A guide to the Cathedral Church of Saint John the Divine in the city of New York Fifth Edition — Background and Themes

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Hall, Edward Hagaman, 1858-1936 Project Gutenberg 2022 Not confirmed
Cathedral of St. John the Divine (New York, N.Y.) Readers of public-domain and historical texts
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Words 31,082
Reading time 136 min
Text sections 9

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Edward Hagaman Hall's 1924 guide to New York's unfinished Cathedral of St. John the Divine balances architectural detail, symbolic explanation, and human-interest anecdotes, such as a blind woman 'reading' carvings by touch, while addressing a diverse audience of visitors, students, and non-Episcopalians.
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ls, called the Chapels of Tongues, radiate from the Apse, or semi-circular eastern end of the Choir.

The loftiest features of the elevation are the two towers of the West Front (q. v.) and the great Central Tower above the Crossing. The latter, in the design now under consideration, consists of a dodecagonal lantern, carried up from the square Crossing in two stages, the upper smaller than the lower, and surmounted by a flèche or open-work spire rising to a height of 500 feet (including cross) above the ground.

When completed, the Cathedral will extend from Morningside drive to Amsterdam avenue, more than a tenth of a mile. It will be 601 feet long and 315 feet wide across the Transepts, and, with an area of 109,082 square feet, will be the third largest in the world, St. Peter’s at Rome being first and Seville Cathedral second.

The seating capacity of the Crossing in which the congregation ordinarily sits is 1,500; but on special occasions, when chairs are placed in the Ambulatory and people are admitted to the Choir Stalls, the Cathedral can accommodate about 3,500. When the church is finished, it will seat 7,000 and will accommodate several thousand more standing.

Progress of Construction

The Founder of the Cathedral was the Right Rev. Horatio Potter, (Provisional Bishop 1854-1861 and Bishop of New York 1861-1887), who proposed it in 1872. The charter was granted by the Legislature of the state of New York in 1873. The Right Rev. Henry Codman Potter, (Assistant Bishop 1883-1887 and Bishop of New York 1887-1908), nephew and successor of Bishop Horatio Potter, actively forwarded the movement for raising funds in 1886. The Close was purchased from the Leake & Watts Orphan Asylum by deed dated October 31, 1891. The first service on the ground was held January 1, 1892. The corner-stone was laid on St. John’s Day, December 27, 1892.[9] The first service was held in the Crypt January 8, 1899, and the first service in the Choir and Crossing (being the consecration service) April 19, 1911. Ground was broken for the Nave May 8, 1916, by the Right Rev. David Hummell Greer, (Bishop Coadjutor 1904-1908 and Bishop of New York 1908-1919). The parts thus far built are the Crypt, Choir, seven Chapels of Tongues, Crossing and foundation for the Nave. The Mohegan golden granite for the walls of the Nave is now being quarried near Peekskill, N. Y., and is being delivered on the grounds. Some details of the Choir and Crossing are unfinished. The completed portion of the Cathedral has cost about $4,000,000, and it is estimated that the Nave, West Front, Transepts, Spire, etc., will cost about $15,000,000, making the total estimated cost about $19,000,000.

Visitors to the Cathedral repeatedly ask when it will be finished. It is impossible to answer this question definitely. Some of the cathedrals of the Old World have been seven hundred years in building and are not yet completed. The things which endure the longest are generally of slow growth,[10] and the Cathedral of St. John the Divine is no exception to this rule. It is not a steel-frame structure, but is of massive masonry in the best traditions of Gothic architecture and is being built to stand for ages. Its physical construction must therefore necessarily be slow.

It is to be remembered, also, that the financial resources for the building of a modern cathedral are different from those which supplied the means for building many of the Old World churches. Westminster Abbey was built almost entirely from revenues of the Kings from Henry III. to Henry VII. St. Paul’s in London was partly built by the gifts of penitents who performed their penances in money. Occasionally an ancient shrine grew into a great church in consequence of some tradition or superstition which caused a continuous stream of illustrious persons to shower wealth, privileges and honors upon it. Pope Honorius prescribed collections in all Christendom for the building of Rheims Cathedral. The metropolitan church of St. Rombold’s, in Malines, Belgium, was built with money paid by pilgrims who flocked thither in the 14th and 15th centuries to obtain indulgences issued by Pope Nicholas V.; and the Tour de Beurre (butter tower) of Bourges Cathedral, like the tower of the same name at Rouen, “derives its name from having been erected with money paid for indulgences to eat butter in Lent.” (Baedeker.)

