USA > New York > New York City > A guide to the Cathedral church of Saint John the Divine in the city of New York > Part 4
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"Grace be unto you and Peace from Him || Which is and Which was and Which is to come || From the Seven Spirits which are before His throne || Jesus Christ the Faith- ful Witness || The First Begotten of the Dead || The Prince of the Kings of the Earth. || To Him be Glory and Dominion for ever and ever" (Rev. i. 4-6).
These windows, which are of surpassing charm to the unaided eye, flash out with extraordinary bril- liancy of color and affecting beauty of composition and execution, particularly those called "Christ Reign- ing in Glory" and "the Woman in the Sun," when examined with long distance glasses (apply to Ver- ger), although the less brilliant windows contain sub- tle details well worth studying, as, for instance, the symbolisms of the elements held by the angels in the window above the Chapel of St. Boniface. Individ- ually, from north to south :
St. John and the Seben Churches are the subject of the window above the Chapel of St. Ansgarius. In the upper part of the central light, St. John between
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two praying angels is depicted in the character of Apostle, beardless, and holding the sacramental cup- the young St. John, symbolical of love and high ideals and the feeling which filled all his writings; while in the lower part he appears as the aged exile on the Isle of Patmos, sitting with book in lap and pen in hand, listening to the angel behind him who commands him to write (Rev. i. 11). In the side lights are the angels of the seven churches (i. 11), bearing on scrolls their names: (Upper left) Ephesus; (lower left) Smyrna and Pergamos; (upper right) Thyatira and Sardis; (lower right) Philadelphia and Laodicea. In the circular light at the top are the name "Ephesus" and a shield bearing the seven candles mentioned in the message to the church of Ephesus (ii. 1). In the lower border of the three lights runs the inscription : "Grace be || unto you and Peace || from Him." The window was given by Mrs. E. C. Ludlow Johnson in memory of Gabriel Ludlow.
The natural Clements upon which the vials of the wrath of God were poured (Rev. xvi. 2-17) are the principal subject of the window above the Chapel of St. Boniface. In the lower part of the left side light is an angel holding between his hands the earth (green foliage) ; in the middle light three angels re- spectively holding the air (invisible), the sun (yellow glow), and the sea (green waves) ; and in the right side light an angel holding the rivers and fountains (blue currents). In the upper part of the middle light is the Lamb that was slain (v. 12) between the four beasts (iv. 7) which are in the side lights-on the left, the lion and the beast with the face of a man; and on the right, the ox and the eagle .* In the cir- cular light at the top are the word "Smyrna" and a shield bearing the crown of life mentioned in the mes-
See reference to the symbols of the four Evangelists on page 44.
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sage to the church in Smyrna (ii. 10). In the bottom border is the inscription : "Which is and || Which was and Which || is to come." A tablet in the Ambula- tory reads as follows :
"The Clerestory Window Above || the Chapel of Saint Boniface || is Dedicated || to the Glory of God || and || in Loving Memory of || Annie Allen Wallace || February 14, 1853-August 25, 1890."+
The Seben Angels with Trumpets (Rev. viii. 2) are the main subject of the window above the Chapel of St. Columba. Three of them are in the lower part of the middle light and two in each of the side lights. In the upper part of the middle light is the mighty angel of the cloud, overarched by the rainbow, stand- ing upon the sea, and holding aloft in his left hand the little open book (x. 1, 2). In the upper part of the left side light is the angel with the seal of the living God (vii. 2) and in the right side light the angel with the golden censer (viii. 3). In the middle of the side lights are four angels (two left and two right) blowing the four winds of the earth (vii. 1). In the circular light at the top are the name "Pergamos" and a shield bearing the sharp two-edged sword of Him who sent the message to the church in Pergamos (ii. 12) between the Greek letters IHC and XPC (Jesus Christ.)* In the bottom border are the words: "From the seven || Spirits which are be- fore || His throne." The window was given by Miss Josephine Leeds in memory of her parents John W. and Eliza Leeds and her sister Emily Irene Leeds Hardenbergh.
Christ Reigning in Glory, as described in the first chapter of the Book of Revelation, is the principal
t See page 93 for anecdote of the Dove of Peace connected with this window. * See page 75 following.
