic style of _Architecture_ after designs by Messrs. Heins\n& LaFarge. It is 56 feet long and 30\u00bd feet wide, seats 150 persons,\nand cost about $200,000. Its interior walls are of Minnesota dolomite,\naround the base of which runs a foundation course of red jasper with\ngreen serpentine moulding like those which run around the Choir. The\npavement is of stone from Hauteville, France, with a mosaic border. The\nSanctuary steps are of pink marble from Georgia. The _Altar_, made by\nMessrs. Batterson & Eislie and carved by Mr. Schwartz, is of snow-white\nCarrara marble. Its face and front corners are adorned by the figures of\nsix angels singing \u201cHoly, Holy, Holy.\u201d Carved on the face of the retable\nis the crown of thorns, supported by two cherubs. The _Reredos_ is of\npolished red Siena marble, bordered with Venetian mosaic. The _Chair and\nPrayer Desk_ of black walnut at the left side of the Sanctuary have an\ninteresting history recited on a brass tablet on the desk as follows:\n\n    \u201cThe first use of \u2016 this chair and prayer desk was made by \u2016\n    the Most Reverend Randall Thomas Davidson, D.D., \u2016 Archbishop\n    of Canterbury \u2016 in the Crypt of the Cathedral of St. John the\n    Divine \u2016 on Wednesday morning, September 28th, A. D. 1904 \u2016\n    at the celebration of the Holy Communion at which \u2016 His Grace\n    was the celebrant and which preceded the \u2016 opening of the One\n    hundred and twenty-first Convention \u2016 of the Diocese of New\n    York, being also the first opening \u2016 of the Diocesan Synod\n    Hall.\u201d\n\nThe _East Window_, a glorious work in stained glass by Mr. Hardman of\nBirmingham, Eng., completely fills the end of the chapel. Its central\nlight is occupied by a representation of the Transfiguration (Mat.\nxvii. 1-3). In the middle of the scene is the radiant Saviour, with\nMoses (left) holding the Ten Commandments, and Elias (right) holding\nthe receptacle of the scrolls, representing respectively the Law and\nthe Prophets.[41] Surrounding the group are angels; and below it are\nthe three Disciples who were with Jesus on the mount: St. Peter (left)\nlooking up, St. James (middle) covering his eyes, and St. John, the\nbeardless Disciple (right), shading his face. In the left side light,\nabove, is Moses putting off his shoes on the holy ground before the\nburning bush from which the angel of the Lord appears (Ex. iii. 5); and\nbelow, Moses raising the brazen serpent for healing (Num. xxi. 9). The\nserpent, seen indistinctly coiled around the pole, is by artistic license\nrepresented in green. In the right side light, above, is the angel\nappearing to Elijah (I. Kings xix. 5-8); and below, Elijah\u2019s sacrifice\nmiraculously consumed by the fire of the Lord (I. Kings xviii. 30-38).\nIn niches on either side of the window are the following _Statues_ of\nBishops, saints and scholars of the Eastern church:\n\n          _Left._                        _Right._\n\n        St. Polycarp                 St. Chrysostom\n        b. 69 d. 155                  b. 347 d. 407\n      Bishop of Smyrna          Archbp. of Constantinople\n\n       St. Athanasius                   St. Basil\n        b. 296 d. 373                 b. 329 d. 379\n      Primate of Egypt             Bishop of Caesarea\n\n           Origen                St. Clement of Alexandria\n        b. 185 d. 253             b. circ. 150 d. 213-220\n    Great eastern scholar         Celebrated Church Father\n\n    St. Gregory Nazianzen             St. Ignatius\n        b. 330 d. 389              b. circ. 50 d. 107\n     Bishop of Nazianzus            Bishop of Antioch\n\nIn a niche in the upper part of the north wall is a statue of St. Peter\nwith key; and in a corresponding niche in the south wall one of St. Paul\nwith sword. Turning toward the entrance to the chapel, one sees in niches\nbetween the clustered columns at the sides of the great archway in array\nof angels, five on each side, one above the other, corresponding to as\nmany on the Ambulatory side,\u2014twenty in all\u2014representing the Heavenly\nChoir. These lovely figures are worthy of more than passing notice. All\nthe statuary is by Mr. Gutzon Borglum. The four _Lamp Standards_ of\nCarrara marble surmounted by alabaster bowls standing in the four corners\nof the chapel, and carved in relief with many symbolical details, were\nmade by Messrs. E. F. Caldwell & Co. and carved by Messrs. F. Ruggeri and\nP. Giuntini of New York. The elaborate wrought iron _Screen_, made by the\nWm. H. Jackson Co. of New York, at the entrance, is in the Italian style\nafter one in Orvieto, Italy. It is embellished in its upper part by two\ngolden angels holding a wreath at the foot of the cross. Looking outward\nthrough the screen, one sees the back of the High Altar of the Cathedral.\nOn one of the walls of the chapel is inscribed:\n\n    \u201cThis Chapel is Erected to \u2016 the Glory of God \u2016 and in\n    Loving Memory of \u2016 Bessie Morgan Belmont \u2016 by her Husband \u2016\n    August Belmont.\u201d\n\n\nThe Chapel of St. Columba\n\nST. COLUMBA was born in County Donegal, Ireland, in 521, of royal blood.\nAfter study and religious work in Ireland, he set out in 563 with twelve\ndisciples and planted upon the Island of Iona, on the west coast of\nScotland, which he received from his kinsman Conal, King of Scots, a\nmonastery which, from the 6th to the 8th centuries, was second to hardly\nany other in Great Britain. From it was conducted a wonderful missionary\nwork in Scotland, Ireland, the north of England, and small adjacent\nislands. Many miracles are attributed to him, and he was accredited with\npower to subdue not only wild tribes of men but also the beasts of the\nwilderness (see p. 32). He died in 597, and his body was buried at Iona,\nwhich is regarded as one of the great shrines of Christianity in Great\nBritain. The Memorial Day for St. Columba is kept on June 9.\n\nThe Chapel of St. Columba, (17 on plan), designed by Messrs. Heins &\nLaFarge, is in the Norman style of _Architecture_. It is 50 feet long\nand 27 wide, seats 100 persons, and cost about $150,000. The interior\nwalls are of Minnesota dolomite, separated from a base course of polished\nMohegan granite by a moulding of yellow Verona marble. The pavement is a\nfine grained gray stone from Illinois. The semi-circular arched window\nheads, and particularly the six large cylindrical pillars diversified by\nspiral and diaper patterns, convey the idea of the Norman style which\none sees exemplified on a larger scale in Durham Cathedral and other\nchurches of that period in England. The vaulting over the _Sanctuary_ is\nlined with gold mosaic, upon which appear black and white Celtic crosses.\nThe lectern, communion rail, Glastonbury chairs, and other wood work of\nthe Sanctuary were designed by Mr. Charles R. Lamb and made by J. & R.\nLamb of New York. They are carved in low relief with ornament expressive\nof English Gothic feeling. The lectern shows a composition of three\nfigures: Christ in the center, between John the Baptist, his Forerunner,\nand St. John the Divine, namesake of the Cathedral, who closes the\nbiblical record with the Book of Revelation. The _Altar_, of cream\ncolored Italian marble, is in the form of a table supported by marble\npillars. It has no _Reredos_. The _Sanctuary Windows_, three in number,\nwere made by Messrs. Clayton & Bell of London. In the central light of\nthe window above the Altar is represented the baptism of Christ by John\nthe Baptist, and in the side lights are St. John with cup (left), and St.