The Fargo forum and daily republican. [volume] (Fargo, N.D.) 1894-1957, 1911-04-19
Represents Sacrifice.

L
How has this mighty undertaking
oeen hnanced?1 asks Canon Robert
Ellis Jones. by the same devotion
and sacrifice" he answers, (which
actuated the best of the mediavel
cathedral builders. The cathedral has
no official source of revenue. No or
ganized effort has been made to draw
on the interest of Episcopalians, and
yet gifts OF all sizes have flowed in
from all quarters. Five dollars come
every year from seamstress up the
Hudson. The inmate librarian of the
city refuge gave one-ten Of his sal
airy. and dozen old men in a church
home earned, by making nets and
hammocks, $3.50, which they begged
might be built into the cathedral. \,
a revenue thus derived cannot be
estimated in advance, but beuuests are
now known which. as they mature.
viii be suff1cient to insure continued
progress. The choir is now rooted
and partly cased with the limestone
which will later finish the entire in
terror. The eight giant columns. each
8 feet high, exclusive of the capitals.
which cluster about the altar, between
the ambulatory and the chancel. are IN
place, with the names carved mon
them OF those whom their donners
wish to commemorate Two OF the
seven chapels in tho apse of the chan
Gel have been completed, and with
them their stained glass windows.
These are the gifts of August Belmont
and Mrs. Edward King. Seven Ia
pestries depicting sacred subjects and
woven originally for Pope Adrian VII
in 1880 at Rome, already hang In
the spaces between the windows Of the
apse and the full complement will add
three more The organ and carved
choir stalls, the gift OF Levi p. Morton,
are in place. The great crossing at
the intersection OF the nave and the
transepts, designed for the main as
sembling place OF the congregation, liz
rooted over, and with the unfinished
transepts and the nave shut in from
the weather by concrete screens. the
remaining wings and work on the LAM
tern and towers above can go on with
out annoyance to worshipers, each
finished unit to be thrown open upon
the main body Of the edifice as it be-
comes ready for use.
Late Romaneeaue style
In style the cathedral is late
Romanesque. with strong traces Of
Byzantine influences, or as the archi-
tect In chief, G. Grant LaFarge. a soE
OF the late John LAFarEe, describes ii.
$50 far as the cathedral in the larger
sense II Gothic, it is Gothic Of q very
early period: the time of transition
from the simple RomanesQue to the
more complex organism Nowhere is |
the constructive scheme based on the
pointed arch. The mystery Of long |
vistas down dim, pillared aisles has /
been exchanged for the solemn grand
ure OF q great central crossing. where
in the congregation may mass with /
In sound of the pastors voice lighted |
from above by defned lantern OF /
sixteen windows. surmounted in turn /
by a central tower
The site Is the most commanding In /
the city, on what once was the battle
field Of Harlem Heights, overlooking I
the main plain Of Manhattan, the
Hudson river, and Long Island sound.
1t occupies three city blocks bounded /
BY One Hundred Tenth and One Hun
dred Thirteenth street on the north
and south, and Morningside drive
and Amsterdam avenue TO east and
west The cathedral itself is
cruciform structure $40 feet long, 1ss
feet wide across nave and aisles, 23a
feet wide across transepts, having two
western towers III angles made Isl
arms Of the crosses, with central
tower and spire planted OH d base 1901
feet square and rearing its final cross
to height of AS feet. AS the great
dome or the crossing dominates the IN