The Seven Chapels of Tongues
The seven Chapels of Tongues, built around the Choir on lines converging toward the Sanctuary and deriving their name from the fact that they were intended for services of the church in the languages of the principal ethnological groups or regions of the world, are one of the noblest conceptions of the Cathedral. In early Gothic churches, the fundamental idea of the apse with radiating chapels was Christ in the company of his Saints. Here, in the great cosmopolitan Diocese of New York, this idea has appropriately been carried a step further in these chapels to include the idea of all the nations of the earth gathered around the Altar of the Saviour of Mankind. They recall the cry of the multitude in Jerusalem at Pentecost: “How hear we every man in our own tongue wherein we were born ... the wonderful works of God” (Acts ii. 8, 11). Among the interesting services held in these chapels are those in the eastern (St. Saviour’s) chapel for the Japanese and Chinese in their languages and for colored people in English. The spirit fostered by these chapels is occasionally reflected in great congregations, entirely of Italians, entirely of negroes, or predominantly of some other race, at services held in the main part of the Cathedral filling it to its utmost capacity.[33] Services in English are held in one or more of the chapels every day of the year, and oftentimes weddings and baptisms are held in them. As a group, the seven Chapels of Tongues eloquently express the catholic and democratic spirit of the Cathedral of St. John the Divine referred to on [page 14]. They may be visited in order either from south to north or north to south; but by beginning on the south side they will be seen in the order in which they were observed on the exterior ([p. 31]), and by looking through the archways of the Choir to the opposite side of the Ambulatory, glimpses may be had of the tapestries and the clerestory windows in the order in which they have been described. The chapels are all separate gifts and are memorials of the persons mentioned under their respective headings following:
The Chapel of St. James
St. James, the Apostle, after whom this chapel is named, was the son of Zebedee and was a Galilean fisherman. He is sometimes called St. James the Great to distinguish him from another Apostle called St. James the Less. He was a brother of St. John the Divine. He went almost everywhere with the Lord. After the ascension, he preached a while in Judea and then in Spain. After his mission there, he was beheaded by the Jews, and, according to tradition, his body was miraculously transported back to Spain, where his relics are said to rest at Compostella. Spanish historians chronicle 38 instances in which he is believed to have descended from heaven and in shining white armor led the Spanish armies against the Moors. Under the Spanish equivalent of his name, St. Iago or Santiago, he became the patron saint of Spain and his name was adopted as the Spanish war-cry. His shrine at Compostella was one of the most popular for pilgrimages in the Middle Ages, and it was said that two visits to Compostella equaled one to Rome. St. James is usually represented in the dress of a pilgrim with a peculiar staff. His Memorial Day is July 25.
The Chapel of St. James ([13 on plan]), designed by Mr. Henry Vaughan, is in pure English Gothic Architecture of the 14th century; 66 feet long and 39 wide, with a sort of transept on the north side 15 feet wide; seats 250 persons, and cost about $200,000. Its interior walls are of Bedford, Ind., limestone. On the front of the Altar of gray Knoxville, Tenn. marble, is sculptured DaVinci’s Last Supper. The central feature of the limestone Reredos is a relief representing the Transfiguration, after Raphael. In four niches, two on either side of the Transfiguration, are statues of the four Evangelists with their appropriate emblems at their feet (left to right:) St. Matthew with winged man; St. Mark with lion; St. Luke with ox; and St. John with eagle. Beneath the Transfiguration is a smaller sculpture of the Nativity, with an alleluia angel on each side. On four escutcheons, two on each side of the Nativity, are emblems of the condemnation and crucifixion (left to right:) (1) Crown of thorns and spear (John xix. 2, 5, 34); (2) pillar to which Christ was bound for scourging, cord, knotted scourge (John xix. 1) and sponge on reed (John xix. 29); (3) ladder, sponge on reed and spear; and (4) hammer, pincers, coat, and three dice (Mark xv. 24). Beautifully carved canopies surmounted by six adoring angels crown the Reredos. The stained glass East Window, by C. E. Kempe & Co. of London above the Reredos, depicts in its three lights (left to right) St. Lawrence, St. James and St. Vincent. In two walled-up panels of the window, one on each side of the glass, are statues of St. Peter with keys (left) and St. Paul with sword (right). The Saint James Window in the middle bay of the south aisle portrays in its four lights scenes in the life of the patron saint of Spain ([see page 71]) and other subjects, as follows, reading from left to right: Bottom, (1) Coat-of-arms of St. John and the words, “James, servant of God;” (2) St. James preaching to the natives of Spain; (3) St. James before the judge, forgiving his accuser and giving him his blessing, “Peace be with thee;” (4) Coat-of-arms of King Ramira I of Spain, and the words (to be read with those first quoted), “And of the Lord Jesus Christ.” Middle, (1) “Unto his shrine the mighty and the lowly fared on pilgrimage;” (2) “St. James, the radiant knight, upon a great white horse;” (3) “Before the banner of his name the Moorish warriors fled;” (4) “At Compostella still men serve Santiago’s shrine.” Top, (1) angel with ΙϹ-ΧϹ symbol; (2) “They bore his body to a ship that sailed for Spain;” (3) “Over his tomb they built a chapel passing fair;” (4) Angel with Ichthus symbol.