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subject of the great central window above the Chapel of St. Saviour. In the central light is the Son of Man, with up-raised hands, vested as King and Priest, wearing a royal crown, a crimson mantle and a golden pallium. He stands in the midst of the seven candle- sticks (i. 13), holds in his right hand the seven stars (i. 16, 20), and is surrounded by winged seraphim. Beneath him a rainbow (iv. 3) over-arches the sea of glass (iv. 6). In the side lights are the four principal archangels: St. Michael (left, above,) is depicted in armor as the Prince of the Celestial Armies, while the balance in his left hand, supposed to contain the souls of the dead, symbolizes his character as Guardian Angel of Departed Spirits. St. Raphael, below him, with pilgrim's staff, is represented as the friendly traveller, recalling Milton's "affable archangel." St. Gabriel (right, above,) appears as Angel of the An- nunciation, as indicated by the lilies (symbol of purity ) in his right hand; and below him is St. Uriel, as Angel of Light, holding the sun.t In the circular window at the top are two angels holding the morning star mentioned in the message to the church in Thyatira (ii. 28), but the name "Thyatira" is lacking. In the border at the bottom of the three lights are the words: "Jesus Christ |! the Faithful !! Witness." The window was given by Mrs. Whitelaw Reid. A tablet in the Ambulatory reads :
"The East Window || is Erected in Memory of || White- law Reid || October 27, 1837-December 15, 1912."
The Seben Last Plagues (Rev. xv. 1) are the principal subject of the window above the entrance to the Chapel of St. Martin of Tours. These are represented in the lower part of the window by seven
+ The poetic beauty of this window tempts one to re-read Milton's "Paradise Lost." The beautiful legend of St. Raphael. the friendly traveller, a favorite subject of art, is to be found in the Book of Tobit, in the Apochrypha.
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angels holding the seven vials containing the plagues, three in the central light and two in each of the side lights. In the upper part of the middle light is an angel holding aloft in his right hand the everlasting Gospel (xiv. 6) in the form of a scroll bearing (ob- scurely ) the symbols of the four Evangelists. In the upper part of the left side light is the angel with the measuring rod (xi. 1), and in the right side light is the angel standing in the sun (not to be confused with the woman in the sun mentioned in the next window,) calling the fowls of the air to the supper of the great God (xix. 17). In the circular light at the top are the name "Sardis" and a shield bearing a white dove in the midst of the seven stars (the seven Spirits of God,) mentioned in the message to the church in Sardis (iii. 1). In the border at the bottom of the three lights are the words: "The First || Begotten of || the Dead." A tablet in the Ambulatory reads :
"The Clerestory Window Above || the Chapel of St. Martin of Tours || is Erected to the Glory of God || and in Loving Memory of || Sophia R. C. Furniss || and || Mary B. Hubber || by | | Margaret E. Zimmerman || nee Furniss |! Blessed are the peace-makers for they || shall be called the children of God."
The Woman in the Sun is the title of the window above the entrance to the Chapel of St. Ambrose. In the central light is the woman clothed with the sun and wearing the crown of twelve stars (Rev. xii. 1). She is surrounded by a dazzling radiance of flaming rays. Above her, a cloud of glory is carrying her Child up to the throne of God. (xii. 5). In the left side light, above, is the angel proclaiming the fall of Babylon (xiv. 8), and below, symbolizing that wicked city, the woman in scarlet holding the golden cup of abominations and seated on the beast from the bot- tomless pit (xvii. 4, 18). In the right side light,
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above, is the angel with the sharp sickle and the clus- ters of the vine (xiv. 18), and below, the angel with the keys to the bottomless pit and the chain to bind the dragon (xx. 1). The whole window symbolizes the triumph of Christ over the forces of evil. In the circular light at the top are the name "Philadelphia" and a shield upon which, between six D's, is the key of David mentioned in the message to the church in Philadelphia (iii. 7). In the border at the bottom are the words: "The Prince || of the Kings of || the Earth." A tablet in the Ambulatory is inscribed :
"The Clerestory Window Above || the Chapel of Saint Ambrose || is Erected to || the Glory of God || and in Loving Memory of || Morgan Lewis Livingston || 1800-1869 | | and || Catharine Manning Livingston || 1810-1886 || By Their Daugh- ter || Julia Livingston || 1916."
The Theabenly City is the principal subject of the window above the entrance to the Chapel of St. James. In the lower part of the middle light is the angel show- ing to St. John the Heavenly City (Rev. xxi. 10 et seq.) and in the upper part is a glorified figure sym- bolizing the holy city, new Jerusalem, coming down from God out of heaven prepared as a bride adorned for her husband (xxi. 2). Beneath this figure in the upper part is the pure river of water of life, and on either side of it is the tree of life whose leaves are for the healing of the nations (xxii. 1-2). In the lower part of the left-hand light is the angel with the Alpha, and in the corresponding part of the right- hand light is the angel with the Omega (xxii. 13) ; while above each of them is a beckoning angel saying "Come" (xxii. 17). In the circular light at the top are the name of the church of Laodicea and the word "Amen"-the latter being the name of the sender of the message to the Laodiceans (iii. 14) and the word with which the Book of Revelation and the Bible end
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(xxii. 21). In the bottom border of the three lights is the inscription : "To Him be Glory | | and Dominion for | | Ever and Ever." The window was given in memory of Mary C. and Dr. John D. Ogden by their children Francis L. Ogden, Margaret Ogden, Mrs. Gardiner Sherman and Mrs. Francis C. McNutt.
