USA > New York > New York City > A guide to the Cathedral church of Saint John the Divine in the city of New York > Part 6
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appear the ends of a floriated cross .* 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,t 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 a monstrance, and (below) St. Birinus baptizing King Cynegils of the West Saxons; St. Augustine of Can- terbury with archiepiscopal staff, holding a tablet rep- resenting 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 Lich- field, holding crozier and model of Lichfield Cathe- dralt. 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
* Only the nimbus of the Deity is ornamented with the cross. In a front view, but three arms of the cross appear; and sometimes these are represented as rays of light. A few writers, including G. J. French and W. & G. Audsley, contend that the three rays on the nimbus of the Deity have no connection with the cross, but symbolize the Trinity. The similarity of the floriated terminals to the French fleur de lis has no special meaning, the real significance being, as stated on page 75 the flowering or productiveness of the Christian religion.
¡ A Bishop's crozier is usually in the form of a pastoral staff or ornate shepherd's crook; an Archbishop's staff has a cross instead of a crook at the upper end; and a papal staff has a double cross at the upper end.
# The founder of a see is usually represented holding the model of a cathedral.
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crozier, and (below) St. Aidan instructing the youth- ful St. Chad and others. In the west clerestory win- dow are: St. Patrick with crozier ornamented with shamrocks; St. Gregory of Rome with papal staff, hold- ing 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 display- ing 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 Robinson below; 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 are Statues of Thomas a Becket (left) and St. Boniface (right) ; and in a niche in the east wall is one of Erasmus. Three wrought iron Lamps are suspended by iron chains from the ceiling ; and at the entrance is a handsome wrought iron Screen adorned with escutcheons bearing the iht monogram 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 Sulli- van Bowdoin || and His Wife || Julia Grinnell Bowdoin || and Their Children || Temple Bowdoin || Fanny Hamilton Kings- ford || Edith Grinnell Bowdoin."
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Story of the Dobe of Peace. During the last year of the World War, an incident interesting in itself and illustrative of the origin of the legends and tra- ditions which often grow up around cathedrals, oc- curred 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 Cathe- dral .* When the stained glass window above men- tioned 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 in fearful 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 dur- ing the sermon. When the ushers started toward the Altar with the offertory, the bird soared across the
* It used to cost about $30.00 to remove a bird's nest from the interior of the Cathedral.
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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 re- garded 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 .* 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.
The Chapel of St. Ansgarius
ST. ANSGARIUS, or St. Ansgar, was born in Picardy in 801. With his co-laborer Autbert he went to preach Chris- tianity to the northmen of Sleswick. In spite of much perse- cution, 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, Swedent 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), de- signed by Mr. Henry Vaughan, architect of the Chapel of St. James, is in the same style of Architecture, 14th
* As an illustration of a peace legend connected with a European church may be mentioned that of the Golden Virgin of the basilica of Notre Dame de Brebieres, in Albert, France. In the bombardment of 1914, the figure of the Virgin and Child which surmounted the spire was thrown over and remained suspended at right angles for over three years; during which time the belief sprang up locally that when the Golden Virgin fell, peace would come. The Virgin fell during the bombardment of 1918, and peace ensued a few months later.
t In 1918 the Archbishop of Upsala, Primate of Sweden, sent a Swedish Book of Devotions to be used in this chapel.
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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 founda- tion, the Chapel of St. Ansgarius cost about $225,000, making it the most expensive of the THESE SMRLES FRAIS THE CHTREDRAU OF CHRISTARD ST. MARY VIRGIL seven Chapels of Tongues. The interior walls are of Indiana limestone ; and the pave- ment of pink Knoxville, Tenn. marble and mot- tled Vermont marble. The Altar is of gray Knoxville marble. On its front is carved the Madonna of the Chair Niche in St. Ansgarius Chapel made of old Cathedral Stones 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 sculp- tured Reredos, (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
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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 of stones 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 Wor- cester .* 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 Memo- rials to || William Reed || Huntington || Sometime Rector || of All Saints || in Worcester || Massachusetts."
