USA > New York > New York City > A guide to the Cathedral church of Saint John the Divine in the city of New York > Part 5
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The Chapel of St. Ambrose (14 on plan), designed by Messrs. Carrere & Hastings, is in modern Renais- sance Architecture. It is about 50 feet long and 27 wide, seats 100 persons and cost over $150,000. The floor is inlaid with grey Siena and red Verona mar- bles, bordered with cream colored Cenere marble. The walls are lined with Rosato marble. On the under side of the marble archway at the entrance are reliefs representing the Three Persons of the Trinity with angels, as follows : (Left) the Father in human form*, with triangular nimbus, holding the globe of sovereignty; angel with lute; angel with lily; (top)
* This rare representation of God the Father in human form is after examples developed during and confined almost entirely to the 14th-16th centuries. The triangular nimbus is peculiarly the symbol of God the Father. Note description of Reredos.
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the Holy Ghost in form of the dove; angel with trum - pet ; angel praying; and (right) the Son in form of the Paschal Lamb. The false perspective of the side walls is similar to that in the Sacristy of the Cathedral of Siena. In the spandrels of the false arches of the left-hand wall (as one faces the Altar) are figures in relief (reading from entrance toward Altar) of : Moses and the prophets Isaiah, Jeremiah and Ezekiel ; and on the opposite wall, in same order, St. Matthew with cherub, St. Mark with lion, St. Luke with ox, and St. John with eagle. The ceiling is of white marble carved in low relief. From the ceiling hang four silver lamps, one an antique Italian lamp and the others copied from it. On the front of the Altar of alabaster are three golden ornaments, representing the Paschal Lamb (Christ) between two angels swinging censers, the latter symbolizing the prayers of all saints (Rev. viii. 3). The Reredos, not copied from any one European prototype but inspired by many examples found in the transitional and early Renaissance period in Italy, is of carved wood overlaid with gold leaf. The lower part consists of a triptych, covered by an elaborate canopy and flanked by niches in which are statues of St. Francis (left) and St. Ambrose (right). In niches at the left of the canopy are figures (left to right) of a kneeling angel, St. Benedict with crozier. St. Agnes in female apparel, and Dante in red gown and hood; and at the right (same order) Fra Angelico. Galileo with globe, Savonarola, and kneeling angel. Upon the cross of the canopy is a dove, symbolizing God the Holy Ghost; above that is the all-seeing eye in a triangle within a sun-burst, symbolizing God the Father ; and on the top-most spire is the figure of God the Son holding a cross and pronouncing a benedic- tion. Along the side walls are Stalls and Wainscoting of dark Italian walnut, inlaid with pear-wood in de- signs including the star of the east, chalice, Latin cross,
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patriarchal cross, and Bishop's mitre. Inlaid in the top border of the wainscoting is this inscription :
(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 iron Italian Screen at 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 candle- sticks 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. Am- brose, who stands between them facing the Altar; (6) the public penance before St. Ambrose of Em- peror Theodosius who caused the massacre of the Thessalonians; (7) laying the cornerstone 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 Whit- ing || Amelia Whiting Davis || Augustus Whiting, Jr .. || Natica Rives Burden || This Chapel || has been Erected by || Sara Whiting Rives."
The Chapel of St. Martin of Tours
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
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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 Memo- rial 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 Gothic Architecture; 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 occu- pied 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- || amr.ent || 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 the thickness of the wall. The pavement of Knoxville, Tenn. pink marble is bordered with black Belgian marble. The simple marble Altar in the form of a table resting on red marble pillars has no reredos.
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The Seven Windows, three in the Sanctuary and four in the clerestory, by Mr. Charles Connick of Boston, Mass., are of grisaille* 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 beg- gar; (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 Orelans; (3) the coronation of Charles VII. ; and (4) her martyrdom at the stake. In the cir- cular lights 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
* Grisaille, from the French "gris" meaning "gray," so-called on account of the grizzled or grayish brown glass often employed. Win. dows in geometrical designs are also called pattern windows. Other examples of grisaille windows are those in St. Columba Chapel.
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the City of Rheims .* (2) On a blue field sprinkled with golden fleurs de lis, the Mother and Child, repre- senting 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 Arch-
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Coats of Arms in Windows of Chapel of St. Martin of Tours.
diocese of Rheims.t (7) On a blue field, three golden fleurs de lis under a white "label" or mark of cadency of eldest son,¿ being the royal arms of the Dukes of Orleans. A Statue of Joan of Arc, expressing her
The designer has taken artistic license with these colors. Strictly, the arms of the City of Rheims are: On a silver field, a green wreath of oak and laurel with red fruit; on a blue chief three fleurs de lis of gold.
7 Strictly, the arms of the Archbishop of Rheims are: On a blue field sprinkled with golden fleurs de lis, a silver cross over all.
# In 1376, Charles V. fixed the number of fleurs de lis in the royal arms at three "to symbolize the Holy Trinity." Some persons consider that the three leaves of the conventional fleur de lis also symbolize the Trinity.
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spiritual character, by Miss Anna Vaughn Hyatt, is soon to be placed in this chapel. 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. The wrought-iron Screen of beautiful trac- ery 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 exist- ing mediaval 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 re- ligion. In the frieze are four panels depicting four scenes which are described in a quaintly lettered in- scription 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."
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."
The Chapel of St. Sabiour
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 Memo- rial Day for St. Saviour is kept on December 25.
