The Crypt

(Left) “Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are ‖ full of thy glory. Glory be to Thee, O Lord Most High. ‖ Blessed is he that cometh in the name of the Lord. Hosannah in the Highest. ‖ (Right) O Lamb of God, that takest away the sins of the world, grant us thy peace. ‖ Glory be to God on high, and on earth peace, good will towards men. ‖ Thou only, O Christ, with the Holy Ghost, art most high in the Glory of God the Father.”

The wrought ironItalian Screenat the entrance to the chapel is best seen from the inside. Upon the finials at either end are angels blowing trumpets, and the space between them is divided by seven tall candlesticks into eight spaces, in which are bronze groups representing scenes in the life of St. Ambrose (left to right:) (1) His youth; (2) settling the succession of the bishopric of Milan; (3) his baptism; (4) nuns and (5) monks, listening to the preaching of St. Ambrose, who stands between them facing the Altar; (6) the public penance before St. Ambrose of Emperor Theodosius who caused the massacre of the Thessalonians; (7) laying the corner-stone of the Church of St. Ambrogio in Milan; and (8) his death. Beneath the figure of St. Ambrose who stands between the nuns and monks is a bee-hive with crossed croziers. The screen was designed by Mr. Thomas Hastings and was made by Messrs. E. F. Caldwell & Co., of New York. On the south wall is inscribed:

“To the ‖ Glory of God ‖ and in ‖ Loving Memory ‖ of ‖ Augustus Whiting ‖ Sarah Swan Whiting ‖ Jane Whiting ‖ Amelia Whiting Davis ‖ Augustus Whiting, Jr., ‖ Natica Rives Burden ‖ This Chapel ‖ has been Erected by ‖ Sara Whiting Rives.”

St. Martin, after whom this chapel is named, born in 316, in his young manhood was a Roman soldier in Gaul. One wintry day, (according to the traditional story related by Ruskin in his “Bible of Amiens,”) when Martin was riding forth from the city of Amiens, he saw a beggar shivering by the roadside; whereupon he divided his cloak with his sword and gave one half to the beggar. That night in a vision he saw Christ wearing the half cloak and surrounded by angels. And Christ said to the angels: “Know ye who hath thus arrayed me? My servant Martin, though yet unbaptized, hath done this.” After this, Martin was baptized; but he remained a soldier for 17 years. Then, after several years of religious works, he was made Bishop of Tours. It is related that one day, when going to church in his full robes, he practically repeated the charitable act beforementioned by giving his stole to a ragged beggar; and when St. Martin was at the altar, elevating the Host, a globe of light appeared above him and angels descended and hung chains of gold and jewels (not of earth) on his bare arms. Sweet, serene and dearly beloved, he was Bishop and Knight of the Poor, and the divided cloak and sword are his special symbols. The Memorial Day for St. Martin is kept on November 11.

The Chapel of St. Martin of Tours (15 on plan), designed by Messrs. Cram & Ferguson, is in early 13th century GothicArchitecture; about the same size as the Chapel of St. Ambrose; and cost about $150,000. Its interior walls are faced with light colored Bedford, Ind. limestone. The lower half of the walls is occupied by Gothic arcatures, in the trefoiled arches of which are fleurs de lis. Under the fleurs de lis, in mediaeval text, runs the inscription:

(Left side:) “They that ‖ be wise ‖ shall shine ‖ as the bright- ‖ ness of ‖ the firm- ‖ ament ‖ and they ‖ that turn ‖ many to ‖ righteous-‖ ness as the ‖ stars forever ‖ and ever ‖ (Right side:) The Peace ‖ of God which ‖ passeth ‖ all under- ‖ standing ‖ shall keep ‖ your hearts ‖ and minds ‖ through ‖ Christ ‖ Jesus.”

A little above the arcature is a border of roses. The upper half of the side walls presents a unique feature in a sort of triforium gallery built in thethickness of the wall. The pavement of Knoxville, Tenn. pink marble is bordered with black Belgian marble. The simple marbleAltarin the form of a table resting on red marble pillars has no reredos. TheSeven Windows, three in the Sanctuary and four in the clerestory, by Mr. Charles Connick of Boston, Mass., are of grisaille[37]work in geometrical designs, the Sanctuary windows being inset with pictorial medallions in painted mosaic glass in the mediaeval style. In the central window over the Altar the medallions depict scenes in the life of St. Martin as follows, beginning at the bottom and reading upward: In the left-hand light (1) St. Martin receives sword and enters army; (2) divides his cloak with the beggar; (3) has vision of Christ wearing the severed cloak which he had given to the beggar; and (4) is baptized. In the middle light, (1) He converts the robber; (2) revives the dead man; (3) is affectionately welcomed on his return to Tours; and (4) destroys the heathen temple. In the right-hand light, (1) He intercedes with Count Avitianus for the release of prisoners; (2) pleads for Priscillian’s life; (3) dies; and (4) the ship bearing his body is mysteriously propelled. In the middle light of the window at the left of the Altar are scenes in the life of St. Louis: (1) His coronation; (2) his release of prisoners at Paris; (3) his ministration to sick soldiers during the first Crusade; and (4) his departure on the second Crusade. In the middle light of the window at the right of the Altar are scenes in the life of Joan of Arc: (1) Her vision; (2) the capture of Orleans; (3) the coronation of Charles VII.; and (4) her martyrdom at the stake. In the circularlights at the top of the seven windows are the following coats-of-arms (left to right): (1) On a blue field, three golden fleurs de lis above a white wreath of oak and laurel with red fruit, representing the City of Rheims.[38](2) On a blue field sprinkled with golden fleurs de lis, the Mother and Child, representing the Cathedral of Notre Dame in Paris. (3) Seven horizontal bars, alternately blue and gold, being the arms of Bertrand d’Eschaux, Archbishop of Tours. (4) On a blue field, a white Latin cross with trefoiled ends, being the arms of the Chapter of Poitiers. (5) On a blue cloak surrounded by red, a white sword, cross-hilt upward, emblematic of St. Martin. (6) On a blue field sprinkled with golden fleurs de lis, a red Greek cross, representing the Archdiocese of Rheims.[39](7) On a blue field, three golden fleurs de lis under a white “label” or mark of cadencyof eldest son,[40]being the royal arms of the Dukes of Orleans. AStatue of Joan of Arc, expressing her spiritual character, by Miss Anna Vaughn Hyatt, was placed in this chapel in 1922. It was given by Mr. J. Sanford Saltus through Dr. George F. Kunz, President of the Joan of Arc Statue Committee which erected the equestrian statue of the Maid by the same sculptress in Riverside Drive. Near it are two rough stones from the Chateau de Rouen in which the Maid was imprisoned at the time of her trial and from which she was led to the stake. The wrought-ironScreenof beautiful tracery at the entrance, designed in the office of Messrs. Cram & Ferguson and made by Messrs. F. Krasser & Co., of Boston, is a particularly lovely example of this form of art. While not copied from any existing mediaeval prototype, it shows the influence of the wrought-iron work of the Romanesque and early Gothic periods of France. The shell ornament in the section below the cornice is symbolical of St. Martin as a pilgrim, while the finials and cresting, blossoming with roses, signify the flowering of the Christian religion. In the frieze are four panels depicting four scenes which are described in a quaintly lettered inscription in the moulding above:

“S. Martin shares cloak with Beggar ‖ Our Lord appears in cloak to S. Martin ‖ S. Martin receives holy baptism ‖ Saint Martin journeys to Rome.”

Coats of Arms in Windows of Chapel of St. Martin of Tours.

An inscription on the wall of the chapel reads:

“The Chapel of ‖ Saint Martin of Tours ‖ Consecrated 1918 ‖ To the worship of ‖ Almighty God ‖ and in Loving Memory of ‖ William P. Furniss ‖ and His Wife ‖ Sophia Furniss ‖ and their Daughter ‖ Sophia R. C. Furniss.”

In another panel is this inscription:

“To the ‖ Glory of God ‖ and in Loving Memory of ‖ Clementina Furniss ‖by Whose Gift ‖ this Chapel ‖ was Erected ‖ and ‖ Margaret Elizabeth Zimmerman ‖ Daughters of ‖ William P. Furniss ‖ and his wife ‖ Sophia Furniss.”

Saint Saviour, the name of this chapel, means Holy Saviour, the word Saint being used in its primary sense as an adjective, derived from the Latin “sanctus.” The Memorial Day for St. Saviour is kept on December 25.

The Chapel of St. Saviour (16 on plan,) is the easternmost of the seven Chapels of Tongues and forms the eastern extremity of the Cathedral. Among the languages in which services are held in this chapel are Japanese and Chinese. When the royal Abyssinian Commission to the United States Government was formally received at the Cathedral on July 24, 1919, its members knelt at this altar. The chapel is in the English Decorated Gothic style ofArchitectureafter designs by Messrs. Heins & LaFarge. It is 56 feet long and 30½ feet wide, seats 150 persons, and cost about $200,000. Its interior walls are of Minnesota dolomite, around the base of which runs a foundation course of red jasper with green serpentine moulding like those which run around the Choir. The pavement is of stone from Hauteville, France, with a mosaic border. The Sanctuary steps are of pink marble from Georgia. TheAltar, made by Messrs. Batterson & Eislie and carved by Mr. Schwartz, is of snow-white Carrara marble. Its face and front corners are adorned by the figures of six angels singing “Holy, Holy, Holy.” Carved on the face of the retable is the crown of thorns, supported by two cherubs. TheReredosis of polished red Siena marble, bordered with Venetian mosaic. TheChair and Prayer Deskof black walnut at the left side of the Sanctuary have an interesting history recited on a brass tablet on the desk as follows:

