MINT THOMAS CHURCH 
 
 UEI YORK: CITY 
 
i£x Htbrts 
 
 SEYMOUR DURST 
 
 When you leave, please leave this book 
 
 Because it has been said 
 "Ever'thing comes t' bim who waits 
 
 Except a loaned book." 
 
 Avery Architectural and Fine Arts- Library 
 Gift of Seymour B. Durst Old York Library 
 
Digitized by the Internet Archive 
 in 2014 
 
 https://archive.org/details/shortdescriptionOOgill 
 
THE CHANCFL AND REREDOS 
 
A Short Description 
 
 of the 
 
 Reredos, Wood Carvings 
 
 and 
 
 Other Objects of Interest 
 
 in 
 
 Saint Thomas Church 
 New York City 
 
 PUBLISHED IN AID OF THE ENDOWMENT FUND OF 
 SAINT THOMAS PARISH 
 BY THE GILLISS PRESS, l6o FIFTH AVENUE, NEW YORK 
 
ACKNOWLEDGMENT 
 
 In preparing this book for publication in memory of my 
 brother Walter Gilliss, who began the work, I wish to gratefully 
 acknowledge with thanks the assistance given by our former 
 Rector, the Rt. Rev. Ernest M. Stires, who wrote the Intro- 
 duction and Description of the Reredos and Chancel, and the 
 Rev. Floyd S. Leach, to whom I am indebted for much of the 
 material for the illustrations, as well as the Rev. Roelif H. Brooks, 
 our present Rector, who has aided me with many suggestions, 
 and additional information. 
 
 Frank Le G. Gilliss. 
 
 All Saints Day, 1927 
 
INTRODUCTION 
 
 Saint Thomas Church is 214 feet long; 100 feet wide; 
 width of nave between columns 43 feet; height from pave- 
 ment to crown of the vault 95 feet. 
 
 The architects were Cram, Goodhue and Ferguson of 
 Boston and New York. (The partnership was later dis- 
 solved into Cram and Ferguson of Boston, and Bertram 
 G. Goodhue of New York.) 
 
 Mr. Ralph Adams Cram was responsible for the plan, 
 and to Mr. Goodhue's genius must be credited the wealth 
 of significant detail. 
 
 Many ask whether Saint Thomas has in any degree 
 been copied from one of the great Gothic structures of 
 the 13th century, or whether it closely resembles any of 
 these. Both questions must be answered with an emphatic 
 negative. There is a relationship in all good Gothic art, 
 but Saint Thomas Church, while loyal to the funda- 
 mental canons of Gothic architecture, is an original con- 
 ception, a living architectural creation. To this the ar- 
 chitects of America and Europe have given generous 
 testimony. 
 
 Certain resemblances to other structures, however, 
 may be indicated. There is a suggestion of Bourges Ca- 
 thedral in the lack of transepts, with the main arcades 
 unbroken from east to west. The walls, divided into ar- 
 cade, triforium and clerestory, observe the vertical pro- 
 portions of those of Troyes Cathedral in France. The ar- 
 rangement of the Chantry and the gallery above it was 
 suggested to the architects by the great two-storied arcade 
 of Le Mans Cathedral. 
 
 5 
 
6 
 
 ST. THOMAS CHURCH 
 
 Viewing the church from the southeast corner of 
 Fifth Avenue and Fifty-third Street one is impressed by 
 the success of the architects in securing emphasis by 
 means of mass, where rivalry in height would have been 
 impossible. The impressive strength of the structure con- 
 tinues to remind many of Rheims. 
 
 At present the exterior lacks the beautiful carvings 
 which from the first have been an essential part of the 
 plan. There is to be an attractive South Porch, over the 
 entrance in the south side of the tower. There are to be 
 appropriate statues in the many niches on the front. 
 There are to be beautiful carvings around the "rose win- 
 dow." The deep main portal is to receive its proper or- 
 namentation. Added to the religious significance of such 
 work is the certainty that it more greatly contributes to 
 the general pleasure and to the appreciation and encour- 
 agement of art than would the purchase of a high-priced 
 painting placed in a private house and enjoyed by a few. 
 
 On entering the Church one is conscious of "a profound 
 impression of dignity and harmony of proportion/' to 
 quote Mr. Ernest Peixotto in a beautifully illustrated 
 article in the magazine "Architecture" for July, 1920. 
 He continues, "From the very entrance, the eye is im- 
 mediately attracted by the exceeding richness of the 
 Chancel, where the great reredos — a gigantic work of art 
 — rears itself aloft, piling its niches, its sculptured figures, 
 and its pinnacles from the Altar to the topmost curve 
 of the main vaults of the church, a height of some 
 eighty feet. This reredos is, I believe, one of the greatest 
 accomplishments in modern ecclesiastical art. The union 
 between architect and sculptor seems quite complete. 
 Its several tiers of niches, peopled with saints and 
 prophets, with great reformers and dignitaries of the 
 Christian Church, rise one upon another, cut in stone 
 of the same warm character as the rest of the church 
 and forming an integral part of it. These niches are 
 
7 
 
8 
 
NEW YORK CITY 
 
 9 
 
 shaded by richly carved canopies and separated by slender 
 columns or by delicate buttresses ornamented with ex- 
 quisite detail. Toward its summit, the reredos is pierced 
 by three openings that reveal windows which, though 
 not intended to be permanent, are glazed in the rich, 
 jewel-like tones of the glass at Chart res. Immediately 
 above the High Altar, which in itself is extremely simple, 
 in a deeply recessed porch, stands a group of figures that 
 depict St. Thomas kneeling as he recognizes the Risen 
 Christ. Above this porch towers a great cross, surmounted 
 by a crown of thorns, capped by a diadem, and sur- 
 rounded by adoring angels enclosed in a flat panel whose 
 frame is embellished with scrolls and foliations, and with 
 shields showing the implements of the Passion. Above 
 the cross again, in a glorified Calvary, appear lifesize 
 figures of Christ, St. Mary, and the Beloved Disciple, 
 while in niches above these and about them appear 
 apostles and saints, missionaries and reformers, divines 
 of the Episcopal Church in England and America. All 
 these figures have been carefully studied in their re- 
 lationship to each other and to the whole, and produce 
 that wonderful impression of richness combined with 
 order, of dignity combined with grace, that quite over- 
 powers the beholder in the storied retables of Italy and 
 Spain. The work of the sculptor forms no mean part in 
 the success of this accomplishment, for, as in much of the 
 late-Gothic work, the stonecutter's art almost overshadows 
 that of the architect." 
 
 For this beautiful design the credit belongs to Mr. Ber- 
 tram Grosvenor Goodhue, who gave high praise to his 
 assistants, Messrs. Jago and Murray. 
 
 The sculptor, Mr. Lee Lawrie, has wrought a work 
 which should give him high and permanent rank. The 
 actual cutting of the stone was done by the Ardolino 
 brothers, and carried out in a fine Gothic spirit. 
 