\nPaul with sword, (right.) In the bottom of the three lights are the four\nsymbols previously explained (p. 74), namely, the \u0399\u0397\u03f9, the Alpha, the\nOmega, and the Chi Rho. The windows on either side of the middle window\nare in grisaille, copied from the famous lancet windows called the Five\nSisters in the North Transept of York Cathedral, although these windows\nhave only two lights each instead of five. The six wonderfully graceful\nseven-branched _Candelabra_, after Donatello, were brought from Italy\nby Mr. George Gordon King. Turning toward the entrance, in which is a\nwrought iron _Screen_ in the Spanish style, designed by Mr. Samuel Yellen\nand made by the Industrial Ornamental Iron Works of Philadelphia, Penn.,\none sees an extremely interesting feature in the _Statues_ by Mr. Gutzon\nBorglum of representatives of the successive stages of the development of\nChristianity in England, which stand in the niches between the clustered\ncolumns at the sides of the great entrance archway.[42]\n\nThe figures, five on each side, one above the other, and corresponding\nto as many on the Ambulatory side,\u2014twenty in all,\u2014are in the following\nrelative positions, it being understood that the left side as seen from\nthe chapel is the same as the right side as seen from the Ambulatory.\n\n                       _Seen from Chapel._\n\n             _Left._                        _Right._\n\n            St. Aidan                    St. Augustine\n     Bishop of Northumbrians       Archbishop of Canterbury\n          ac. 635 d. 651                ac. 597 d. 604\n\n            St. Anselm                    King Alfred\n     Archbishop of Canterbury           King of Wessex\n         ac. 1093 d. 1109                b. 849 d. 901\n\n          Thomas Cranmer              William of Wykeham\n     Archbishop of Canterbury        Bishop of Winchester\n         b. 1489 d. 1556               ac. 1367 d. 1405\n\n          Joseph Butler                  Jeremy Taylor\n         Bishop of Durham           Bishop of 3 Irish sees\n         b. 1692 d. 1752                b. 1613 d. 1667\n\n            John Keble                  Reginald Heber\n    leader in Oxford movement         Bishop of Calcutta\n         b. 1792 d. 1866                b. 1783 d. 1826\n\n                     _Seen from Ambulatory._\n\n             _Left._                        _Right._\n\n           St. Alban                   Theodore of Tarsus\n       promartyr of Britain         Archbishop of Canterbury\n          d. circ. 304                    ac. 668 d. 690\n\n        The Venerable Bede               Stephen Langton\n      chronicler and priest          Archbishop of Canterbury\n          b. 673 d. 735                  b. 1150 d. 1228\n\n          John Wyckliffe                  Matthew Parker\n    morning-star of Reformation      Archbishop of Canterbury\n          b. 1325 d. 1384                b. 1504 d. 1575\n\n           Richard Hooker                George Berkeley\n        Anglican theologian          Bishop of Cloyne, etc.\n          b. 1554 d. 1600                b. 1684 d. 1753\n\n            John Wesley              Frederic Denison Maurice\n       evangelical revivalist           preacher and leader\n          b. 1703 d. 1791                b. 1805 d. 1872\n\nThe Cathedral has in its possession a _Stone from the Cathedral, or\nChurch of St. Mary_ (dating from the 13th-16th centuries) _on the Island\nof Iona_, which may fittingly be placed in this chapel at some future\ntime.\n\nUpon the wall of the chapel is inscribed:\n\n    \u201cChapel \u2016 of \u2016 Saint Columba \u2016 To the Glory of God \u2016 and\n    \u2016 in Loving Memory of \u2016 Mary Leroy King \u2016 The Gift of Her\n    Mother \u2016 Mary Augusta King \u2016 Consecrated \u2016 April 27th, 1911.\u201d\n\n\nThe Chapel of St. Boniface\n\nST. BONIFACE, whose original name was Winifred, was born in Devonshire,\nEngland, about the year 680. He entered a Benedictine monastery at the\nage of 13, learned rhetoric, history and theology, and became a priest\nat the age of 30. At a time when England and Ireland were sending\nmissionaries to the heathen parts of Europe, Winifred was authorized\nby Pope Gregory II. to preach the Gospel to the tribes of Germany,\nand he is called the Apostle of Germany. While engaged in this work,\nGregory made him a Bishop and gave him the name of Bonifacius, or\nBoniface, which means Doer of Good. The Bishoprics of Ratisbon, Erfurt,\nPaderborn, Wurzburg, Eichstadt, Salzburg, and several others, owe their\nestablishment to his efforts. In 746 he was made Archbishop of Mainz. In\n755, while carrying on his work in Dokkum, in West Friesland, he and his\ncongregation of converts there were slain by a mob of armed heathen. His\nremains are buried in the famous abbey of Fulda, which he founded. In\nart, he is depicted holding a book pierced by a sword, referring to the\nmanner of his death. The Memorial Day for St. Boniface is kept on June 5.\n\nThe Chapel of St. Boniface, (18 on plan), designed by Mr. Henry Vaughan,\nis a very pure specimen of English Gothic _Architecture_ of the 14th\ncentury. It is about 48\u00bd feet long and 28 wide, seats about 100 persons,\nand cost about $175,000. The interior walls are of Indiana limestone;\nthe pavement of pink marble from Knoxville, Tenn., with heavy black\nborder of Belgian marble; and the steps to the Sanctuary also of pink\nKnoxville marble. The _Altar_ is of gray marble from the same source. In\nthe three ornate panels on its face are the monogram IHS (see p. 74),\nthe floriated Greek cross (see note below), and the Greek cross form\nof the Chi Rho (p. 74). The richly carved _Reredos_ has three canopied\nniches, in the central one of which is represented the Adoration of the\nMagi. In each of the side niches is an angel with scroll. In the recesses\nof the windows on either side of the Altar are carved clergy stalls of\ndark oak, with wainscoting of the same wood as high as the window sills.\nThere are six stained glass _Windows_, three in the Sanctuary and three\nsmaller ones in the clerestory. Each has three lights. In the middle\nlight of the central window above the Altar Christ is represented as\nthe Great Teacher. His robe is sprinkled with the =IHS= monogram (p.\n74) and in His nimbus appear the ends of a floriated cross.[43] Above\nHis head are two angels, and above them the dove, symbolizing the Holy\nSpirit. Below the figure of Christ is a scene representing Him teaching\nthe multitude. In the left side light is St. Boniface with mitre,\narchiepiscopal staff,[44] and Bible pierced with sword; and below him a\nscene representing him hewing down an oak in Geismar accounted sacred\nby the idolators. In the right side light is St. Paul with sword; and\nbelow him a scene representing him preaching to the men of Athens. In\nthe left window of the Sanctuary are three figures with scenes below\nas follows (left to right): St. Birinus, Bishop of Dorchester, holding\na monstrance, and (below) St. Birinus baptizing King Cynegils of the\nWest Saxons; St. Augustine of Canterbury with archiepiscopal staff,\nholding a tablet representing the crucifixion, and (below) St. Augustine\nannouncing the Word of Life to King Ethelbert; and St. Felix, Bishop of\nDunwich, with crozier and torch, and (below) St. Felix receiving the\nblessing of the Archbishop of Canterbury. In the right Sanctuary window,\nsimilarly, are: St. Chad, Bishop of Lichfield, holding crozier and model\nof Lichfield Cathedral,[45] and (below) St. Chad listening to the songs\nof angels; St. Columba in monastic garb with crozier and with monastery\n(Iona) at his feet, and (below) St. Columba converting the Picts; and\nSt. Aidan with crozier, and (below) St. Aidan instructing the youthful\nSt. Chad and others. In the west clerestory window are: St. Patrick\nwith crozier ornamented with shamrocks; St. Gregory of Rome with papal\nstaff, holding an open music book displaying the Sursum Corda (referring\nto him as founder of the Gregorian music), with Pere Marquette below;\nand St. Martin of Tours with crozier and Bible. In the east wall are\ntwo clerestory windows. In the left hand window of the two are: St.