iry^-^ :^ STANFORD MEMORIAL C H URCH CONTENTS Page Introduction 3 Stanford Memorial Church 7 One of Mrs. Stanford's Ideals ......15 Memorial Church Music........ „ 19 The Mosaics 23 The Windows „..41 The Inscriptions 51 STANFORD MEMORIAL CHURCH THE MOSAICS, THE WINDOWS, THE INSCRIPTIONS By WILLIS L. HALL Copyright, 1921, by Willis L. Hall. Paper cover, 50 cents; cloth, $1. 192 1 : PRINTED bV Times Publishing Company palo alto, california ,^^± APR 25 U'^^ ©CI.A611792 o? I INTRODUCTION SO numerous and varied are the features of Leland Stan- ford Junior University a large volume would be required to do them any sort of justice. Hence that is not attempted in this book. Aside from the educa- tional work carried on by the institution its most notable fea- ture is the Memorial Church, to which attention is turned. However, a few words about the university itself are given. Leland Stanford Junior Uni- versity was founded by Senator Leland and Mrs. Jane Lathrop Stanford as a memorial to their only son, who died abroad on March 13, 1884. The founders decided to devote nearly all of their large fortune to the en- dowing of the university. They appointed a board of trustees, which board is now in control. During the greater part of their lives after founding the univer- sity Senator and Mrs. Stanford directed everything concerning it. Senator Stanford died June 21, 1893. Mrs. Stanford rehn- c[uished control June 1, 1903, but remained a member of the board of trustees until her death a few years later. Present trus- tees are : Frank Bartow Anderson, San Francisco. William B. Bourn, San Fran- cisco. Selah Chamberlain, Redwood City. Leland Whitman Cutler, San Francisco. Frank Prentiss Deering, San Francisco. Charles Parmelee Eells, San Francisco. Joseph Donohoe Grant, San Francisco. Thomas T. C. Gregory, San Francisco. Herbert C. Hoover, Stanford University. Timothy Hopkins, M e n 1 o Park. Samuel Franklin Leib, San Jose. William Mayo Newhall, San Francisco. STANFORD MEMORIAL CHURCH James Leroy Nickel, San Francisco. John Thomas Nourse, San Francisco. Max Cauffman Sloss San Francisco. Dr. David Starr Jordan was appointed president of the uni- versity March 23, 1891, and was formally installed in office on October 1 of the same year. He continued as president until May, 1913, when he resigned to become chancellor, relinquish- ing all active connection with the faculty in May, 1917, and assuming the title of chancellor emeritus. Dr. John C. Bran- ner, a member of the faculty from the founding of the uni- versity, was the second presi- dent, retiring from office De- cember 31, 1916, and being named president emeritus. Dr. Ray Lyman Wilbur, a member of the graduating class of 1896, was selected to succeed Dr. Branner and still fills the presi- dential office. The property of Leland Stan- ford Junior University is esti- mated to be worth more than $34,000,000. It consists of val- uable stocks and bonds, San Francisco real estate and the tract upon which the university is located. This tract was for- merly known as the Palo Alto ranch, devoted principally to the breeding of fine horses. The only reminder of that feature is the horse cemetery where mon- um.ents have been erected to Electioneer and other famous trotters and pacers.. There are approximately 8,000 acres in the tract, of which less than 1,000 are devoted to the univer- sity campus. The building plan provides for three large quadrangles, of which only one has been com- pleted. They face north and are to form a continuous row nearly a mile in length. Sequoia Hall being at the west end and En- cina Hall at the east. A begin- ning has been made on, the sec- ond quadrangle by the erection of the Thomas Welton Stanford art gallery and the new library. Others will follow in the course of time. Back of the quadran- gles the ground has been plat- ted and tracts leased for the erection of fraternity houses, residences for professors and others connected with the uni- versity. On a high hill back of the college grounds is the Lath- STANFORD MEMORIAL CHURCH VIEW FROM THE LATHROP RESIDENCE various generations of Stanford students. First was the formal installation of President Jor- dan. President Branner's instal- rop residence, from which a splendid view of the country to the east is obtained. The university campus is in the fore- ground, the city of Palo Alto lation ceremony was held in the and Santa Clara valley further same place. The colors of the along, then San Francisco Bay Stanford battalion were pre- and the mountains to the east. sented at a ceremony in the in- In the completed inner quad- ner quadrangle and were after- rangle many notable ceremo- ward dedicated in the Memorial nies have been witnessed by the Church, STANFORD MEMORIAL CHURCH Td !U s-* ^ ^^ "^ .2 Q v+-i "jii P^ O S O CAl rt Tx, Q ^ CO < o ^ G, U< m .l_i j2 rt Q ^ P^ c« C < > S ^ s 2 W c/) bfl P ^ rt t4 ^ G > ^ .2 < rt & o § O G a rt < rt ^ 1in "^ p> • o rzi JJ c« O s bo l-H rt -5 ^ u. •;; o o ^ o h4 "o t- rt M-l ^ o o t/} STANFORD MEMORIAL CHURCH A DELIGHT to artists is the Memorial Church at Stan- ford University. It contains works of art destined to become worthy of pilgrimages in years to come. Stately architecture, beautiful stained glass windows and the largest use of art mo- saics for mural decorations in America combine to make it a structure more than unique in character, one worth visiting and remembering. El Camino Real, the century- old highway laid out by the Franciscan fathers, passes at a distance of less than a mile. An hour's journey southeast from San Francisco, if one chooses to travel along this now well made modern highway, he will reach a broad gateway that gives en- trance to the Stanford Univer- sity campus. Southward for a mile through a vista of palm trees may be seen portions of low, red-roofed buildings. Over the central portion a golden point attracts attention. While passing along the palm avenue anyone botanically interested could find much to absorb at- tention in the arboretum with its hundreds of varieties of trees, but