 The altar and reredos are a memorial to Mr. and Mrs. 
 
10 
 
 ST. THOMAS CHURCH 
 
 Harris C. Fahnestock, the gift of their five sons and daugh- 
 ter. 
 
 The stone (known as " Dunville" stone) used for the 
 reredos, is from Danville, Ohio, and is of a texture in 
 hardness between limestone and sandstone. 
 
 To see St. Thomas, stand at the foot of the center aisle 
 pausing a few moments to feel the effect of the fine pro- 
 portions. At once you are attracted by the beauty and dig- 
 nity of the reredos, the largest in the world. But the 
 beauty and artistic excellence are not ends in themselves, 
 and you are grateful for the three windows piercing the 
 upper part of the reredos suggesting greater glories be- 
 yond. 
 
 Standing at the foot of the center aisle you observe, 
 at your right, a box in which the offerings of the faithful 
 are received and used for the relief of the poor. The figure 
 suggesting Poverty is endeavoring to sustain a heavy bur- 
 den which may be lightened by the offerings of the chari- 
 table. Two of the young people of the parish, a brother and 
 sister, carved this and gave it in memory of their father. 
 
 On the north wall at your right is an interesting paint- 
 ing representating the visit of the Magi, and attributed 
 to Rubens. This is a gift of Mrs. Edward F. Hutton. 
 
 At your left you observe a large door leading from the 
 nave into the vestibule of the tower. On either side and, 
 over this door, there is a memorial to the twenty parish- 
 ioners who gave their lives in the World War, and to the 
 three hundred and thirty others who enlisted in the serv- 
 ice.* 
 
 Let us now walk up the center aisle to the chancel and 
 study the reredos, remembering that it will be well to 
 come again at some quiet hour bringing a strong pair of 
 opera glasses in order that we may attain the most inti- 
 mate contact with this great work, assured that our care- 
 ful study will be richly repaid. 
 
 •Description may be found on page 72. 
 
1 1 
 
THE REREDOS 
 
 You will find on pages 22 to 30 illustrations with key 
 numbers which will facilitate the identification of the 
 figures of the reredos. But it is desirable that some brief 
 additional explanation should be given. 
 
 In the centre of the reredos you observe a cross which, 
 with the surrounding ornamentation, reminds the older 
 parishioners of Saint Thomas of that very beautiful 
 work of art by Augustus St. Gaudens entitled, "The 
 Adoration of the Cross," and which occupied in the old 
 Church which burned, the place of distinction above the 
 altar. Unfortunately, that great work was only in plaster, 
 and the Rector was corresponding with St. Gaudens on 
 the subject of having it cast in bronze when the church 
 burned and that famous composition was destroyed. Per- 
 haps as brilliant a pupil as St. Gaudens ever had, and one 
 who often assisted him with important works, was Lee O. 
 Lawrie, now a distinguished sculptor. It was arranged, 
 therefore, that when Mr. Lawrie was appointed as sculp- 
 tor of the reredos which had been designed by Bertram 
 Grosvenor Goodhue he should follow as much as possible 
 the work of 'his master in reproducing in the centre of the 
 reredos a similitude of that work which had been de- 
 stroyed. Art experts who have made careful study of the 
 original, and of this reproduction, feel that in no respect 
 does this come short of the original, while it possesses 
 many details which make it even more beautiful. 
 
 The cross is empty, because we worship not a dead 
 Christ, but a living Christ who is risen, and who is the 
 world's living Saviour and King. Therefore, above the 
 cross you see Him standing as the Ruler of Mankind. 
 
 12 
 
"1 
 
 ST. THOMAS CONVINCED 
 
 ENTIRE GROUP IN UPPER ROOM SHOWN ON PAGE 8 
 
 13 
 
»4 
 
 ST. THOMAS CHURCH 
 
 Yet you are reminded of the scene at the foot of the cross 
 on Calvary, because on one side, at His feet, you see St. 
 John, and on the other side, His Mother. Across the 
 central part of the cross, and the kneeling adoring 
 angels, you observe texts which, with a good pair of 
 glasses, you will discover are from the central part of 
 the Te Deum beginning with "Thou art the King of 
 Glory, O Christ." 
 
 Looking a little closer, you will find at the four ends of 
 the cross the symbols of the four Evangelists. You observe 
 the cross surmounted by a Crown, not a crown of thorns, 
 but the Crown of the living King. You see at the foot of 
 the cross the roots of a large grape-vine, with the tendrils 
 climbing up on each side. Among the roots you see sheep 
 feeding. The suggestion of the Shepherd and the sheep; 
 the significance of the grapevine will be clear to you. At 
 the very foot of the cross, underneath the place where the 
 feet would rest, you see a chalice as though to catch the 
 wine of His blood. Around the outer part of this central 
 portion you will see little pictures here and there, the 
 symbols of the Passion — the ladder and the spear, the 
 lantern with which the conspirators entered the Garden 
 of Gethsemane, the whip of cords with which the Master 
 was beaten before Herod and in one of these little pictures 
 you will see the cock crowing. These details should be 
 studied with a good pair of glasses. You will observe that 
 the work everywhere has been done with the greatest 
 care and completeness. The most distant details, those 
 which cannot be closely examined, have been executed 
 with the highest degree of artistic faithfulness. It recalls 
 a remark of Phidias, who spent much time on the hair 
 of a statue of one of the gods. When the sculptor was re- 
 buked for it, and was told that no one would see it because 
 the statue was to be placed high up, and the hair on the 
 back of the head could not be seen at all, he replied, 
 "But the gods will see it." Perfect sincerity is one of 
 
MESSIANIC PROPHETS 
 
 15 
 
i6 
 
 ST. THOMAS CHURCH 
 
 the fundamentals of Gothic art, and it is to be found in 
 every detail of the reredos. 
 
 Just above the altar and beneath this cross, which we 
 have been describing, you behold the scene in the Upper 
 Room, representing St. Thomas convinced that he is in the 
 presence of the risen Lord. He falls at the Master's feet 
 with his arms outstretched, crying, "My Lord and my 
 God." You note the keen interest of the other apostles 
 who knew that until now he had refused to believe the 
 report that the Master had risen. Obviously, it is the one 
 event in the whole Gospel story most appropriate to ap- 
 pear at this place, and in this Church. 
 
 Just above this picture you observe a little frieze. If 
 you were to examine it more closely you would discover 
 the heads of a number of the prophets, and you would 
 notice that in a little circle around the head of each is 
 carved a text. The prophets are those who foretold the 
 coming of Christ, and the texts present some significant 
 words from their prophecies. Around the head of Isaiah you 
 will read " Behold a Virgin shall conceive and bear a child." 
 
