USA > New York > New York City > A guide to the Cathedral church of Saint John the Divine in the city of New York > Part 3
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The Crossing
Walking the length of the Nave foundation (2 on plan) we pass through temporary doorways and enter the Crossing (3), so-called from its location at the
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THE NAVE FOUNDATION AND CROSSING
intersection of the long and short arms of the cruci- form ground plan. In this space, 100 feet square, floored with concrete, are 1500 chairs for the congre- gation. To the eastward, the Crossing opens into the Choir (10) and Ambulatory (12-12). On the north, west and south sides the spaces between the ponderous piers of Maine granite are filled with temporary win- dows and concrete walls which will be removed when the Nave (2) and the North and South Transepts (4 and 5) are built. The removal of these temporary walls will improve the acoustics. The rough, una- dorned piers on the north, west and south sides will eventually be faced with Frontenac stone like those on the east side. The massiveness of this masonry may be judged by the fact that a single pair of these piers with their connecting arch weighs 4000 tons. The Dome of the Crossing, 162 feet (just the height of Niagara Falls) above the floor, is a remarkable piece of construction, the tiles having been laid by the ingenious Gustavino method without the support of scaffolding. The present dome is temporary ; the per- manent vault will be 200 feet above the floor. Mr. J. P. Morgan, Mr. George S. Bowdoin and Mr. Harris C. Fahnestock were large contributors to the building of the Crossing.
The Pulpit, a memorial of Bishop Henry Codman Potter, is made of Knoxville, Tenn., marble, an un- crystalline limestone favorable for very fine work. On the newel posts of the stairs are the figures of the two great prophets of the Old and New Testaments, Isaiah (south) and John the Baptist (north.) Ir the five principal Gothic niches are as many scenes in the life of Christ (north to south) : The Nativity, Jesus Among the Doctors, the Crucifixion, the Resur- rection, and the Supper at Emmaus (Luke xxiv. 30-31). In the smaller niches are the figures of
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THE PULPIT
eight great exponents of the Holy Scriptures and champions of human freedom (north to south) ; St. Jerome, St. Gregory, St. Chrysostom, St. Peter, St. Paul, Hugh Latimer, Bossuet, and Bishop Phillips Brooks of Massachusetts .* Beneath these niches runs a moulding of grape-vine design symbolizing Christ the true vinet (John xv. 1) and beneath this one of roses symbolizing Christ the Rose of Sharon (Cant. ii. 1). On the base are the symbols of the four Evangelists : The winged man for St. Matthew, winged lion for St. Mark, winged ox for St. Luke, and eagle for St. John.1 The pulpit is surmounted by a carved oak canopy of Gothic tracery, upon which is the beginning of the Gloria in Excelsis :
"Glory be to God on high and on || earth || peace || good will towards || men. We praise thee || we bless thee, we || worship || thee, we glorify thee, we give thanks || to thee for thy great glory. O Lord God, heavenly King."
On the side of the stairs is inscribed :
"In Memory of || Henry Codman Potter || the gift of || Mrs. Russell Sage || A.D. 1916."
*These sculptures are surpassingly beautiful. The Supper at Emmaus has a particularly dramatic quality. Note the amazement of the two Disciples as they recognize the Saviour after his crucifixion, their attitudes and facial expressions, and the vein standing out on the neck of the one in the foreground.
¡The use of the grape-vine to symbolize Christ dates from the very beginning of the Christian era. A silver chalice found in Anti- och by Arabs in 1910 and believed to date from the 1st century, is covered with a grape-vine of twelve branches in the midst of which are figures of Christ and the writers of the Gospels and Epistles. (See N. Y. Evening Sun of Jan. 3, 1920, and N. Y. Times of May 14, 1922.)
#These symbols, supposed to be derived from the Revelation of St. John (iv. 7) and the prophecy of Ezekiel (i. 10), are variously interpreted. One explanation of each follows: The man or cherub is given to St. Matthew because he dwells on the human side of Christ; the lion to St. Mark because he is called the historian of the resurrec- tion, and ancient naturalists believed that the lion was born inanimate and came to life three days after birth; the ox, the emblem of sacri- fice, to St. Luke because he dwells on the priesthood of Christ; and the eagle to St. John because he soared in the spirit to heaven and saw God.