“The first use of ‖ this chair and prayer desk was made by ‖ the Most Reverend Randall Thomas Davidson, D.D., ‖ Archbishop of Canterbury ‖ in the Crypt of the Cathedral of St. John the Divine ‖ on Wednesday morning, September 28th, A. D. 1904 ‖ at the celebration of the Holy Communion at which ‖ His Grace was the celebrant and which preceded the ‖ opening of the One hundred and twenty-first Convention ‖ of the Diocese of New York, being also the first opening ‖ of the Diocesan Synod Hall.”

TheEast Window, a glorious work in stained glass by Mr. Hardman of Birmingham, Eng., completely fills the end of the chapel. Its central light is occupied by a representation of the Transfiguration (Mat. xvii. 1-3). In the middle of the scene is the radiant Saviour, with Moses (left) holding the Ten Commandments, and Elias (right) holding the receptacle of the scrolls, representing respectively the Law and the Prophets.[41]Surrounding the group are angels; and below it are the three Disciples who were with Jesus on the mount: St. Peter (left) looking up, St. James (middle) covering his eyes, and St. John, the beardless Disciple (right), shading his face. In the left side light, above, is Moses putting off his shoes on the holy ground before the burning bush from which the angel of the Lord appears (Ex. iii. 5); and below, Moses raising the brazen serpent for healing (Num. xxi. 9). The serpent, seen indistinctly coiled around the pole, is by artistic license represented in green. In the right side light, above, is the angel appearing to Elijah (I. Kings xix. 5-8); and below, Elijah’s sacrifice miraculously consumed by the fire of the Lord (I. Kings xviii. 30-38). In niches on either side of the window are the followingStatuesof Bishops, saints and scholars of the Eastern church:

St. Polycarpb. 69 d. 155Bishop of Smyrna

St. Chrysostomb. 347 d. 407Archbp. of Constantinople

St. Athanasiusb. 296 d. 373Primate of Egypt

St. Basilb. 329 d. 379Bishop of Caesarea

Origenb. 185 d. 253Great eastern scholar

St. Clement of Alexandriab. circ. 150 d. 213-220Celebrated Church Father

St. Gregory Nazianzenb. 330 d. 389Bishop of Nazianzus

St. Ignatiusb. circ. 50 d. 107Bishop of Antioch

In a niche in the upper part of the north wall is a statue of St. Peter with key; and in a corresponding niche in the south wall one of St. Paul with sword. Turning toward the entrance to the chapel, one sees in niches between the clustered columns at the sides of the great archway in array of angels, five on each side, one above the other, corresponding to as many on the Ambulatory side,—twenty in all—representing the Heavenly Choir. These lovely figures are worthy of more than passing notice. All the statuary is by Mr. Gutzon Borglum. The fourLamp Standardsof Carrara marble surmounted by alabaster bowls standing in the four corners of the chapel, and carved in relief with many symbolical details, were made by Messrs. E. F. Caldwell & Co. and carved by Messrs. F. Ruggeri and P. Giuntini of New York. The elaborate wrought ironScreen, made by the Wm. H. Jackson Co. of New York, at the entrance, is in the Italian style after one in Orvieto, Italy. It is embellished in its upper part by two golden angels holding a wreath at the foot of the cross. Looking outward through the screen, one sees the back of the High Altar of the Cathedral. On one of the walls of the chapel is inscribed:

“This Chapel is Erected to ‖ the Glory of God ‖ and in Loving Memory of ‖ Bessie Morgan Belmont ‖ by her Husband ‖ August Belmont.”

St. Columbawas born in County Donegal, Ireland, in 521, of royal blood. After study and religious work in Ireland, he set out in 563 with twelve disciples and planted upon the Island of Iona, on the west coast of Scotland, which he received from his kinsman Conal, King of Scots, a monastery which, from the 6th to the 8th centuries, was second to hardly any other in Great Britain. From it was conducted a wonderful missionary work in Scotland, Ireland, the north of England, and small adjacent islands. Many miracles are attributed to him, and he was accredited with power to subdue not only wild tribes of men but also the beasts of the wilderness (see p. 32). He died in 597, and his body was buried at Iona, which is regarded as one of the great shrines of Christianity in Great Britain. The Memorial Day for St. Columba is kept on June 9.