\nCyprian, Archbishop of Carthage, holding his staff and his best known\nbook concerning Church Unity, or the universal church; St. Ambrose,\nBishop of Milan, with crozier and open book displaying the words \u201cTe Deum\nLaudamus\u201d (we praise Thee, O God,) and pen in hand, with the missionary\nRobert Hunt below; and St. Augustine, Bishop of Hippo Mundia, with\ncrozier. In the right hand clerestory window in the east wall are: St.\nCyril, Patriarch of Alexandria, with book and staff; St. John Chrysostom,\nBishop of Constantinople, with staff, chalice and Book of Homilies,\nwith the missionary John Robinson below; and St. Ignatius, Bishop of\nAntioch, holding a palm. The windows were made by Messrs. C. E. Kempe &\nCo. of London. In two canopied niches in the west wall are _Statues_ of\nThomas a Becket (left) and St. Boniface (right); and in a niche in the\neast wall is one of Erasmus. Three wrought iron _Lamps_ are suspended by\niron chains from the ceiling; and at the entrance is a handsome wrought\niron _Screen_ adorned with escutcheons bearing the =ihc= monogram and\nsurmounted by a floriated cross before explained. On one of the walls is\ninscribed:\n\n    \u201cThe Chapel of St. Boniface \u2016 Consecrated \u2016 February 29, 1916\n    \u2016 Erected to \u2016 the Glory of God \u2016 by \u2016 George Sullivan\n    Bowdoin \u2016 and His Wife \u2016 Julia Grinnell Bowdoin \u2016 and Their\n    Children \u2016 Temple Bowdoin \u2016 Fanny Hamilton Kingsford \u2016 Edith\n    Grinnell Bowdoin.\u201d\n\n=Story of the Dove Of Peace=. During the last year of the World War, an\nincident interesting in itself and illustrative of the origin of the\nlegends and traditions which often grow up around cathedrals, occurred in\nconnection with the chapel bearing the name of the Apostle of Germany.\nIn the spring of 1918, some weeks after the great German drive of March\n21 had begun and before the beginning of the counter-offensive of the\nsecond battle of the Marne in July, the large stained glass window in the\nclerestory of the Choir above the entrance to the Chapel of St. Boniface\narrived from England. All the ventilation openings in the Cathedral\nwindows are screened to exclude birds, which, however interesting in\ntheir natural habitats, are a practical nuisance in the Cathedral. When\nthe stained glass window above mentioned arrived, the temporary window\nfilling the space above the entrance to the chapel was removed for its\ninstallation. While the window was thus open, and at a period in the war\nwhen the issue trembled in the balance and the world fairly held its\nbreath in fearful expectation of the event, a white dove,\u2014very generally\nrecognized as a symbol or harbinger of Peace\u2014flew into the Cathedral\nover this chapel. On the following Sunday it soared around in the great\ndome of the Crossing and in the Choir, alighting in the most interesting\nplaces. When Dean Robbins ascended the stairs of the great marble pulpit,\nhe found the dove perched on the edge of the pulpit directly before\nhim. The dove then flew down and alighted on the back of a vacant chair\nbetween two occupied chairs in the midst of the congregation on the south\nside of the Crossing, and there remained quietly during the sermon. When\nthe ushers started toward the Altar with the offertory, the bird soared\nacross the congregation and alighted on the hat of a woman dressed in\nmourning who was sitting near the middle aisle, its snow white plumage\ncontrasting strikingly with the sombre attire of the bereaved woman who\nseemed not to be disturbed by what perhaps she regarded as a happy omen.\nIn a moment the dove flew to another part of the Crossing. It remained\nin the Cathedral a few days longer; and then one day, went out through\nan open door. Soon after this occurrence, the Allies facing the Marne\nsalient, including the Americans at Chateau Thierry, began the great\ncounter-movement which finally brought peace.[46] It was at least an\ninteresting coincidence that this white dove came into the Cathedral over\nthis chapel, at the very crisis of the war, and that almost immediately\nthereafter began that series of determining events which led the Germans\nto make overtures for Peace.\n\n\nThe Chapel of St. Ansgarius\n\nST. ANSGARIUS, or St. Ansgar, was born in Picardy in 801. With his\nco-laborer Autbert he went to preach Christianity to the northmen of\nSleswick. In spite of much persecution, he was so successful that in 831\nthe Pope established an archbishopric in Hamburg, (afterwards transferred\nto Bremen,) and Ansgarius was appointed first Archbishop. He made several\nmissionary tours in Denmark, Sweden and other parts of the north, and\ndied at Bremen in 865. He is called the Apostle of the North. The\nMemorial Day for St. Ansgarius is kept on February 3.\n\nThe Chapel of St. Ansgarius (19 on plan), designed by Mr. Henry\nVaughan, architect of the Chapel of St. James, is in the same style of\n_Architecture_, 14th century Gothic, and about the same size, being\n66 feet long and 41 wide, with a seating capacity of 250. It differs,\nhowever, from the Chapel of St. James in plan, the bay east of the turret\nstairs being here thrown into the Ambulatory, while in the Chapel of St.\nJames it is included as a sort of transept; and the north side of the\nChapel of St. Ansgarius being divided into only two bays, while the south\nside of the Chapel of St. James is divided into three. On account of the\namount of work required to secure a firm foundation, the Chapel of St.\nAnsgarius cost about $225,000, making it the most expensive of the seven\nChapels of Tongues.\n\n[Illustration: Niche in St. Ansgarius Chapel made of old Cathedral\nStones]\n\nThe interior walls are of Indiana limestone; and the pavement of pink\nKnoxville, Tenn., marble and mottled Vermont marble. The _Altar_ is of\ngray Knoxville marble. On its front is carved the Madonna of the Chair\non the left of which, from the spectator\u2019s standpoint, is St. Michael\nwith sword and on the right St. Gabriel with lilies. In the middle of the\nsculptured _Reredos_, (above) is represented Christ holding the globe\n(symbol of sovereignty), and (below) the baptism of Christ by John the\nBaptist.\n\nOn the left of the figures are St. Ansgarius with crozier (above) and\nGustavus Adolphus with sword (below), while on the right are St. Olaf\nwith crown and scepter (above) and Luther in gown with book (below).\nThe Altar and Reredos were given by Mrs. Julia Grinnell Bowdoin. In the\nleft (northern) wall of the Sanctuary is a niche made of _stones from\nWorcester and Ely Cathedrals_, England. On the upper surface of the stone\nbracket forming the shelf of the niche is carved \u201cEly 1320.\u201d The stones\nfrom the Lady Chapel of Worcester Cathedral were given to the Cathedral\nof St. John the Divine by Canon George William Douglas of New York who\nprocured them from Canon J. M. Wilson, Archdeacon of Worcester.[47] On\nthe stones on either side of the recess is carved:\n\n    \u201cThese Stones from \u2016 the Cathedral \u2016 of Christ and \u2016 St.\n    Mary the Virgin \u2016 Worcester, England, \u2016 are Memorials to \u2016\n    William Reed \u2016 Huntington \u2016 Sometime Rector \u2016 of All Saints\n    \u2016 in Worcester \u2016 Massachusetts.