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ONE OF THE BARBERINI TAPESTRIES
The pulpit, which cost $30,000, was designed by Mr. Henry Vaughan and executed by Messrs. John Evans & Co. of Boston.
Barberini Tapestries. The tapestries in the Crossing and Ambulatory were woven in the first half of the 17th century on the papal looms founded by Cardinal Barberini under the patronage of his uncle Pope Urban VIII. They were executed under the direction of the master weaver Jacques della Riviera from cartoons painted by Jean Francois Romanelli. The cartoons are now in the Vatican. The tapestries, originally designed for the throne room of the Bar- berini Palace at Rome, afterward a part of the Ffoulke Collection in Washington, and finally presented to the Cathedral by Mrs. Elizabeth U. Coles, are twelve in number and represent scenes in the life of Christ. Four of them hang in the Crossing as follows: In the northeast corner, the Delivery of the Keys to St. Peter; southeast corner, the Last Supper; southwest corner, the Adoration of the Shepherds; and north- west corner, the Flight of Joseph and Mary with the infant Jesus into Egypt. Seven hang in the Ambula- tory, as follows (north to south) : Christ's Baptism, the Annunciation, the Adoration of the Magi, the Crucifixion (directly behind and above the High Altar,) the Transfiguration, the Resurrection, and the Agony in the Garden. The twelfth, a map of the Holy Land, is not at present hung. These works are all 15 feet 8 inches high and average 14 feet 1 inch wide. The Delivery of the Keys to St. Peter, the Last Supper, and the Flight into Egypt are more than 17 feet wide. These tapestries appear more like paint- ings than products of the loom.
The Litany Desk at the eastern end of the mid- dle aisle (often removed) is of carved oak. Sur- mounting the ends are two praying angels, while on
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THE INTERIOR OF THE CROSSING AND CHOIR
the front are statues of St. Michael with sword, St. John with chalice, and St. Gabriel with lilies, all fac- ing the Altar. An inscription reads :
"We beseech Thee to || hear us Good Lord || Grant us Thy Peace || Have Mercy Upon us."
The desk was given by the Laymen's Club.
The Choir
Architecture. The Choir (10) may best be sur- veyed from the eastern end of the Crossing. (Vis- itors not admitted to Choir during service time except by permission.) The half-round arches and other features exhibit a late Romanesque style with Byzan- tine influence, which is not inappropriate to the eastern end of the Cathedral, and which will relatively be- come a local detail as the prevailing Gothic style of the whole Cathedral develops. The interior facing is of Frontenac stone. Numerous symbols from the Revelation of St. John the Divine will appear as the description of the Choir and its environs proceeds. The first to attract attention is the broad course of red jasper from South Dakota seen at the base of the piers of the great Choir arch. This foundation course, which appears in the Ambulatory (12-12-12) running entirely around the Choir, recalls St. John's descrip- tion of the Heavenly City: "And the foundations of the wall of the city were garnished with all manner of precious stones. The first foundation was of jasper" (Rev. xxi. 19). The green moulding above the jasper is Pennsylvania serpentine. The floor of the Choir has three principal levels. From the Cross- ing 5 steps lead to the Choir proper, which contains the stalls for the clergy and choristers and which occupies the first two bays. An ascent of six more steps leads to the second level which may be desig- nated as the Presbytery. Upon it are the two thrones hereafter mentioned and the altar rail, the latter
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a step higher.t In the Sanctuary within the altar rail, 4 steps lead to the third level upon which stands the Altar with its 3 white steps .* Around the Sanc- tuary stand eight Great Columns described hereafter. The principal donor to the building of the Choir was the late Hon. Levi Parsons Morton (Vice-President of the United States 1889-93, Governor of the State of New York 1895-96) who, after the Great Columns were erected, gave $600,000 toward the completion of the fabric and the installation of the Altar, Reredos, Organ, Choir Stalls, Bishop's Throne, and some other furnishings. This sum was generously supplemented by Mrs. Morton. The ornate Altar Rail of English oak is inscribed :
"To the Glory of God || and in loving memory of !! Anna Livingston Morton || May 18, 1846-August 14, 1918 || Given by her daughter || Edith Morton Eustis 1920."