 It is impossible to recount the story or history chrono- 
 logically, because, for reasons which will appear, this 
 would necessitate our jumping from place to place in a 
 manner which might bewilder. Therefore, let us begin 
 at the very top. If you were to examine closely with 
 glasses, you would see over the central window three 
 figures of angels each bearing in her arms a little child. 
 These were the first Christian martyrs — the children 
 killed by Herod in his search for the Christ child. On either 
 side of that window are two figures, the one to the left 
 St. Stephen, and the other St. Philip. You recall that St. 
 Stephen is generally spoken of as the first Christian mar- 
 tyr, and you remember that as his enemies were stoning 
 him to death, they laid his garments at the feet of his 
 principal accuser, a certain Saul of Tarsus, who became 
 well-known under another name, as St. PauL 
 
NEW YORK CITY 
 
 '7 
 
 Over the small window to the left are other figures, three 
 of the early Christian martyrs, Polycarp, Ignatius and 
 Cyprian. Over the window to the right are three other 
 saints. The central figure is Gregory, Bishop of Rome, 
 in the year 590. At that time the papacy was unknown, 
 and we find this particular bishop of Rome declaring that 
 if there ever came a time when one bishop claimed su- 
 premacy over the other bishops in the Church, he ought 
 to be called Anti-Christ. The love of this bishop for music 
 we recall, for we are familiar with the Gregorian music. 
 It was his keen interest in Britain which caused him to 
 send Augustine to Britain to help to revive and strengthen 
 the Church which had been planted there centuries before. 
 On his left is St. Francis of Assisi, who lived at the end of 
 the tenth and the beginning of the eleventh centuries, and 
 who belongs to all the world. On the right is Savonarola, 
 the noble martyr whom all of us honor. 
 
 Looking a little lower you see four majestic figures. 
 Beginning at the left, the first is Chrysostom, Bishop of 
 Constantinople; the second is Athanasius, the hero of the 
 first council of the Church which drew up the Nicene 
 Creed. The third figure is Jerome, who first translated the 
 Bible into the common speech of the people, a version 
 which was therefore called, "The Vulgate/' The fourth 
 figure is Augustine, one of the first of the great theolo- 
 gians. 
 
 Looking lower still you see four pairs of figures. The first 
 pair are Restitutus who was Bishop of London in 314 
 A. D., and by his side stands Columba, one of the great 
 British Saints who died in the year 521. These two re- 
 mind you that the Church was strongly planted in Britain 
 long before Rome took a hand in its development. The 
 next pair are Augustine, whom Gregory sent to England 
 in 597, and who became the first Archbishop of Canter- 
 bury. Next to him stands Theodore, also an Archbishop 
 oi Canterbury, whose disposition to show his indepen- 
 
i8 
 
 ST. THOMAS CHURCH 
 
 dence of Rome is worth remembering. The next pair are 
 the Venerable Bede, the great historian of Britain, and 
 WycklifTe, who, two hundred years before the English 
 Reformation, struck a note that echoed throughout all 
 England, and has given him in history the name of "The 
 Morning Star of the Reformation. " The last pair were 
 both Archbishops of Canterbury. First you see Cran- 
 mer, who, in the reign of Henry VIII, had much to do 
 with the reforming of the Prayer Book. You recall that 
 under Bloody Mary of England he was burned to death. 
 The figure at his side is Archbishop Laud, who also was 
 martyred in 1645. 
 
 Coming a little lower, looking to the right of the figure 
 of our Lord, you see a pair of figures, and to the left 
 another pair. The pair on your left are two foreign mis- 
 sionary bishops of the Church of England, Bishop Sel- 
 wyn and Bishop Patteson, whose stimulating stories you 
 should read. On the other side are two missionary bishops 
 of our American Church, Bishop Payne who went out to 
 Africa in 185 1, and Bishop Williams, who went to Japan 
 in 1874, each taking his life in his hands. You will observe 
 the significance of these four missionaries being placed as 
 close as possible to the figure of the risen Lord. They rep- 
 resent the front line of the Church's advance. 
 
 Coming down to the lowest line of statues you see that 
 on each side are groups of four. I ask you to look at the 
 two in the middle of each group. On your left the first 
 two are St. Matthew and St. Mark, and the two in the 
 centre of the last group are St. Luke and St. John. St. 
 Luke has an open scroll in his hand, and if you look 
 closely you will see that on it is a representation of the 
 Virgin and her Child, because St. Luke gives us more 
 information concerning the infancy of our Lord, and the 
 life of His Mother, than can be found in any other rec- 
 ord. As you look at St. John 1 ask you to note that there 
 are in the reredos three different representations of him 
 
NEW YORK CITY 
 
 io 
 
 — the one before us, the figure at the foot of the cross 
 and as he appears in the scene in the Upper Room. You 
 will observe that the sculptor has been careful to carry 
 out the likeness. Having familiarized yourself with the like- 
 ness in one case, you could find the other two statues 
 without difficulty. 
 
 On either side of these two pairs of figures are others, 
 four in all, in particularly prominent places. The first 
 one on your left is St. John the Baptist. The second figure, 
 with the arm upraised, is St. Paul. His statue is not ac- 
 companied by the usual conventional book and sword. 
 Effort has rather been made to present a picture so strik- 
 ing, and so typical of what St. Paul represents, that those 
 who are acquainted with his character and his work 
 might be able to recognize his personality. 
 
 On the right you observe another prominent figure. 
 It is that of St. Peter, and there is at least a possibility 
 that this statue has some of the elements of a portrait, 
 for it follows a representation of St. Peter which appears 
 on the now famous chalice of Antioch, which experts have 
 declared was made by a Greek Christian goldsmith in the 
 first century, and these experts have further concluded 
 that in many instances, the artist undoubtedly endeav- 
 ored to reproduce portraits of Christian leaders, person- 
 ally known to him. As you carefully observe this statue 
 of St. Peter, you find it very convincing. 
 
 The last of these four prominent figures is our own St. 
 Thomas. In accordance with old custom a place of par- 
 ticular honor is given to the Saint whose name is borne 
 by the parish Church. 
 
 We have named some of the apostles; let us lift our eyes 
 to the others. The figure just over that of St. John the 
 Baptist is St. Bartholomew. The next two are St. Philip 
 and St. James the Less. The fourth figure in this more im- 
 portant place is St. James the Greater, almost always 
 represented with his hat on, and a staff in his hand. On 
 
2G 
 
 ST. THOMAS CHURCH 
 
 the right side in this same line, is the statue of St. Andrew; 
 he holds in his hand a basket in which are five barley 
 loaves and two small fishes. Next are St. Simon and St. 
 Jude; and last is St. Matthias, who was elected to be of 
 the twelve in place of the traitor Judas. 
 
 Now turn to the extreme left, next to the wall. Before 
 describing the figures, I ask you to observe a little picture 
 at the very top; it is the Expulsion from the Garden of 
 Eden. If you look closely you will see that Adam is going 
 out of the Garden with his wife, taking her by the hand, 
 and yet standing between her and the angel with the 
 flaming sword. 
 
