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.”