[34] In the tracery at the extreme top is a representation of the Crucifixion. The window was given by Bishop Potter’s daughters and was designed and made by Mr. Henry Wynd Young, glass-painter, of New York City. In niches of the walls of the chapel are the following statues and symbols: East Wall, St. Augustine of England with crozier (left) and St. Gregory the Great (who sent him to England) with papal tiara and papal cross (right) West Wall, end of main aisle, above, Christ between his kinsmen St. James the Great (left) and St. James the Less (right); and at end of south aisle, the Venerable Bede. On four escutcheons, two on each side of the west door, are: (1) A floriated cross (emblematic of the flowering or productiveness of the Christian religion); (2) the monogram ihc (representing the first two and last letters, uncial form, of the Greek word for Jesus[35]); (3) the Greek cross form of the chi rho monogram (first two Greek letters of the name Christ); and (4) the Alpha and Omega, the first and last letters of the Greek alphabet, (Rev. i. 8). North Wall, statue of William of Wykeham. In the upper part of the north wall is the gallery of the organ, which is independent of the great organ of the Cathedral. Choir Stalls near the Altar are a distinctive feature of this chapel. Two clustered columns divide the south aisle into three bays in the middle one of which is Bishop Potter’s Tomb, of Siena marble. On the tomb is a recumbent figure of the Bishop in Serevezza marble, by Mr. James E. Frazer. The Bishop is represented in his episcopal robes, and the execution is so fine that even the texture of the lawn sleeves is apparent. On the front of the tomb is inscribed:
“Henry Codman Potter ‖ MDCCCLXXXIII Assistant Bishop of New York MDCCCLXXXVII ‖ Bishop of New York ‖ MDCCCLXXXVII-MCMVIII ‖ Upholder of Righteousness and Truth ‖ Soldier and Servant of Jesus Christ.”
THE SANCTUARY OF THE CHAPEL OF ST. JAMES
On the rear:
“He laboured that this Cathedral Church ‖ Should rise to the Glory of God and as ‖ A witness to the Life of our Lord and Master Jesus ‖ Christ that here the prayers of the children ‖ of many lands should rise to that ‖ Father in whom alone all men are brothers ‖ Whose service is perfect freedom.”
Around the edge of the top slab:
“I saw the Holy City coming down from God out of Heaven ‖ and I heard a great voice saying ‖ Behold the tabernacle of God is with men and he will dwell with them ‖ and they shall be his people.”
On the west wall is inscribed:
“The Chapel of St. James ‖ Consecrated ‖ May 2, 1916 ‖ To the Worship of ‖ Almighty God ‖ And in Loving Memory of ‖ Henry Codman Potter ‖ Bishop of New York ‖ Born May 25, 1834 ‖ Died July 21, 1908 ‖ The Gift of His Wife ‖ Elizabeth Scriven Potter ‖ Born September 30, 1848 ‖ Died March 4, 1909.”
Story of the Blind Woman. A beautiful and touching incident occurred in the Chapel of St. James a few years ago. One day, a woman who was blind, deaf, and could make only a few hardly articulate sounds, but who was cultured and could read by touch, visited the Cathedral with another woman. The Verger, the late Charles F. Barnard, first led her the full length of the Cathedral in order that she might comprehend its size. Then the general features of the edifice were communicated by her friend by the touch of their hands. The wood and stone carvings, however, she read with her own fingers. When she came to the Chapel of St. James, she wished to feel of Bishop Potter’s features as reproduced in the effigy on his tomb, but on account of the delicacy of the marble, visitors are not allowed to touch it. The blind woman, however, produced from her bag a pair of thin white gloves, and by signs asked if she might feel of the statue if she put them on. The Verger assenting, she ran her fingers deftly over the Bishop’s countenance, felt of the signet ring on his finger, etc., and then, satisfied, proceeded to the Altar. Here she knelt down and began to feel of the relief representing DaVinci’s Last Supper. As soon as she recognized the work, she threw up her hands in ecstasy and exclaimed in broken accents, the best she could utter, “Vinci! Vinci!” The venerable Verger, in relating this incident, said that he was moved to tears by the spectacle of the blind woman, kneeling before the Altar, with up-raised hands, “seeing” the Cathedral through the sense of touch. One may well ask, if this blind woman could see so much spiritual beauty in the Cathedral without eyes, how much more ought those to see who have the blessed gift of sight.