\u201d\n\nThree small _Windows_ of two lights each in the Sanctuary contain\n(from left to right) representations of: (1) St. Willibrod with mitre,\narchiepiscopal staff, and model of cathedral; and St. Lucian with crown,\nscepter and sword; (2) St. Ansgarius with mitre and crozier; and King\nOlaf with crown and scepter; and (3) above the Reredos, St. Eric with\ncrown and scepter; and St. Wilifred with mitre and archiepiscopal staff.\nThe window spaces at the right of the latter are walled up because they\nare blanketed by the adjacent chapel. In the two bays of the north aisle\nare two noble stained glass windows, each having five lights and each\nlight depicting two scenes. In the left hand or western window, the upper\ntier of scenes is chiefly devoted to Old Testament subjects as follows\n(left to right): Adam and Eve (Gen. ii. 7-25); the visit of the three\nangels to Abraham bearing the promise of the birth of Isaac (Gen. xviii.\n2-22); St. Michael fighting the dragon with a cross-shaped spear (Rev.\nxii. 7); Abraham offering to sacrifice Isaac (Gen. xxii. 9-13); and\nJacob\u2019s dream of the ladder (Gen. xxviii. 12). In the lower tier are five\nscenes prophetic of the birth of the Forerunner of Christ and of Christ\nhimself: The angel\u2019s visit to Zacharias to foretell the birth of John the\nBaptist (Luke i. 13); the annunciation to the Virgin Mary of the coming\nbirth of Christ (Luke i. 28); St. Gabriel with lilies as Angel of the\nAnnunciation (Luke i. 28); the angels\u2019 visit to the shepherds (Luke ii.\n8-12); and the angel\u2019s visit to Joseph, husband of Mary, to foretell the\nbirth of Christ (Mat. i. 20). The right hand or eastern window depicts\nActs of the Apostles. In its upper tier are: St. Peter preaching to the\nDisciples (Acts i. 15); St. Peter healing the lame man (Acts iii. 2-8);\nSt. Peter with key; the stoning of St. Stephen (Acts vii. 59); and St.\nPhilip baptizing the eunuch (Acts viii. 26-38); and in the lower tier:\nSt. Peter raising Tabitha (Acts ix. 40); the conversion of St. Paul\u2019s\njailer at Philippi (Acts xvi. 23-31); St. Paul with sword; St. Paul\nlaying hands on the Disciples (Acts xix. 6); and St. Paul before Felix\n(Acts xxiv. 24-25). All the windows are by Messrs. C. E. Kempe & Co. of\nLondon. In two high niches in the south wall are _Statues_ of Eric, King\nof Sweden (left) and Canute, King of the English, Danes and Norwegians\n(right;) and in a niche at the west end of the north aisle is a statue\nof King Eskiel, all crowned. On the Ambulatory side of the entrance\nbay are two statues: John the Baptist (above) and St. Ansgarius with\ncrozier and mitre, holding a small cathedral (below). The sculptures are\nby Mr. John Evans of Boston. In a bay of the chapel temporarily rests\na symbolic group executed in Caen stone by Miss Malvina Hoffman of New\nYork, entitled _The Sacrifice_. It is intended for Harvard University\nat Cambridge, Mass., as a memorial of Robert Bacon, sometime U. S.\nAmbassador to France and a Trustee of the University, and of the Harvard\nmen who lost their lives in the World War. It represents a dead Crusader,\nsuch as those who went from Cambridge, Eng., in the 12th century, and\ngave their lives for an ideal, lying upon a cross with his head pillowed\nin a woman\u2019s lap. According to the traditional position of the feet of\nthe Crusader, he was one of those who never reached Jerusalem, those\nwho did so being traditionally represented with their feet crossed. The\nwoman may typify Alma Mater as well as those women who gave their best to\na great cause and made their lonely grief their glory. The two figures\nsymbolize mutual sacrifice. This chapel has an independent _Organ_ played\nfrom a movable console on the floor. The chapel, which is the gift of\nmany persons, was dedicated on April 3, 1918. On one of the walls is\ninscribed:\n\n[Illustration: THE SACRIFICE]\n\n    \u201cThe Chapel of Saint Ansgarius \u2016 Consecrated April 3, 1918 \u2016\n    to the Worship of \u2016 Almighty God \u2016 and in Loving Memory of \u2016\n    William Reed Huntington \u2016 for 25 Years Rector of Grace Church\n    \u2016 and for 22 Years Trustee of this Cathedral.\u201d\n\n\n=The Corner Stone= of the Cathedral, which was laid by Bishop Henry\nC. Potter on St. John\u2019s Day, December 27, 1892, is imbedded in the\nnorthwestern pier of the Chapel of St. Ansgarius and is only partly\nvisible in the chamber under the chapel. It is a block of gray Quincy\ngranite, 4 feet 4 inches square and 2 feet 4\u00bd inches thick. Upon the\nangle of the visible corner are inscribed a Greek cross and \u201cI. H. S. St.\nJohn\u2019s Day, Decem. XXVII, A. D. 1892.\u201d It contains, among other things,\na fragment of a _Spanish Brick_ from Hispaniola (Hayti) which was given\nto the Cathedral by Mr. Malcolm McLean, Senior Warden of St. Andrew\u2019s\nChurch, New York City, and upon which is a silver plate inscribed:\n\n    \u201cFrom the Ruin of the First Christian Church in the New World\n    where the First Church was Erected by Christopher Columbus,\n    1493. Isabella, Hispaniola.\u201d[48]\n\n\nThe Crypt\n\nThe Crypt, located beneath the Choir, is closed, pending work on other\nparts of the Cathedral. And on account of the consequent dampness, the\ndelicate furnishings were removed in September, 1916, and entrusted to\nthe care of Mr. Louis C. Tiffany, who designed them, and who has placed\nthem temporarily in the private chapel on his large country estate at\nLaurelton, L. I. The Crypt has a seating capacity of 500, and the first\nservices in the Cathedral were held in it from January 8, 1899, until\nthe Choir and Crossing were opened on April 19, 1911. In its furnished\nstate, it contains an Altar, Reredos, font, lectern, and five stained\nglass windows which were exhibited by Mr. Tiffany at the World\u2019s Fair at\nChicago in 1893 and which were called collectively the _Tiffany Chapel_.\nThe top and retable of the _Altar_ are of Carrara marble, while the front\nand sides are adorned with medallions of mother of pearl, four smaller\ndiscs containing emblems of the four Evangelists, a central shield set\nwith sapphires, topazes and mother of pearl, and 150,000 pieces of glass\nmosaic. The _Reredos_ is of iridescent glass mosaic, as are the twelve\n_Pillars_ back of the Altar symbolizing the twelve Apostles. The general\neffect is Byzantine. The Altar, Reredos, font, lectern and windows were\ngiven by Mrs. Celia Hermione Wallace in memory of her son. The following\ninterments have been made in the Crypt: The Very Rev. William M.\nGrosvenor, D.D., Dean of the Cathedral, December 13, 1916; the Right Rev.\nDavid H. Greer, D.D., eighth Bishop of New York, May 23, 1919; and the\nRight Rev. Charles S. Burch, D.D., ninth Bishop of New York, December 23,\n1920.\n\n\nSummary Dimensions\n\nFollowing are the principal dimensions of the Cathedral. As cathedrals\nare compared in size by their areas, the Cathedral of St. John the Divine\nwill rank, after St. Peter\u2019s at Rome and Seville Cathedral, the third\nlargest in the world.\n\n                        _Length_\n\n    Western Towers                          50 feet\n    Nave                                   225  \u201d\n    Crossing                               100  \u201d\n    Choir                                  170  \u201d\n    St. Saviour\u2019s Chapel                    56  \u201d\n    Total length                           601  \u201d\n\n                        _Width_\n\n    West Front (including buttresses)      220 feet\n    Nave and Aisles (exterior)             132  \u201d\n    Transepts                              315  \u201d\n    Crossing                               100  \u201d\n    Choir                                   56  \u201d\n    Ambulatory                              20  \u201d\n\n                        _Height_\n\n    Western Towers                         265 feet\n    Ridge of Nave Roof                     175  \u201d\n    Nave Vaults (above floor)              130  \u201d\n    Choir Vaults (above floor)             127  \u201d\n    Crossing Vault (above floor)           200  \u201d\n    Central Fleche                         470  \u201d\n    Final Cross (30 feet)                  500  \u201d\n    Final Cross above tide-water           631  \u201d\n\n                         _Area_\n\n    Area of Cathedral           109,082 square feet\n\n\nBishops of New York\n\nFollowing is a list of the Bishops of New York since the erection of the\nDiocese:\n\n_First_: The Right Rev. Samuel Provoost, D.D.; born February 24, 1742;\nBishop of New York 1787-1815; died September 6, 1815.