the visitor generally prefers to pass on to the uni- versity itself. The avenue forks, the branches forming an oval, very much raccjuet shaped, the enclosed space always covered v^ith a velvetv lawn, the outer edges of the roadways still bor- dered with palms. At the di- viding of the main entrance av- enue the first view is gained of the entire row of buildings, all connected by cloisters, extend- ing a thousand feet from east to west. Through a gap in the center still more cloisters are to be seen, but the golden point gleams above all. Rounding the grassy oval the traveler reaches the quadrangle with its enclosing cloisters. He passes between two truncated towers, formerly bases of a me- m.orial arch, and reaches the m^emorial court, cloistered on all sides. Under the arches STANFORD MEMORIAL CHURCH across the court to the south are seen pahiis and stiU more cloisters; but through the cen- tral portion sections of a pic- ture appear. The court passed, the traveler passes under one of the arches and is directly in front of the splendidly decorat- ed facade of Stanford Memorial Church. Then he learns that tlie golden point is the back- ground and apex of a great pic- ture. At first the impression is that the facade is painted in an ar- tistic manner. Figures are dis- tinct, colors brilliant, harmoniz- ing, contrasting and the whole work fixing attention. Three carved stone arches on massive bases form the lower portion of the facade. On the spandrels are Biblical pictures of Faith, Hope, Charity and Love. The golden background is decorated in tapestry designs. Large stained glass windows framed in stone with lacy carving oc- cupy the central portion of the facade above the entrances. At the sides of the windows and converging to a point over them is pictured the Sermon on the Mount. There are groups of figures, all in position of rapt attention, each individual appar- ently paying close heed to the most notable personage of all — Christ delivering his great ser- mon. Back of him are waving palms and a gleaming sky — the golden point seen from afar. From nearer vantage the vis- itor learns that the picture is not a painting but mosaic. No- v/here else in America can such an extensive use of this method of decoration be seen. The fa- cade, however, is only an intro- duction to a more lavish use of this work. Passing through the entrance and by the bronze scroll doors the visitor enters a mosaic decorated vestibule. On his Vv^ay into the nave he looks forward to the chancel, where the blendings of stained glass window lights on mosaics at first dazzle with their brilliance. On either side of the nave, both on w^alls rising from the for- ward sloping fioor and in the clearstory, the splendors of the stained glass and mosaic repro- ductions of masterpieces of the old world are presented in col- orful beauty. Looking skyward under the dome in front of the chancel the visitor sees four adoring angels, done in mosaic, 10 STANFORD MEMORIAL CHURCH ORIGINAL STANFORD apparently rising from clouds, in the spandrels over the four large pilasters. A closer view of the chancel reveals work of a kind seldom seen anywhere. In the center is a white marble communion table. Just back of it in the wall is a mosaic reproduction of the "Last Supper," by Cosimo Ro- selli. This is the only copy ever permitted to be made of that MEMORIAL CHURCH famous mosaic in the Sistine Chapel at Rome. To the right and left are mosaic niches that vv^ill be occupied by statues of the apostles. Above in the apse appear groups of a seraph choir separated into four sections by stained glass windows showing the nativity, the crucifixion and the ascension. Still higher on each side are four heroic size mosaic pictures of prophets and STANFORD MEMORIAL CHURCH 11 Jewish kings. Cherub faces peep forth from golden backgrounds. Turning from the chancel one can see more of the beauti- ful stained glass windows and mosaics in the transepts, in the clearstory and in the great or- gan and choir loft at the ex- treme north end. After this preliminary view it will repay anyone to make a prolonged visit and examine thoroughly this splendid memorial. Return- ing to the entrance the detail of the windows and mosaic work can be studied at leisure. This mosaic method of decoration was selected by Mrs. Stanford after she had noted its effect- iveness in Italy. Because of its unfading nature and brilliance in color effects it seemed most suitable. Furthermore, it is es- pecially adapted for exterior decoration in this locality, in v/hich extremes of heat and cold are unusual. The grime and smoke that smudge buildings in cities are not known, while the abundant rains at certain sea- sons of the year wash off what- ever dust may accumulate. So the mosaics on the facade are always clear and brilliant. The cloistered inner quadran- gle forms an ideal site for the building. It is on the south side of the inner court, in the very heart of the university. The church does not impress by its size, as it extends only 200 feet back from the court, has a breadth of about 100 feet and the height to the cross top- ping the apex is about 90 feet. Adaptations of several styles of architecture have been used in the structure. Surrounding it the modified mission predomin- ates, while the church is more Romanesque, especially in the interior. The buff sandstone of the walls lends itsself readily for the lacy carving in arches over the entrance and windows. It also conveys the impression of solidity when seen in the mass either smooth or rough. Its neutral tone serves well to bring out by contrast the bril- liant colors of the mosaics and windows. The church was built primar- ily by Mrs. Stanford as a me- morial to her husband and to fulfill one object of the uni- versity's establishment. The founders' deed of gift provided that non-sectarian religious in- struction should be part of the 12 STANFORD MEMORIAL CHURCH Avork undertaken. In 1898 Mrs. Stanford and the trustees asked San Francisco architects to sub- mit designs. Shepley, Rutan & CooHdge in making the origi- nal sketch foUowed the motif of Trinity Church in Boston. CHnton E. Day of San Fran- cisco prepared the plans and Charles E. Hodges was the su- pervising architect. Mrs. Stan- ford made a special tour of Eu- rope to select the designs and method of decoration. It was on January 25, 1903, that the church was advanced sufficient- ly in construction for dedica- tion. At the ceremony were clergymen of all denominations. Their participation demonstrat- ed a friendliness non-sectarian in nature that has been fostered and has grown under the guid- ance of Dr. D. Charles Gardner, pastor of the church and chap- lain of the university. From 1906 to 1913 the building was not available for services, as during that time work was in progress repairing the damage suffered in the earthquake. It has been in constant use since then. The church is open every day for visitors. Tours of the church are con- ducted by Dr. Gardner at the beginning of each quarter to familiarize the new students with the building's notable fea- tures and objects. Though occupying the anom- alous position of ministering to the spiritual wants of more than a thousand young people of all creeds the results achieved so far have not been disappoint- ing. The eft'ort is still in its experimental stage, according to Dr. Gardner, but there seems to be no present cause for dis- couragement. Apparently the idea of Mrs. Stanford and her coadjutors, both in the erection of the orig- inal structure and in the recon- struction work, has been to make the church as permanent a building as possible and have the decorations of an equally enduring character. The best efforts of engineering and ar- tistic genius have been exerted to secure these two results. The 1906 earthquake wrecked the carefully constructed edifice. The tower and chime of bells fell; the solid stone walls were cracked, while the mosaics and Carrara marble statuary in the chancel were injured bevond re- STANFORD MEMORIAL CHURCH 13 pair. In reconstruction work being thrown down. But this great care has been taken to time, in addition to being set in assure permanence. Each stone cement, each stone is securely of the original structure, so far bolted to its neighbors, making as it has been possible to do so, the whole structure practically has been relaid as it was before one massive hollow rock on a V" rs-, PRESENT STAXFORD MEMORIAL CHURCH 14 STANFORD MEMORIAL CHURCH great steel foundation skeleton. On these firm walls the interior and exterior mural decorations are placed. If the building en- dures for centuries all the deco- rations will be as fresh as they are today. Fadeless and endur- ing are the colors of this work, not subject to the deterioration so lamentably shown among frescoes and canvases. The Ve- netian and Roman mosaics put in centuries ago show no evi- dences of fading, nor will those at Stanford. The window colors likewise will retain their per- manence and brilliancy. It is a matter of congratula- tion not only to the people of the western portion of the coun- try, but to all America as well, that the subjects were so well chosen. In years to come it may be that artists will journey to Stanford to study the master- pieces which will show the true coloring and detail elaborated by men of genius. It is note- worthy that figures of women are more numerous than in church decorations generally. Mrs. Stanford desired this to show the uplifting influence of religion for women. The result is eminently pleasing. For a great part of the years Stanford University has been open for students many thous- ands of young people have been associated daily with these evi- dences of art as applied to re- ligion. Repeated viewing does not lessen the attraction. Con- sciously or unconsciously they have cultivated an appreciation of art and they have carried with them to sterner fields of action standards of beautv and its presentation that prove up- lifting. Memories of other af- fairs may dim, lessons learned in the recitation halls may be for- gotten entirely, the- hard fought contests on athletic fields may dwindle to mere trifles; but not so with the pictures that must be impressed indelibly upon the tablets of memory. The Stan- ford Memorial Church and its masterful mosaics and windows will always be reminders of ar- tistic work. Nor will they for- get the sentiment carried on the dedication inscription: ''Memorial Church erected by Jane Lathrop Stanford to the Glory of God and in Loving Memory of Her Husband, Le- land Stanford." ONE OF MRS. STANFORD'S IDEALS EACH year the birthday of the founder of Stanford University is observed with ap- propriate exercises. At the cel- ebration on March 10, 1917, Dn John C. Branner, now president emeritus, delivered an address in which he outlined Mrs. Stan- ford's ideals concerning the Me- morial Church. It is the best presentation made on the sub- ject. From that address the following has been taken: To me there was nothing; more interesting or more striking in the character of ]\Irs. Stanford than what she said when speaking' to me on one occasion about the church and what she expected of it in the community and in ' the lives of our alumni. AA^hile walking about the buildings and the grounds of the university with her one day, she spoke very freely and very feelingly in regard to many things and of her aspirations in regard to the univer- sity itself. The last place she vis- ited was the church, where she lin- gered long over many details, in every one of which she was deeply interested. It was quite late in the afternoon when we went out and walked along the arcade toward her carriage. She seemed to feel that she had talked too much about what filled her mind, especially about the church, and she added, ''But, Air. Branner, while my whole heart is in this university, my soul is in that church." Some days later when I was at her home on the campus she brought up again the subject of her deep interest in the church. I was especially interested to get her views on the