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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 Abys- sinian 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 of Architecture after designs by Messrs. Heins & LaFarge. It is 56 feet long and 301/2 feet wide, seats 150 persons, and cost about $200,000. Its interior walls are of Minne- sota dolomite, around the base of which runs a foun- dation 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. The Altar, made by Messrs. Batterson & Eislie and carved by Mr. Schwartz, is of snow-white Carrara marble. Its face and front cor- ners are adorned by the figures of six angels singing "Holy, Holy, Holy." Carved on the face of the re- table is the crown of thorns, supported by two cherubs. The Reredos is of polished red Siena marble, bordered with Venetian mosaic. The Chair and Prayer Desk of 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 Conven- tion || of the Diocese of New York, being also the first open- ing || of the Diocesan Synod Hall."
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The East Window, a glorious work in stained glass by Mr. Hardman of Birmingham, Eng., com- pletely 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 recep- tacle of the scrolls, representing respectively the Law and the Prophets. 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 sacri- fice miraculously consumed by the fire of the Lord (I. Kings xviii. 30-38). In niches on either side of the window are the following Statues of Bishops, saints and scholars of the Eastern church :
Left. St. Polycarp b. 69 d. 155 Bishop of Smyrna St. Athanasius b. 296 d. 373 Primate of Egypt Origen b. 185 d. 253 Great eastern scholar
St. Gregory Nazianzen b. 330 d. 389 Bishop of Nazianzus
Right. St. Chrysostom b. 347 d. 407 Archbp. of Constantinople St. Basil b. 329 d. 379 Bishop of Caesarea St. Clement of Alexandria b. circ. 150 d. 213-220 Celebrated Church Father St. Ignatius b. circ. 50 d. 107 Bishop of Antioch
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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 four Lamp Standards of Car- rara 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 iron Screen, 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 Hus- band || August Belmont."
The Chapel of St. Columba
ST. COLUMBA was born in County Donegal, Ireland, in 521, of royal blood. After study and religious work in Ire- land, 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 won- derful 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 sub-
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due 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 of Architecture. 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 mould- ing 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 pat- terns, convey the idea of the Norman style which one sees exemplified on a larger scale in Durham Cathe- dral and other churches of that period in England. The vaulting over the Sanctuary is 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. The Altar. of cream colored Italian marble, is in the form of a table supported by marble pillars. It has no Reredos. The Sanctuary 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 ban - tism 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
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the four symbols previously explained (p. 75), namely, the IHC, 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 grace- ful seven-branched Candelabra, after Donatello, were brought from Italy by Mr. George Gordon King. Turning toward the entrance, in which is a wrought iron Screen in the Spanish style, designed by Mr. Samuel Yellen and made by the Industrial Ornamental Iron Works of Philadelphia, Penn., one sees an ex- tremely interesting feature in the Statues by Mr. Gut- zon 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 .*
Seen from Chapel.
Left.
St. Aidan
Right. St. Augustine
Bishop of Northumbrians
Archbishop of Canterbury ac. 597 d. 604
ac. 635 d. 651 St. Anselm
King Alfred King of Wessex b. 849 d. 901
Thomas Cranmer William of Wykeham Bishop of Winchester ac. 1367 d. 1405
b. 1489 d. 1556 Joseph Butler
Jeremy Taylor
Bishop of Durham
Bishop of 3 Irish sees b. 1613 d. 1667
b. 1692 d. 1752 John Keble
Reginald Heber
leader in Oxford movement
Bishop of Calcutta
b. 1792 d. 1866
b. 1783 d. 1826
* In the following table ac. indicates date of accession to title. Some of the dates here and on page 85 are only approximate.
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Archbishop of Canterbury ac. 1093 d. 1109
Archbishop of Canterbury
Seen from Ambulatory. Left. St. Alban promartyr of Britain
Right.
Theodore of Tarsus
Archbishop of Canterbury ac. 668 d. 690
Stephen Langton
Archbishop of Canterbury
b. 1150 d. 1228
Matthew Parker Archbishop of Canterbury b. 1504 d. 1575 George Berkeley
Richard Hooker
Anglican theologian
Bishop of Cloyne, etc.
b. 1684 d. 1753
b. 1554 d. 1600 John Wesley
evangelical revivalist b. 1703 d. 1791
Frederic Denison Maurice preacher and leader b. 1805 d. 1872
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 foregoing relative positions, it being understood that the left side as seen from the chapel is the same as the right side as seen from the Ambulatory.
The Cathedral has in its possession a Stone from the 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."
The Chapel of St. Boniface
ST. BONIFACE, whose original name was Winifred, was born in Devonshire, England, about the year 680. He en- tered 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 send- ing missionaries to the heathen parts of Europe, Winifred
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d. circ. 304
The Venerable Bede chronicler and priest b. 673 d. 735 John Wyckliffe morning-star of Reformation b. 1325 d. 1384
was authorized by Pope Gregory II. to preach the Gospel to the tribes of Germany, and he is called the Apostle of Ger- many. 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 sev- eral 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 con- gregation 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 Gothic Architecture of the 14th century. It is about 481/2 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. The Altar is of gray marble from the same source. In the three ornate panels on its face are the monogram IHS (see p. 75), the floriated Greek cross (see next page), and the Greek cross form of the Chi Rho (p. 75). The richly carved Reredos has three canopied niches, in the cen- tral 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 glass Windows. 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 repre- sented as the Great Teacher. His robe is sprinkled with the ihc monogram (p. 75) and in His nimbus
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