Close on the corner of Cathedral parkway and Amsterdam avenue, is the
meeting place of the Diocesan Convention and other secular gatherings
of the Diocese. It also contains the Bishop’s office and the offices of
the Suffragan Bishops, the Rt. Rev. Arthur Selden Lloyd, D.D., and the
Rt. Rev. Herbert Shipman, D.D. It is of Kingwood. W. Va., sandstone with
pink tinges, quite unlike any other stone in the Cathedral group. The
_Architecture_ is pure French Gothic of the 13th century, Messrs. Cram &
Ferguson being the architects. Its outside dimensions are 73 by 171 feet.
The _Western Entrance_ is a fine example of a mediaeval recessed porch
in its architecture and an interesting illustration of the progress of
Civilization and Christianity in its sculptures. It contains 43 figures
in the round and a relief of 12 figures in the tympanum. The key-note
to the composition is the relief in the _Tympanum_ representing Christ
sending out his Disciples to baptize and teach all the nations of the
world. Beneath this is the inscription:
“All power is given unto me in heaven and earth ‖ Go ye
therefore, and teach all nations, baptizing ‖ them in the
name of the Father, and of the Son, and ‖ of the Holy Ghost;
teaching them to observe all ‖ things whatsoever I have
commanded you; and lo ‖ I am with you always even unto the end
of the world” (Mat. xxviii. 18-20).
[Illustration: THE SYNOD HOUSE]
The archivolt outside of the tympanum is composed of three ranges of
Gothic niches in the voussoirs, containing 36 little figures in the
round. The outer range represents 14 ancient and modern _Apostles of
Christianity_ as follows, beginning at the lowest figure on the left-hand
side and reading upward to the center, and thence downward to the lowest
right-hand figure: (1) Count Zinzendorf, 1700-1760, German reformer,
founder of Moravian Brethren, missionary to American Indians; (2) St.
Boniface, 680-755, Apostle of Germany; (3) St. Francis Xavier, 1506-1552,
Apostle of the Indies, one of the founders of the Society of Jesus; (4)
St. Denis, 3d century, Apostle of the Gauls, Patron Saint of France; (5)
St. Olaf, 995-1030, Patron Saint and King of Norway; (6) St. Augustine,
died 604, missionary to Britain, first Archbishop of Canterbury;
(7) Innocent of Moscow, 1797-1879, Apostle of Alaska and Kamchatka,
Archbishop of Moscow; (8) St. Patrick, circ. 372-460, Apostle and Patron
Saint of Ireland; (9) John Eliot, 1604-1690, Apostle of American Indians,
translator of Bible into Indian language; (10) St. Willibrod, 658-739,
Apostle of the Frisians, Archbishop of Utrecht; (11) St. Cyril, 827-869,
Apostle of the Slavs, inventor of the Cyrillic alphabet; (12) David
Livingstone, 1813-1873, British explorer and missionary in Africa; (13)
St. Columba, 521-597, Apostle of Caledonia; (14) Charles George Gordon,
“Gordon Pasha,” 1833-1885, British General, promoter of Christianity in
China and Egypt. The 12 figures in the middle range represent the _Arts
and Sciences_. In the same order they are: (1) Natural Science, man with
microscope; (2) Sculpture, man with mallet and chisel; (3) Medicine,
man with book and skull; (4) Literature, woman reading a book; (5)
Chemistry, woman holding aloft a retort; (6) Industrial Art, man with
vase; (7) Painting, man with palette; (8) Astronomy, man with globe; (9)
Mathematics, man wearing spectacles and gown, holding cone and truncated
pyramid; (10) Physics, woman with telephone; (11) Music, man with
violoncello; (12) Architecture, man[50] holding model of building. The
10 figures in the innermost range represent the _Crafts and Industries_,
as follows: (1) Bookbinding, man making a book; (2) Agriculture, man
sowing seed; (3) Metal Industry, man pouring molten metal from ladle; (4)
Textile Industry, woman with distaff and shuttle; (5) Navigation, sailor
holding telescope with rope at feet; (6) Building, man laying brick;
(7) Engineering, man holding tape measure; (8) Fishing, sailor with
seine; (9) Mining, man with pickaxe and miner’s cap; (10) Shoemaking,
cobbler at his last. Below these, in niches in the splays and central
pilaster of the door-way, are 7 larger figures representing _Seven Famous
Christian Rulers_ who have carried out the injunction in the tympanum,
as follows, (left to right): (1) Emperor Constantine, once ruler of the
Roman World and founder of Constantinople, who proclaimed religious
toleration and presided over the council which adopted the Nicene Creed;
(2) Charlemagne, King of the Franks, Emperor of the revived western Roman
empire, who introduced Christianity into conquered countries, maintained
popular assemblies, and promoted science, art and letters; (3) Alexis,
one of the ablest Emperors of Byzantium and friend of the Crusaders; (4,
in center) George Washington, to whose character as Christian soldier,
statesman and first President of the United States, attaches local
interest from the fact that he commanded the American troops in the
Battle of Harlem Heights which was fought partly on the ground occupied
by the Cathedral Close; (5) Gustavus Adolphus, King of Sweden, one of
the greatest generals, who, with his army in Germany, saved the cause of
Protestantism in the Thirty Years War; (6) St. Louis, King of France,
the most distinguished monarch of his age, who was noted for his piety,
justice and mercy, and who died on a Crusade; and (7) Alfred the Great,
King of Wessex, who bore the brunt of the Danish invasions and was a
promoter of education and Christianity. The sculptures are by John Evans
& Co. of Boston. The _Interior_ decoration of the high roof and open
timbers of the truss-work in polychrome is typical of the Middle Ages
and the wood panelling is a reminder of 15th century work. The latter is
by Messrs. Wm. F. Ross & Co., of Cambridge, Mass. The grisaille windows
are by Mr. Charles J. Connick of Boston. The main hall, which seats 800
on the floor and 400 in the gallery, has a large pipe organ built by the
Ernest M. Skinner Co. of Boston. The Undercroft (basement) is equipped
for use as a refectory. The building cost about $350,000. In the main
vestibule, over the outer door-way, is this inscription:
“To the Glory of God and for the Service of His People ‖
This Synod House was Given in the year A. D. 1912 by ‖ John
Pierpont Morgan and William Bayard Cutting.”
Open Air Pulpit
The Open Air Pulpit (F. on plan) standing in the midst of the Cathedral
Close, is in the form of an open-work Gothic spire 40 feet high, built
of Daytona stone. On its four sides are the usual symbols of the four
Evangelists. The pulpit was designed by Messrs. Howells and Stokes and
was presented by Miss Olivia Phelps Stokes in memory of her sister Miss
Caroline Phelps Stokes. It was suggested by the outdoor services held
here before the Choir and Crossing were ready, and by the open air pulpit
attached to the cathedral church at Perugia.
Organizations
The following organizations of men and women aid in the Cathedral work:
_The Diocesan Auxiliary to the Cathedral_: President, Mrs. Henry W.
Munroe; Vice-Presidents, Mrs. John Greenough, Mrs. Haley Fiske, Mrs.
W. M. V. Hoffman; Secretary, Mrs. Louis Mansfield Ogden; Assistant
Secretary, Mrs. Francis C. Huntington; Treasurer, Mrs. Harold F. Hadden.
_The Cathedral League_: President, Mr. John S. Rogers; Vice-President,
Hon. Thomas C. T. Crain; Treasurer, Mr. John A. Hance; Secretary, Dr.
John B. Walker.
_The Laymen’s Club_: President, Mr. Theophilus Barratt; Vice-Presidents,
Messrs. William W. Borman, Henry M. Sperry, Robert Livingston Stedman;
Treasurer, Mr. Charles P. Dietz; Secretary, Mr. J. Hardwick Stagg.
Organized 1908, incorporated 1920, “to promote and stimulate interest
in the influence, growth and completion of the Cathedral; to bring the
Cathedral and its work more completely within the knowledge of the
community; and to promote the general welfare of the Cathedral.” Among
its activities are the publication of this Guide Book and the Cathedral
post-cards, the improvement of the Cathedral grounds, the assisting
of a choir boy to complete in some well-known preparatory school his
preparation for college, the training of the Cathedral Troop of Boy
Scouts, the giving of free lectures, the ushering in the Cathedral, etc.
_The Cathedral Ushers_ are members of the Laymen’s Club as stipulated
in a resolution of the Cathedral Trustees passed April 25, 1911, and
are designated from week to week by the Canon Sacrist. The badge of
the Ushers is a vesica-shaped[51] gold medallion, having in the center
an episcopal mitre, surrounded by the legend “Ecclesia Cathedralis S.
Johannis Theologi;” suspended by a purple ribbon from a gold bar bearing
the word “Usher.”
Guide Book
Copies of this Guide Book may be procured at the Cathedral from the
Verger or the Ushers, or will be sent by mail upon request addressed to
the Verger (p. 23). In stiff paper covers 50 cents (by mail 60 cents); in
purple cloth covers stamped with gold $1.00 (by mail $1.10).
FOOTNOTES
[1] The service on Nov. 24, when the flags of 12 liberated nationalities
were carried in the procession, and that on Thanksgiving Day when the
flags of 27 allied nations were carried, were two of the most moving
religious services ever held in this country. The liberated peoples
represented in the former were the Armenian, Albanian, Czecho-Slovak,
Jugo-Slav, Greek Irredentist, Italian Irredentist, Lithuanian, Polish,
Rumanian, Uhro-Rusin, Ukranian, and Zionist.
[2] The quality of divinity appertaining only to the Deity.
[3] This was a stone tower similar to the one so well preserved in
Central Park. The remains of another are at the northern end of
Morningside Park.
[4] See note on page 116.
[5] The pastoral staff was presented to Bishop Manning in 1923 by the
Bishop, clergy and laity of the Diocese of London. See reference to the
Diocese of London on page 24.
[6] The processional cross, a memorial of the late Walter D. Davidge,
Chairman of Ushers, is overlaid with pure gold, and mounted upon a carved
mahogany staff. In its center is a large topaz jewel with many facets. It
was made by Messrs. J. & R. Lamb.