subject, because, as some of you wdll remember, there were strange stories floating about at the time and it impresses me more and more as the years go b}''. I have always regretted that what she said to mte could not have been preserved with all the warmth, con- viction and enthusiasm with which she spoke that day. But the best I can do is to tell you the story as I wrote it down on that same even- ing in her own language as nearly as I could recall it. She said that while she was in- terested in education in a large sense, and was happy to devote her time, means and energies to what- ever was usually regarded as the legitimate and indisputable equip- ment of a modern university, she felt that institutions and educators were spending relatively too little time on moral and spiritual instruc- tion. She feared that such views might be regarded as those of a re- ligious fanatic, but she disclaimed any undue influence on the part of the church as such, or from any source save her own experience and her own observations of life. 16 STANFORD MEMORIAL CHURCH 'Xook through the list of the fac- ulty," she said, ''and point out to me, if you can, the professor who, aside from the chaplain, makes it any part of his business to even mention things moral or spiritual to his students. I fully realize the very encouraging fact that all studies are uplifting if they are taken seriously, and if the student has an uplifting- teacher. Students are required to take certain studies ; those who are to be engineers must take mathe- matics ; those who are to be chem- ists must take chemistry, and the geologists must take mineralogy, and so on ; but not a single depart- mient requires a student to be clean in his life or to study subjects that will help strengthen his moral char- acter, or help him to have or to cul- tivate a proper attitude toward him- self and toward mankind. You try to fit men to do their professional work, but you lose sight of the very important fact that neither you nor anyone else wants to employ a man who. lacks sound moral principles, no matter how much he may know about some particular subject. Yes, I know that you undertake to pun- ish those who are guilty of grossly immoral conduct — if you happen to find it out — but punishing the wicked is not preventing wicked- ness and it is not helping those whose moral sense needs help. "You tell me that a student known to be of bad moral character is not admitted to the university; but you must confess that the at- tempt to discover such men before they come here is not very serious, for they do get in. And what is vastly worse," and she fairly blazed with indignation as she spoke, ''what is vastly worse is that the president of this university has had to send away from here members of this very faculty — full professors and married men at that — whose over- familiarity with and irregular con- duct toward the young women stu- dents showed, them to be not only capable of conduct unbecoming gen- tlemen, but positively unfit to asso- ciate with decent people, much less to instruct young folks in anything whatever. And if there is in this world anything more vile and des- picable than a man of education, and a professor in a university, wdio is put there to help, to teach, to mspire and to strengthen young men and young women, but who be- trays his trust and seeks to be- smirch, outrage and destroy what he is expected to protect, to help and to save, I should not know wdiere to look for it outside of the uneles of Africa. That, ]\Ir. Bran- ner, is why I am so much more in- terested in the church on the cam- pus than I am in your precious rocks. For no amount of learning can take the place of decency, and no amount of science can take the place of backbone. And as the moral and spiritual life is more important than the life of our bodies, so moral and spiritual instruction is more important to young people than in- struction of any other kind. That is why I think the church should be the heart and center of this uni- versity. I am aware of the fact that complaint has been made that the church was put where the li- brary ought to be. That view can be defended on some grounds, I know, for I have heard it so de- fended, but on the highest possible grounds there is nothing so import- ant to the young men and young women who come here as the in- struction they should get from that STANFORD MEMORIAL CHURCH 17 pulpit. And that is why I said that while my heart is in the university my soul is in the church. Take away the moral and spiritual from higher education and I want nothing to do with this or any other univer- sity. I don't mean that students require instruction in doctrines ; that is just what I do not mean; and it was for this very reason that I wanted the church to be and remain non-sectarian. There is more in Christianity than doctrine. And I want the church building to be left open all day so that students and others may go in and sit there in the quiet whenever they choose. It will do them good. Collections shall never be taken there ; and I want the students to sing, and I want them to feel that the church is especially for them. ''The church is the only institu- tion today that makes or has made or pretends to make a stand against immorality in all its forms. Educa- tion does not; nor does that science in which you are so interested and which you consider so all-powerful. In fact, I do not believe in a uni- versity education for all men for that very reason. A man with an education and without morals is lia- ble to become — indeed, he is almost sure to become — simply an abler. shrewder criminal whose ability to prey upon society has been increased by education. Like any other force education needs intelligent guidance if it is to serve any good purpose. And where shall we look for such guidance if we look not to the sound and unselfish principles taught by Christianity? ''Don't think that I believe in any particular creed or that even the church itself is capable of making saints out of some folks. Such- things