Edward Hagaman Hall's guide to the Cathedral of St. John the Divine, first published in 1920 and here in its fifth edition, deliberately departs from conventional guidebooks. As Hall notes in his introductory note, the Cathedral is not centuries old like European counterparts but is still under construction, so he prioritizes conveying its Spirit before describing its Fabric. The guide aims to avoid technical jargon, explain symbolism, and include Bible references for visitors who are often strangers, people of other denominations, or students from the nearby university.

The text reveals a tension between the unfinished physical structure and the completed spiritual vision. Hall includes answers to real visitor questions, such as the probable completion date, and incorporates informal touches like the story of a blind woman who 'saw' the Cathedral through touch. These elements ground the guide in lived experience rather than dry architectural cataloging.

Spirit Before Fabric: A Deliberate Departure

Hall explicitly states that his guide 'purposely departs from the conventional guide book' by expressing the Cathedral's Spirit before detailing its Fabric. This ordering reflects the building's unique status as an unfinished structure—unlike European cathedrals that are centuries old. The guide's audience shapes its approach: most visitors are strangers, non-Episcopalians, or students, so Hall avoids technical terms and explains symbolism that 'not generally understood.' He inserts Bible references freely for those who wish to study further.

The tension between the incomplete physical building and the complete spiritual concept runs throughout. Hall notes that nearly every statement in the guide answers a question asked by visitors, manifesting 'popular interest in the Cathedral’s growth.' This responsiveness to real inquiries gives the guide a conversational, almost collaborative character.

Symbolism and Inscriptions: Reading the Fabric

The guide meticulously catalogs iconography, as seen in the Chapel of St. James. Hall describes a window with four panels: the lowest shows Santiago Matamoros on horseback, with lines like 'Unto his shrine the mighty and the lowly fared on pilgrimage.' Above, angels bear the ΙϹ-ΧϹ symbol and the Ichthus. Escutcheons on the west door display a floriated cross, the monogram IHC, the chi rho monogram, and Alpha and Omega. These details are not merely decorative; they are keys to the Cathedral's didactic purpose.

Inscriptions on Bishop Potter's tomb reinforce this: 'Upholder of Righteousness and Truth' and 'Whose service is perfect freedom.' The tomb itself, of Siena marble with a recumbent figure in Serevezza marble, is described with precision—'even the texture of the lawn sleeves is apparent.' Hall treats the fabric as a text to be read, where every carving and inscription carries meaning.

Human Encounters: The Blind Woman and the Verger

Among the guide's most striking passages is the 'Story of the Blind Woman.' A woman who was blind, deaf, and barely articulate visited the Cathedral with a friend. The Verger, Charles F. Barnard, first led her the full length of the building so she could 'comprehend its size.' Then her friend communicated general features through touch. The wood and stone carvings she read with her own fingers. When she reached the Chapel of St. James, she wished to feel Bishop Potter's features.

This anecdote exemplifies Hall's inclusion of 'little things that one would tell informally in explaining the Cathedral to a friend.' It also illustrates a recurring pattern: the guide balances architectural description with human stories that make the building accessible. The blind woman's tactile encounter mirrors the guide's own method—using concrete details to convey something larger. Hall presents this as the beginning of 'traditional lore' that will grow around the Cathedral.

Hall's guide occupies a distinctive position: it is both a practical handbook for visitors and a document of a cathedral in progress. Readers should approach it as a snapshot of a particular moment—1924—when the building was still incomplete but its spiritual and symbolic ambitions were fully articulated. The guide rewards those who read it alongside the architecture itself, using Hall's explanations to see beyond the unfinished stone. Pay attention to the interplay between the descriptive and the anecdotal; the guide's true subject may be the community of interpretation forming around the Cathedral as much as the building itself.

Reading about the blind woman tracing the cathedral’s stone with her fingers, I remembered the hours I spent as a boy turning pages of Emblematic Illumination; or Forms, Colours and Emblems Suitable for Illuminating Texts of Holy Scripture in Large Style, in Oils or Water-colours. — Inside the Classic in my grandfather’s study. Both books ask you to feel meaning before you name it—touch and color doing what words cannot. That quiet patience stayed with me.

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