Three small Windows of two lights each in the Sanc- tuary contain (from left to right) representations of : (1) St. Willibrod with mitre, archiepiscopal staff, and model of cathedral; and St. Lucian with crown, scep- ter and sword; (2) St. Ansgarius with mitre and cro- zier; 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
Some years ago, when Canon Douglas was visiting Worcester Cathedral, England, Canon Wilson pointed to a spot in the wall where an ancient carved stone had been replaced by a modern stone, and said: "A good while ago a man of the name of Huntington, who introduced himself as Rector of a church in Worcester, Mass., begged me to give him a bit of carved stone as a symbol of the ties between England and America." This led Canon Douglas to ask for a similar gift to be placed in St. Ansgarius' Chapel, which is a memorial of Dr. Huntington, in a House of God where Englishmen and Americans often meet and where members of the Daughter Church have constant occasion to recall their indebtedness to the Mother Church of England.
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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) ; Abra- ham 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 Annuncia- tion (Luke i. 28); the angels' visit to the shepherds (Luke ii. 8-12) ; and the angel's visit to Joseph, hus- band 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 Lon- don. In two high niches in the south wall are Statues of 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,
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holding a small cathedral (below). The sculptures are by John Evans of Boston. This chapel has an in- dependent Organ, played from a moveable console on the floor. The chapel, which is the gift of many per- sons, was dedicated on April 3, 1918. On one of the walls is inscribed :
"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 Cathe- dral."
The Corner Stone of 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 41/2 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 con- tains, among other things, a fragment of a Spanish Brick from Hispaniola (Hayti) which was given to the Cathedral by Mr. Malcolm McLean, Senior War- den 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 Chris- topher Columbus, 1493. Isabella, Hispaniola."*
* The Corner Stone also contains a Bible. a Prayer Book, a Hymnal, Journals of the Diocesan Conventions 1882-1892, Journals of the General Conventions 1889-1892, Centennial History of the Diocese of New York, several church periodicals, three different almanacs for 1893, Catalogue of the General Theological Seminary and St. Stephen's College 1892-1893, New York daily papers of December 27, 1892, the form of service for laying the Corner Stone, names of the Cathedral Trustees, several charges and addresses delivered by Bishop Potter on various occasions, letters from the Bishop to the clergy and others concerning the Cathedral, the badge and rules of prayer of the Brotherhood of St. Andrew, medal of the Missionary Society, lists of principal officers of the United States, N. Y. State and N. Y. City governments, and a list of the objects placed in the stone.
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The Crypt
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, and entrusted 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 a' 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 Cross- ing 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 the Tiffany Chapel. The top and retable of the Altar are of Carrara mar- ble, while the front and sides are adorned with medal- lions of mother of pearl, four smaller discs contain- ing emblems of the four Evangelists, a central shield set with sapphires, topazes and mother of pearl, and 150.000 pieces of glass mosaic. The Reredos is of iridescent glass mosaic, as are the twelve Pillars back of the Altar symbolizing the twelve Apostles. The general effect is Byzantine. The Altar. Reredos, font. lectern and windows were given by Mrs. Celia Her- mione 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, Mav 23. 1919; and the Right Rev. Charles S. Burch. D.D., ninth Bishop of New York, December 23, 1920.
Summary Dimensions
On April 19. 1921, the tenth anniversary of the consecration of the Choir and Crossing, the Cathedral
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authorities published the following dimensions. 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.
Length
Western Towers
50 feet
Nave
225
Crossing
100
Choir
170
St. Saviour's Chapel
56
Total length
601
Width
West Front (including buttresses) 220 feet
Nave and Aisles (exterior)
132
Transepts
315
Nave (interior )
56
Aisles (each)
34
Crossing
100
Choir
56
Ambulatory
20
Height
Western Towers
265 feet
Ridge of Nave Roof.
175 66
Nave Vaults (above floor)
130
66
Choir Vaults (above floor)
127 66
Crossing Vault (above floor)
200
66
Central Fleche
470
66
Final Cross (30 feet)
500
Final Cross above tide-water
631
¥
Area
Area of Cathedral
109,082 square feet
Bishops of Rem Dork
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.
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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 On- derdonk; born July 15, 1791; Bishop of New York, active 1830-1845, inactive 1845-1861; died April 30, 1861.
Fifth: The Right Rev. Jonathan Mayhew Wain- wright, D.D., D.C.L .; born February 24, 1792; Pro- visional 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 Man- ning, D.D., LL.D., D.C.L .; born May 12, 1866; Bishop of New York 1921.