are not matters of creed; and I am well aware that some of the greatest rogues the world has ever seen stood high in the church. I mean that men and women should be sound to the core, whatever their doctrines may be." There was a great deal more on this subject, for these points were all enlarged upon out of the long and varied life of a woman of marked ability, strong character and individuality. To Mrs. Stanford the church stood for highmindedness, uprightness, un- selfishness and for what are gener- ally known as the Christian virtues, and it was as the teacher of these virtues that she wanted to pass it and its influences on to the mem- bers of this community, living and yet to come. MEMORIAL CHURCH MUSIC By WARREN D. ALLEN MUCH of the musical life of Stanford centers in the Memorial Church and the influ- ence of the church upon the university community is to a large extent dependent on the music heard in the great edifice. The university choir, v^ith earnest study and serious pur- pose, presents the best in an- thems and choral music at the regular Sunday services and at the special concert perform- ances at the end of each term. During the last few years many great v^orks have been present- ed w^ith augmented choir, or- chestra and soloists, including Handel's "Messiah," Mendels- sohn's "Elijah" and "St. Paul," Haydn's "Creation," St. Saens' "Christmas Oratorio" and the Verdi "Requiem." The univer- sity orchestra very often assists the choir and for the most im- portant affairs a large number of men are engaged from the San Francisco symphony or- chestra. Organ recitals are an import- ant and popular feature of the music of the church. The uni- versity organist plays on Tues- days and Thursdays at 4:15 and Sunday afternoons at 4 sharp. The programs average a half hour in length and are given every week in the academic year. The university organist also has charge of the choral work of the church and directs at all the services. The following have served as organists since the installation of the organ: Arthur Scott- Brook, Benjamin C. Blodgett, G. C. Buehrer, Louis H. Eaton and (for one summer) Clarence Eddy. Warren D. Allen has been organist since 1918. The organ w^as built for Mrs. Stanford in 1901 by the Murray M. Harris Company of Los An- geles. The builders lavished 20 STANFORD MEMORIAL CHURCH great care and very painstaking work on the instrument and made it one of the best of its kind at that time. In the twenty years that have since elapsed many improvements have been made in the art of organ build- ing, but the Stanford organ is still justly celebrated for its beauty, smoothness and refine- ment of tone. The organ was first played in public at the Epworth League convention in Mechanics' Pa- vilion in San Francisco. Mrs. Stanford graciously loaned the instrument to the convention before it was set up in the Me- morial Church. When the church was de- stroyed in 1906 the organ for- tunately was unharmed. After being stored for some time it was set up in Assembly Hall, then transferred to the rebuilt church in 1913. The organ consists of two main divisions (in the choir gallery) and an echo organ (over the chancel). The case bears beautiful carving and woodwork of simple and digni- fied character and the display pipes are of pure burnished tin. The organ is not large, contain- ing at present fifty-five speaking stops, with a three-manual con- sole. Plans have been drawn for the enlargement and re- building of the organ along modern lines and the work will be carried out as soon as the necessary funds are available. With the beautifully voiced stops of the present organ as a nucleus there is every reason to believe that the instrument, when rebuilt, will be one of the finest in America. The specifications of the or- gan equipment at present are as follows : Great Organ 1. Open Diapason, 16 feet. 2. Open Diapason No. 1, 8 feet. 3. Open Diapason No. 2, 8 feet. 4. Octave, 4 feet. 5. Octave Quint, 2 2-3 feet. 6. Super-octave, 2 feet. 7. Mixture, 4 ranks. 8. Doppel Flute, 8 feet. 9. Rohr Flute, 4 feet. 10. Viola da Camba, 8 feet. 11. Viola d'Amiour, 8 feet. 12. Trumpet, 8 feet. 13. Clarion, 4 feet. 14. Concert Harp. Swell Organ 15. Bourdon, 16- feet. 16. Open Diapason, 8 feet. 17. Fugara, 4 feet. 18. Stopped Diapason, 8 feet. 19. Spitz Floete, 8 feet. 20. Harmonic Flute, 4 feet. 21. Flautina, 2 feet. STANFORD MEMORIAL CHURCH 21 22. Salicional, 8 feet. 23. Aeoline, 8 feet. 24. Vox Celeste, 8 feet. 25. Contra Fagotto, 16 feet. 26. Oboe, 8 feet. 27. Cornopean, 8 feet. 28. Vox Humana, 8 feet. 29. Dolce Cornet, 4 and 5 ranks. Choir Organ 30. Contra Gamba, 16 feet. 31. Geigen Principal, 8 feet. 32. Dulciana, 8 feet. 33. Melodia, 8 feet. 34. Oninta dena, 8 feet. 35. Flute d'Amour, 4 feet. 36. Molina, 4 feet. 37. Harmonic Piccolo, 2 feet. 38. Clarinet. 8 feet. 39. Concert Harp (duplicated from Great Organ). Echo Organ (Playable from choir manual.) 40. Quintaton, 16 feet. 41. Open Diapason, 8 feet. 42. Dolce, 8 feet. 43. Unda Maris, 8 feet. 44. Gedeckt, 8 feet. 45. Flauto Traverso, 4 feet. 46. Viol d'Orchestre, 8 feet. 47. Oboe, 8 feet. 48. Chimes (playable from choir or great organ. Pedal Organ 49. Open Diapason, 16 feet. 50. Bourdon, 16 feet. 51. Gamba, 16 feet. 52. Lieblich Gedeckt, 16 fee^ 53. Octave, 8 feet. 54. Flute, 8 feet. 55. Violoncello, 8 feet. 56. Quint, 10 2-3 feet. 57. Trombone, 16 feet. THE CHA^XEL AND APSE FROM THE CHOIR LOFT THE MOSAICS ALL the mosaics at Stanford L^niversity came from the studio of Dr. Antonio Salviati .