The Chapel of St. Columba, (17 on plan), designed by Messrs. Heins & LaFarge, is in the Norman style ofArchitecture. It is 50 feet long and 27 wide, seats 100 persons, and cost about $150,000. The interior walls are of Minnesota dolomite, separated from a base course of polished Mohegan granite by a moulding of yellow Verona marble. The pavement is a fine grained gray stone from Illinois. The semi-circular arched window heads, and particularly the six large cylindrical pillars diversified by spiral and diaper patterns, convey the idea of the Norman style which one sees exemplified on a larger scale in Durham Cathedral and other churches of that period in England. The vaulting over theSanctuaryis lined with gold mosaic, upon which appear black and white Celtic crosses. The lectern, communion rail, Glastonbury chairs, and other wood work of the Sanctuary were designed by Mr. Charles R. Lamb and made by J. & R. Lamb of New York. They are carved in low relief with ornament expressive of English Gothic feeling. The lectern shows a composition of three figures:Christ in the center, between John the Baptist, his Forerunner, and St. John the Divine, namesake of the Cathedral, who closes the biblical record with the Book of Revelation. TheAltar, of cream colored Italian marble, is in the form of a table supported by marble pillars. It has noReredos. TheSanctuary Windows, three in number, were made by Messrs. Clayton & Bell of London. In the central light of the window above the Altar is represented the baptism of Christ by John the Baptist, and in the side lights are St. John with cup (left), and St. Paul with sword, (right.) In the bottom of the three lights are the four symbols previously explained (p. 74), namely, the ΙΗϹ, the Alpha, the Omega, and the Chi Rho. The windows on either side of the middle window are in grisaille, copied from the famous lancet windows called the Five Sisters in the North Transept of York Cathedral, although these windows have only two lights each instead of five. The six wonderfully graceful seven-branchedCandelabra, after Donatello, were brought from Italy by Mr. George Gordon King. Turning toward the entrance, in which is a wrought ironScreenin the Spanish style, designed by Mr. Samuel Yellen and made by the Industrial Ornamental Iron Works of Philadelphia, Penn., one sees an extremely interesting feature in theStatuesby Mr. Gutzon Borglum of representatives of the successive stages of the development of Christianity in England, which stand in the niches between the clustered columns at the sides of the great entrance archway.[42]

The figures, five on each side, one above the other, and corresponding to as many on the Ambulatory side,—twenty in all,—are in the following relative positions, it being understood that the left side as seenfrom the chapel is the same as the right side as seen from the Ambulatory.

St. AidanBishop of Northumbriansac. 635 d. 651

St. AugustineArchbishop of Canterburyac. 597 d. 604

St. AnselmArchbishop of Canterburyac. 1093 d. 1109

King AlfredKing of Wessexb. 849 d. 901

Thomas CranmerArchbishop of Canterburyb. 1489 d. 1556

William of WykehamBishop of Winchesterac. 1367 d. 1405

Joseph ButlerBishop of Durhamb. 1692 d. 1752

Jeremy TaylorBishop of 3 Irish seesb. 1613 d. 1667

John Kebleleader in Oxford movementb. 1792 d. 1866

Reginald HeberBishop of Calcuttab. 1783 d. 1826

St. Albanpromartyr of Britaind. circ. 304

Theodore of TarsusArchbishop of Canterburyac. 668 d. 690

The Venerable Bedechronicler and priestb. 673 d. 735

Stephen LangtonArchbishop of Canterbury b. 1150 d. 1228

John Wyckliffemorning-star of Reformationb. 1325 d. 1384

Matthew ParkerArchbishop of Canterbury b. 1504 d. 1575

Richard HookerAnglican theologianb. 1554 d. 1600

George BerkeleyBishop of Cloyne, etc.b. 1684 d. 1753

John Wesleyevangelical revivalistb. 1703 d. 1791

Frederic Denison Mauricepreacher and leaderb. 1805 d. 1872

The Cathedral has in its possession aStone fromthe Cathedral, or Church of St. Mary(dating from the 13th-16th centuries)on the Island of Iona, which may fittingly be placed in this chapel at some future time.

Upon the wall of the chapel is inscribed:

“Chapel ‖ of ‖ Saint Columba ‖ To the Glory of God ‖ and ‖ in Loving Memory of ‖ Mary Leroy King ‖ The Gift of Her Mother ‖ Mary Augusta King ‖ Consecrated ‖ April 27th, 1911.”