The Chapel of St. Ambrose
St. Ambrose, or Ambrogio, the namesake of this chapel, was born in Treves about 340, the son of a Roman Prefect in Gaul (now France). While in his cradle one day, a swarm of bees settled upon him, clustering around his mouth, but doing him no harm. A similar thing having happened to Plato, it was considered an omen of future greatness. He studied law at Rome, became a magistrate in upper Italy with court at Milan, and by his wisdom and gentleness won such popular esteem that when called upon to settle of succession of the bishopric of Milan between the Arians and Catholics he himself was chosen by both parties to be Bishop of that see. He was one of the most celebrated fathers of the church. His most distinctive symbol is the bee-hive, although two human bones, the scourge, the crozier, the mitre, etc. are sometimes used. The Memorial Day for St Ambrose is kept on April 4.
The Chapel of St. Ambrose ([14 on plan]), designed by Messrs. Carrere & Hastings, is in modern Renaissance Architecture. It is about 50 feet long and 27 wide, seats 100 persons and cost over $150,000. The floor is inlaid with grey Siena and red Verona marbles, bordered with cream colored Cenere marble. The walls are lined with Rosato marble. On the under side of the marble archway at the entrance are reliefs representing the Three Persons of the Trinity with angels, as follows: (Left) the Father in human form[36], with triangular nimbus, holding the globe of sovereignty; angel with lute; angel with lily; (top) the Holy Ghost in form of the dove; angel with trumpet; angel praying; and (right) the Son in form of the Paschal Lamb. The false perspective of the side walls is similar to that in the Sacristy of the Cathedral of Siena. In the spandrels of the false arches of the left-hand wall (as one faces the Altar) are figures in relief (reading from entrance toward Altar) of: Moses and the prophets Isaiah, Jeremiah and Ezekiel; and on the opposite wall, in same order, St. Matthew with cherub, St. Mark with lion, St. Luke with ox, and St. John with eagle. The ceiling is of white marble carved in low relief. From the ceiling hang four silver lamps, one an antique Italian lamp and the others copied from it. On the front of the Altar of alabaster are three golden ornaments, representing the Paschal Lamb (Christ) between two angels swinging censers, the latter symbolizing the prayers of all saints (Rev. viii. 3). The Reredos, not copied from any one European prototype but inspired by many examples found in the transitional and early Renaissance period in Italy, is of carved wood overlaid with gold leaf. The lower part consists of a triptych, covered by an elaborate canopy and flanked by niches in which are statues of St. Francis (left) and St. Ambrose (right). In niches at the left of the canopy are figures (left to right) of a kneeling angel, St. Benedict with crozier, St. Agnes in female apparel, and Dante in red gown and hood; and at the right (same order) Fra Angelico, Galileo with globe, Savonarola, and kneeling angel. Upon the cross of the canopy is a dove, symbolizing God the Holy Ghost; above that is the all-seeing eye in a triangle within a sun-burst, symbolizing God the Father; and on the top-most spire is the figure of God the Son, holding a cross and pronouncing a benediction. The Apse Windows, one on each side of the Altar, transmit a soft amber light which gives a peculiar charm to this chapel. Each has a border of Italian Renaissance tracery, within which is a field of many small panes of leaded glass. In the left window these panes are ornamented with repeated designs representing the chalice with emerging serpent and the eagle (symbols of St. John), flowers, and the chi-rho monogram. In the upper part are the seven stars and candlesticks from the Cathedral seal, and the legend, “Sigil. Eccles. Cath. S. Johan;” and in the lower part the words, “For God is the King of all the Earth. Sing ye Praises with Understanding.” In the right window the panes are ornamented with repetitions of the bee-hive, mitre and scourges (symbols of St. Ambrose), the cross and wreath, flowers, and the ΙϹ-ΧϹ and IHS symbols. Near the middle is a small fragment of brown glass, marked with an “R”, from Rheims Cathedral. In the upper part is the coat-of-arms of St. Ambrose—the bee-hive, mitre and croziers—with the legend, “Sigil. Sanct. Ambrosii,” and in the lower part are the words, “God is our Refuge and Strength, a Very Present Help in Trouble.” The windows were made by Mr. Henry Wynd Young, glass-painter, under the supervision of Messrs. Godwin & Sullivant, architects, of New York. Along the side walls are Stalls and Wainscoting of dark Italian walnut, inlaid with pear-wood in designs including the star of the east, chalice, Latin cross, patriarchal cross, and Bishop’s mitre. Inlaid in the top border of the wainscoting is this inscription:
(Left) “Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are ‖ full of thy glory. Glory be to Thee, O Lord Most High. ‖ Blessed is he that cometh in the name of the Lord. Hosannah in the Highest. ‖ (Right) O Lamb of God, that takest away the sins of the world, grant us thy peace. ‖ Glory be to God on high, and on earth peace, good will towards men. ‖ Thou only, O Christ, with the Holy Ghost, art most high in the Glory of God the Father.”