 Over on your right, next to the wall at the top, is a little 
 companion picture, the story of the Annunciation. The 
 significance of these two little pictures we need not ex- 
 plain here. 
 
 Returning to this row of figures, at your extreme left on 
 the top, you observe two of the most distinguished scholars 
 of the Church of England, Richard Hooker and Bishop 
 Butler. Beneath them is John Wesley, founder of the 
 Methodists, who besought his brethren to carry on the 
 great revival within the Church and not to leave it or 
 establish an independent Church. Below Wesley is Lid- 
 don, the great dean and preacher of St. Paul's, London. 
 And the last of this line is Gladstone, England's great 
 layman. 
 
 Leaving the British line, and coming over now to the 
 extreme right, we come to the American line. At the top 
 is Bishop Seabury and Bishop White, the first bishops of 
 our American Church. They have in their hands the first 
 American Prayer Book. Just beneath them is a great lay- 
 man of the American Church, George Washington. Per- 
 sonally, I think this is one of the strongest statues of 
 Washington to be found anywhere. It repays careful 
 study. Below Washington is the figure of the great bishop 
 and preacher Phillips Brooks. This row of figures con- 
 
NEW YORK CITY 21 
 
 eludes with one who was living when his statue was 
 placed there — dear beloved Bishop Tuttle, great mis- 
 sionary bishop of the Far West, and Presiding Bishop of 
 the Church for many years. 
 
 COAT OF ARMS OF 
 ST. THOMAS CHURCH 
 
TOP SECTION— LEFT 
 
 [. ST. POLYCARP 
 2. ST. IGNATIUS 
 
 3. ST. CYPRIAN 
 5. ST. JOHN CHRYSOSTOM 
 
 22 
 
TOP SECTION — CENTRE 
 
 4. ST. STEPHEN, PROTOMARTYR 
 
 6. ST. ATHANATIUS 
 
 7, S, (). ANGELS HOLDING INNOCENTS 
 
 IO-I I. ARMS OF DIOCESE AND PARISH 
 
 12. ST. PHILIP THE DEACON 
 
 13. ST. JEROME 
 
 23 
 
CENTRAL SECTION— LEFT 
 
 IC). BISHOP HOOKER 25. BISHOP SELWYN, NEW ZEALAND 
 
 20. BISHOP BUTLER 2(5. BISHOP PATTESON, MELANESIA 
 
 2 1. RESTITUTIUS 27. ST. BARTHOLOMEW 
 
 22. ST. COLUMBA, ABBOT OF IONA 28. ST. PHILIP 
 
 2}. JOHN WESLEY 20. ST. JAMES THE LESS 
 
 24. CANON LIDDON 
 
 2 5 
 
WJt'mt 
 
 CENTRAL SECTION — CENTER 
 
 30. ST. AUGUSTINE, CANTERBURY 34. CHRIST THE KING 
 
 }I. ST. THEODORE. CANTERBURY 35. ST. JOHN THE BELOVED 
 
 32. ST. JAMES THE GREAT 36. THE VENERABLE BEDE 
 
 33. BLESSED VIRGIN MARY 37. JOHN WYCLIFFE 
 
 38. ST. ANDREW 
 
 26 
 
CENTRAL SECTION— RIGHT 
 
 39. ARCHBISHOP CRANMKR 
 
 40. ARCHBISHOP LAUD 
 
 42. BISHOP SEABURY 
 
 43. BISHOP WHITE 
 
 44. BISHOP PAYNE 
 
 45. BISHOP WILLIAMS 
 
 46. GEORGE WASHINGTON 
 
 47. ST. SIMON 
 
 48. ST. JUDE 
 
 49. ST. MATTHIAS 
 
 50. BISHOP PHILLIPS BROOKS 
 
 27 
 
LOWER SECTION CENTER 
 
 55. ST. PAUL THE ALTAR 56. ST. PETER 
 
 29 
 
JO 
 
THE CHANCEL 
 
 The doors on either side of the altar are interesting. 
 Over the door on your right are little angelic figures, but 
 over the door on the left are some figures that were carved 
 while the World War was waging, and, therefore, in ac- 
 cordance with old tradition, that history has been woven 
 into the carvings. On the left at the top of the door you 
 see one of our soldier boys saying a prayer before he goes 
 "over the top." Opposite him is one of our boys of the 
 navy. In the centre is a Red Cross nurse with her hands 
 outstretched in benediction over both of them, a modern 
 angel. 
 
 Observe that on a little piece of iron that covers the 
 keyhole in these doors has been traced an outline of the 
 whole reredos. A bit of iron covering the keyhole is a 
 small detail, and yet all of the iron work used here, and 
 throughout our Parish House, was made by hand, and 
 some of the carvings, especially on the locks, is extremely 
 interesting and beautiful. 
 
 On your left you will see the Bishop's Seat, and on 
 either side the Clergy Seats. On the arms of these are 
 to be found carvings of the heads of Moses, Aaron, Ti- 
 mothy, Titus, Ignatius, and Polycarp. On the front of 
 the kneelers will be seen representations of the Consecra- 
 tion of Bishop Seabury and Bishop White; the charge 
 to St. Peter; the Laying on of Hands. Bishop Greer laying 
 the cornerstone of St. Thomas. Bishop Greer consecrat- 
 ing St. Thomas Church. 
 
 On the opposite side, that is on your right, are Sedilia 
 for assistant clergy. Along the top are emblems of the 
 
 3' 
 
THE BISHOP'S SEAT 
 
 32 
 
34 
 
 ST. THOMAS CHURCH 
 
 four evangelists. Lower are suggested likenesses of the 
 three bishops of the Church who were formerly assistant 
 ministers in St. Thomas, Bishop Courtney, Bishop White- 
 house, Bishop Mackay-Smith. Here also are to be seen 
 four carvings representing four deacons, St. Stephen, St. 
 Philip, St. Lawrence, St. Francis. 
 
 The altar itself is presented with sublime simplicity, 
 as though its significance transcended man's power of 
 expression. The only suggestion of ornamentation is to 
 be found in an ancient Christian symbol which contains, 
 in abbreviated Greek form, the words "Jesus Christ 
 Conquers." The altar rail is of the finest oak, and the 
 bronze panels contain ancient Christian symbols of the 
 Eucharist. Beginning at the left, they are, the Chalice, 
 and Paten; the pelican feeding her young with the blood 
 from her own breast; the fish, the meaning of which is 
 especially well-known to Greek scholars; the pomegran- 
 ate; wheat with the inscription "Panis Vitae" — The Bread 
 of Life; the crowned Sacrament; grapes with the inscrip- 
 tion "Vitis Vera" — "The true vine," the Greek symbol 
 of the Sacrament. These same symbols are represented 
 on the other half of the rail. At the ends of the two halves 
 of the rail are four carved angels, bowing humbly before 
 the altar. 
 
 This rail (as was also the one in former Church destroyed 
 by fire, in 1905) was the gift of Mrs. William Gayer 
 Dominick, in memory of her husband. 
 