^- Co., A^enice, Italy. In addi- tion to the work on the Memo- rial Church are thirteen large pictures high up on the walls of ^he museum building and the decorated vestibule of the mau- soleum. From Salviati & Co. rhe following information was obtained relative to the origin, development and process of making mosaics : By the term mosaic is meant a work formed by the use of a very large number of pieces of material, varying in size, the substance being most durable. Sometimes pieces are of mar- ble, sometimes of enamel, im- properly termed glass, pieces being of numerous varying shades of colors, forms and of varying size. They are made to produce more or less suc- cessfully (according to the skill of the mosaicists in dressing and joining them) the same re- sult as is obtained by a painter with his pencil or brush. The pieces, placed together accord- ing to design, are fixed on ce- ment; thus so joined the whole forms one solid bodv of un- questionable durabilit}^ Mosaics originated in Greece, but have been developed to the highest beauty and excellence in A'enice. The ancients knew the advantage of color and the prominence that should be given to it in architectural decora- tion. Having used marbles of dififerent colors and painted substances without having been able to obtain the desired ef- fects, they perceived the neces- sity of using some new mate- rials for the purpose of making mosaics in order to obtain the varieties of tints and shades not provided in natural sub- stances. They hit upon colored glass as this substitute. First it was transparent, then opaque — that is, enamel — and this was found to be the fittest material 24 STANFORD MEMORIAL CHURCH for the purpose. Its suitability was also determined by its power of resistance to atmos- pheric injury. Colored enam- els are made from the same raw materials — siliceous, etc. — as glass, but to these ingredients are added other mineral sub- stances, which, when properly fused together, impart to the enamel its durability, density, extreme hardness and also its color. Gold and silver enamels are the result of different pro- cesses. On a ground of thick glass is laid a sheet of gold or silver leaf, then a film of the purest glass is spread over it and these three layers are sub- jected to intense heat, with the result that they are fixed in one solid body, the metallic leaf be- ing confined between two strata of glass. This process requires considerable skill and knowl- edge for its successful accom- plishment. All pieces of enamel are approximately a quarter of an inch thick. They are rarely more than an inch long or wide and vary in shape as the neces- sity of the design requires. Greek artists expelled from Byzantium founded the school of mosaic art in Venice. Strange to say, the pupils exceeded their masters in developing the art, so that now Venice is cel- ebrated the world over for the work in this line. Its progress is illustrated in the glorious ba- silica of St. Mark's, which is covered with mosaics of various periods and which has become a building marvelous for its beauty, richness and peculiarity. Learned men who have spoken and written of this church have told of its charm. While pre- senting a collection of many styles of architecture it also en- shrines every possible example of mosaic decoration from the middle ages down to our time. John Ruskin says of it: The perception of color is a gift just as definitely granted to one person and denied to another as an ear for music, and the Venetians deserve a special note as the only European people who appear to have sympathized to the full with the great eastern races in their feel- ing for color. They indeed were compelled to bring artists from Con- stantinople to design the first mo- saic of St. Mark's, but they rapidly took up and developed under more masculine condition the system of which the Greeks had shown them the example. I believe, of all works of religious art whatsoever, the mo- saic (mostly of the twelfth and thirteenth centuries) represented in a central manner by the great ones of St. Mark's, have been the most STANFORD MEMORIAL CHURCH 25 effective. They covered the walls and roofs of the churches with in- evitahle lustre. They could not be ignored or escaped from, their size rendered them majestic, their dis- tance mysterious, their color attrac- tive. Churches oug'ht to be richly adorned, as being the only places in which the desire of offering a portion of all precious things to God could be legitimately expressed. Street, in ''Brick and Marble of the Middle Ages/' says: Over and over again, when at Venice, one must go to St. Mark's, not to criticize, but to admire, and if ever any building in which the man: object is the study of art, assuredly here it must also be to worship. I think I never saw an in- terior so thoroughly religious and religion inspiring, as this, and it is well, therefore, not lightly to pass it by as useless for our general pur- pose. It seems to show, as strongly as any example can, how much awe and grandeur even a small building may attain by the lavish expendi- ture of art and precious materials throughout their fabric, for it is to this that St. Mark's owes its gran- deur, and to this only. There is nothing imposing, either in its size or its architecture ; on the contrary they appear to be rather mean, and yet this grand display of mosaics upon a glorious gold ground makes the work appear both larger and better than it is. All writers agree on the sub- ject, however, whether Vene- tian or otherwise, in granting to Venice pre-eminence in the art of mosaic. It is significant to record a sentence of Lanzi, in his ''Storia Pittorica della Tos- cana," where, after having re- lated the useless attempts of the Florentines to decorate in a worthy manner the chapel of St. Zenobia, he says: ''It seems, mdeed, that the glory of making mosaic has been reserved to X^enice." It is impossible to set down to mere chance that Ven- ice succeeded in reaching so high a degree of perfection in the mosaic art, for more proba- ble it is that it was a privilege afforded to her by peculiar and natural circumstances, arising out of her material and artistic position, her natural inclination, Ijcr skill and her possession of the grandest example for study and imitation. These opinions have to do mainly with mosaic work of by- gone centuries. Strange to say, there was a decline in the art for a long period. Its renais- sance is due in a great .measure to the study and experimenta- tion of Dr. Antonio Salviati. His leisure time after attention