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THE BISHOP'S HOUSE
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Part Three Other Buildings, Etc.
The Bishop's House
The Bishop's House (A. on plan,) is in French Gothic architecture of the chateau type, with lofty roof and high dormer windows, and is built of Ger- mantown micaceous schist. It is designed to be con- nected with the Cathedral by cloisters, and is con- nected with the Deanery by a vaulted porch above which is to be built the Bishop's private chapel. The extreme outside dimensions of the Bishop's House are 77 by 126 feet, including the porch. The architects were Messrs. Cram & Ferguson .* The occupants of the house have been Bishop Greer from the time of its opening in 1914 until his death May 19, 1919; Bishop Burch from his installation October 28, 1919, until his death December 20, 1920; and Bishop Man- ning since his consecration on May 11, 1921.
The Deanery
The Deanery (B. on plan) adjoins the Bishop's House as above mentioned. It is by the same archi- tect, is in the same style but of a more domestic type, forms a part of the same architectural composition, and is built of the same kind of stone. It is not so lofty a structure as the Bishop's House, but has many interesting details, particularly on the southern façade. Its extreme outside measurements are about 79 by 93 feet. The late Dean Grosvenor occupied the Deanery from the time of its erection until his death December * For details, see description in the Architectural Record for August, 1914.
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9, 1916, and was succeeded by Dean Robbins in June, 1917. A tablet in the porch is inscribed :
"The Deanery || erected in || Faithful Remembrance || of || Clinton Ogilvie || 1838-1900 || by his wife || Helen Slade Ogilvie || A. D. 1913."
The Choir School
The Choir School (C. on Plan) has a special inter- est for everyone who goes to the Cathedral, for here are educated and trained the boys who sing in the Cathedral services. The school was founded by Bishop H. C. Potter in 1901 and was formerly located in the Old Synod House. The present building, erected in 1912 and built of the same kind of stone as the Bishop's House and Deanery, is in the English Col- legiate Gothic style of architecture; is three stories high, and has extreme outside dimensions of 83 by 150 feet. Messrs. Walter Cook and Winthrop A. Welch were the architects. The building contains offices, a general school room which is equipped with apparatus for both stereopticon and moving pictures, a choir rehearsal room with stalls, individual rooms for vocal and instrumental practice, a fine large com- mon room with open fire-place for reading and social intercourse, dining room, kitchen, dormitories, a big gymnasium, a sick room to which a boy is transferred upon the first sign of any illness, etc. Accommoda- tions are provided for 40 resident scholars and 20 day scholars. Their musical training is under the personal direction of the organist and Master of the Choristers, and their general education under the direction of the Head Master and staff of under-mas- ters. A sympathetic House Mother looks out for the personal wants of the boys and directs the domestic service ; and competent physicians and trained nurses are in attendance when necessary. Boys are admitted to the school at the age of 9 and remain until their
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THE DEANERY
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voices change, which is usually between the ages of 13 and 14. They come from all parts of the United States and possessions, two boys recently having come from Alaska. An applicant is first received on pro- bation, and if he manifests a good character and dis- position, and gives promise of a good voice, he is accepted as a chorister. Until they become full chor- isters, vested with cassock and cotta, probationers sit in separate choir stalls in the Cathedral services and wear only their black student gowns. During their residence at the school, the boys are under strict but gentle discipline and have the finest education and musical training that can be given them. Their board, education and musical training are free, in return for which they give their services as choristers. When they leave the school, they are followed by the interest of the Cathedral organizations which endeavor to secure scholarships for their higher education. The men of the choir, of whom there are about 20, do not reside at the Choir School. The usual number of choristers, men and boys, in the Cathedral services is about 60, except during the summer vacation when the number is somewhat reduced. There is probably no finer choir school in the world, and the Cathedral music is the highest expression of this form of musical art in this country.
The Choir School building, which cost nearly $180,000, is the gift of Mrs. J. Jarrett Blodgett in memory of her father Mr. John Hinman Sherwood. At Eastertide, 1914, the late Commodore Frederick G. Bourne, who had sung as a boy in Trinity Church and in later years in the Church of the Incarnation, endowed the school with $500,000; and by his will, probated March 15, 1919, gave $100,000 to the Cathedral toward the building of the Nave and about the same amount to the Choir School endow- ment. Members of the Diocesan Auxiliary to the
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