 Within the chancel, on the north side is the aumbry, 
 on the front of which are some of the finest and most 
 beautiful examples of wood carving to be found in the 
 Church. These are, left to right figures of Aaron, Bishop 
 Greer, Miriam and Virgin and Child. 
 
WHEAT VINE 
 
 SECTIONS OF THE CHANCEL RAIL 
 
 35 
 
36 
 
TILING, WOOD CARVING, ETC. 
 
 In front of the chancel rail will be found in the tiled 
 pavement left to right seven panels entitled, Penitence, 
 Holy Orders, Baptism, Holy Communion, Confirmation, 
 Matrimony, Prayer. 
 
 The greater part of the wood carving, all of which is 
 the gift of Mr. Charles Steele is outside the chancel rail. 
 While it is not practicable to describe all in detail, an 
 observer will find many emblematic carvings on most of 
 the wood and stone work throughout the Church. 
 
 Turning to the right from the chancel rail and facing 
 north, beginning at the rail there are above and back of 
 the choir seats a series of gargoyles running from left to 
 right, of persons of note contemporary with the World 
 War. These wood carvings are in the following order. 
 King George of England, King Albert of Belgium, Clemen- 
 ceau, Poincare, Lloyd George, Marshal Haig, Admiral 
 Beatty, JofTre, Naval Aviator, Service of Supply, Red 
 Cross Nurse, Dr. Noble, organist, Mr. Steele, donor of 
 chancel woodwork, Mr. Goodhue, architect, Doctor 
 Stires, rector, Mr. Casson, woodworker. 
 
 In the recess back of these gargoyles will be found within 
 the various arches fine carvings of the Arms of many of 
 the Dioceses of the Church in America. Examples of these 
 Diocesan Arms and gargoyles are shown on pages 40 and 4 1 . 
 
 Below these gargoyles are carved on the face of Miserere 
 Seats (last row of choir) figures representing various 
 Biblical quotations. From left to right, they are, Lion 
 eating straw like the ox, The dove and ark, The cow and 
 the bear shall feed . . . together, The swallow hath found a 
 
 37 
 
58 
 
 ST. THOMAS CHURCH 
 
 place to rear her young — even thine altar, O Lord, The 
 wolf and the lamb, A phoenix, Young lions seeking their 
 prey, Foxes have their holes, Russian bear being doped, 
 The Gallic Cock, Vine — Rector's seat. 
 
 Carved on the face of the choir seats in front of the 
 Miserere are nine panels, representing events in the Old 
 Testament. From left to right, Adam and Eve expelled 
 from Eden, Sacrifice of Isaac, Jacob's Dream, Crossing 
 the Red Sea, David and Goliath, Solomon building the 
 Temple, Elijah rebuking Ahab and Jezebel, Belshazzar's 
 Feast, Nehemiah rebuilding Jerusalem. 
 
 On the front of choir stalls are carved panels emblem- 
 atic of various industries and occupations. From left to 
 right: Physician, Engineer, Banking, Author, Architect, 
 Musician, Wireless Telegraphy, Railway, Blacksmith, 
 Telephone, Sculptor (Lee O. Lawrie) Steamship, Theodore 
 Roosevelt, Ship of Christopher Columbus. 
 
 When crossing from north to south side of chancel one 
 should notice in the tiling representations for the Arms of 
 St. Thomas Parish, The City of New York, The United 
 States, The Diocese of New York, and The State of New 
 York. 
 
 Above, and beginning on line with south end of chan- 
 cel rail, proceeding from right to left are a continuation of 
 the series of gargoyles similar to those on north side of 
 chancel. These are: Robert G. Lansing, President Wil- 
 son, Premier Paderewski, King Victor Emmanuel of 
 Italy, Admiral Mayo, General Pershing, Marshal Foch, 
 French Admiral, General March, Herbert Hoover, Gen- 
 eral Allenby, The Army, Red Cross, Artillery, Bishop 
 Burch, Bishop Brent, Burgomaster Max, and Cardinal 
 Mercier. 
 
 Below these are a continuation of carvings on the face of 
 the Miserere seats as on the north side of chancel. From 
 right to left, these are: Salvation Army Lass, Dead Lion 
 "out of the strong cometh sweetness," Capital and Labor 
 
NEW YORK CITY 
 
 ^9 
 
 Binding Industry, American Eagle plucking the Imperial 
 Eagle, Prohibition overturning Bacchus,* St. George and 
 Dragon, St. Christopher the patron Saint of Travelers, 
 Philip baptizing Ethiopian Eunuch. 
 
 On the face of choir seats arranged from right to left 
 is a continuation of the carved panels which represent: 
 Church in America, Nativity, The Magi and Shepherd, 
 Feeding the Multitude, Pentecost, St. Paul at Mars Hill, 
 Martyrdom of Bishops Cranmer, Latimer, and Ridley, 
 Missions, Allenby entering Jerusalem. 
 
 On the fronts of the choir seats on south side of the 
 chancel are continued the series of engraved panels em- 
 blematic of various industries or occupations: left to 
 right these are Henry Hudson's Ship the Half Moon, 
 Statesman, Abraham Lincoln, Airplane, Painting, Auto- 
 mobile, Fulton's Steamboat the Clermont, Telegraph, Air- 
 ship, Wood Carver, Cotton Growing, Electrician, Iron 
 and Steel, Teacher, Lawyer. 
 
 On the north side of chancel is the Rector's seat, on 
 back of which is carved a panel representing the Ascension 
 and on the side figures representing Dante and Jeremy 
 Taylor, while on front of kneeler are figures of St. Augus- 
 tine and Thomas a Kempis. 
 
 At the south side of chancel are two seats for Assis- 
 tant Ministers. On front of kneeler for the one further 
 back is a carved panel representing Conversion of St. Paul, 
 and on the back of the other a panel representing the Coun- 
 cil of Nicaea. On front of kneeler are figures of Milton and 
 Bunyan, while at the side are Chaucer, Shakespeare and 
 Pusey. 
 
 *lt may be significant to note that in this piece of carving Prohibition is depicted by a female 
 figure representing the Women's Christian Temperance Union, and a lemon is more than counter- 
 balancing the grapes. 
 