The wrought iron Italian Screen at the entrance to the chapel is best seen from the inside. Upon the finials at either end are angels blowing trumpets, and the space between them is divided by seven tall candlesticks into eight spaces, in which are bronze groups representing scenes in the life of St. Ambrose (left to right:) (1) His youth; (2) settling the succession of the bishopric of Milan; (3) his baptism; (4) nuns and (5) monks, listening to the preaching of St. Ambrose, who stands between them facing the Altar; (6) the public penance before St. Ambrose of Emperor Theodosius who caused the massacre of the Thessalonians; (7) laying the corner-stone of the Church of St. Ambrogio in Milan; and (8) his death. Beneath the figure of St. Ambrose who stands between the nuns and monks is a bee-hive with crossed croziers. The screen was designed by Mr. Thomas Hastings and was made by Messrs. E. F. Caldwell & Co., of New York. On the south wall is inscribed:
“To the ‖ Glory of God ‖ and in ‖ Loving Memory ‖ of ‖ Augustus Whiting ‖ Sarah Swan Whiting ‖ Jane Whiting ‖ Amelia Whiting Davis ‖ Augustus Whiting, Jr., ‖ Natica Rives Burden ‖ This Chapel ‖ has been Erected by ‖ Sara Whiting Rives.”
The Chapel of St. Martin of Tours
St. Martin, after whom this chapel is named, born in 316, in his young manhood was a Roman soldier in Gaul. One wintry day, (according to the traditional story related by Ruskin in his “Bible of Amiens,”) when Martin was riding forth from the city of Amiens, he saw a beggar shivering by the roadside; whereupon he divided his cloak with his sword and gave one half to the beggar. That night in a vision he saw Christ wearing the half cloak and surrounded by angels. And Christ said to the angels: “Know ye who hath thus arrayed me? My servant Martin, though yet unbaptized, hath done this.” After this, Martin was baptized; but he remained a soldier for 17 years. Then, after several years of religious works, he was made Bishop of Tours. It is related that one day, when going to church in his full robes, he practically repeated the charitable act beforementioned by giving his stole to a ragged beggar; and when St. Martin was at the altar, elevating the Host, a globe of light appeared above him and angels descended and hung chains of gold and jewels (not of earth) on his bare arms. Sweet, serene and dearly beloved, he was Bishop and Knight of the Poor, and the divided cloak and sword are his special symbols. The Memorial Day for St. Martin is kept on November 11.
The Chapel of St. Martin of Tours ([15 on plan]), designed by Messrs. Cram & Ferguson, is in early 13th century Gothic Architecture; about the same size as the Chapel of St. Ambrose; and cost about $150,000. Its interior walls are faced with light colored Bedford, Ind. limestone. The lower half of the walls is occupied by Gothic arcatures, in the trefoiled arches of which are fleurs de lis. Under the fleurs de lis, in mediaeval text, runs the inscription:
(Left side:) “They that ‖ be wise ‖ shall shine ‖ as the bright- ‖ ness of ‖ the firm- ‖ ament ‖ and they ‖ that turn ‖ many to ‖ righteous-‖ ness as the ‖ stars forever ‖ and ever ‖ (Right side:) The Peace ‖ of God which ‖ passeth ‖ all under- ‖ standing ‖ shall keep ‖ your hearts ‖ and minds ‖ through ‖ Christ ‖ Jesus.”
A little above the arcature is a border of roses. The upper half of the side walls presents a unique feature in a sort of triforium gallery built in the thickness of the wall. The pavement of Knoxville, Tenn. pink marble is bordered with black Belgian marble. The simple marble Altar in the form of a table resting on red marble pillars has no reredos. The Seven Windows, three in the Sanctuary and four in the clerestory, by Mr. Charles Connick of Boston, Mass., are of grisaille[37] work in geometrical designs, the Sanctuary windows being inset with pictorial medallions in painted mosaic glass in the mediaeval style. In the central window over the Altar the medallions depict scenes in the life of St. Martin as follows, beginning at the bottom and reading upward: In the left-hand light (1) St. Martin receives sword and enters army; (2) divides his cloak with the beggar; (3) has vision of Christ wearing the severed cloak which he had given to the beggar; and (4) is baptized. In the middle light, (1) He converts the robber; (2) revives the dead man; (3) is affectionately welcomed on his return to Tours; and (4) destroys the heathen temple. In the right-hand light, (1) He intercedes with Count Avitianus for the release of prisoners; (2) pleads for Priscillian’s life; (3) dies; and (4) the ship bearing his body is mysteriously propelled. In the middle light of the window at the left of the Altar are scenes in the life of St. Louis: (1) His coronation; (2) his release of prisoners at Paris; (3) his ministration to sick soldiers during the first Crusade; and (4) his departure on the second Crusade. In the middle light of the window at the right of the Altar are scenes in the life of Joan of Arc: (1) Her vision; (2) the capture of Orleans; (3) the coronation of Charles VII.; and (4) her martyrdom at the stake. In the circular lights at the top of the seven windows are the following coats-of-arms (left to right): (1) On a blue field, three golden fleurs de lis above a white wreath of oak and laurel with red fruit, representing the City of Rheims.[38] (2) On a blue field sprinkled with golden fleurs de lis, the Mother and Child, representing the Cathedral of Notre Dame in Paris. (3) Seven horizontal bars, alternately blue and gold, being the arms of Bertrand d’Eschaux, Archbishop of Tours. (4) On a blue field, a white Latin cross with trefoiled ends, being the arms of the Chapter of Poitiers. (5) On a blue cloak surrounded by red, a white sword, cross-hilt upward, emblematic of St. Martin. (6) On a blue field sprinkled with golden fleurs de lis, a red Greek cross, representing the Archdiocese of Rheims.[39] (7) On a blue field, three golden fleurs de lis under a white “label” or mark of cadency of eldest son,[40] being the royal arms of the Dukes of Orleans. A Statue of Joan of Arc, expressing her spiritual character, by Miss Anna Vaughn Hyatt, was placed in this chapel in 1922. It was given by Mr. J. Sanford Saltus through Dr. George F. Kunz, President of the Joan of Arc Statue Committee which erected the equestrian statue of the Maid by the same sculptress in Riverside Drive. Near it are two rough stones from the Chateau de Rouen in which the Maid was imprisoned at the time of her trial and from which she was led to the stake. The wrought-iron Screen of beautiful tracery at the entrance, designed in the office of Messrs. Cram & Ferguson and made by Messrs. F. Krasser & Co., of Boston, is a particularly lovely example of this form of art. While not copied from any existing mediaeval prototype, it shows the influence of the wrought-iron work of the Romanesque and early Gothic periods of France. The shell ornament in the section below the cornice is symbolical of St. Martin as a pilgrim, while the finials and cresting, blossoming with roses, signify the flowering of the Christian religion. In the frieze are four panels depicting four scenes which are described in a quaintly lettered inscription in the moulding above:
“S. Martin shares cloak with Beggar ‖ Our Lord appears in cloak to S. Martin ‖ S. Martin receives holy baptism ‖ Saint Martin journeys to Rome.”
Coats of Arms in Windows of Chapel of St. Martin of Tours.
An inscription on the wall of the chapel reads:
“The Chapel of ‖ Saint Martin of Tours ‖ Consecrated 1918 ‖ To the worship of ‖ Almighty God ‖ and in Loving Memory of ‖ William P. Furniss ‖ and His Wife ‖ Sophia Furniss ‖ and their Daughter ‖ Sophia R. C. Furniss.”
In another panel is this inscription:
“To the ‖ Glory of God ‖ and in Loving Memory of ‖ Clementina Furniss ‖by Whose Gift ‖ this Chapel ‖ was Erected ‖ and ‖ Margaret Elizabeth Zimmerman ‖ Daughters of ‖ William P. Furniss ‖ and his wife ‖ Sophia Furniss.”
The Chapel of St. Saviour
Saint Saviour, the name of this chapel, means Holy Saviour, the word Saint being used in its primary sense as an adjective, derived from the Latin “sanctus.” The Memorial Day for St. Saviour is kept on December 25.
