A guide to the Cathedral Church of Saint John the Divine in the city of New York / Fifth Edition

by Edward Hagaman Hall

The Choir

Architecture. The Choir ([10]) may best be surveyed from the eastern end of the Crossing. (Visitors not admitted to Choir during service time except by permission.) The half-round arches and other features exhibit a late Romanesque style with Byzantine influence, which is not inappropriate to the eastern end of the Cathedral, and which will relatively become a local detail as the prevailing Gothic style of the whole Cathedral develops.[20] The interior facing is of Frontenac stone. Numerous symbols from the Revelation of St. John the Divine will appear as the description of the Choir and its environs proceeds. The first to attract attention is the broad course of red jasper from South Dakota seen at the base of the piers of the great Choir arch. This foundation course, which appears in the Ambulatory ([12-12-12]) running entirely around the Choir, recalls St. John’s description of the Heavenly City: “And the foundations of the wall of the city were garnished with all manner of precious stones. The first foundation was of jasper” (Rev. xxi. 19). The green moulding above the jasper is Pennsylvania serpentine. The floor of the Choir has three principal levels. From the Crossing 5 steps lead to the Choir proper, which contains the stalls for the clergy and choristers and which occupies the first two bays. An ascent of six more steps leads to the second level which may be designated as the Presbytery. Upon it are the two thrones hereafter mentioned and the altar rail, the latter a step higher.[21] In the Sanctuary within the altar rail, 4 steps lead to the third level upon which stands the Altar with its 3 white steps.[22] Around the Sanctuary stand eight Great Columns described hereafter. The principal donor to the building of the Choir was the late Hon. Levi Parsons Morton (Vice-President of the United States 1889-93, Governor of the State of New York 1895-96) who, after the Great Columns were erected, gave $600,000 toward the completion of the fabric and the installation of the Altar, Reredos, Organ, Choir Stalls, Bishop’s Throne, and some other furnishings. This sum was generously supplemented by Mrs. Morton. The ornate Altar Rail of English oak is inscribed:

“To the Glory of God ‖ and in loving memory of ‖ Anna Livingston Morton ‖ May 18, 1846-August 14, 1918 ‖ Given by her daughter ‖ Edith Morton Eustis 1920.”

The Parapet at the entrance to the Choir is designed to represent outstanding characters of 20 centuries of the Christian Era. It is in two sections, one on each side of the steps leading from the Crossing to the Choir, each section being 18½ feet long and 4 feet high. It is built mainly of Champville (France) marble, in modified French Gothic style. The twelve marble columns, alternately green, red and yellow, are of Alps Green from Italy, Rouge de Rance from Italy, and Numidian from Africa, respectively. The figures, from right to left, are as follows (authorities differing slightly as to some of the dates given): (1) St. Paul (died A. D. 66) with sword symbolizing his decapitation; (2) St. Justin Martyr (100-165) with axe and block; (3) St. Clement of Alexandria (150-220) holding cross in left hand; (4) St. Athanasius (296-373) pouring baptismal water from a sea-shell, referring to a playful incident of his boyhood which led to his calling; (5) St. Augustine of Hippo (354-430) with miter, pen and tablet; (6) St. Benedict (480-543) in habit of Benedictine monk pointing to scroll; (7) St. Gregory the Great (550-604) with slave child in broken shackles, referring to his intercession for pagan children in the slave market; (8) Charles Martel (688-741) with crown, battle-axe and pennant; (9) Charlemagne (742-814) with crown, scepter and orb; (10) Alfred the Great (849-901) crowned, with sword by side, holding three burnt cakes on book;[23] (11) Godfrey of Bouillon (1061-1100) crowned, with Crusader’s sword and shield; (12) St. Bernard (1091-1153) in monk’s habit, holding aloft a cross in his right hand and clasping a book in his left; (13) St. Francis of Assisi (1182-1226) in Franciscan monk’s garb, contemplating a cross in left hand, and preaching to birds[24] in tree; (14) John Wyckliffe (1325-1384) with book and staff; (15) Columbus (1435-1506) lifting the veil from the globe, symbolizing the age of discovery; (16) Archbishop Cranmer (1489-1556) with right hand thrust voluntarily into the flame, symbolizing his martyrdom; (17) Shakespeare (1564-1616) standing amidst growing laurels; (18) Washington (1732-1799) in civilian attire as President; (19) Lincoln (1809-1865) standing by a burial cross delivering his Gettysburg Address; (20) uncarved block. The basis for selecting the figures was the representative character of the nineteen men selected in conjunction with their contribution to the development of Christian civilization. The Parapet was designed by Messrs. Cram & Ferguson, and the figures, modelled by Ferrari, were carved by John Evans & Co., of Boston. The Parapet bears the following inscription:

“To the Glory of God and in Memory of ‖ Richard Delafield, ‖ Brigadier-General, Chief of Engineers, ‖ Brevet Major-General, United States Army. ‖ Born September 1, 1798, Died November 5, 1873, ‖ This Parapet is Erected by his Children, ‖ Albert, Juliet Covington and Emma Delafield. ‖ Righteousness Exalteth a Nation: But ‖ Sin is a Reproach to any People.”