SOME GARGOYLES 
 
 BERTRAM G. GOODHUE — REV. ERNEST M. STIRES 
 EXAMPLES OF DIOCESAN ARMS 
 
 4" 
 
GENERAL PERSHING MARSHAL FOCH 
 
 MORE GARGOYLES 
 
 41 
 
THE LION EATING STRAW I.IKE THE OX 
 
 THE SWALLOW REARING HER YOUNG 
 
 THE RUSSIAN BEAR — DOPED 
 
 THE COW AND THE BEAR FEEDING TOGETHER 
 
 EXAMPLES OF MISERERE CARVINGS— NORTH 
 42 
 
ELIJAH REPROVING AHAB AND JEZEBEL 
 
 belshazzar's FEAST 
 
THE CHURCH IN AMERICA 
 
ST. PAUL AT MARS HILL 
 
 PAXI LS < >\ 
 
 ALLENBY ENTERING JERUSALEM 
 
 FACE OF CHOIR SEATS— SOUTH 
 47 
 
PANEL HENRY HUDSON'S SHIP 
 THE HALF MOON 
 
 FRONT OF CHOIR STALL 
 
 4 8 
 
ST. THOMAS CHURCH 
 
 THE LECTERN 
 
 Leaving the chancel steps on the south side is the 
 lectern on which are carved figures representing Job, 
 Isaiah, Moses, and Elijah from the Old Testament, and the 
 four evangelists, Saints Matthew, Mark, Luke and John 
 from the New Testament. 
 
THE PULPIT 
 
 Proceeding to north side the pulpit will be found with 
 carved figures, left to right (most of them portraits), of 
 William Boyd Carpenter, Bishop of Ripon ; Canon Far- 
 rar, Dean of Westminster; Henry C. Potter, Bishop of New 
 York; Phillips Brooks, Bishop of Massachusetts; Thomas 
 Underwood Dudley, Bishop of Kentucky; Henry Parry 
 Liddon, Canon of St. Paul's, London; John Henry (Car- 
 dinal) Newman, Oratorian; William C. Magee, Archbishop 
 of York; John WyclifTe, Rector of Lutterworth; John 
 Chrysostom, Bishop of Alexandria; Girolemo Savonarola, 
 O. P. Florence; Frederic W. Robertson, Trinity Church, 
 Brighton, England; John Wesley, Lincoln College, Oxford; 
 Frederick Denison Maurice, England; Frederick Monod, 
 foundator of the Evangelical Church in France; Jacques 
 Benedict Bossuet, Bishop of Dijon; Jean Baptiste Mas- 
 sillon, Bishop of Clermont; Frederick Courtney, Bishop of 
 Halifax; William R. Huntington, Rector of Grace Church, 
 New York. All were distinguished preachers. 
 
 On the top of the sounding board of the pulpit is carved 
 a dove emblematic of the inspiration of the Holy Spirit. 
 
 The sounding board is surmounted by a frieze, repre- 
 senting seven Old Testament prophets, with quotations 
 from their prophesies, viz: Isaiah, Jeremiah, Ezekiel, 
 Daniel, Micah, Zechariah and Amos. 
 
 The pulpit is a gift of Mrs. Samuel H. Valentine, in 
 memory of her husband. 
 
 52 
 
53 
 
THE CALVARY CROSS 
 
 Set into the pillar to the right of the pulpit is a Latin 
 cross made from stone used formerly as part of a series 
 of steps in the Greek Chapel of the Church of the Holy 
 Sepulchre at Jerusalem which is said to be built at, or 
 near Mount Calvary. These stones were obtained with 
 great difficulty, by two devoted members of the Parish 
 (Mr. and Mrs. Howard S. Rodgers) and after reaching 
 New York were fashioned into the cross which was put 
 in place for the centennial celebration of the Parish in 
 December, 1923. 
 
 At the foot of the pillar is a prayer desk, upon which 
 is carved the inscription: Fountain of Mercy, Fountain of 
 Pity, Fountain of Everlasting Life, Fountain of Comfort, 
 Fountain of Grace. 
 
 LITANY DESK 
 
 At the head of the center aisle is a beautifully carved 
 litany desk, a gift of Miss Margaret C. Hurlbut, in mem- 
 ory of her aunt, Mrs. Ella Crane McClure. The kneeler 
 is inscribed with the petition, "O Christ hear us." 
 
 CHANCEL PARAPET MOSAICS 
 
 In proceeding from lectern to pulpit, one will pass in 
 front of the chancel parapet of stone, ornamented with 
 mosaics. Left to right there are four representing the 
 Church as a Ship, as a Lighthouse, as a City of Refuge, as 
 the Kingdom of God for all people. To the right of these 
 are four other mosaics, representing Rheims Cathedral, 
 Union of Blue and Gray, 1865, Independence Hall, 1776, 
 and First Communion at Jamestown, 1607. 
 
 54 
 
NEW YORK CITY 55 
 
 A PANEL OF THE CHANCEL PARAPET 
 
 A PANEL OF THE CHANCEL PARAPET, COMMEMORATING 
 THE GREAT WAR 
 
 A panel of the chancel parapet commemorates the 
 World War. In the center is a representation of Rheims 
 Cathedral, and the stone from which the picture is made 
 was obtained at the Cathedral on August 31, 19 18, by 
 Dr. Stires, former Rector while acting as a Chaplain in 
 France during the World War. In the circle are the names 
 of certain great engagements in which Americans partici- 
 pated. In the fleur-de-lys at the top can be seen the name 
 Amiens; in the one at the right, Albert; the one at the left 
 is from Peronne. These are bits of stone from these three 
 great Cathedrals which suffered in the war. 
 
UNITED STATES GREAT BRITAIN 
 
 5 6 
 
ANCIENT KINGDOM OF RUSSIA 
 
 ARMS OF THE ALLltS 
 
 57 
 
ARMS OF THE ALLIES 
 
 Arranged from left to right above the stone parapet are 
 panels engraved with Coats of Arms of some of the Allies 
 in the World War: Italy, France, Serbia, United States, 
 Great Britain, Ancient Kingdom of Russia, and Belgium. 
 
 TAPESTRY 
 
 Over the door leading to the Parish House is a tapestry 
 depicting Moses casting down the Table of the Law when 
 he found Israel worshipping the golden calf. This was given 
 by Mrs. Louis Bennett in memory of her son Louis Ben- 
 nett, killed in the World War. 
 
 THE TAPESTRY 
 
 58 
 
NEW YORK CITY 
 
 59 
 
 THE ORGAN AND CASE 
 
 Before leaving the chancel one should take note of the 
 woodwork of the organ case on north side of Church. There 
 will be found carved figures representative of Jubal "the 
 father of all such as handle the harp and organ (Gen. 4: 
 21); David with his harp, St. Ambrose, founder of the first 
 system of Church music; St. Gregory, who developed a 
 system of plain-song; and below, Miriam with her cym- 
 bals, singing her song of triumph after the crossing of 
 the Red Sea, and St. Cecilia the patron of music. Above 
 these figures are two angels, kneeling with a shield con- 
 taining the arms of St. Thomas Parish, between them. 
 The organ is the gift of Mrs. Georgie B. de Heredia and 
 Mrs. Marianne C. McDougall in memory of their parents, 
 Henry H. Cook and Mary McCay Cook. 
 