\n\n_Second_: The Right Rev. Benjamin Moore; born November 5, 1748; Assistant\nBishop 1801-1815; Bishop of New York 1815-1816; died February 29, 1816.\n\n_Third_: The Right Rev. John Henry Hobart, D.D.; born September 14, 1775;\nAssistant Bishop 1811-1816; Bishop of New York 1816-1830; died September\n12, 1830.\n\n_Fourth_: The Right Rev. Benjamin Tredwell Onderdonk; born July 15, 1791;\nBishop of New York, active 1830-1845, inactive 1845-1861; died April 30,\n1861.\n\n_Fifth_: The Right Rev. Jonathan Mayhew Wainwright, D.D., D.C.L.; born\nFebruary 24, 1792; Provisional Bishop 1852-1854; died September 21, 1854.\n\n_Sixth_: The Right Rev. Horatio Potter, D.D., D.C.L., Oxon.; born\nFebruary 9, 1802; Provisional Bishop 1854-1861; Bishop of New York\n1861-1887; died January 2, 1887.\n\n_Seventh_: The Right Rev. Henry Codman Potter, D.D., LL.D.; born May 25,\n1834; Assistant Bishop 1883-1887; Bishop of New York 1887-1908; died July\n21, 1908.\n\n_Eighth_: The Right Rev. David Hummell Greer, D.D., S.T.D., LL.D.; born\nMarch 20, 1844; Bishop Coadjutor 1904-1908; Bishop of New York 1908-1919;\ndied May 19, 1919.\n\n_Ninth_: The Right Rev. Charles Sumner Burch, D.D., L.H.D., LL.D.; born\nJune 30, 1855; Bishop Suffragan 1911-1919; Bishop of New York 1919-1920;\ndied December 20, 1920.\n\n_Tenth_: The Right Rev. William Thomas Manning, D.D., LL.D., D.C.L.; born\nMay 12, 1866; Bishop of New York 1921.\n\n\n\n\nPart Three\n\nOther Buildings, Etc.\n\n\nThe Bishop\u2019s House\n\nThe Bishop\u2019s House (A. on plan) is in French Gothic architecture of\nthe chateau type, with lofty roof and high dormer windows, and is built\nof Germantown micaceous schist. It is designed to be connected with the\nCathedral by cloisters, and is connected with the Deanery by a vaulted\nporch above which is to be built the Bishop\u2019s private chapel. The extreme\noutside dimensions of the Bishop\u2019s House are 77 by 126 feet, including\nthe porch. The architects were Messrs. Cram & Ferguson.[49] The occupants\nof the house have been Bishop Greer from the time of its opening in 1914\nuntil his death May 19, 1919; Bishop Burch from his installation October\n28, 1919, until his death December 20, 1920; and Bishop Manning since his\nconsecration on May 11, 1921.\n\n\nThe Deanery\n\nThe Deanery (B. on plan) adjoins the Bishop\u2019s House as above mentioned.\nIt is by the same architect, is in the same style but of a more domestic\ntype, forms a part of the same architectural composition, and is built of\nthe same kind of stone. It is not so lofty a structure as the Bishop\u2019s\nHouse, but has many interesting details, particularly on the southern\nfa\u00e7ade. Its extreme outside measurements are about 79 by 93 feet. The\nlate Dean Grosvenor occupied the Deanery from the time of its erection\nuntil his death December 9, 1916, and was succeeded by Dean Robbins in\nJune, 1917. A tablet in the porch is inscribed:\n\n    \u201cThe Deanery \u2016 erected in \u2016 Faithful Remembrance \u2016 of \u2016\n    Clinton Ogilvie \u2016 1838-1900 \u2016 by his wife \u2016 Helen Slade\n    Ogilvie \u2016 A. D. 1913.\u201d\n\n[Illustration: THE BISHOP\u2019S HOUSE]\n\n\nThe Choir School\n\nThe Choir School (C. on Plan) has a special interest for everyone who\ngoes to the Cathedral, for here are educated and trained the boys who\nsing in the Cathedral services. The school was founded by Bishop H. C.\nPotter in 1901 and was formerly located in the Old Synod House. The\npresent building, erected in 1912 and built of the same kind of stone\nas the Bishop\u2019s House and Deanery, is in the English Collegiate Gothic\nstyle of architecture; is three stories high, and has extreme outside\ndimensions of 83 by 150 feet. Messrs. Walter Cook and Winthrop A. Welch\nwere the architects. The building contains offices, a general school\nroom which is equipped with apparatus for both stereopticon and moving\npictures, a choir rehearsal room with stalls, individual rooms for vocal\nand instrumental practice, a fine large common room with open fire-place\nfor reading and social intercourse, dining room, kitchen, dormitories,\na big gymnasium, a sick room to which a boy is transferred upon the\nfirst sign of any illness, etc. Accommodations are provided for 40\nresident scholars and 20 day scholars. Their musical training is under\nthe personal direction of the organist and Master of the Choristers,\nand their general education under the direction of the Head Master\nand staff of under-masters. A sympathetic House Mother looks out for\nthe personal wants of the boys and directs the domestic service; and\ncompetent physicians and trained nurses are in attendance when necessary.\nBoys are admitted to the school at the age of 9 and remain until their\nvoices change, which is usually between the ages of 13 and 14. They come\nfrom all parts of the United States and possessions, two boys recently\nhaving come from Alaska. An applicant is first received on probation,\nand if he manifests a good character and disposition, and gives promise\nof a good voice, he is accepted as a chorister. Until they become full\nchoristers, vested with cassock and cotta, probationers sit in separate\nchoir stalls in the Cathedral services and wear only their black student\ngowns. During their residence at the school, the boys are under strict\nbut gentle discipline and have the finest education and musical training\nthat can be given them. Their board, education and musical training are\nfree, in return for which they give their services as choristers. When\nthey leave the school, they are followed by the interest of the Cathedral\norganizations which endeavor to secure scholarships for their higher\neducation. The men of the choir, of whom there are about 20, do not\nreside at the Choir School. The usual number of choristers, men and boys,\nin the Cathedral services is about 60, except during the summer vacation\nwhen the number is somewhat reduced. There is probably no finer choir\nschool in the world, and the Cathedral music is the highest expression of\nthis form of musical art in this country.\n\n[Illustration: THE DEANERY]\n\n[Illustration: THE CHOIR SCHOOL]\n\nThe Choir School building, which cost nearly $180,000, is the gift\nof Mrs. J. Jarrett Blodgett in memory of her father Mr. John Hinman\nSherwood. At Eastertide, 1914, the late Commodore Frederick G. Bourne,\nwho had sung as a boy in Trinity Church and in later years in the\nChurch of the Incarnation, endowed the school with $500,000; and by his\nwill, probated March 15, 1919, gave $100,000 to the Cathedral toward\nthe building of the Nave and about the same amount to the Choir School\nendowment. Members of the Diocesan Auxiliary to the Cathedral contributed\ngenerously toward the furnishing of the school. A tablet in the porch\nreads:\n\n    \u201cIn Faithful Memory of \u2016 John Hinman Sherwood \u2016 Just Upright\n    True \u2016 Erected by his daughter \u2016 1912.