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.”