 THE ORGAN CASE AND NORTH SIDE OF CHOIR 
 
ANGELS BEARING THE ARMS OF THE PARISH 
 
THE BIBLE 
 
 On the Lectern is a beautiful Bible. The Bible was given 
 as a thank-offering on All Saints Day, 19 16, by Miss Flor- 
 ence S. Sullivan. It is bound in heavy brown pigskin. Super- 
 imposed on the upper cover is a hand-wrought copper gilt 
 frame, enclosing four ivory panels — the two upper panels 
 represent events in the Old Testament: "Moses with the 
 Decalogue," "Solomon consulting about the building of the 
 Temple." The two lower panels have New Testament 
 names, one "St. Thomas at the feet of the Master," and 
 the other representing "The Descent of the Holy Ghost." 
 
 The four panels are linked at the centre with the Agnus 
 Dei and from this spreads the tree of Life, upon which 
 the Vine is twined. This forms a cross which ends in three 
 circles, emblems of the Trinity. Intertwined in the vine 
 are the emblems of the Twelve Apostles: for St. Peter 
 the crossed keys; for St. Matthias the scimiter and book; 
 for St. Jude, the ship; for St. Simon the saw and oar 
 crossed; for St. Matthew three money bags; for St. Bar- 
 tholomew a knife on an open book; for St. Thomas a 
 square and a spear; for St. James the Less a saw; for St. 
 Philip a basket; for St. John a chalice with protruding 
 serpent; for St. James the Great three scallops and for 
 St. Andrew a V-shaped square. The symbolism is further 
 emphasized by a peacock, as emblem of immortality, a 
 phoenix rising from the flames, a pelican feeding her 
 young with her life's blood and a serpent. The four cor- 
 ners have bosses of topaz, each stone centred in the em- 
 blems of the four evangelists: "the Lion, the Ox, the Man 
 and the Eagle." These bosses are duplicated on the under 
 
 61 
 
62 
 
 ST. THOMAS CHURCH 
 
 cover of the book. The leaves of the text are heavily gilt 
 and goffered with a diaper pattern in which the arms of 
 St. Thomas, the spear and the carpenter's square, con- 
 stantly appear. The design is the work of Clarence S. 
 Stein, aided by several other artists and craftsmen, the 
 whole being under the supervision of Bertram Grosvenor 
 Goodhue, one of the architects of the church. 
 
 SOUTH BALCONY 
 
 On the end of the balcony to the left of the lectern are 
 carved figures emblematic of a Presbyterian Church in 
 United States, Church of England, Greek Church, Church 
 of Rome, Episcopal Church and Church Council of 
 the United States. 
 
 MORGAN BUST . 
 
 Looking beneath this Balcony, against the West wall 
 beyond a flight of steps is a bronze bust of the Rev. 
 William F. Morgan, D. D., Rector of the Parish from 1857 
 to 1888. It was under Dr. Morgan's Rectorship that the 
 Church moved from Broadway and Houston Street to 
 Fifth Avenue and 53rd Street. 
 
THE BIBLE 
 
THE BAPTISMAL FONT 
 
 Proceeding towards the front entrance to the right are 
 the baptismal font and chancel of the Chantry. The font 
 is of stone and into it have been set a number of little 
 mediations made from fragments of the old font which 
 stood in the Church destroyed by fire in 1905. The bowl 
 of the font is surmounted by a series of folding doors which 
 close like a hood. The figures painted within the doors 
 represent seven cardinal virtues given to a child at Bap- 
 tism. The Latin names above each of them indicates: 
 Chastity, Temperance, Faith, Love, Hope, Prudence, 
 Justice and Fortitude. Each maiden bears in her hand 
 her appropriate symbol as the lily for Chastity, the horse's 
 bit for Temperance, etc. Underneath each figure is in- 
 scribed the name of the opposite vice, spelled backwards, 
 in token that the vice has been conquered and trampled 
 under foot. Above the font is painted the dove symbol of 
 the Holy Ghost. The font and fittings are a memorial 
 gift by John Hadden, Alexander M. Hadden, and other 
 descendants of David Hadden and his wife Anne Aspinwall 
 Hadden. 
 
 CHANTRY CHANCEL 
 
 To the left of the font is the chancel of Chantry. The 
 reredos, altar and all the fittings are a memorial gift by 
 Mrs. Hamilton McKay Twombly and her daughters. 
 On the reredos are panels representing from left to right: 
 The Baptism of Jesus, Marriage Feast at Cana of Galilee, 
 Resurrection of Lazarus. On the front the altar is in- 
 scribed : " Come unto Me ye that are heavy ladened, " and 
 "This is My Blood. Drink it in remembrance of Me." 
 This altar and reredos is a replica of one in Florence, 
 
 64 
 
THE CHANTRY ALTAR AND REREDOS 
 
 66 
 
THE VESTRY ROOM CEILING 
 
 In the center of the ceiling is a reproduction of the 
 Seal of the Parish. Around the borders are pictured all 
 the plants and animals mentioned in the Bible with the 
 appropriate inscription: " Let everything that hath breath 
 praise the Lord." 
 
 On the plaster beams is an effective symbolic border of 
 thorns and grape-vine. 
 
 At one end of the room is depicted Truth and at the 
 other, Error — blindfolded. 
 
 THE GUILD HALL 
 
 Along the base of the gallery in the Guild Hall are rep- 
 resented the chief children's Saints, as the room is used 
 for Sunday School. These are Hannah with the infant 
 Samuel in her arms, St. Christopher bearing the Christ- 
 Child, St. Nicholas with the babies in his basket, St. 
 Elizabeth with St. John Baptist. Between these figures 
 are numerous emblematic bosses. 
 
 67 
 
68 
 
6 9 
 
FUTURE OBJECTS OF INTEREST 
 
 THE WINDOWS 
 
 While the windows in front and back of the Church have 
 been generally admired, they as well as those in the nave 
 and Chantry are regarded as only temporary. The only 
 permanent window in the clerestory is the third one from 
 the west on the south side of the Church. 
 
 This window, the gift of Mrs. William A. M. Burden and 
 her sons in memory of her husband and their fathers illus- 
 trates Faith and has as its proponents and champions the 
 following figures. In the centre lancet is St. Thomas the 
 Apostle holding an architect's T-square, St. Thomas having 
 been recognized as the patron of architects and builders. 
 
 Below St. Thomas in the lower level of the window is a 
 predella depicting the incident when Our Lord revealed 
 himself to St. Thomas and St. Thomas at last convinced 
 exclaims — "my Lord and my God." 
 
 Next to St. Thomas on the left is Nathaniel "an Israel- 
 ite indeed in whom is no guile. " Nathaniel holds a scroll on 
 which one reads this legend — "and prayed to God always." 
 
 Next to St. Thomas on the right is Cornelius the Cen- 
 turion holding a sword as the symbol of his calling, and a 
 ribbon on which is written his question of fealty, "What 
 is it Lord?" 
 
 On the extreme left panel is shown Zaccheus holding 
 fast to a great vine or tree waiting to see Our Lord pass by, 
 with the legend beneath : " Zacchaeus make haste and come 
 down for today I abide at thy House." 
 