The Parapet at the entrance to the Choir is de- signed to represent outstanding characters of 20 cen- turies of the Christian Era. It is in two sections, one on each side of the steps leading from the Crossing to the Choir, each section being 181/2 feet long and 4 feet high. It is built mainly of Champville (France) marble, in modified French Gothic style. The twelve marble columns, alternately green, red and yellow, are of Alps Green from Italy, Rouge de Rance from Italy, and Numidian from Africa, respectively. The figures, from right to left, are as follows (authorities differing slightly as to some of the dates given) : (1) St. Paul (died A. D. 66) with sword symbolizing his decapita- tion ; (2) St. Justin Martyr (100-165) with axe and
¡ There is much ambiguity in the use by architects of terms to indicate the sub-divisions of the eastern limb of a cathedral which is called comprehensively the Choir. The designations here used-the Choir proper, the Presbytery, and the Sanctuary-are sufficient for present purposes without confusing the reader with conflicting definitions.
* For details of intentional departures from absolute levels, and from regularity of height and spacing of arches, see "Temperamental Architecture" in "The New York Architect" for April, 1911.
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block; (3) St. Clement of Alexandria (150-220) holding cross in left hand; (4) St. Athanasius (296- 373) pouring baptismal water from a sea-shell, refer- ring to a playful incident of his boyhood which led to his calling; (5) St. Augustine of Hippo (354-430) with miter, pen and tablet; (6) St. Benedict (480-543) in habit of Benedictine monk pointing to scroll; (7) St. Gregory the Great (550-604) with slave child in broken shackles, referring to his intercession for pagan children in the slave market; (8) Charles Martel (688- 741) with crown, battle-axe and pennant; (9) Charle- magne (742-814) with crown, scepter and orb; (10) Alfred the Great (849-901) crowned, with sword by side, holding three burnt cakes on book ;* (11) God- frey of Bouillon (1061-1100) crowned, with Cru- sader's sword and shield; (12) St. Bernard (1091- 1153) in monk's habit, holding aloft a cross in his right hand and clasping a book in his left; (13) St. Francis of Assisi (1182-1226) in Franciscan monk's garb, contemplating a cross in left hand, and preaching to birdst in tree; (14) John Wyckliffe (1325-1384) with book and staff; (15) Columbus (1435-1506) lifting the veil from the globe, symbolizing the age of discovery ; (16) Archbishop Cranmer (1489-1556) with right hand thrust voluntarily into the flame, sym- bolizing his martyrdom; (17) Shakespeare (1564- 1616) standing amidst growing laurels; (18) Wash- ington (1732-1799) in civilian attire as President ; (19)
* See Abbott's "History of King Alfred" for legends concerning the cakes. One is, that Alfred, when a fugitive from the Danes, was hiding one day in a peasant's cottage, and while sitting by the fire- place mending his bow, he was requested by the house-wife to watch her cakes which were baking. Absorbed in thoughts of his kingdom, he forgot the cakes, and for his neglect was roundly scolded by the woman who little realized his character.
t St. Francis, founder of the Franciscan Order, literally inter- preted the text "Go ye into all the world and preach the Gospel to every creature (Mark xvi. 15) and a famous fresco by Giotto in the church of San Francesco, at Assisi, represents him preaching to the birds.
