New-York tribune., 1906-05-12

fiat surfaces rather than curves, the surfaces be-
ing covered with carved Gothic tracery the inter-
sections Of the tracery being marked with carved
bosses.
On the south side Of the coved ceiling Is long
panel OF loaded glass; with skyIight above diffus-
ing soft light in the chapel, IN addition 20 the
large windows in the side wall below. The pattern
in this panel Of loaded glass is the that OF
the carved oak tracery on the other cOves Of the
Under the coved ceiling and extending to the
on canvas, in antique coloring, showing process
sion Of Biblical figures leading from the west and
along both sides to the centre OF the composition
at the east end, the altar and reredos. From the
floor to the frieZe the walls Wainscoted in oak
arches resting on the triple columns with Gothic
caps and bases.
Marble mOsaics In pattern form the floor The
chapel ;s, is entirely IN the English pointed Gotnic
window and door openings. as well as the altar altar
sections and elaborated with carved bosses extend
ing on each side from the top OF curve to the sup
Artificial light is obtained with electricity from
three points in the chapel the first point being the
south cove of the ceiling the second point Is on
on each side the bronze memorial tablet descriptiVe
Of the object and purpose of the chapel; the third
point IS concealed from view with a marble cove
or screen, which follows the curves of the arched
recess back OF the altar, illuminating the white
marble and Venetian mosaic surfaces of the rere-
On entering the chapel one is reminded OF some
OF the chapels Of the cathedrals Of the Old World
with their wealth of adOrnment, symbolic designs
pointed Gothic architecture. Attention is drawn
70 the interesting ensemble Of stained glass. ex;
In the six wrought iron framed doors and the three
twelve most beautiful miniatures. the life Of
Mary, the Mother of Our Lord. the windows corr
Italian or the German masters. and taken as
theme they picture the Love Between Mother
and Child" to which each painting lends It's par
perspective Of the east end Of the Church proper:
nothing Of this kind has been before attempted in
the excellent technique. the perfect blending OF
@ S6f SG Pbfw o ana m tb e a me 1Peness % OF details
wan, the latter being at the end of the nave, at
was built some two years ago also as memorial
Of Mary C. Houghton The painting shows It to be
solid blocks Of pure white statuary marble which
BILE. Mosaics by Fabris, representing on one Side
the pelican and on the other side Of the bronze
with tablet inscriPtion in bronze and enamel The
9 9ne OF fsSs aeS ol @ S@eehth @ century design having
centre (rsing to height Of seven feet above the
Of the chalce paten. ciboriun bunches Of SraDes
smear OF OF w99eaf' w the sacred monogram and the
The Venetian mosaics in the reredos are ipclosad
panel are chown two shcaves Of wheat and bu1cs
Of grapes which indicate the essentials az tbe
BE yotoTions Christ rising out Of the toPb tGePSe'satS %S
ner Of victory and raising His right hand in hess
ing On the first step Of the calvary on vvbirh fSa
the lower steps are the other two NTargl gn' &hd
hortn panel contains the Passion flowers md yyi1o
In the two spandrcls north and south Of The T1a.
panel IN the upper part OF the reredos are anSsI
heads with spread wings S NHeS'
a., The large Venetian mosaic the front piece ~
ETanss rSHTeSt S1T%eSn t4e columns supporting the
from the original far famed picture by IeSna TOrSo
This beautiful panel Is ono OF the most renar,,-
able features OF the altar. Although Il Is sT@an
the faces, as we'll the figures and everTy 5ntats;
OF this great picture. are wonderfully defined
The cre0ence IS quite small but is one ~ The
features OF the chapel It is made Of brass ana is
gtlded The little shelf Is quite thick and is hoi
to fold under the shelf which is fastened by hins
altar. 10 Che