St. Boniface, whose original name was Winifred, was born in Devonshire, England, about the year 680. He entered a Benedictine monastery at the age of 13, learned rhetoric, history and theology, and became a priest at the age of 30. At a time when England and Ireland were sending missionaries to the heathen parts of Europe, Winifred was authorized by Pope Gregory II. to preach the Gospel to the tribes of Germany, and he is called the Apostle of Germany. While engaged in this work, Gregory made him a Bishop and gave him the name of Bonifacius, or Boniface, which means Doer of Good. The Bishoprics of Ratisbon, Erfurt, Paderborn, Wurzburg, Eichstadt, Salzburg, and several others, owe their establishment to his efforts. In 746 he was made Archbishop of Mainz. In 755, while carrying on his work in Dokkum, in West Friesland, he and his congregation of converts there were slain by a mob of armed heathen. His remains are buried in the famous abbey of Fulda, which he founded. In art, he is depicted holding a book pierced by a sword, referring to the manner of his death. The Memorial Day for St. Boniface is kept on June 5.

The Chapel of St. Boniface, (18 on plan), designed by Mr. Henry Vaughan, is a very pure specimen of English GothicArchitectureof the 14th century. It is about 48½ feet long and 28 wide, seats about 100 persons, and cost about $175,000. The interior walls are of Indiana limestone; the pavement of pink marble from Knoxville, Tenn., with heavy black border of Belgian marble; and the steps to the Sanctuary also of pink Knoxville marble. TheAltaris of gray marble from the same source. In the three ornatepanels on its face are the monogram IHS (see p. 74), the floriated Greek cross (see note below), and the Greek cross form of the Chi Rho (p. 74). The richly carvedReredoshas three canopied niches, in the central one of which is represented the Adoration of the Magi. In each of the side niches is an angel with scroll. In the recesses of the windows on either side of the Altar are carved clergy stalls of dark oak, with wainscoting of the same wood as high as the window sills. There are six stained glassWindows, three in the Sanctuary and three smaller ones in the clerestory. Each has three lights. In the middle light of the central window above the Altar Christ is represented as the Great Teacher. His robe is sprinkled with theIHSmonogram (p. 74) and in His nimbus appear the ends of a floriated cross.[43]Above His head are two angels, and above them the dove, symbolizing the Holy Spirit. Below the figure of Christ is a scene representing Him teaching the multitude. In the left side light is St. Boniface with mitre, archiepiscopal staff,[44]and Bible pierced with sword; and below him a scene representing him hewing down an oak in Geismar accounted sacred by the idolators. In the right side light is St. Paul with sword; and below him a scene representing him preaching to the men of Athens. In the left window of the Sanctuary are three figures with scenes below as follows (left to right): St. Birinus, Bishop of Dorchester, holding amonstrance, and (below) St. Birinus baptizing King Cynegils of the West Saxons; St. Augustine of Canterbury with archiepiscopal staff, holding a tablet representing the crucifixion, and (below) St. Augustine announcing the Word of Life to King Ethelbert; and St. Felix, Bishop of Dunwich, with crozier and torch, and (below) St. Felix receiving the blessing of the Archbishop of Canterbury. In the right Sanctuary window, similarly, are: St. Chad, Bishop of Lichfield, holding crozier and model of Lichfield Cathedral,[45]and (below) St. Chad listening to the songs of angels; St. Columba in monastic garb with crozier and with monastery (Iona) at his feet, and (below) St. Columba converting the Picts; and St. Aidan with crozier, and (below) St. Aidan instructing the youthful St. Chad and others. In the west clerestory window are: St. Patrick with crozier ornamented with shamrocks; St. Gregory of Rome with papal staff, holding an open music book displaying the Sursum Corda (referring to him as founder of the Gregorian music), with Pere Marquette below; and St. Martin of Tours with crozier and Bible. In the east wall are two clerestory windows. In the left hand window of the two are: St. Cyprian, Archbishop of Carthage, holding his staff and his best known book concerning Church Unity, or the universal church; St. Ambrose, Bishop of Milan, with crozier and open book displaying the words “Te Deum Laudamus” (we praise Thee, O God,) and pen in hand, with the missionary Robert Hunt below; and St. Augustine, Bishop of Hippo Mundia, with crozier. In the right hand clerestory window in the east wall are: St. Cyril, Patriarch of Alexandria, with book and staff; St. John Chrysostom, Bishop of Constantinople, with staff, chalice and Book of Homilies, with the missionary John Robinsonbelow; and St. Ignatius, Bishop of Antioch, holding a palm. The windows were made by Messrs. C. E. Kempe & Co. of London. In two canopied niches in the west wall areStatuesof Thomas a Becket (left) and St. Boniface (right); and in a niche in the east wall is one of Erasmus. Three wrought ironLampsare suspended by iron chains from the ceiling; and at the entrance is a handsome wrought ironScreenadorned with escutcheons bearing theihcmonogram and surmounted by a floriated cross before explained. On one of the walls is inscribed:

“The Chapel of St. Boniface ‖ Consecrated ‖ February 29, 1916 ‖ Erected to ‖ the Glory of God ‖ by ‖ George Sullivan Bowdoin ‖ and His Wife ‖ Julia Grinnell Bowdoin ‖ and Their Children ‖ Temple Bowdoin ‖ Fanny Hamilton Kingsford ‖ Edith Grinnell Bowdoin.”