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SOUTH HALF OF THE CHOIR PARAPET (See detailed description of figures in the text)
Lincoln (1809-1865) standing by a burial cross de- livering his Gettysburg Address; (20) uncarved block. The basis for selecting the figures was the representa- tive character of the nineteen men selected in conjunc- tion with their contribution to the development of Christian civilization. The Parapet was designed by Messrs. Cram & Ferguson, and the figures, modelled by Ferrari, were carved by John Evans & Co., of Boston. The Parapet bears the following inscription :
"To the Glory of God and in Memory of || Richard Delafield, || Brigadier-General, Chief of Engineers, || Brevet Major-General, United States Army. || Born September 1, 1798, Died November 5, 1873, || This Parapet is Erected by his Children, || Albert, Juliet Covington and Emma Delafield. || Righteousness Exalteth a Nation: But || Sin is a Re- proach to any People."
The Pavements of the Ambulatory and Choir, de- signed by Mr. C. Grant LaFarge in Romanesque and Byzantine motives, are related in their symbolism. The colors in the Ambulatory are reddish, or earthy ; while those in the three ascents of the Choir progress through increasingly rich designs of greens and whites (hope and purity) to greens, whites and blues (hope, purity and heaven) until they reach the pure white steps of the Altar. The risers of the steps leading from the Crossing to the Choir proper are of yellow Numidian marble and the treads of green Pennsyl- vania marble. The pavement of the Choir is richly inlaid with Numidian, Swiss and other marbles and Grueby Faience tiles. The steps to the Presbytery are of marble from Hauteville, France. In the center of the floor of the Presbytery is a magnificent mosaic rug of tiles and marbles, 321/2 feet long and 10 feet wide, with smaller patterns at the ends. In the center is an oval of black Belgian marble surrounded by violet marble from Italy, while Grueby tiles of many colors, and Grecian, red Numidian and other marbles
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NORTH HALF OF THE CHOIR PARAPET (The 19th figure, that of Lincoln, is obscured by the Lectern from this viewpoint)
form the rest of the design. The pavement of the Sanctuary, within the communion rail, in addition to its rich designs of tiles and marbles, contains, imme- diately in front of the steps to the Altar, a red tile surrounded by a square brass border, inscribed :
"Whoever shall have prayed at this spot will have pressed with his feet a tile from the ancient Church of St. John the Divine at Ephesus, built by the Emperor Justinian in the year DXL over the traditional site of St. John's grave."
The tile was presented to the Cathedral by Bishop Kinsman of Delaware, its authenticity being attested by Prof. George Weber of Smyrna, who procured it from the ruins on the hill of Ayassolouk and who, in his lifetime, was a leading authority on Ephesian archaeology.
The Eagle Lectern of bronze at the north side of the Choir steps is a replica of an ancient lectern found near St. Albans Cathedral, England, in a lake into which it had been cast when that structure was de- stroyed in the Saxon invasion. The eagle, standing on a globe, is the symbol of St. John in his capacity as an Evangelist. Around the lectern are the figures of the four Evangelists: St. Matthew with open book, St. Mark with closed book and pen, St. Luke with open book in one hand and pen in other, and St. John with chalice. Below are their respective symbols (p. 44). The lectern was made by the Gorham Co. It bears the following inscription, the initials at the end being those of the donor, Mary Gertrude Edson Aldrich :
"In Memoriam || Horatio Potter 11 Bishop of New York || 1854-1887 || M. G. E. A."
The Choir Stalls, rising in four tiers on either side of the Choir proper, are of carved American oak. The canopies are copied from those in the Chapel of
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THE BISHOP'S THRONE, CHOIR STALLS AND DEAN'S STALL
Henry VII. in Westminster Abbey used as the Chapel of the Knights of the Garter. The finials of the stalls are figures of great musicians and composers of church music, as follows :
East.
Left.
Right.
Bortniansky
Mendelssohn
Handel
Haydn
Bach
Purcell
Tallis
Palestrina
Pope Gregory Asaph
St. Cecelia
King David
West.
The figures, modeled by Mr. Otto Jahnsen, are represented in the costumes of their day; and the features of all but those of David and his chief mu- sician Asaph are from portraits.