The Ambulatory
The Ambulatory (12-12-12) is a passage about 20 feet wide leading entirely around the Choir and giving access to the seven Chapels of Tongues, the Sacristy, and other environments of the Choir. Some of the features have already been described. The symbolism of the earthly life in the pavement, before mentioned (p. 52), is noticeable in the large areas of clay-red tiles with borders of grassy green serpentine and green marble from Pennsylvania. The beautifully colored wainscoting between the great pillars is of Grecian marble from the island of Scyrus. The Ambulatory is entered through elaborately wrought steel gateways, 30 feet high, in the archways on either side of the great arch of the Choir. The gates, made by Messrs. Warren & Wetmore, were presented by the Cathedral League and the Diocesan Auxiliary. In the south Ambulatory gateway is a white marble tablet, showing in relief two angels and two portrait medallions of Mr. and Mrs. Levi P. Morton, and bearing the fol- lowing inscription :
"To the Glory of God 11 and || in Enduring Memory of || Levi Parsons Morton
1824-1920 || Vice-President of the United States || Governor of the State of New York || and || of His Wife || Anna Livingston Morton || 1846- 1918 || Whose Gifts Made Possible the || Building and the Furnishing of || the Choir of this Cathedral || Yea saith the Spirit that They !| May Rest from Their Labours || and Their Works do Follow Them."
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THE FOUNDER'S TOMB
The Founder's Tomb, containing the remains of Bishop Horatio Potter, sixth Bishop of New York,* in the Ambulatory between the fourth and fifth great pillars opposite the entrance to St. Saviour's Chapel, is a beautiful example of an "altar tomb" such as are seen in many English churches. Its position, imme- diately behind the High Altar, is that traditionally re- served for the Founder of a cathedral. It is designed in the English Gothic style of the 15th century after studies of the tomb of Edward the Confessor in West- minster Abbey. The sarcophagus, the recumbent fig- ure of the Bishop and the figures of the five orna- mental niches of the front are of Indiana limestone. The figures, from left to right, are those of (1) Edward the Confessor, with crown, scepter and orb; (2) St. Remigius, with cup and scourge; (3) St. John the Divine, with pen, book and eagle; (4) St. Isidore, with miter, pallium and crozier; and (5) St. Theo- dosius of the Eastern Church, wearing a coronet with cross, holding a staff and reading from a scroll. Above the niches is a decorative moulding of oak leaves and acornst with little squirrels at the ends. On the edge of the slab on which the Bishop's figure rests is inscribed :
"Horatio Potter, D.D., D.C.L., Oxon. || Sixth Bishop of New York, Founder of this Cathedral. Died 2d Jany. 1887, Aged 85 Yrs."
On the rear of the sarcophagus is inscribed "St. John's Day X Anno Domini 1921," the day on which the Bishop's remains were transferred from Pough- keepsie to this tomb. Above the tomb, reaching to a height of 15 feet above the pavement, is a canopy of American oak with richly carved frieze and cresting,
* Uncle of Bishop Henry Codman Potter, seventh Bishop of New York, whose tomb is in the Chapel of St. James.
t The symbolism applicable to Bishop Potter's work is that of the familiar adage, "Great oaks from little acorns grow."
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supported on corbels springing from the great granite columns on either side. A narrow stairway behind the columns and the tomb leads to a landing which permits a closer view of the figure of Bishop Potter. The architect was Mr. Thomas Nash of New York and the sculptor of the figures was Mr. Isidore Konti of Yonkers, N. Y.
The Choir Boys' Stone on one of the piers of the Ambulatory near the Chapel of St. Ansgarius, is the bust of a boy of the class of 1911, carved by Mr. William Scott. It represents the choir boys' contribu- tion to the building of the Cathedral. (See page 115).