Story of the Dove Of Peace. During the last year of the World War, an incident interesting in itself and illustrative of the origin of the legends and traditions which often grow up around cathedrals, occurred in connection with the chapel bearing the name of the Apostle of Germany. In the spring of 1918, some weeks after the great German drive of March 21 had begun and before the beginning of the counter-offensive of the second battle of the Marne in July, the large stained glass window in the clerestory of the Choir above the entrance to the Chapel of St. Boniface arrived from England. All the ventilation openings in the Cathedral windows are screened to exclude birds, which, however interesting in their natural habitats, are a practical nuisance in the Cathedral. When the stained glass window above mentioned arrived, the temporary window filling the space above the entrance to the chapel was removed for its installation. While the window was thus open, and at a period in the war when the issue trembled in the balance and the world fairly held its breath infearful expectation of the event, a white dove,—very generally recognized as a symbol or harbinger of Peace—flew into the Cathedral over this chapel. On the following Sunday it soared around in the great dome of the Crossing and in the Choir, alighting in the most interesting places. When Dean Robbins ascended the stairs of the great marble pulpit, he found the dove perched on the edge of the pulpit directly before him. The dove then flew down and alighted on the back of a vacant chair between two occupied chairs in the midst of the congregation on the south side of the Crossing, and there remained quietly during the sermon. When the ushers started toward the Altar with the offertory, the bird soared across the congregation and alighted on the hat of a woman dressed in mourning who was sitting near the middle aisle, its snow white plumage contrasting strikingly with the sombre attire of the bereaved woman who seemed not to be disturbed by what perhaps she regarded as a happy omen. In a moment the dove flew to another part of the Crossing. It remained in the Cathedral a few days longer; and then one day, went out through an open door. Soon after this occurrence, the Allies facing the Marne salient, including the Americans at Chateau Thierry, began the great counter-movement which finally brought peace.[46]It was at least an interesting coincidence that this white dove came into the Cathedral over this chapel, at the very crisis of the war, and that almost immediately thereafter began that series of determining events which led the Germans to make overtures for Peace.

St. Ansgarius, or St. Ansgar, was born in Picardy in 801. With his co-laborer Autbert he went to preach Christianity to the northmen of Sleswick. In spite of much persecution, he was so successful that in 831 the Pope established an archbishopric in Hamburg, (afterwards transferred to Bremen,) and Ansgarius was appointed first Archbishop. He made several missionary tours in Denmark, Sweden and other parts of the north, and died at Bremen in 865. He is called the Apostle of the North. The Memorial Day for St. Ansgarius is kept on February 3.

The Chapel of St. Ansgarius (19 on plan), designed by Mr. Henry Vaughan, architect of the Chapel of St. James, is in the same style ofArchitecture, 14th century Gothic, and about the same size, being 66 feet long and 41 wide, with a seating capacity of 250. It differs, however, from the Chapel of St. James in plan, the bay east of the turret stairs being here thrown into the Ambulatory, while in the Chapel of St. James it is included as a sort of transept; and the north side of the Chapel of St. Ansgarius being divided into only two bays, while the south side of the Chapel of St. James is divided into three. On account of the amount of work required to secure a firm foundation, the Chapel of St. Ansgarius cost about $225,000, making it the most expensive of the seven Chapels of Tongues.

Niche in St. Ansgarius Chapel made of old Cathedral Stones

The interior walls are of Indiana limestone; and the pavement of pink Knoxville, Tenn., marble and mottled Vermont marble. TheAltaris of gray Knoxville marble. On its front is carved the Madonna of the Chair on the left of which, from the spectator’s standpoint, is St. Michael with sword and on the right St. Gabriel with lilies. In the middle of the sculpturedReredos, (above) is represented Christ holding the globe (symbol of sovereignty), and (below) the baptism of Christ by John the Baptist.

