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.
The Ambulatory
The Ambulatory ([12-12-12]) is a passage about 20 feet wide leading entirely around the Choir and giving access to the seven Chapels of Tongues, the Sacristy, and other environments of the Choir. Some of the features have already been described. The symbolism of the earthly life in the pavement, before mentioned ([p. 51]), is noticeable in the large areas of clay-red tiles with borders of grassy green serpentine and green marble from Pennsylvania. The beautifully colored wainscoting between the great pillars is of Grecian marble from the island of Scyrus. The Ambulatory is entered through elaborately wrought steel gateways, 30 feet high, in the archways on either side of the great arch of the Choir. The gates, made by Messrs. Warren & Wetmore, were presented by the Cathedral League and the Diocesan Auxiliary. In the south Ambulatory gateway is a white marble tablet, showing in relief two angels and two portrait medallions of Mr. and Mrs. Levi P. Morton, and bearing the following inscription: