To-day, however, reliance is placed entirely upon voluntary contributions. Some of the larger gifts to the Cathedral of St. John the Divine are mentioned hereafter, but there have been many other large ones and innumerable smaller ones equally acceptable from donors irrespective of denominational affiliations who have caught the civic and patriotic as well as the religious inspiration of what is to be America’s greatest cathedral. In a general way, it may be said that the Cathedral will be finished as fast as funds are provided;—and no faster, for the authorities have rigidly maintained the provision of the statute, building only what can be paid for, and worshippers are therefore not kneeling on any debt. Anyone desiring here to enshrine a loving memory or to embody the offering of a grateful heart may place a donation to the Building Fund in the alms-basin or in the box at the door, or send it to the Dean at the Cathedral offices in the old Synod House, at Amsterdam avenue and 112th street, New York City.
Foundation and Superstructure
The foundation of the Cathedral is of Maine granite. Although the bed-rock of Morningside Heights (Manhattan schist) lies near the surface, it is so disintegrated near the top that it was necessary to go down 72 feet in some places in order that the Cathedral might rest securely on the “living rock.” The excavation and foundation alone cost a quarter of a million dollars. The main walls of the superstructure are also of granite, faced on the outside of the finished portion with Mohegan golden granite quarried near Peekskill, N. Y., and on the inside with a soft buff-colored limestone or dolomite called Frontenac stone from Pepin county, Wis. The great flying buttresses and massive piers of the Crossing, exposed in their rugged unfinished state, exhibit the dark Maine granite. Local materials are mentioned in their appropriate places.
Exterior Survey
Before entering the Cathedral the visitor should make a circuit of the Close (beginning on the south side and going eastward), comparing the outlines of the Cathedral with the plan and noting the location of the other buildings. This will give him a better understanding of the interior of the Cathedral and of its ultimate connection with the Bishop’s House and the Choir School by means of cloisters. It will be noted that the Old Synod House (brick, with Ionic-columned portico) occupies the site of the South Transept.
The Seven Chapels of Tongues, ([see page 69 et seq.],) may be identified on the exterior by the following characteristics (south to north): Chapel of St. James, rectangular plan, crenelated parapet of roof, and pinnacles on buttresses. Chapel of St. Ambrose, half round window arches. Chapel of St. Martin of Tours, fleurs de lis in quatrefoils above large windows; narrow pointed arch windows with single lights in basement. Chapel of St. Saviour (easternmost), rectangular plan; cross on gable; statues in niches of buttresses and wall. Chapel of St. Columba, angel on roof; statues in niches of buttresses. Chapel of St. Boniface, statues in niches of buttresses; small mullioned windows of three lights in basement. Chapel of St. Ansgarius, rectangular plan; parapet of quatrefoil tracery; pinnacles on buttresses.
Three of the chapels have the following sculptures by Mr. Gutzon Borglum: Chapel of St. Saviour: On eastern wall above the great window, the Christ Child; in niches of buttresses on either side of window, Angels of the Resurrection; and beneath the window, the Virgin, seated between (left) St. Simeon who blessed the infant Jesus (Luke ii. 25-35) and (right) St. Zacharias, father of John the Baptist (Luke i. 67-80).[11] Chapel of St. Columba: On roof, an angel with hands joined in prayer; in upper part of great window, St. Columba with tamed wolf, recalling how he subdued wild beasts as well as wild tribes; and in niches of buttresses the four patron saints of the British Isles (left to right): St. David of Wales in beretta and fringed gown: St. George of England in armor with cross on shield and dragon at feet; St. Andrew of Scotland with diagonal cross[12]; and St. Patrick of Ireland, in Bishop’s robes, with crozier in right hand and shamrock in left. Chapel of St. Boniface: In niches of buttresses, Charlemagne, with crown and sword; Alcuin, Charlemagne’s preceptor, in monastic garb with manuscripts in right hand; Gutenberg, with book in each hand, his initials “J.G.” on one; and Luther, in scholar’s gown, with book between hands.
The Clerestory of the Choir rises above the roofs of the chapels. In the canopied niches near the top of the turrets and buttresses are 10 stone figures 9½ feet high by Mr. Borglum, as follows (south to north): St. James the Less with fuller’s club (indicating manner of his martyrdom), and St. Philip with Latin cross (symbol of his crucifixion), together on turret; St. Bartholomew[13]; St. Thomas with square (spiritual architect); St. James the Great with staff (pilgrim); St. Peter with key (to the kingdom of Heaven); St. Andrew with diagonal cross; St. Matthew[13] with drapery over head; and St. Simeon with saw, and St. Jude with spear, (indicating manner of their death), together on turret.
Fourteen Stone Shields (only 12 in place), in the spandrels of the clerestory windows above the seven Chapels of Tongues, bear (or will bear) the following devices (south to north:) Above Chapel of St. James, (left) winged ox; and (right) artist’s palette, brushes and maulsticks, and lily, symbolizing St. Luke.[14] Above Chapel of St. Ambrose (left) lily, and (right) rose, both symbols of the Virgin Mary. Above Chapel of St. Martin of Tours, (left) eagle, and (right) chalice, symbols of St. John. Above Chapel of St. Saviour, (left) letters ΙϹ, ΧϹ, ΝΙ, ΚΑ, in four quarters formed by a Greek cross, signifying Jesus Christ Conquers; and (right), initials SP, SF, SS, of the Latin words Sanctus Pater, Sanctus Filius, Sanctus Spiritus, (Holy Father, Holy Son, Holy Spirit,) in a trefoil, symbolizing the Trinity.[15] Above Chapel of St. Columba, (left) crossed keys, symbol of St. Peter, and (right) crossed swords, symbol of St. Paul. Above Chapel of St. Boniface, (left) winged lion; and (right) fig tree, both symbols of St. Mark. Above Chapel of St. Ansgarius, (left) winged man and (right) axe and book, both symbols of St. Matthew.