The Seben Chapels of Congues
The seven Chapels of Tongues, built around the Choir on lines converging toward the Sanctuary and deriving their name from the fact that they were intended for services of the church in the languages of the principal ethnological groups or regions of the world, are one of the noblest conceptions of the Cathe- dral. In early Gothic churches, the fundamental idea of the apse with radiating chapels was Christ in the company of his Saints. Here, in the great cosmopol- itan Diocese of New York, this idea has appropriately been carried a step further in these chapels to include the idea of all the nations of the earth gathered around the Altar of the Saviour of Mankind. They recall the cry of the multitude in Jerusalem at Pentecost: "How ยท hear we every man in our own tongue wherein we were born the wonderful works of God" (Acts ii. 8, 11). Among the interesting services held in these chapels are those in the eastern (St. Saviour's) chapel for the Japanese and Chinese in their languages and for colored people in English. The spirit fostered by these chapels is occasionally reflected in great con- gregations, entirely of Italians, entirely of negroes, or predominantly of some other race, at services held in
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the main part of the Cathedral filling it to its utmost capacity .* Services in English are held in one or more of the chapels every day of the year, and often- times weddings and baptisms are held in them. As a group, the seven Chapels of Tongues eloquently express the catholic and democratic spirit of the Cathe- dral of St. John the Divine referred to on page 14. They may be visited in order either from south to north or north to south; but by beginning on the south side they will be seen in the order in which they were observed on the exterior (p. 31), and by look- ing through the archways of the Choir to the opposite side of the Ambulatory, glimpses may be had of the tapestries and the clerestory windows in the order in which they have been described.
The Chapel of St. James
ST. JAMES, the Apostle, after whom this chapel is named, was the son of Zebedee and was a Galilean fisherman. He is sometimes called St. James the Great to distinguish him from another Apostle called St. James the Less. He was a brother of St. John the Divine. He went almost everywhere with the Lord. After the ascension, he preached a while in Judea and then in Spain. After his mission there, he was beheaded by the Jews, and, according to tradition, his body was miracu- lously transported back to Spain, where his relics are said to rest at Compostella. Spanish historians chronicle 38 instances in which he is believed to have descended from heaven and in shining white armor led the Spanish armies against the Moors. Under the Spanish equivalent of his name, St. Iago, or San- tiago, he became the patron saint of Spain and his name the Spanish war-cry. He is usually represented in the dress of a pilgrim with a peculiar staff. The Memorial Day for St. James is kept on July 25.
The Chapel of St. James (13 on plan), designed by Mr. Henry Vaughan, is in pure English Gothic Archi- tecture of the 14th century ; 66 feet long and 39 wide.
* The congregational singing, always a feature of the Cathedral services, is remarkable on these occasions, especially with the colored congregations, among whom are often heard voices of exceptional quality.
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THE SANCTUARY OF THE CHAPEL OF ST. JAMES
with a sort of transept on the north side 15 feet wide; seats 250 persons, and cost about $200,000. Its inte- rior walls are of Bedford, Ind., limestone. On the front of the Altar of gray Knoxville, Tenn. marble, is sculptured Da Vinci's Last Supper. The central feature of the limestone Reredos is a relief represent- ing the Transfiguration, after Raphael. In four niches, two on either side of the Transfiguration, are statues of the four Evangelists with their appropriate em- blems at their feet (left to right:) St. Matthew with winged man; St. Mark with lion; St. Luke with ox; and St. John with eagle. Beneath the Transfiguration is a smaller sculpture of the Nativity, with an alleluia angel on each side. On four escutcheons, two on each side of the Nativity, are emblems of the condemnation and crucifixion (left to right:) (1) Crown of thorns and spear (John xix. 2, 5, 34) ; (2) pillar to which Christ was bound for scourging, cord, knotted scourge (John xix. 1) and sponge on reed (John xix. 29) ; (3) ladder, sponge on reed and spear; and (4) ham- mer, pincers, coat, and three dice (Mark xv. 24). Beautifully carved canopies surmounted by six ador- ing angels crown the Reredos. The stained glass East Window, by C. E. Kempe & Co. of London. above the Reredos, depicts in its three lights (left to right ) St. Lawrence, St. James and St. Vincent. In two walled-up panels of the window, one on each side of the glass, are statues of St. Peter with keys (left) and St. Paul with sword (right). In niches of the walls of the chapel are the following statues and sym- bols : East Wall, St. Augustine of England with cro- zier (left) and St. Gregory the Great (who sent him to England) with papal tiara and papal cross (right). West Wall, end of main aisle, above, Christ between his kinsmen St. James the Great (left) and St. James the Less (right) ; and at end of south aisle, the Vener-
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able Bede. On four escutcheons, two on each side of the west door, are: (1) A floriated cross (em- blematic of the flowering or productiveness of the Christian religion) ; (2) the monogram iht (repre- senting the first two and last letters, uncial form, of the Greek word for Jesus*) ; (3) the Greek cross form of the chi rho monogram (first two Greek let- ters of the name Christ) ; and (4) the Alpha and Omega, the first and last letters of the Greek alpha- bet, (Rev. i. 8). North Wall, statue of William of Wykeham. In the upper part of the north wall is the gallery of the organ, which is independent of the great organ of the Cathedral. Choir Stalls near the Altar are a distinctive feature of this chapel. Two clus- tered columns divide the south aisle into three bays. in the middle one of which is Bishop Potter's Tomb. of Siena marble. On the tomb is a recumbent figure of the Bishop in Serevezza marble, by Mr. James E. Frazer. The Bishop is represented in his episcopal robes, and the execution is so fine that even the tex- ture of the lawn sleeves is apparent. On the front of the tomb is inscribed :
"Henry Codman Potter || MDCCCLXXXIII Assistant Bishop of New York MDCCCLXXXVII || Bishop of New York || MDCCCLXXXVII-MCMVIII || Upholder of Right- eousness and Truth || Soldier and Servant of Jesus Christ."
