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

by Edward Hagaman Hall

The Crossing

Walking the length of the Nave foundation ([2 on plan]) we pass through temporary doorways and enter the Crossing ([3]), so-called from its location at the intersection of the long and short arms of the cruciform ground plan. In this space, 100 feet square, floored with concrete, are 1500 chairs for the congregation. To the eastward, the Crossing opens into the Choir ([10]) and Ambulatory ([12-12]). On the north, west and south sides the spaces between the ponderous piers of Maine granite are filled with temporary windows and concrete walls which will be removed when the Nave ([2]) and the North and South Transepts ([4 and 5]) are built. The removal of these temporary walls will improve the acoustics. The rough, unadorned piers on the north, west and south sides will eventually be faced with Frontenac stone like those on the east side. The massiveness of this masonry may be judged by the fact that a single pair of these piers with their connecting arch weighs 4000 tons. The Dome of the Crossing, 162 feet (just the height of Niagara Falls) above the floor, is a remarkable piece of construction, the tiles having been laid by the ingenious Gustavino method without the support of scaffolding. The present dome is temporary; the permanent vault will be 200 feet above the floor. Mr. J. P. Morgan, Mr. George S. Bowdoin and Mr. Harris C. Fahnestock were large contributors to the building of the Crossing.

THE NAVE FOUNDATION AND CROSSING

The Pulpit, a memorial of Bishop Henry Codman Potter, is made of Knoxville, Tenn., marble, an uncrystalline limestone favorable for very fine work. On the newel posts of the stairs are the figures of the two great prophets of the Old and New Testaments, Isaiah (south) and John the Baptist (north.) In the five principal Gothic niches are as many scenes in the life of Christ (north to south): The Nativity, Jesus Among the Doctors, the Crucifixion, the Resurrection, and the Supper at Emmaus (Luke xxiv. 30-31). In the smaller niches are the figures of eight great exponents of the Holy Scriptures and champions of human freedom (north to south); St. Jerome, St. Gregory, St. Chrysostom, St. Peter, St. Paul, Hugh Latimer, Bossuet, and Bishop Phillips Brooks of Massachusetts.[17] Beneath these niches runs a moulding of grape-vine design symbolizing Christ the true vine[18] (John xv. 1) and beneath this one of roses symbolizing Christ the Rose of Sharon (Cant. ii. 1). On the base are the symbols of the four Evangelists: The winged man for St. Matthew, winged lion for St. Mark, winged ox for St. Luke, and eagle for St. John.[19] The pulpit is surmounted by a carved oak canopy of Gothic tracery, upon which is the beginning of the Gloria in Excelsis:

“Glory be to God on high and on ‖ earth ‖ peace ‖ good will towards ‖ men. We praise thee ‖ we bless thee, we ‖ worship ‖ thee, we glorify thee, we give thanks ‖ to thee for thy great glory. O Lord God, heavenly King.”

THE PULPIT

On the side of the stairs is inscribed:

“In Memory of ‖ Henry Codman Potter ‖ the gift of ‖ Mrs. Russell Sage ‖ A.D. 1916.”

The pulpit, which cost $30,000, was designed by Mr. Henry Vaughan and executed by Messrs. John Evans & Co. of Boston.

ONE OF THE BARBERINI TAPESTRIES

Barberini Tapestries. The tapestries in the Crossing and Ambulatory were woven in the first half of the 17th century on the papal looms founded by Cardinal Barberini under the patronage of his uncle Pope Urban VIII. They were executed under the direction of the master weaver Jacques della Riviera from cartoons painted by Jean Francois Romanelli. The cartoons are now in the Vatican. The tapestries, originally designed for the throne room of the Barberini Palace at Rome, afterward a part of the Ffoulke Collection in Washington, and finally presented to the Cathedral by Mrs. Elizabeth U. Coles, are twelve in number and represent scenes in the life of Christ. Four of them hang in the Crossing as follows: In the northeast corner, the Delivery of the Keys to St. Peter; southeast corner, the Last Supper; southwest corner, the Adoration of the Shepherds; and northwest corner, the Flight of Joseph and Mary with the infant Jesus into Egypt. Seven hang in the Ambulatory, as follows (north to south): Christ’s Baptism, the Annunciation, the Adoration of the Magi, the Crucifixion (directly behind and above the High Altar,) the Transfiguration, the Resurrection, and the Agony in the Garden. The twelfth, a map of the Holy Land, is not at present hung. These works are all 15 feet 8 inches high and average 14 feet 1 inch wide. The Delivery of the Keys to St. Peter, the Last Supper, and the Flight into Egypt are more than 17 feet wide. These tapestries appear more like paintings than products of the loom.

THE INTERIOR OF THE CROSSING AND CHOIR

The Litany Desk at the eastern end of the middle aisle (often removed) is of carved oak. Surmounting the ends are two praying angels, while on the front are statues of St. Michael with sword, St. John with chalice, and St. Gabriel with lilies, all facing the Altar. An inscription reads:

“We beseech Thee to ‖ hear us Good Lord ‖ Grant us Thy Peace ‖ Have Mercy Upon us.”

The desk was given by the Laymen’s Club.