The Chapel of St. Saviour ([16 on plan],) is the easternmost of the seven Chapels of Tongues and forms the eastern extremity of the Cathedral. Among the languages in which services are held in this chapel are Japanese and Chinese. When the royal Abyssinian Commission to the United States Government was formally received at the Cathedral on July 24, 1919, its members knelt at this altar. The chapel is in the English Decorated Gothic style of Architecture after designs by Messrs. Heins & LaFarge. It is 56 feet long and 30½ feet wide, seats 150 persons, and cost about $200,000. Its interior walls are of Minnesota dolomite, around the base of which runs a foundation course of red jasper with green serpentine moulding like those which run around the Choir. The pavement is of stone from Hauteville, France, with a mosaic border. The Sanctuary steps are of pink marble from Georgia. The Altar, made by Messrs. Batterson & Eislie and carved by Mr. Schwartz, is of snow-white Carrara marble. Its face and front corners are adorned by the figures of six angels singing “Holy, Holy, Holy.” Carved on the face of the retable is the crown of thorns, supported by two cherubs. The Reredos is of polished red Siena marble, bordered with Venetian mosaic. The Chair and Prayer Desk of black walnut at the left side of the Sanctuary have an interesting history recited on a brass tablet on the desk as follows:
“The first use of ‖ this chair and prayer desk was made by ‖ the Most Reverend Randall Thomas Davidson, D.D., ‖ Archbishop of Canterbury ‖ in the Crypt of the Cathedral of St. John the Divine ‖ on Wednesday morning, September 28th, A. D. 1904 ‖ at the celebration of the Holy Communion at which ‖ His Grace was the celebrant and which preceded the ‖ opening of the One hundred and twenty-first Convention ‖ of the Diocese of New York, being also the first opening ‖ of the Diocesan Synod Hall.”
The East Window, a glorious work in stained glass by Mr. Hardman of Birmingham, Eng., completely fills the end of the chapel. Its central light is occupied by a representation of the Transfiguration (Mat. xvii. 1-3). In the middle of the scene is the radiant Saviour, with Moses (left) holding the Ten Commandments, and Elias (right) holding the receptacle of the scrolls, representing respectively the Law and the Prophets.[41] Surrounding the group are angels; and below it are the three Disciples who were with Jesus on the mount: St. Peter (left) looking up, St. James (middle) covering his eyes, and St. John, the beardless Disciple (right), shading his face. In the left side light, above, is Moses putting off his shoes on the holy ground before the burning bush from which the angel of the Lord appears (Ex. iii. 5); and below, Moses raising the brazen serpent for healing (Num. xxi. 9). The serpent, seen indistinctly coiled around the pole, is by artistic license represented in green. In the right side light, above, is the angel appearing to Elijah (I. Kings xix. 5-8); and below, Elijah’s sacrifice miraculously consumed by the fire of the Lord (I. Kings xviii. 30-38). In niches on either side of the window are the following Statues of Bishops, saints and scholars of the Eastern church:
| Left. | Right. |
| St. Polycarp b. 69 d. 155 Bishop of Smyrna | St. Chrysostom b. 347 d. 407 Archbp. of Constantinople |
| St. Athanasius b. 296 d. 373 Primate of Egypt | St. Basil b. 329 d. 379 Bishop of Caesarea |
| Origen b. 185 d. 253 Great eastern scholar | St. Clement of Alexandria b. circ. 150 d. 213-220 Celebrated Church Father |
| St. Gregory Nazianzen b. 330 d. 389 Bishop of Nazianzus | St. Ignatius b. circ. 50 d. 107 Bishop of Antioch |
In a niche in the upper part of the north wall is a statue of St. Peter with key; and in a corresponding niche in the south wall one of St. Paul with sword. Turning toward the entrance to the chapel, one sees in niches between the clustered columns at the sides of the great archway in array of angels, five on each side, one above the other, corresponding to as many on the Ambulatory side,—twenty in all—representing the Heavenly Choir. These lovely figures are worthy of more than passing notice. All the statuary is by Mr. Gutzon Borglum. The four Lamp Standards of Carrara marble surmounted by alabaster bowls standing in the four corners of the chapel, and carved in relief with many symbolical details, were made by Messrs. E. F. Caldwell & Co. and carved by Messrs. F. Ruggeri and P. Giuntini of New York. The elaborate wrought iron Screen, made by the Wm. H. Jackson Co. of New York, at the entrance, is in the Italian style after one in Orvieto, Italy. It is embellished in its upper part by two golden angels holding a wreath at the foot of the cross. Looking outward through the screen, one sees the back of the High Altar of the Cathedral. On one of the walls of the chapel is inscribed:
“This Chapel is Erected to ‖ the Glory of God ‖ and in Loving Memory of ‖ Bessie Morgan Belmont ‖ by her Husband ‖ August Belmont.”
The Chapel of St. Columba
St. Columba was born in County Donegal, Ireland, in 521, of royal blood. After study and religious work in Ireland, he set out in 563 with twelve disciples and planted upon the Island of Iona, on the west coast of Scotland, which he received from his kinsman Conal, King of Scots, a monastery which, from the 6th to the 8th centuries, was second to hardly any other in Great Britain. From it was conducted a wonderful missionary work in Scotland, Ireland, the north of England, and small adjacent islands. Many miracles are attributed to him, and he was accredited with power to subdue not only wild tribes of men but also the beasts of the wilderness ([see p. 32]). He died in 597, and his body was buried at Iona, which is regarded as one of the great shrines of Christianity in Great Britain. The Memorial Day for St. Columba is kept on June 9.