The high canopied stall nearest the Crossing on the south side of the Choir is the Dean's Stall .* It was designed in the office of Messrs. Cram & Fer- guson and is a very skillful blending of styles to har- monize with the Jacobean canopies of the Choir Stalls and the Flamboyant note in the stalls themselves. It has many interesting details of carving, notably the three panels depicting the Good Shepherd (front). Learning (east side), and Charity (west side). On the back of the stall is inscribed :
"In the Name of the || Father Son & Holy Ghost || This Stall is Dedicated by || The Head Mistresses Association || to the Memory of || Agnes Irwin || 1841-1914 || Holding fast the faithful word as she || had been taught herself being not dis- || obedient unto the heavenly vision || Head Mistress of the Agnes Irwin School 1867-1894 || First Dean of Radcliffe College 1894-1909 || First President of the || Head Mistresses Association || 1911-1914."
* "Cathedral Choirs . have for ages been divided into two portions facing each other and respectively named Decani, or the side of the Dean. and Cantoris, or the side of the Cantor" or Precentor .- Hunt's Concise History of Music.
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In the Presbytery, on the south side, is the lofty Bishop's Throne of carved oak, while opposite to it is one with a little lower canopy for the use of a bishop other than the Diocesan.
On one of the Choir Stalls is inscribed :
"These Stalls are Erected to || the Glory of God || and in Loving Memory of || Susan Watts Street || 1818-1893 || By her Daughter || Anna L. Morton."
On a tablet in the Choir is inscribed :
"The Stalls || of the Sanctuary || and the Choir || are Erected to || the Glory of God || and in Memory of || Susan Watts Street || 1818-1893 || By her Daughter || Anna Living- ston | | Morton."
The stalls and the cathedra of the Diocesan were made by the John Barber Co., of Philadelphia, and the corresponding Bishop's throne on the north side by Messrs. Irving & Casson, of Boston.
The Organ, seen in the upper arches on either side of the Choir, contains 7,000 pipes and a chime, connected by electric wires with the console located in the gallery on the south choir screen. The console has four manuals and two octaves of pedals, 106 speaking stops, 31 couplers, and 33 pistons. The organist, invisible to the congregation, can see the choir and clergy either directly or by means of mirrors. A Gothic tablet in the south Ambulatory is inscribed :
"This Organ || is Dedicated || to the Praise of || the Blessed Trinity || and || in Loving Memory of || Lena Kearny Morton || 1875-1904 || By her Parents || Levi Parsons Morton || and || Anna Livingston Morton."
The organ was built by the Ernest M. Skinner Co., of Boston. (See also Choir School, page 104).
The Cathedral Flag which hangs above the choir stalls on the north side of the Choir opposite the American flag, bears upon a purple field a white Latin cross, on the crossing of which is a shield displaying
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the arms of the Cathedral. The shield is divided by radial lines into three parts: In the upper left-hand part (as viewed) are the arms of the city of New York, in the upper right-hand part the arms of the state; and at the bottom the seven candlesticks and seven stars of the Book of Revelation (ii. 1) symbolizing the seven churches and seven spirits of the churches founded by St. John the Divine in Asia Minor. The Cathedral flag and the American flag were given by Mrs. J. Herman Aldrich. The American flag which is sometimes carried in the procession and which was first used in the victory celebration in 1918, was given by Mrs. William Iselin. (See page 6).
The High Altar is of white Vermont marble. The beautiful Gothic Reredos is of pierre de Lens, quar- ried in the vicinity of the city of that name in the north of France which was so terribly ravaged in the late war. In the center is a majestic figure of Christ. On His left, (in order from center to spectator's right) are Isaiah, Jeremiah, Ezekiel and Moses, representing the Old Testament; and on His right (in order from center to spectator's left) are St. John, St. James, St. Peter and John the Baptist, representing the New Testament. The scale of the Cathedral may be judged from the size of the figure of our Saviour, which is seven feet high. Those of Moses and John the Bap- tist are 6 feet 10 inches high. In smaller niches on the front and sides are 16 angels holding various emblems -palm, sword, shield, swinging lamp, crown, trumpet, etc. Under the pedestals of the statues are clusters of grapes, symbolizing Him who gave His body and blood for man. The statue of Christ was made by Sig. Leo Lentelli under the direction of Mr. Carl Bitter. The other figures were made by Mr. Otto Jahnsen. The great rectangular panel in the lower part of the Reredos is filled with a rare Spanish em-
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THE HIGH ALTAR
broidery in arabesque design, 200 years old. The Altar and Reredos were built by the Barr, Thaw & Fraser Co. Upon the Altar is the following inscrip- tion :
"To the Glory of God || and in Memory of || Anna Livingston || Morton 1846-1918."