On the left of the figures are St. Ansgarius with crozier (above) and Gustavus Adolphus with sword (below), while on the right are St. Olaf with crown and scepter (above) and Luther in gown with book (below). The Altar and Reredos were given by Mrs. Julia Grinnell Bowdoin. In the left (northern) wall of the Sanctuary is a niche made ofstones from Worcester and Ely Cathedrals, England. On the upper surface of the stone bracket forming the shelf of the niche is carved “Ely 1320.” The stones from the Lady Chapel of Worcester Cathedral were given to the Cathedral of St. John the Divine by Canon George William Douglas of New York who procured them from Canon J. M. Wilson, Archdeacon of Worcester.[47]On the stones on either side of the recess is carved:

“These Stones from ‖ the Cathedral ‖ of Christ and ‖ St. Mary the Virgin ‖ Worcester, England, ‖ are Memorials to ‖ William Reed ‖ Huntington ‖ Sometime Rector ‖ of All Saints ‖ in Worcester ‖ Massachusetts.”

Three smallWindowsof two lights each in the Sanctuary contain (from left to right) representations of: (1) St. Willibrod with mitre, archiepiscopal staff, and model of cathedral; and St. Lucian with crown, scepter and sword; (2) St. Ansgarius with mitre and crozier; and King Olaf with crown and scepter; and (3) above the Reredos, St. Eric with crown and scepter; and St. Wilifred with mitre and archiepiscopal staff. The window spaces at the right of the latter are walled up because they are blanketed by the adjacent chapel. In the two bays of the north aisle are two noble stained glass windows, each having five lights and each light depicting two scenes. In the left hand or western window, the upper tier of scenes is chiefly devoted to Old Testament subjects as follows (left to right): Adam and Eve (Gen. ii. 7-25); the visit of the three angels to Abraham bearing the promise of the birth of Isaac (Gen. xviii. 2-22); St. Michael fighting the dragon with a cross-shaped spear (Rev. xii. 7); Abraham offering to sacrifice Isaac (Gen. xxii. 9-13); and Jacob’s dream of the ladder (Gen. xxviii. 12). In the lower tier are five scenes prophetic of the birth of the Forerunner of Christ and of Christ himself: The angel’s visit to Zacharias to foretell the birth of John the Baptist (Luke i. 13); the annunciation to the Virgin Mary of the coming birth of Christ (Luke i. 28); St. Gabriel with lilies as Angel of the Annunciation (Luke i. 28); the angels’ visit to the shepherds (Luke ii. 8-12); and the angel’s visit to Joseph, husband of Mary, to foretell the birth of Christ (Mat. i. 20). The right hand or eastern window depicts Acts of the Apostles. In its upper tier are: St. Peter preaching to the Disciples (Acts i. 15); St. Peter healing the lame man (Acts iii. 2-8); St. Peter with key; the stoning of St. Stephen (Acts vii. 59); and St. Philip baptizing the eunuch (Acts viii. 26-38); and in the lower tier: St. Peter raising Tabitha(Acts ix. 40); the conversion of St. Paul’s jailer at Philippi (Acts xvi. 23-31); St. Paul with sword; St. Paul laying hands on the Disciples (Acts xix. 6); and St. Paul before Felix (Acts xxiv. 24-25). All the windows are by Messrs. C. E. Kempe & Co. of London. In two high niches in the south wall areStatuesof Eric, King of Sweden (left) and Canute, King of the English, Danes and Norwegians (right;) and in a niche at the west end of the north aisle is a statue of King Eskiel, all crowned. On the Ambulatory side of the entrance bay are two statues: John the Baptist (above) and St. Ansgarius with crozier and mitre, holding a small cathedral (below). The sculptures are by Mr. John Evans of Boston. In a bay of the chapel temporarily rests a symbolic group executed in Caen stone by Miss Malvina Hoffman of New York, entitledThe Sacrifice. It is intended for Harvard University at Cambridge, Mass., as a memorial of Robert Bacon, sometime U. S. Ambassador to France and a Trustee of the University, and of the Harvard men who lost their lives in the World War. It represents a dead Crusader, such as those who went from Cambridge, Eng., in the 12th century, and gave their lives for an ideal, lying upon a cross with his head pillowed in a woman’s lap. According to the traditional position of the feet of the Crusader, he was one of those who never reached Jerusalem, those who did so being traditionally represented with their feet crossed. The woman may typify Alma Mater as well as those women who gave their best to a great cause and made their lonely grief their glory. The two figures symbolize mutual sacrifice. This chapel has an independentOrganplayed from a movable console on the floor. The chapel, which is the gift of many persons, was dedicated on April 3, 1918. On one of the walls is inscribed:

THE SACRIFICE

“The Chapel of Saint Ansgarius ‖ Consecrated April 3, 1918 ‖ to the Worship of ‖ Almighty God ‖ and in Loving Memory of ‖ William Reed Huntington ‖ for 25 Years Rector of Grace Church ‖ and for 22 Years Trustee of this Cathedral.”