[7] Mr. Heins was born May 24, 1860, in Philadelphia, Penn., and died
September 25, 1907, at Mohegan Lake, N. Y., where there is a church
erected in his memory.
[8] Morningside Heights are so named because they front eastward.
[9] See description of corner-stone on page 100.
[10] This is true in both the natural and the spiritual worlds. The oak
grows more slowly than the pine; and the moral achievements which are
worth the most and last the longest are the hardest to accomplish.
[11] The figures of the Virgin and the Child suggest the fact that the
Chapel of St. Saviour occupies the position usually given to the Lady
Chapel in European cathedrals.
[12] The diagonal cross of St. Andrew symbolizes not only the mode of his
martyrdom but also humility. The legend is that when condemned to death,
he asked to be nailed to a cross of a form different from the Saviour’s,
as he was not worthy to die on the same kind.
[13] The usual symbol of St. Bartholomew, the knife with which he was
flayed alive, and that of St. Matthew, the money bag, indicating his
occupation before he was called, are not apparent.
[14] There is a tradition that St. Luke painted the first portrait of
Christ. Pictures of the Madonna attributed to Luke are not uncommon in
southern Italy. There is one such in the Cathedral of SS. Peter and Paul
at Citta Vecchia, Malta. See article entitled “Knights and Sights of
Malta” in Harper’s Magazine for July, 1923, p. 159.
[15] ΙϹ and ΧϹ are the Greek letters iota sigma and chi sigma, (uncial
form,) being the first and last letters in each case of the Greek words
for Jesus Christ. The letters ΝΙΚΑ are read together and spell the Greek
word which means “conquers.” Mrs. Jenner, in her “Christian Symbolism,”
says that this inscription “is stamped upon every altar-bread of the
Orthodox Eastern Church, and it occurs on every eikon of our Lord.”
[16] What is here informally called the central aisle is sometimes called
by architects the Nave, to distinguish it from the parallel passages
called aisles.
[17] 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.
[18] The use of the grape-vine to symbolize Christ dates from the very
beginning of the Christian era. A silver chalice found in Antioch 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.)
[19] 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 resurrection, and
ancient naturalists believed that the lion was born inanimate and came to
life three days after birth; the ox, the emblem of sacrifice, 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.
[20] These Romanesque features are part of the original design which was
subsequently abandoned. There is a plan for changing them to Gothic.
[21] 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.
[22] 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.
[23] 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.
[24] St. Francis, founder of the Franciscan Order, literally interpreted
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.
[25] “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.
[26] Brother of Horatio Potter and father of Henry Codman Potter, Bishops
of New York.
[27] See reference to the symbols of the four Evangelists on page 44.
[28] See page 93 for anecdote of the Dove of Peace connected with this
window.
[29] See page 74 following.
[30] 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.
[31] Uncle of Bishop Henry Codman Potter, seventh Bishop of New York,
whose tomb is in the Chapel of St. James.
[32] The symbolism applicable to Bishop Potter’s work is that of the
familiar adage, “Great oaks from little acorns grow.”
[33] 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.
[34] Concerning the ΙϹ-ΧϹ symbol, see page 34. Concerning the Ichthus
symbol, see page 116.
[35] These letters ihc and the corresponding capitals ΙΗϹ (iota, eta,
sigma,) are the first two and last letters of the Greek word for Jesus.
They are frequently associated with the letters ΧΡϹ (chi, rho, sigma,)
the first two and last letters of the word for Christ. When converted
into the Roman form of ihs or IHS, they are sometimes construed to be the
initials of the words Jesus Hominum Salvator (Jesus Saviour of Men).
[36] 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.
[37] Grisaille, from the French “gris” meaning “gray,” so-called on
account of the grizzled or grayish brown glass often employed. Windows in
geometrical designs are also called pattern windows. Other examples of
grisaille windows are those in St. Columba Chapel.
[38] 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.
[39] Strictly, the arms of the Archbishop of Rheims are: On a blue field
sprinkled with golden fleurs de lis, a silver cross over all.
[40] 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.
[41] This representation of the Transfiguration, like that in the reredos
of the Chapel of Saint James described on page 71, is after Raphael’s
last work, the original of which is in the Vatican. In both cases the
poses of the six figures have been adapted to the spaces occupied.
[42] In the following table _ac._ indicates date of accession to title.
Some of the dates here and on page 86 are only approximate.
[43] 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 74 the
flowering or productiveness of the Christian religion.
[44] 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.
[45] The founder of a see is usually represented holding the model of a
cathedral.
[46] 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.
[47] 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.
[48] 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.
[49] For details, see description in the Architectural Record for August,
1914.
[50] Ralph Adams Cram.
[51] Several ideas associated with the fish-shape of the vesica piscis
have caused it to be recognized as a symbol of Christ. In an ingenious
rebus of a very early date, the five letters of the Greek word for “fish”
ἰχθύς, form the initials of the Greek words Ἰησοῦς Χριστὸς, Θεοῦ Υἱὸς,
Σωτήρ, which mean “Jesus Christ, Son of God, Saviour.”