The Chapel of St. Columba, ([17 on plan]), designed by Messrs. Heins & LaFarge, is in the Norman style of Architecture. It is 50 feet long and 27 wide, seats 100 persons, and cost about $150,000. The interior walls are of Minnesota dolomite, separated from a base course of polished Mohegan granite by a moulding of yellow Verona marble. The pavement is a fine grained gray stone from Illinois. The semi-circular arched window heads, and particularly the six large cylindrical pillars diversified by spiral and diaper patterns, convey the idea of the Norman style which one sees exemplified on a larger scale in Durham Cathedral and other churches of that period in England. The vaulting over the Sanctuary is lined with gold mosaic, upon which appear black and white Celtic crosses. The lectern, communion rail, Glastonbury chairs, and other wood work of the Sanctuary were designed by Mr. Charles R. Lamb and made by J. & R. Lamb of New York. They are carved in low relief with ornament expressive of English Gothic feeling. The lectern shows a composition of three figures: Christ in the center, between John the Baptist, his Forerunner, and St. John the Divine, namesake of the Cathedral, who closes the biblical record with the Book of Revelation. The Altar, of cream colored Italian marble, is in the form of a table supported by marble pillars. It has no Reredos. The Sanctuary Windows, three in number, were made by Messrs. Clayton & Bell of London. In the central light of the window above the Altar is represented the baptism of Christ by John the Baptist, and in the side lights are St. John with cup (left), and St. Paul with sword, (right.) In the bottom of the three lights are the four symbols previously explained ([p. 74]), namely, the ΙΗϹ, the Alpha, the Omega, and the Chi Rho. The windows on either side of the middle window are in grisaille, copied from the famous lancet windows called the Five Sisters in the North Transept of York Cathedral, although these windows have only two lights each instead of five. The six wonderfully graceful seven-branched Candelabra, after Donatello, were brought from Italy by Mr. George Gordon King. Turning toward the entrance, in which is a wrought iron Screen in the Spanish style, designed by Mr. Samuel Yellen and made by the Industrial Ornamental Iron Works of Philadelphia, Penn., one sees an extremely interesting feature in the Statues by Mr. Gutzon Borglum of representatives of the successive stages of the development of Christianity in England, which stand in the niches between the clustered columns at the sides of the great entrance archway.[42]
The figures, five on each side, one above the other, and corresponding to as many on the Ambulatory side,—twenty in all,—are in the following relative positions, it being understood that the left side as seen from the chapel is the same as the right side as seen from the Ambulatory.
| Seen from Chapel. | |
| Left. | Right. |
St. Aidan | St. Augustine |
St. Anselm | King Alfred |
Thomas Cranmer | William of Wykeham |
Joseph Butler | Jeremy Taylor |
John Keble | Reginald Heber |
| Seen from Ambulatory. | |
| Left. | Right. |
St. Alban | Theodore of Tarsus |
The Venerable Bede | Stephen Langton |
John Wyckliffe | Matthew Parker |
Richard Hooker | George Berkeley |
John Wesley | Frederic Denison Maurice |
The Cathedral has in its possession a Stone from the Cathedral, or Church of St. Mary (dating from the 13th-16th centuries) on the Island of Iona, which may fittingly be placed in this chapel at some future time.
Upon the wall of the chapel is inscribed:
“Chapel ‖ of ‖ Saint Columba ‖ To the Glory of God ‖ and ‖ in Loving Memory of ‖ Mary Leroy King ‖ The Gift of Her Mother ‖ Mary Augusta King ‖ Consecrated ‖ April 27th, 1911.”
The Chapel of St. Boniface
St. Boniface, whose original name was Winifred, was born in Devonshire, England, about the year 680. He entered a Benedictine monastery at the age of 13, learned rhetoric, history and theology, and became a priest at the age of 30. At a time when England and Ireland were sending missionaries to the heathen parts of Europe, Winifred was authorized by Pope Gregory II. to preach the Gospel to the tribes of Germany, and he is called the Apostle of Germany. While engaged in this work, Gregory made him a Bishop and gave him the name of Bonifacius, or Boniface, which means Doer of Good. The Bishoprics of Ratisbon, Erfurt, Paderborn, Wurzburg, Eichstadt, Salzburg, and several others, owe their establishment to his efforts. In 746 he was made Archbishop of Mainz. In 755, while carrying on his work in Dokkum, in West Friesland, he and his congregation of converts there were slain by a mob of armed heathen. His remains are buried in the famous abbey of Fulda, which he founded. In art, he is depicted holding a book pierced by a sword, referring to the manner of his death. The Memorial Day for St. Boniface is kept on June 5.