\u201d\n\n\nSt. Faith\u2019s House\n\nSt. Faith\u2019s House (D. on plan) is the home of the New York Training\nSchool for Deaconesses, an independent corporation which was founded in\n1890 by the late Rev. William Reed Huntington, D.D., and which occupies\na site in the Cathedral Close by permission of the Trustees of the\nCathedral. The building of Indiana limestone and brick is in Tudor Gothic\narchitecture, and measures 68 by 137 feet on the outside. It is the gift\nof Archdeacon Charles C. Tiffany in memory of his wife. The architects\nwere Messrs. Heins & LaFarge.\n\n\nThe Synod House\n\nThe Synod House, (E. on plan), standing in the southwestern angle of the\nClose on the corner of Cathedral parkway and Amsterdam avenue, is the\nmeeting place of the Diocesan Convention and other secular gatherings\nof the Diocese. It also contains the Bishop\u2019s office and the offices of\nthe Suffragan Bishops, the Rt. Rev. Arthur Selden Lloyd, D.D., and the\nRt. Rev. Herbert Shipman, D.D. It is of Kingwood. W. Va., sandstone with\npink tinges, quite unlike any other stone in the Cathedral group. The\n_Architecture_ is pure French Gothic of the 13th century, Messrs. Cram &\nFerguson being the architects. Its outside dimensions are 73 by 171 feet.\nThe _Western Entrance_ is a fine example of a mediaeval recessed porch\nin its architecture and an interesting illustration of the progress of\nCivilization and Christianity in its sculptures. It contains 43 figures\nin the round and a relief of 12 figures in the tympanum. The key-note\nto the composition is the relief in the _Tympanum_ representing Christ\nsending out his Disciples to baptize and teach all the nations of the\nworld. Beneath this is the inscription:\n\n    \u201cAll power is given unto me in heaven and earth \u2016 Go ye\n    therefore, and teach all nations, baptizing \u2016 them in the\n    name of the Father, and of the Son, and \u2016 of the Holy Ghost;\n    teaching them to observe all \u2016 things whatsoever I have\n    commanded you; and lo \u2016 I am with you always even unto the end\n    of the world\u201d (Mat. xxviii. 18-20).\n\n[Illustration: THE SYNOD HOUSE]\n\nThe archivolt outside of the tympanum is composed of three ranges of\nGothic niches in the voussoirs, containing 36 little figures in the\nround. The outer range represents 14 ancient and modern _Apostles of\nChristianity_ as follows, beginning at the lowest figure on the left-hand\nside and reading upward to the center, and thence downward to the lowest\nright-hand figure: (1) Count Zinzendorf, 1700-1760, German reformer,\nfounder of Moravian Brethren, missionary to American Indians; (2) St.\nBoniface, 680-755, Apostle of Germany; (3) St. Francis Xavier, 1506-1552,\nApostle of the Indies, one of the founders of the Society of Jesus; (4)\nSt. Denis, 3d century, Apostle of the Gauls, Patron Saint of France; (5)\nSt. Olaf, 995-1030, Patron Saint and King of Norway; (6) St. Augustine,\ndied 604, missionary to Britain, first Archbishop of Canterbury;\n(7) Innocent of Moscow, 1797-1879, Apostle of Alaska and Kamchatka,\nArchbishop of Moscow; (8) St. Patrick, circ. 372-460, Apostle and Patron\nSaint of Ireland; (9) John Eliot, 1604-1690, Apostle of American Indians,\ntranslator of Bible into Indian language; (10) St. Willibrod, 658-739,\nApostle of the Frisians, Archbishop of Utrecht; (11) St. Cyril, 827-869,\nApostle of the Slavs, inventor of the Cyrillic alphabet; (12) David\nLivingstone, 1813-1873, British explorer and missionary in Africa; (13)\nSt. Columba, 521-597, Apostle of Caledonia; (14) Charles George Gordon,\n\u201cGordon Pasha,\u201d 1833-1885, British General, promoter of Christianity in\nChina and Egypt. The 12 figures in the middle range represent the _Arts\nand Sciences_. In the same order they are: (1) Natural Science, man with\nmicroscope; (2) Sculpture, man with mallet and chisel; (3) Medicine,\nman with book and skull; (4) Literature, woman reading a book; (5)\nChemistry, woman holding aloft a retort; (6) Industrial Art, man with\nvase; (7) Painting, man with palette; (8) Astronomy, man with globe; (9)\nMathematics, man wearing spectacles and gown, holding cone and truncated\npyramid; (10) Physics, woman with telephone; (11) Music, man with\nvioloncello; (12) Architecture, man[50] holding model of building. The\n10 figures in the innermost range represent the _Crafts and Industries_,\nas follows: (1) Bookbinding, man making a book; (2) Agriculture, man\nsowing seed; (3) Metal Industry, man pouring molten metal from ladle; (4)\nTextile Industry, woman with distaff and shuttle; (5) Navigation, sailor\nholding telescope with rope at feet; (6) Building, man laying brick;\n(7) Engineering, man holding tape measure; (8) Fishing, sailor with\nseine; (9) Mining, man with pickaxe and miner\u2019s cap; (10) Shoemaking,\ncobbler at his last. Below these, in niches in the splays and central\npilaster of the door-way, are 7 larger figures representing _Seven Famous\nChristian Rulers_ who have carried out the injunction in the tympanum,\nas follows, (left to right): (1) Emperor Constantine, once ruler of the\nRoman World and founder of Constantinople, who proclaimed religious\ntoleration and presided over the council which adopted the Nicene Creed;\n(2) Charlemagne, King of the Franks, Emperor of the revived western Roman\nempire, who introduced Christianity into conquered countries, maintained\npopular assemblies, and promoted science, art and letters; (3) Alexis,\none of the ablest Emperors of Byzantium and friend of the Crusaders; (4,\nin center) George Washington, to whose character as Christian soldier,\nstatesman and first President of the United States, attaches local\ninterest from the fact that he commanded the American troops in the\nBattle of Harlem Heights which was fought partly on the ground occupied\nby the Cathedral Close; (5) Gustavus Adolphus, King of Sweden, one of\nthe greatest generals, who, with his army in Germany, saved the cause of\nProtestantism in the Thirty Years War; (6) St. Louis, King of France,\nthe most distinguished monarch of his age, who was noted for his piety,\njustice and mercy, and who died on a Crusade; and (7) Alfred the Great,\nKing of Wessex, who bore the brunt of the Danish invasions and was a\npromoter of education and Christianity. The sculptures are by John Evans\n& Co. of Boston. The _Interior_ decoration of the high roof and open\ntimbers of the truss-work in polychrome is typical of the Middle Ages\nand the wood panelling is a reminder of 15th century work. The latter is\nby Messrs. Wm. F. Ross & Co., of Cambridge, Mass. The grisaille windows\nare by Mr. Charles J. Connick of Boston. The main hall, which seats 800\non the floor and 400 in the gallery, has a large pipe organ built by the\nErnest M. Skinner Co. of Boston. The Undercroft (basement) is equipped\nfor use as a refectory. The building cost about $350,000. In the main\nvestibule, over the outer door-way, is this inscription:\n\n    \u201cTo the Glory of God and for the Service of His People \u2016\n    This Synod House was Given in the year A. D. 1912 by \u2016 John\n    Pierpont Morgan and William Bayard Cutting.\u201d\n\n\nOpen Air Pulpit\n\nThe Open Air Pulpit (F. on plan) standing in the midst of the Cathedral\nClose, is in the form of an open-work Gothic spire 40 feet high, built\nof Daytona stone. On its four sides are the usual symbols of the four\nEvangelists. The pulpit was designed by Messrs. Howells and Stokes and\nwas presented by Miss Olivia Phelps Stokes in memory of her sister Miss\nCaroline Phelps Stokes. It was suggested by the outdoor services held\nhere before the Choir and Crossing were ready, and by the open air pulpit\nattached to the cathedral church at Perugia.\n\n\nOrganizations\n\nThe following organizations of men and women aid in the Cathedral work:\n\n_The Diocesan Auxiliary to the Cathedral_: President, Mrs. Henry W.