 In the extreme right lancet of this window we find blind 
 Bartimeus holding a long staff in his hand, as he gropes 
 
 70 
 
NEW YORK CITY 
 
 7i 
 
 his way through the highway. Below him is a predella de- 
 picting the familiar story of Christ healing the blind. 
 
 All of the window is developed in the manner of the glass 
 stainers' art of the thirteenth andfourteenth centuries, using 
 the simple arrangements of color, characteristic of that 
 period, the window having a geometrical pattern as a back- 
 ground while the tracery tops of the window are treated 
 in a similar manner, but with the addition of angelic 
 figures of praise and adoration. The color scheme and 
 general design of the window has the glass of Chartres 
 Cathedral as its inspiration and prototype, Mr. D'Ascenzo 
 the artist having spent many weeks in the careful study 
 of the famous old glass of the cathedral. 
 
 The first of a group of eight windows suggests the gos- 
 pel, with St. John and the other Evangelists. 
 
 Another window suggests "the word became flesh" and 
 will contain the figures of Simeon, Anna, Joseph, Mary 
 and Our Lord. 
 
 A third window — " I am the resurrection and the life," 
 the spiritual awakening, will contain the figures of The 
 woman of Samaria,. Lazarus, Nicodemus, Andrew and 
 Mary of Bethany, to whom Our Lord gave the message 
 of rebirth and immortality. 
 
 Other windows in this series of the south side of the 
 clerestory will suggest the Crucifixion, Faith, the organi- 
 zation of the church, the first missionary movement and 
 the later history of the church through the English com- 
 munion. 
 
 These windows will ultimately become part of a decora- 
 tive scheme illustrating the gospel message of the Incar- 
 nation, the Atonement and the spreading of the Gospel 
 of Our Lord Jesus Christ. 
 
 In the clerestory on south side of chancel, are "The 
 Stars and Stripes" and the Parish flag, the latter having 
 been given by the New World's Service Club of St. Thomas 
 Church. 
 
THE WAR MEMORIAL 
 72 
 
NEW YORK CITY 
 
 73 
 
 THE WAR MEMORIAL 
 
 Cut on the wall, over the door of the southeast porch of 
 the Church, is the War Memorial, poignant and brief in its 
 simplicity and eloquent in its symbolism. On either side 
 of the door are the names of the three hundred and thirty- 
 five men and women of the Parish who served in the World 
 War, surmounted (left) by the words, 
 
 "they endured as seeing him who is invisible," 
 and (right), 
 
 "i WAS NOT DISOBEDIENT UNTO THE HEAVENLY VISION." 
 
 Above these, in gold, are the names of the twenty who 
 died in service, 
 
 Samuel Dennison Babcock, 
 
 American Red Cross, France. 
 Lieut. Louis Bennett, Jr., 40th 
 
 Squadron, Royal Air Force, 
 
 British Army. 
 Joseph Rathbone Cushman, 
 
 Corporal, U. S. Army. 
 Charles Loomis Dana, Jr., 13th 
 
 Regiment, U. S. Marine Corps, 
 
 France. 
 
 Major Clarence Fahnestock, 
 301st Infantry, 76th Division U. 
 S. Army, on duty with General 
 Staff, Hdqrs. A. E. F. France. 
 
 Lieut. Alfred Wild Gardner, 
 D. S. C, 305th Infantry, 77th 
 Div., U. S. A. France. 
 
 James Pearson Goodspeed, Fly- 
 ing Corps, U. S. Navy. 
 
 David B. McCoss, Sergeant, U. 
 S. Army. 
 
 Lieut. John Bard McVickar, 
 Aviation Corps, U. S. Army, 
 A. E. F., France. 
 
 Lieut. Harold Nixon Mat- 
 thews, U. S. Coast Artillery. 
 
 Lieut. Charles Armand Min- 
 ton, D. S. C, 305th Infantry, 
 77th Div., U. S. A., France. 
 
 Michael Mitchell, 106th In- 
 fantry, 27th Div., U. S. Army. 
 
 Howard Morgan, 307th Infan- 
 try, 77th Div., U. S. Army. 
 
 Charles Howard Peck, Jr., 
 Sergeant, Medical Corps, U. S. 
 Army, France. 
 
 Ensign John Van Wicheren 
 Reynders, Jr., U. S. Naval 
 Aviation. 
 
 Capt. John Scranton Shaw, 
 305th Infantry, U. S. Army, 
 France. 
 
 Irving Albert Slicklen, S. S. 
 Tampa, Bristol Channel, Eng- 
 land. 
 
 Stephen Higginson Tyng, Jr., 
 
 U. S. Marines. 
 Capt. Ray W. Whidden, British 
 
 Medical Corps, France. 
 Coleman Hawley Williams, 
 
 Aviation Section, Signal Corps, 
 
 U. S. Army. 
 
 surmounted by the words (left), 
 
 "whoever shall lose his life for my sake, shall 
 
 FIND IT," 
 
 and (right), 
 
 "AS DYING YET BEHOLD WE LIVE!" 
 
74 
 
NEW YORK CITY 
 
 75 
 
 The shields, representing the various branches of the 
 Service, are placed five on either side of the door and are 
 those of the Army, Navy, Marine Corps, Red Cross, 
 Service, Y.M.C.A., Infantry, Artillery, Air Service, Medical 
 Corps, and Engineers. 
 
 The lintel of the door is a carved panel representing the 
 Army in action, picturing the soldiers leaving St. Thomas' 
 Church on the left, with their faces toward France which 
 is symbolized by a cathedral in ruins. Small as the panel 
 is, in actual scale, the tremendous action of the men sug- 
 gests the greatness of the war in which they participated. 
 The figures are full of movement and intense preoccupa- 
 tion. 
 
 The sixteen shields in the panels of the door represent 
 the Allied Nations and are, in the order, left to right, 
 New Zealand, Japan, South Africa, Montenegro, Great 
 Britain, Belgium, France, Italy, Canada, Brazil, Portu- 
 gal, Greece, Serbia, Roumania, Russia, and Australia. 
 
 Above the door is the large bas relief of St. Michael 
 slaying the Devil in dragon form. The figure is delicately 
 colored after the fashion of the medievalist, thus giving 
 it a warm and life-like glow. One notices the simplicity of 
 line, and at the same time its power and dignity. This is 
 no lady or gentleman angel, but a true warrior of God, 
 standing victorious after his encounter with Evil. The 
 Motto of St. Michael, "QUIS UT DEUS" (Who, Like 
 Unto God) crowns the whole. 
 
 The architects for the Memorial are Bertram Grosvenor 
 Goodhue, and the Bertram Grosvenor Goodhue Associates : 
 the sculptor is Mr. Lee Lawrie. The Memorial has been 
 erected by the Men's Association in honor of those of the 
 Parish who served and died in the W orld War, from funds 
 contributed by members of the Congregation. 
 
C L. P. 
 
Him 
 
FEB. 1975