The Pavements of the Ambulatory and Choir, designed by Mr. C. Grant LaFarge in Romanesque and Byzantine motives, are related in their symbolism. The colors in the Ambulatory are reddish, or earthy; while those in the three ascents of the Choir progress through increasingly rich designs of greens and whites (hope and purity) to greens, whites and blues (hope, purity and heaven) until they reach the pure white steps of the Altar. The risers of the steps leading from the Crossing to the Choir proper are of yellow Numidian marble and the treads of green Pennsylvania marble. The pavement of the Choir is richly inlaid with Numidian, Swiss and other marbles and Grueby Faience tiles. The steps to the Presbytery are of marble from Hauteville, France. In the center of the floor of the Presbytery is a magnificent mosaic rug of tiles and marbles, 32½ feet long and 10 feet wide, with smaller patterns at the ends. In the center is an oval of black Belgian marble surrounded by violet marble from Italy, while Grueby tiles of many colors, and Grecian, red Numidian and other marbles form the rest of the design. The pavement of the Sanctuary, within the communion rail, in addition to its rich designs of tiles and marbles, contains, immediately in front of the steps to the Altar, a red tile surrounded by a square brass border, inscribed:

“Whoever shall have prayed at this spot will have pressed with his feet a tile from the ancient Church of St. John the Divine at Ephesus, built by the Emperor Justinian in the year DXL over the traditional site of St. John’s grave.”

The tile was presented to the Cathedral by Bishop Kinsman of Delaware, its authenticity being attested by Prof. George Weber of Smyrna, who procured it from the ruins on the hill of Ayassolouk and who, in his lifetime, was a leading authority on Ephesian archaeology.

The Eagle Lectern of bronze at the north side of the Choir steps is a replica of an ancient lectern found near St. Albans Cathedral, England, in a lake into which it had been cast when that structure was destroyed in the Saxon invasion. The eagle, standing on a globe, is the symbol of St. John in his capacity as an Evangelist. Around the lectern are the figures of the four Evangelists: St. Matthew with open book, St. Mark with closed book and pen, St. Luke with open book in one hand and pen in other, and St. John with chalice. Below are their respective symbols ([p. 44]). The lectern was made by the Gorham Co. It bears the following inscription, the initials at the end being those of the donor, Mary Gertrude Edson Aldrich:

“In Memoriam ‖ Horatio Potter ‖ Bishop of New York ‖ 1854-1887 ‖ M. G. E. A.”

THE BISHOP’S THRONE, CHOIR STALLS AND DEAN’S STALL

The Choir Stalls, rising in four tiers on either side of the Choir proper, are of carved American oak. The canopies are after studies of those in the Chapel of Henry VII in Westminster Abbey used as the Chapel of the Knights of the Order of the Bath. The finials of the stalls are figures of great musicians and composers of church music, as follows:

East.
Left.	Right.
Bortniansky	Mendelssohn
Handel	Haydn
Bach	Purcell
Tallis	Palestrina
Pope Gregory	St. Cecelia
Asaph	King David
West.

The figures, modeled by Mr. Otto Jahnsen, are represented in the costumes of their day; and the features of all but those of David and his chief musician Asaph are from portraits.

The high canopied stall nearest the Crossing on the south side of the Choir is the Dean’s Stall.[25] It was designed in the office of Messrs. Cram & Ferguson and is a very skillful blending of styles to harmonize with the Jacobean canopies of the Choir Stalls and the Flamboyant note in the stalls themselves. It has many interesting details of carving, notably the three panels depicting the Good Shepherd (front), Learning (east side), and Charity (west side). On the back of the stall is inscribed:

“In the Name of the ‖ Father Son & Holy Ghost ‖ This Stall is Dedicated by ‖ The Head Mistresses Association ‖ to the Memory of ‖ Agnes Irwin ‖ 1841-1914 ‖ Holding fast the faithful word as she ‖ had been taught herself being not dis- ‖ obedient unto the heavenly vision ‖ Head Mistress of the Agnes Irwin School 1867-1894 ‖ First Dean of Radcliffe College 1894-1909 ‖ First President of the ‖ Head Mistresses Association ‖ 1911-1914.”