The Chapel of St. Boniface, ([18 on plan]), designed by Mr. Henry Vaughan, is a very pure specimen of English Gothic Architecture of the 14th century. It is about 48½ feet long and 28 wide, seats about 100 persons, and cost about $175,000. The interior walls are of Indiana limestone; the pavement of pink marble from Knoxville, Tenn., with heavy black border of Belgian marble; and the steps to the Sanctuary also of pink Knoxville marble. The Altar is of gray marble from the same source. In the three ornate panels on its face are the monogram IHS ([see p. 74]), the floriated Greek cross ([see note below]), and the Greek cross form of the Chi Rho ([p. 74]). The richly carved Reredos has three canopied niches, in the central one of which is represented the Adoration of the Magi. In each of the side niches is an angel with scroll. In the recesses of the windows on either side of the Altar are carved clergy stalls of dark oak, with wainscoting of the same wood as high as the window sills. There are six stained glass Windows, three in the Sanctuary and three smaller ones in the clerestory. Each has three lights. In the middle light of the central window above the Altar Christ is represented as the Great Teacher. His robe is sprinkled with the IHS monogram ([p. 74]) and in His nimbus appear the ends of a floriated cross.[43] 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,[44] 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 Canterbury with archiepiscopal staff, holding a tablet representing 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 Lichfield, holding crozier and model of Lichfield Cathedral,[45] 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 crozier, and (below) St. Aidan instructing the youthful St. Chad and others. In the west clerestory window are: St. Patrick with crozier ornamented with shamrocks; St. Gregory of Rome with papal staff, holding 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 displaying 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 ihc 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 Sullivan Bowdoin ‖ and His Wife ‖ Julia Grinnell Bowdoin ‖ and Their Children ‖ Temple Bowdoin ‖ Fanny Hamilton Kingsford ‖ Edith Grinnell Bowdoin.”
Story of the Dove Of Peace. During the last year of the World War, an incident interesting in itself and illustrative of the origin of the legends and traditions which often grow up around cathedrals, occurred 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 Cathedral. When the stained glass window above mentioned 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 during the sermon. When the ushers started toward the Altar with the offertory, the bird soared across the 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 regarded 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.[46] 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 Christianity to the northmen of Sleswick. In spite of much persecution, 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, Sweden 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]), designed by Mr. Henry Vaughan, architect of the Chapel of St. James, is in the same style of Architecture, 14th 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 foundation, the Chapel of St. Ansgarius cost about $225,000, making it the most expensive of the seven Chapels of Tongues.
Niche in St. Ansgarius Chapel made of old Cathedral Stones
The interior walls are of Indiana limestone; and the pavement of pink Knoxville, Tenn., marble and mottled Vermont marble. The Altar is of gray Knoxville marble. On its front is carved the Madonna of the Chair 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 sculptured 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 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 Worcester.[47] 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 Memorials to ‖ William Reed ‖ Huntington ‖ Sometime Rector ‖ of All Saints ‖ in Worcester ‖ Massachusetts.”
Three small Windows of two lights each in the Sanctuary contain (from left to right) representations of: (1) St. Willibrod with mitre, archiepiscopal staff, and model of cathedral; and St. Lucian with crown, scepter and sword; (2) St. Ansgarius with mitre and crozier; 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 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); Abraham 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 Annunciation (Luke i. 28); the angels’ visit to the shepherds (Luke ii. 8-12); and the angel’s visit to Joseph, husband 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 London. 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, holding a small cathedral (below). The sculptures are by Mr. John Evans of Boston. In a bay of the chapel temporarily rests a symbolic group executed in Caen stone by Miss Malvina Hoffman of New York, entitled The Sacrifice. It is intended for Harvard University at Cambridge, Mass., as a memorial of Robert Bacon, sometime U. S. Ambassador to France and a Trustee of the University, and of the Harvard men who lost their lives in the World War. It represents a dead Crusader, such as those who went from Cambridge, Eng., in the 12th century, and gave their lives for an ideal, lying upon a cross with his head pillowed in a woman’s lap. According to the traditional position of the feet of the Crusader, he was one of those who never reached Jerusalem, those who did so being traditionally represented with their feet crossed. The woman may typify Alma Mater as well as those women who gave their best to a great cause and made their lonely grief their glory. The two figures symbolize mutual sacrifice. This chapel has an independent Organ played from a movable console on the floor. The chapel, which is the gift of many persons, was dedicated on April 3, 1918. On one of the walls is inscribed:
THE SACRIFICE
“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 Cathedral.”
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 4½ 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 contains, among other things, a fragment of a Spanish Brick from Hispaniola (Hayti) which was given to the Cathedral by Mr. Malcolm McLean, Senior Warden 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 Christopher Columbus, 1493. Isabella, Hispaniola.”[48]