to his profession in the Forum of Venice was devoted to study- ing the great works around him. It was a source of grief to him that these were apparently de- 26 STANFORD MEMORIAL CHURCH caying for want of attention such as only the skilled artists could provide. He was firm in his conviction that his city still possessed the best elements for exercising and developing and improving the art of mosaic. He therefore abandoned his profession and enlisted the aid of Lorenzo Radi of Murano, an artisan who for many years had devoted his attention to the production of gold and colored enamels. As a result of their combined efforts the new pro- cess of producing gold enamels was perfected. It was pro- nounced by a committee of the Academy of Fine Arts of Ven- ice to be successful in produc- ing "gold enamels for mosaic work superior to those previ- ously manufactured, even to some of the ancient ones, from the brilliancy and transparency of the vitreous layer (crystal- line) over the gold leaf, having a compactness and adhesiveness to the underlying layer, so as to secure the greatest possible dur- ability, as well as of the lustre and continuity of the gold leaf and the tablet presenting nei- ther scratches nor swelling. As regards the pieces of colored mosaics, we have found them in part even superior, through the delicacy and softness of the tints, to those of ancient mo- saics." Along with this improvement in materials another great ob- stacle had to be removed. The ancient mosaicists prepared the space on the wall, then slowly, piece by piece, placed the mosaic together. This was a very ex- pensive method. It required the services of the artist on the ground where the mosaic was being placed in order to have the work done at all, practically requiring a complete mosaic studio and factory for each in- stallation of a piece of work. To this prohibitive cost must be attributed the decay in the art that continued for so long. Dr. Salviati's modern process is more simple and vastly cheaper. By it can be produced work in Venice to be sent to any place in the world, ready to be mount- ed in permanent form. The subject is first designed and is painted out in full color. Then a copy is made on paper and this is cut into sections which are distributed to various art- ists, each one of whom is em- STANFORD MEMORIAL CHURCH 27 ployed in covering with mosaic such parts of the general sub- ject as his skill permits him to master. The pieces are worked upon the paper in reverse. On being completed the sections are packed in cases and sent to the place which is intended to be decorated. Here the work is put together and fixed on the wall. Each artist in preparing his section has to exercise great in- telligence and patience as well as his knowledge of color. His eye must be very exact to en- able him to choose the right bit of enamel from more than 20,- 000 different shades at his com- mand. Bit by bit he proceeds, matching the colors of the orig- inal painting perfectly and du- plicating all its lines. When properly placed in position there are narrow interstices between the component parts of the mo- saic. Accompanying each com- pleted work when it leaves the studio is a rough sketch or pref- erably a photograph marked off in irregular lines correspond- ing to the sectional parts, each section numbered for easy iden- tification. An assembled mo- saic, mounted on paper, is in ex- act reverse from what it appears on the wall. It is the same as reading matter when looked at in the type form or a picture seen in a printing block. In- ecjualities caused by the uneven thicknesses of the enamels are overcome in the final mounting by the face being fastened to the smooth mounting paper; then in placing permanently the backing material yields to the deeper indentation of the thicker portion, leaving the ex- terior surface smooth. In prep- aration for mounting the mo- saic a matrix of sand, brick dust and cement is prepared. This is moistened and mixed, then spread on the back of the mosaic section and on the wall upon which it is to be mounted. While the matrix is plastic the artist places the section in po- sition and presses it firmly into place. Pressure forces the ad- hesive mixture into the inter- stices between the enamel pieces and holds them firmly and per- manently. After being allowed to rest in place for a time the mounting paper is moistened and removed. With a small block similar to the planer used in leveling type forms the artist 28 STANFORD MEMORIAL CHURCH smooths the mosaic surface, hammering it into place. 'As the material is very hard there is not the slightest danger of in- jury to any portion. After an- other interval the mosaic is cleansed, exuded particles of the cement removed and the mounting of the section is' com- plete. So it goes on till all is done. After the moisture evap- orates the cement hardens and the mosaic becomes an integral part of the wall. At times gaps must be filled in the background or portions have become dis- lodged in handling. These are replaced by the artist, making the whole mosaic perfect. Mak- ing and placing mosaics of this character is more than a trade; it is art. To Lorenzo Zampato was en- trusted the work of placing the Stanford mosaics. For more than four years he was con- stantly employed on the task. He illustrated the truth that to be an artist one must first be an artisan. M. Zampato had more to do than merely place the mosaics as received from Venice. In reconstructing the facade, in particular, the design was changed. A large inscrip- tion at one time occupied the broad space under the windows. This was condensed in size and carved on a tablet at the east of the entrance. A water scene was substituted under the win- dows and allowed to remain in place for a few months. It was considered inappropriate and a changed architectural scheme outlined by John K. Branner was adopted. For this M. Zam- pato furnished the design and put the material in place after the stonework had been com- pleted. To realize the full artistic