In the Presbytery, on the south side, is the lofty Bishop’s Throne of carved oak, while opposite to it is one with a little lower canopy for the use of a bishop other than the Diocesan.

On one of the Choir Stalls is inscribed:

“These Stalls are Erected to ‖ the Glory of God ‖ and in Loving Memory of ‖ Susan Watts Street ‖ 1818-1893 ‖ By her Daughter ‖ Anna L. Morton.”

On a tablet in the Choir is inscribed:

“The Stalls ‖ of the Sanctuary ‖ and the Choir ‖ are Erected to ‖ the Glory of God ‖ and in Memory of ‖ Susan Watts Street ‖ 1818-1893 ‖ By her Daughter ‖ Anna Livingston ‖ Morton.”

The stalls and the cathedra of the Diocesan were made by the John Barber Co., of Philadelphia, and the corresponding Bishop’s throne on the north side by Messrs. Irving & Casson, of Boston.

The Organ, seen in the upper arches on either side of the Choir, contains 7,000 pipes and a chime, connected by electric wires with the console located in the gallery on the south choir screen. The console has four manuals and two octaves of pedals, 106 speaking stops, 31 couplers, and 33 pistons. The organist, invisible to the congregation, can see the choir and clergy either directly or by means of mirrors. A Gothic tablet in the south Ambulatory is inscribed:

“This Organ ‖ is Dedicated ‖ to the Praise of ‖ the Blessed Trinity ‖ and ‖ in Loving Memory of ‖ Lena Kearny Morton ‖ 1875-1904 ‖ By her Parents ‖ Levi Parsons Morton ‖ and ‖ Anna Livingston Morton.”

The organ was built by the Ernest M. Skinner Co., of Boston. (See also Choir School, [page 106]).

The Cathedral Flag which hangs above the choir stalls on the north side of the Choir opposite the American flag, bears upon a purple field a white Latin cross, on the crossing of which is a shield displaying the arms of the Cathedral. The shield is divided by radial lines into three parts: In the upper left-hand part (as viewed) are the arms of the city of New York, in the upper right-hand part the arms of the state; and at the bottom the seven candlesticks and seven stars of the Book of Revelation (ii. 1) symbolizing the seven churches and seven spirits of the churches founded by St. John the Divine in Asia Minor. The Cathedral flag and the American flag were given by Mrs. J. Herman Aldrich. The American flag which is sometimes carried in the procession and which was first used in the victory celebration in 1918, was given by Mrs. William Iselin. ([See page 6]).

The High Altar is of white Vermont marble. The beautiful Gothic Reredos is of pierre de Lens, quarried in the vicinity of the city of that name in the north of France which was so terribly ravaged in the late war. In the center is a majestic figure of Christ. On His left, (in order from center to spectator’s right) are Isaiah, Jeremiah, Ezekiel and Moses, representing the Old Testament; and on His right (in order from center to spectator’s left) are St. John, St. James, St. Peter and John the Baptist, representing the New Testament. The scale of the Cathedral may be judged from the size of the figure of our Saviour, which is seven feet high. Those of Moses and John the Baptist are 6 feet 10 inches high. In smaller niches on the front and sides are 16 angels holding various emblems—palm, sword, shield, swinging lamp, crown, trumpet, etc. Under the pedestals of the statues are clusters of grapes, symbolizing Him who gave His body and blood for man. The statue of Christ was made by Sig. Leo Lentelli under the direction of Mr. Carl Bitter. The other figures were made by Mr. Otto Jahnsen. The great rectangular panel in the lower part of the Reredos is filled with a rare Spanish embroidery in arabesque design, 200 years old. The Altar and Reredos were built by the Barr, Thaw & Fraser Co. Upon the Altar is the following inscription:

“To the Glory of God ‖ and in Memory of ‖ Anna Livingston ‖ Morton ‖ 1846-1918.”

THE HIGH ALTAR

The Credence Table, at the right (south) side of the High Altar, is supported by a shaft composed of three stones from the ruins of the ancient Abbey of Bury St. Edmunds, England, in which the Barons met on November 20, 1214, and swore before the altar to secure from King John the liberties which they embodied in Magna Charta. These relics are of Caen stone, and may be recognized by their gray color. They were given to the Cathedral in 1922, with the consent of the Abbey authorities, by the Marquis of Bristol through Dr. Raphael Constantian of New York. Near the shaft is the following inscription:

“The Adjoining Shaft ‖ Was Once a Part of ‖ the High Altar of the ‖ Abbey of Bury St. Edmunds ‖ Upon Which on ‖ November 20, 1214, ‖ the Barons Swore Fealty ‖ to Each Other in Wresting ‖ the Great Charter ‖ from King John. ‖ It is Placed Here ‖ as a Symbol of ‖ the Community of ‖ Political Tradition, ‖ Laws and Liberties, ‖ Which is the Inheritance ‖ of the English Speaking ‖ Commonwealths ‖ Throughout the World.”