\nMunroe; Vice-Presidents, Mrs. John Greenough, Mrs. Haley Fiske, Mrs.\nW. M. V. Hoffman; Secretary, Mrs. Louis Mansfield Ogden; Assistant\nSecretary, Mrs. Francis C. Huntington; Treasurer, Mrs. Harold F. Hadden.\n\n_The Cathedral League_: President, Mr. John S. Rogers; Vice-President,\nHon. Thomas C. T. Crain; Treasurer, Mr. John A. Hance; Secretary, Dr.\nJohn B. Walker.\n\n_The Laymen\u2019s Club_: President, Mr. Theophilus Barratt; Vice-Presidents,\nMessrs. William W. Borman, Henry M. Sperry, Robert Livingston Stedman;\nTreasurer, Mr. Charles P. Dietz; Secretary, Mr. J. Hardwick Stagg.\nOrganized 1908, incorporated 1920, \u201cto promote and stimulate interest\nin the influence, growth and completion of the Cathedral; to bring the\nCathedral and its work more completely within the knowledge of the\ncommunity; and to promote the general welfare of the Cathedral.\u201d Among\nits activities are the publication of this Guide Book and the Cathedral\npost-cards, the improvement of the Cathedral grounds, the assisting\nof a choir boy to complete in some well-known preparatory school his\npreparation for college, the training of the Cathedral Troop of Boy\nScouts, the giving of free lectures, the ushering in the Cathedral, etc.\n\n_The Cathedral Ushers_ are members of the Laymen\u2019s Club as stipulated\nin a resolution of the Cathedral Trustees passed April 25, 1911, and\nare designated from week to week by the Canon Sacrist. The badge of\nthe Ushers is a vesica-shaped[51] gold medallion, having in the center\nan episcopal mitre, surrounded by the legend \u201cEcclesia Cathedralis S.\nJohannis Theologi;\u201d suspended by a purple ribbon from a gold bar bearing\nthe word \u201cUsher.\u201d\n\n\nGuide Book\n\nCopies of this Guide Book may be procured at the Cathedral from the\nVerger or the Ushers, or will be sent by mail upon request addressed to\nthe Verger (p. 23). In stiff paper covers 50 cents (by mail 60 cents); in\npurple cloth covers stamped with gold $1.00 (by mail $1.10).\n\n\n\n\nFOOTNOTES\n\n\n[1] The service on Nov. 24, when the flags of 12 liberated nationalities\nwere carried in the procession, and that on Thanksgiving Day when the\nflags of 27 allied nations were carried, were two of the most moving\nreligious services ever held in this country. The liberated peoples\nrepresented in the former were the Armenian, Albanian, Czecho-Slovak,\nJugo-Slav, Greek Irredentist, Italian Irredentist, Lithuanian, Polish,\nRumanian, Uhro-Rusin, Ukranian, and Zionist.\n\n[2] The quality of divinity appertaining only to the Deity.\n\n[3] This was a stone tower similar to the one so well preserved in\nCentral Park. The remains of another are at the northern end of\nMorningside Park.\n\n[4] See note on page 116.\n\n[5] The pastoral staff was presented to Bishop Manning in 1923 by the\nBishop, clergy and laity of the Diocese of London. See reference to the\nDiocese of London on page 24.\n\n[6] The processional cross, a memorial of the late Walter D. Davidge,\nChairman of Ushers, is overlaid with pure gold, and mounted upon a carved\nmahogany staff. In its center is a large topaz jewel with many facets. It\nwas made by Messrs. J. & R. Lamb.\n\n[7] Mr. Heins was born May 24, 1860, in Philadelphia, Penn., and died\nSeptember 25, 1907, at Mohegan Lake, N. Y., where there is a church\nerected in his memory.\n\n[8] Morningside Heights are so named because they front eastward.\n\n[9] See description of corner-stone on page 100.\n\n[10] This is true in both the natural and the spiritual worlds. The oak\ngrows more slowly than the pine; and the moral achievements which are\nworth the most and last the longest are the hardest to accomplish.\n\n[11] The figures of the Virgin and the Child suggest the fact that the\nChapel of St. Saviour occupies the position usually given to the Lady\nChapel in European cathedrals.\n\n[12] The diagonal cross of St. Andrew symbolizes not only the mode of his\nmartyrdom but also humility. The legend is that when condemned to death,\nhe asked to be nailed to a cross of a form different from the Saviour\u2019s,\nas he was not worthy to die on the same kind.\n\n[13] The usual symbol of St. Bartholomew, the knife with which he was\nflayed alive, and that of St. Matthew, the money bag, indicating his\noccupation before he was called, are not apparent.\n\n[14] There is a tradition that St. Luke painted the first portrait of\nChrist. Pictures of the Madonna attributed to Luke are not uncommon in\nsouthern Italy. There is one such in the Cathedral of SS. Peter and Paul\nat Citta Vecchia, Malta. See article entitled \u201cKnights and Sights of\nMalta\u201d in Harper\u2019s Magazine for July, 1923, p. 159.\n\n[15] \u0399\u03f9 and \u03a7\u03f9 are the Greek letters iota sigma and chi sigma, (uncial\nform,) being the first and last letters in each case of the Greek words\nfor Jesus Christ. The letters \u039d\u0399\u039a\u0391 are read together and spell the Greek\nword which means \u201cconquers.\u201d Mrs. Jenner, in her \u201cChristian Symbolism,\u201d\nsays that this inscription \u201cis stamped upon every altar-bread of the\nOrthodox Eastern Church, and it occurs on every eikon of our Lord.\u201d\n\n[16] What is here informally called the central aisle is sometimes called\nby architects the Nave, to distinguish it from the parallel passages\ncalled aisles.\n\n[17] These sculptures are surpassingly beautiful. The Supper at Emmaus\nhas a particularly dramatic quality. Note the amazement of the two\nDisciples as they recognize the Saviour after his crucifixion, their\nattitudes and facial expressions, and the vein standing out on the neck\nof the one in the foreground.\n\n[18] The use of the grape-vine to symbolize Christ dates from the very\nbeginning of the Christian era. A silver chalice found in Antioch by\nArabs in 1910 and believed to date from the 1st century, is covered with\na grape-vine of twelve branches in the midst of which are figures of\nChrist and the writers of the Gospels and Epistles (See N. Y. Evening Sun\nof Jan. 3, 1920, and N. Y. Times of May 14, 1922.)\n\n[19] These symbols, supposed to be derived from the Revelation of\nSt. John (iv. 7) and the prophecy of Ezekiel (i. 10), are variously\ninterpreted. One explanation of each follows: The man or cherub is given\nto St. Matthew because he dwells on the human side of Christ; the lion\nto St. Mark because he is called the historian of the resurrection, and\nancient naturalists believed that the lion was born inanimate and came to\nlife three days after birth; the ox, the emblem of sacrifice, to St. Luke\nbecause he dwells on the priesthood of Christ; and the eagle to St. John\nbecause he soared in the spirit to heaven and saw God.\n\n[20] These Romanesque features are part of the original design which was\nsubsequently abandoned. There is a plan for changing them to Gothic.\n\n[21] There is much ambiguity in the use by architects of terms to\nindicate the sub-divisions of the eastern limb of a cathedral which is\ncalled comprehensively the Choir. The designations here used\u2014the Choir\nproper, the Presbytery, and the Sanctuary\u2014are sufficient for present\npurposes without confusing the reader with conflicting definitions.\n\n[22] For details of intentional departures from absolute levels, and\nfrom regularity of height and spacing of arches, see \u201cTemperamental\nArchitecture\u201d in \u201cThe New York Architect\u201d for April, 1911.\n\n[23] See Abbott\u2019s \u201cHistory of King Alfred\u201d for legends concerning the\ncakes. One is, that Alfred, when a fugitive from the Danes, was hiding\none day in a peasant\u2019s cottage, and while sitting by the fire-place\nmending his bow, he was requested by the house-wife to watch her cakes\nwhich were baking. Absorbed in thoughts of his kingdom, he forgot the\ncakes, and for his neglect was roundly scolded by the woman who little\nrealized his character.