The Credence Table, at the right (south) side of the High Altar, is sup- ported by a shaft com- posed of three stones from the ruins of the ancient Abbey of Bury St. Ed- munds, England, in which the Barons met on No- vember 20, 1214, and swore before the altar to secure from King John the liberties which they embodied in Magna Charta. These relics are of Caen stone, and may be recognized by their gray color. They were given to the Cathedral in 1922, with the consent of the Abbey authorities, by the Marquis of Bristol Credence Table with Shaft made of Magna Charta Stones through Dr. Raphael Con- stantian of New York. Near the shaft is the following inscription :
"The Adjoining Shaft || Was Once a Part of || the High Altar of the !| Abbey of Bury St. Edmunds || Upon Which on || November 20, 1214, || the Barons Swore Fealty |! to Each Other in Wresting || the Great Charter || from King John. || It is Placed Here || as a Symbol of || the Community of || Political Tradition, || Laws and Liberties,
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|| Which is the Inheritance || of the English Speaking || Commonwealths 11 Throughout the World."
The Eight Great Columns standing in a semi- circle around the Sanctuary and forming seven inter- spaces opposite the seven Chapels of Tongues, are among the marvels of the Cathedral. They are ap- proached in size only by those in St. Isaac's Cathedral, Petrograd. The shafts of light gray granite from Bear Island, near Vinal Haven on the coast of Maine, were quarried as monoliths and turned on a special lathe which cost $50,000. When the first two were subjected to the pressure of polishing they broke, and the contractor then obtained permission to make the shafts in two pieces. The lower stone in each shaft is 38 feet high and weighs 90 tons, and the upper stone is 17 feet high and weighs 40 tons, the total height between base and capital being 55 feet and the weight 130 tons. The octagonal capitals, sculptured by Mr. Post, represent singing angels. The columns were given as memorials of the men whose names are carved on the bases seen in the Ambulatory (south to north :) "Alonzo Potter,* Bishop of Penn- sylvania, 1800-1865 ;" "Colonel Richard Tylden Auch- muty, U. S. V., 1831-1893 ;" "Harry Manigault Morris, 1817-1892;" "Eugene Augustus Hoffman, 1829-1902;" "John Jacob Astor, 1763-1848 ;" "John Divine Jones, 1814-1895;" "Josiah Mason Fiske. 1823-1892 :" and "Joseph Lawrence, 1788-1872." Each column cost $25,000, not including the expense of erection. They were made by Mr. John Pierce of Vinal Haven, Me.
The Clerestory Windows of the Choir, nine in number, of which seven are above the entrances to the seven Chapels of Tongues, are designed to depict
* Brother of Horatio Potter and father of Henry Codman Potter, Bishops of New York.
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the Book of Revelation of St. John the Divine. Seven of them are in place. They are of painted mosaic glass made by Messrs. James Powell & Sons of White- friars, London, according to the methods used in the thirteenth century and cost $10,000 and upwards apiece. Each window is of three lights with rose window at the top, and is 28 feet high and 17 feet wide. The seven windows above the entrances to the Seven Chapels of Tongues (north to south) are designed to symbolize in their circular lights the mes- sages to the seven churches in Asia mentioned in the Book of Revelation (i. 11), in the order there named : Ephesus, Smyrna, Pergamos, Thyatira, Sardis, Phila- delphia and Laodicea. They are connected by the in- scriptions in their lower borders which read consecu- tively as follows :
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