Credence Table with Shaft made of Magna Charta Stones

The Eight Great Columns standing in a semicircle around the Sanctuary and forming seven interspaces opposite the seven Chapels of Tongues, are among the marvels of the Cathedral. They are approached in size only by those in St. Isaac’s Cathedral, Petrograd. The shafts of light gray granite from Bear Island, near Vinal Haven on the coast of Maine, were quarried as monoliths and turned on a special lathe which cost $50,000. When the first two were subjected to the pressure of polishing they broke, and the contractor then obtained permission to make the shafts in two pieces. The lower stone in each shaft is 38 feet high and weighs 90 tons, and the upper stone is 17 feet high and weighs 40 tons, the total height between base and capital being 55 feet and the weight 130 tons. The octagonal capitals of pierre de Lens by Mr. Post represent singing angels. The columns were given as memorials of the men whose names are carved on the bases seen in the Ambulatory (south to north:) “Alonzo Potter,[26] Bishop of Pennsylvania, 1800-1865;” “Colonel Richard Tylden Auchmuty, U. S. V., 1831-1893;” “Harry Manigault Morris, 1817-1892;” “Eugene Augustus Hoffman, 1829-1902;” “John Jacob Astor, 1763-1848;” “John Divine Jones, 1814-1895;” “Josiah Mason Fiske, 1823-1892;” and “Joseph Lawrence, 1788-1872.” Each column cost $25,000, not including the expense of erection. They were made by Mr. John Pierce of Vinal Haven, Me.

The Clerestory Windows of the Choir, nine in number, of which seven are above the entrances to the seven Chapels of Tongues, are designed to depict the Book of Revelation of St. John the Divine. Seven of them are in place. They are of painted mosaic glass made by Messrs. James Powell & Sons of Whitefriars, London, according to the methods used in the thirteenth century and cost $10,000 and upwards apiece. Each window is of three lights with rose window at the top, and is 28 feet high and 17 feet wide. The seven windows above the entrances to the Seven Chapels of Tongues (north to south) are designed to symbolize in their circular lights the messages to the seven churches in Asia mentioned in the Book of Revelation (i. 11), in the order there named: Ephesus, Smyrna, Pergamos, Thyatira, Sardis, Philadelphia and Laodicea. They are connected by the inscriptions in their lower borders which read consecutively as follows:

“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 Faithful 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 brilliancy of color and affecting beauty of composition and execution, particularly those called “Christ Reigning in Glory” and “the Woman in the Sun,” when examined with long distance glasses (apply to Verger), although the less brilliant windows contain subtle 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. Individually, from north to south:

St. John and the Seven Churches are the subject of the window above the Chapel of St. Ansgarius. In the upper part of the central light, St. John between 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 Elements 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 respectively 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.[27] In the circular light at the top are the word “Smyrna” and a shield bearing the crown of life mentioned in the message 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 Ambulatory 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.”[28]

The Seven 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, standing 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 ΙΗϹ and ΧΡϹ (Jesus Christ.)[29] In the bottom border are the words: “From the seven ‖ Spirits which are before ‖ His throne.” A tablet in the Ambulatory reads as follows:

“The Clerestory Window Above the ‖ Chapel of Saint Columba‖ is Erected ‖ to the Glory of God ‖ and ‖ in Loving Memory ‖ of ‖ 1797 John Williams Leeds 1873 ‖ 1800 Eliza Leeds 1885 ‖ Emily Irene Hardenbergh 1899 ‖ By Their Daughter and Sister ‖ Josephine Eliza Leeds ‖A. D. 1915.”

Christ Reigning in Glory, as described in the first chapter of the Book of Revelation, is the principal 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 candlesticks (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 Annunciation, 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.[30] 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 ‖ Whitelaw Reid ‖ October 27, 1837-December 15, 1912.”

The Seven 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 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 (obscurely) 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 bottomless pit (xvii. 4, 18). In the right side light, above, is the angel with the sharp sickle and the clusters 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 Daughter ‖ Julia Livingston ‖ 1916.”

The Heavenly 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 showing to St. John the Heavenly City (Rev. xxi. 10 et seq.) and in the upper part is a glorified figure symbolizing 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 (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.