\n\n[24] St. Francis, founder of the Franciscan Order, literally interpreted\nthe text \u201cGo ye into all the world and preach the Gospel to every\ncreature\u201d (Mark xvi. 15) and a famous fresco by Giotto in the church of\nSan Francesco, at Assisi, represents him preaching to the birds.\n\n[25] \u201cCathedral Choirs ... have for ages been divided into two portions\nfacing each other and respectively named Decani, or the side of the Dean,\n... and Cantoris, or the side of the Cantor\u201d or Precentor.\u2014Hunt\u2019s Concise\nHistory of Music.\n\n[26] Brother of Horatio Potter and father of Henry Codman Potter, Bishops\nof New York.\n\n[27] See reference to the symbols of the four Evangelists on page 44.\n\n[28] See page 93 for anecdote of the Dove of Peace connected with this\nwindow.\n\n[29] See page 74 following.\n\n[30] The poetic beauty of this window tempts one to re-read Milton\u2019s\n\u201cParadise Lost.\u201d The beautiful legend of St. Raphael, the friendly\ntraveller, a favorite subject of art, is to be found in the Book of\nTobit, in the Apochrypha.\n\n[31] Uncle of Bishop Henry Codman Potter, seventh Bishop of New York,\nwhose tomb is in the Chapel of St. James.\n\n[32] The symbolism applicable to Bishop Potter\u2019s work is that of the\nfamiliar adage, \u201cGreat oaks from little acorns grow.\u201d\n\n[33] The congregational singing, always a feature of the Cathedral\nservices, is remarkable on these occasions, especially with the colored\ncongregations, among whom are often heard voices of exceptional quality.\n\n[34] Concerning the \u0399\u03f9-\u03a7\u03f9 symbol, see page 34. Concerning the Ichthus\nsymbol, see page 116.\n\n[35] These letters ihc and the corresponding capitals \u0399\u0397\u03f9 (iota, eta,\nsigma,) are the first two and last letters of the Greek word for Jesus.\nThey are frequently associated with the letters \u03a7\u03a1\u03f9 (chi, rho, sigma,)\nthe first two and last letters of the word for Christ. When converted\ninto the Roman form of ihs or IHS, they are sometimes construed to be the\ninitials of the words Jesus Hominum Salvator (Jesus Saviour of Men).\n\n[36] This rare representation of God the Father in human form is after\nexamples developed during and confined almost entirely to the 14th-16th\ncenturies. The triangular nimbus is peculiarly the symbol of God the\nFather. Note description of Reredos.\n\n[37] Grisaille, from the French \u201cgris\u201d meaning \u201cgray,\u201d so-called on\naccount of the grizzled or grayish brown glass often employed. Windows in\ngeometrical designs are also called pattern windows. Other examples of\ngrisaille windows are those in St. Columba Chapel.\n\n[38] The designer has taken artistic license with these colors. Strictly,\nthe arms of the City of Rheims are: On a silver field, a green wreath of\noak and laurel with red fruit; on a blue chief three fleurs de lis of\ngold.\n\n[39] Strictly, the arms of the Archbishop of Rheims are: On a blue field\nsprinkled with golden fleurs de lis, a silver cross over all.\n\n[40] In 1376, Charles V. fixed the number of fleurs de lis in the royal\narms at three \u201cto symbolize the Holy Trinity.\u201d Some persons consider that\nthe three leaves of the conventional fleur de lis also symbolize the\nTrinity.\n\n[41] This representation of the Transfiguration, like that in the reredos\nof the Chapel of Saint James described on page 71, is after Raphael\u2019s\nlast work, the original of which is in the Vatican. In both cases the\nposes of the six figures have been adapted to the spaces occupied.\n\n[42] In the following table _ac._ indicates date of accession to title.\nSome of the dates here and on page 86 are only approximate.\n\n[43] Only the nimbus of the Deity is ornamented with the cross. In a\nfront view, but three arms of the cross appear; and sometimes these are\nrepresented as rays of light. A few writers, including G. J. French\nand W. & G. Audsley, contend that the three rays on the nimbus of the\nDeity have no connection with the cross, but symbolize the Trinity. The\nsimilarity of the floriated terminals to the French fleur de lis has no\nspecial meaning, the real significance being, as stated on page 74 the\nflowering or productiveness of the Christian religion.\n\n[44] A Bishop\u2019s crozier is usually in the form of a pastoral staff, or\nornate shepherd\u2019s crook; an Archbishop\u2019s staff has a cross instead of a\ncrook at the upper end; and a papal staff has a double cross at the upper\nend.\n\n[45] The founder of a see is usually represented holding the model of a\ncathedral.\n\n[46] As an illustration of a peace legend connected with a European\nchurch may be mentioned that of the Golden Virgin of the basilica of\nNotre Dame de Brebieres, in Albert, France. In the bombardment of 1914,\nthe figure of the Virgin and Child which surmounted the spire was thrown\nover and remained suspended at right angles for over three years; during\nwhich time the belief sprang up locally that when the Golden Virgin fell,\npeace would come. The Virgin fell during the bombardment of 1918, and\npeace ensued a few months later.\n\n[47] Some years ago, when Canon Douglas was visiting Worcester Cathedral,\nEngland, Canon Wilson pointed to a spot in the wall where an ancient\ncarved stone had been replaced by a modern stone, and said: \u201cA good while\nago a man of the name of Huntington, who introduced himself as Rector of\na church in Worcester, Mass., begged me to give him a bit of carved stone\nas a symbol of the ties between England and America.\u201d This led Canon\nDouglas to ask for a similar gift to be placed in St. Ansgarius\u2019 Chapel,\nwhich is a memorial of Dr. Huntington, in a House of God where Englishmen\nand Americans often meet and where members of the Daughter Church have\nconstant occasion to recall their indebtedness to the Mother Church of\nEngland.\n\n[48] The Corner Stone also contains a Bible, a Prayer Book, a Hymnal,\nJournals of the Diocesan Conventions 1882-1892, Journals of the General\nConventions 1889-1892, Centennial History of the Diocese of New York,\nseveral church periodicals, three different almanacs for 1893, Catalogue\nof the General Theological Seminary and St. Stephen\u2019s College 1892-1893,\nNew York daily papers of December 27, 1892, the form of service for\nlaying the Corner Stone, names of the Cathedral Trustees, several charges\nand addresses delivered by Bishop Potter on various occasions, letters\nfrom the Bishop to the clergy and others concerning the Cathedral, the\nbadge and rules of prayer of the Brotherhood of St. Andrew, medal of the\nMissionary Society, lists of principal officers of the United States, N.\nY. State and N. Y. City governments, and a list of the objects placed in\nthe stone.\n\n[49] For details, see description in the Architectural Record for August,\n1914.\n\n[50] Ralph Adams Cram.\n\n[51] Several ideas associated with the fish-shape of the vesica piscis\nhave caused it to be recognized as a symbol of Christ. In an ingenious\nrebus of a very early date, the five letters of the Greek word for \u201cfish\u201d\n\u1f30\u03c7\u03b8\u03cd\u03c2, form the initials of the Greek words \u1f38\u03b7\u03c3\u03bf\u1fe6\u03c2 \u03a7\u03c1\u03b9\u03c3\u03c4\u1f78\u03c2, \u0398\u03b5\u03bf\u1fe6 \u03a5\u1f31\u1f78\u03c2,\n\u03a3\u03c9\u03c4\u03ae\u03c1, which mean \u201cJesus Christ, Son of God, Saviour.\u201d","title":"A guide to the Cathedral Church of Saint John the Divine in the city of New York: Fifth Edition","tradition":"scripture-revelation","translated_text":null,"word_count":28804}