On the rear :
"He laboured that this Cathedral Church || Should rise to the Glory of God and as || A witness to the Life of our Lord and Master Jesus || Christ that here the prayers of the chil- dren || of many lands should rise to that || Father in whom alone all men are brothers || Whose service is perfect freedom."
Around the edge of the top slab :
* These letters ibc and the corresponding capitals IHC (iota, eta, sigma,) are the first two and last letters of the Greek word for Jesus. They are frequently associated with the letters XPC (chi, rho, sigma.) the first two and last letters of the word for Christ. When converted into the Roman form of ib; or IHS, they are sometimes construed to be the initials of the words Jesus Hominum Salvator (Jesus Saviour of Men).
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"I saw the Holy City coming down from God out of Heaven || and I heard a great voice saying || Behold the tab- ernacle of God is with men and he will dwell with them || and they shall be his people."
On the west wall is inscribed :
"The Chapel of St. James || Consecrated || May 2, 1916 || To the Worship of || Almighty God || And in Loving Memory of || Henry Codman Potter || Bishop of New York || Born May 25, 1834 || Died July 21, 1908 || The Gift of His Wife || Elizabeth Scriven Potter || Born September 30, 1848 || Died March 4, 1909."
Story of the Blind darman. A beautiful
and touching incident occurred in the Chapel of St. James a few years ago. One day, a woman who was blind, deaf, and could make only a few hardly articulate sounds, but who was cultured and could read by touch, visited the Cathedral with another woman. The Verger, the late Charles F. Barnard, first led her the full length of the Cathedral in order that she might comprehend its size. Then the general features of the edifice were communicated by her friend by the touch of their hands. The wood and stone carv- ings, however, she read with her own fingers. When she came to the Chapel of St. James, she wished to feel of Bishop Potter's features as reproduced in the effigy on his tomb, but on account of the delicacy of the marble, visitors are not allowed to touch it. The blind woman, however, produced from her bag a pair of thin white gloves, and by signs asked if she might feel of the statue if she put them on. The Verger assenting, she ran her fingers deftly over the Bishop's countenance, felt of the signet ring on his finger, etc., and then, satisfied, proceeded to the Altar. Here she knelt down and began to feel of the relief representing Da Vinci's Last Supper. As soon as she recognized the work, she threw up her hands in ec- stasy and exclaimed in broken accents, the best she could utter, "Vinci! Vinci!" The venerable Verger,
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in relating this incident, said that he was moved to tears by the spectacle of the blind woman, kneeling before the Altar, with up-raised hands, "seeing" the Cathedral through the sense of touch. One may well ask, if this blind woman could see so much spiritual beauty in the Cathedral without eyes, how much more ought those to see who have the blessed gift of sight.
The Chapel of St. Ambrose
ST. AMBROSE, or Ambrogio, the namesake of this chapel, was born in Treves about 340, the son of a Roman Prefect in Gaul (now France). While in his cradle one day, a swarm of bees settled upon him, clustering around his mouth, but doing him no harm. A similar thing having happened to Plato, it was considered an omen of future greatness. He studied law at Rome, became a magistrate in upper Italy with court at Milan, and by his wisdom and gentleness won such popular esteem that when called upon to settle of suc- cession of the bishopric of Milan between the Arians and Catholics he himself was chosen by both parties to be Bishop of that see. He was one of the most celebrated fathers of the church. His most distinctive symbol is the beehive, although two human bones, the scourge, the crozier, the mitre, etc .. are sometimes used. The Memorial Day for St. Ambrose is kept on April 4.
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