The Corner Stoneof the Cathedral, which was laid by Bishop Henry C. Potter on St. John’s Day, December 27, 1892, is imbedded in the northwestern pier of the Chapel of St. Ansgarius and is only partly visible in the chamber under the chapel. It is a block of gray Quincy granite, 4 feet 4 inches square and 2 feet 4½ inches thick. Upon the angle of the visible corner are inscribed a Greek cross and “I. H. S. St. John’s Day, Decem. XXVII, A. D. 1892.” It contains, among other things, a fragment of aSpanish Brickfrom Hispaniola (Hayti) which was given to the Cathedral by Mr. Malcolm McLean, Senior Warden of St. Andrew’s Church, New York City, and upon which is a silver plate inscribed:

“From the Ruin of the First Christian Church in the New World where the First Church was Erected by Christopher Columbus, 1493. Isabella, Hispaniola.”[48]

The Crypt, located beneath the Choir, is closed, pending work on other parts of the Cathedral. And on account of the consequent dampness, the delicate furnishings were removed in September, 1916, andentrusted to the care of Mr. Louis C. Tiffany, who designed them, and who has placed them temporarily in the private chapel on his large country estate at Laurelton, L. I. The Crypt has a seating capacity of 500, and the first services in the Cathedral were held in it from January 8, 1899, until the Choir and Crossing were opened on April 19, 1911. In its furnished state, it contains an Altar, Reredos, font, lectern, and five stained glass windows which were exhibited by Mr. Tiffany at the World’s Fair at Chicago in 1893 and which were called collectively theTiffany Chapel. The top and retable of theAltarare of Carrara marble, while the front and sides are adorned with medallions of mother of pearl, four smaller discs containing emblems of the four Evangelists, a central shield set with sapphires, topazes and mother of pearl, and 150,000 pieces of glass mosaic. TheReredosis of iridescent glass mosaic, as are the twelvePillarsback of the Altar symbolizing the twelve Apostles. The general effect is Byzantine. The Altar, Reredos, font, lectern and windows were given by Mrs. Celia Hermione Wallace in memory of her son. The following interments have been made in the Crypt: The Very Rev. William M. Grosvenor, D.D., Dean of the Cathedral, December 13, 1916; the Right Rev. David H. Greer, D.D., eighth Bishop of New York, May 23, 1919; and the Right Rev. Charles S. Burch, D.D., ninth Bishop of New York, December 23, 1920.

Following are the principal dimensions of the Cathedral. As cathedrals are compared in size by their areas, the Cathedral of St. John the Divine will rank, after St. Peter’s at Rome and Seville Cathedral, the third largest in the world.

Following is a list of the Bishops of New York since the erection of the Diocese:

First: The Right Rev. Samuel Provoost, D.D.; born February 24, 1742; Bishop of New York 1787-1815; died September 6, 1815.

Second: The Right Rev. Benjamin Moore; born November 5, 1748; Assistant Bishop 1801-1815; Bishop of New York 1815-1816; died February 29, 1816.

Third: The Right Rev. John Henry Hobart, D.D.; born September 14, 1775; Assistant Bishop 1811-1816;Bishop of New York 1816-1830; died September 12, 1830.

Fourth: The Right Rev. Benjamin Tredwell Onderdonk; born July 15, 1791; Bishop of New York, active 1830-1845, inactive 1845-1861; died April 30, 1861.

Fifth: The Right Rev. Jonathan Mayhew Wainwright, D.D., D.C.L.; born February 24, 1792; Provisional Bishop 1852-1854; died September 21, 1854.

Sixth: The Right Rev. Horatio Potter, D.D., D.C.L., Oxon.; born February 9, 1802; Provisional Bishop 1854-1861; Bishop of New York 1861-1887; died January 2, 1887.

Seventh: The Right Rev. Henry Codman Potter, D.D., LL.D.; born May 25, 1834; Assistant Bishop 1883-1887; Bishop of New York 1887-1908; died July 21, 1908.

Eighth: The Right Rev. David Hummell Greer, D.D., S.T.D., LL.D.; born March 20, 1844; Bishop Coadjutor 1904-1908; Bishop of New York 1908-1919; died May 19, 1919.

Ninth: The Right Rev. Charles Sumner Burch, D.D., L.H.D., LL.D.; born June 30, 1855; Bishop Suffragan 1911-1919; Bishop of New York 1919-1920; died December 20, 1920.

Tenth: The Right Rev. William Thomas Manning, D.D., LL.D., D.C.L.; born May 12, 1866; Bishop of New York 1921.

Back to Index Next