value of mosaics it is best not to approach too closely. The work is broad in its lines, nec- essarily so from the nature of the medium employed. When viewed from too near a vantage the small component parts are too distinct and rob the compo- sition of that continuity of line which must persist to convey the idea of the artist. M. Zam- pato kindly arranged for pho- tographs to be taken of one piece that was ready for plac- ing. In one view the camera was only six feet away from the subject. The resulting photo- graph brought out distinctly the STANFORD MEMORIAL CHURCH 29 fragmentary nature of the work. In the other picture, taken at a distance of about fifteen feet, there is a very noticeable differ- ence. AMiile the small parts are distinguishable the faint di- viding lines between them are subordinated to the broader o > a o d a o. xn >> 30 STANFORD MEMORIAL CHURCH lines of the picture itself, thus showing the design of the artist as it is intended to be seen at completion. In neither had the surface been smoothed, which accounts for the sort of sketchy impression. This particular piece was placed in position at an angle in the ceiling facing the entrance. It is about 75 feet above the floor and at that elevation, with its coloring and background, presents a much different appearance. How did it come that mosaics were used so lavishly in the mural decorations? That is an- swered most satisfactorily in a letter to me from M. Camerino, proprietor of the A. Salviati & Company mosaic studios, Ven- ice, Italy. Under date of Aug- ust 25, 1917, he wrote: I met Mr. and Mrs. Stanford and their son when they came to visit my business place and the glass works. I became a good friend of the Stanford family and was always with them during their stay in Ven- ice. They went to Florence and it was there that their son fell ill and unfortunately died. Mr. and Mrs. Stanford called me at once to Flor- ence and I assisted them in every- thing I could possibly do during their great misfortune. On May 17, 1900, Mrs. Stanford, who had been deprived of her hus- band,, called upon me in Venice. She spoke of a memorial church she was building in memory of her husband and son. She expressed the wish to have a reproduction of the Lord's Supper by Roselli in the Sistine Chapel in the Vatican. I promised Mrs. Stanford I would do my very best to obtain permission to copy it and I had full success. Conse- quently I was able to reproduce it for her church. In November, 1900, Mrs. Stanford was in Florence. She called me there. Mrs. Stanford asked me what kind of a mosaic picture could be placed on the outside of the gable and we agreed on the subject. I asked her to let Professor Paoletti prepare a sketch after my explana- tions. With the sketch and also one of the Glory of the Angels I went to see Mrs. Stanford again. She was greatly pleased with them and gave her approval to their com- pletion. In the meantime at Venice I wanted to study the plans of the church which had been handed to me by Mrs. Stanford and I devel- oped them in full. In February, 1903, I went to San Francisco and arranged with Mrs. Stanford to dec- orate the nave after a colored plan which I had prepared in my atelier in Venice. I also arranged to sup- ply two mosaics for the pediments of the museum building and the eight pictures on the facade, all de- signed by Professor Paoletti. In June, 1904, I again went to San Francisco and submitted to Mrs. Stanford drawings for the dec- oration of the galleries and pictures over the four doors. Mrs. Stanford approved all my projects and they were completed accordingly. In November, 1913, I was called to San Francisco and arranged with the board of trustees to replace all STANFORD MEMORIAL CHURCH 31 the mosaics damaged by the earth- quake, which was executed by me in my Venice ateliers in three years, after all the original designs, which I preserved with great care. This was finished at the end of 1916. - It would require the ability of an artist of rare judgment to select the best piece of work among the numerous fine mo- saics. No choice will be made here. The largest single piece is that on the facade, "The Ser- mon on the Mount." Among the 47 people to the counted in the whole assemblage may be recognized the apostles and many of the women mentioned in the Bible as closely associ- ated with Christ. The grouping is excellent and the portraiture wonderfully lifelike. The sub- ject is peculiarly one for just that position on the church, as it allows of the grouping in an ascending scale to the central, purple and white robed figure of the Savior delivering his im- mortal sermon. The vestibule of the church is decorated in a uniform tap- estry design, all in mosaic. Al- ternating medallions bear in monogram form the Greek let- ters Alpha and Omega and the Christ's initials. In the frieze over the doors are two cherub groups supporting tablets bear- ing the inscriptions "Domus Dei Locus Orationes," ''Domus Dei Aula Coeli." After entering the nave from the vestibule the chancel and apse decorations may be seen at a distance, but it is better to begin a methodical examination at the doors. To the east, un- der the organ loft and over the doors, is "Our Lord on His Throne Surrounded by the Four Evangelists, Apostles, Kings and Friends;" to the west is "Our Lord Receiving Christ in Paradise." Proceeding on the east side of the nave the visitor may see the mosaics in this order: Under the arches on the east wall of the nave : ''The Prayer of Hannah," I Samuel: 1-11. And she vowed a vow, and said, O Lord of hosts, if thou wilt in- deed look upon the affliction of thine handmaid, and remember me, and not forget thine handmaid, but will give unto thine handmaid a man child, then will I give him unto the Lord all the days of his life, and there shall be no razor come upon his head. "Ahasuerus Selects Esther to be His Queen," Esther: 2-17. And the king loved Esther above all women, and she obtained grace EAST SIDE OF CHANCEL AND APSE IN ORIGINAL CHURCH EAST SIDE AND CENTER OF CHANCEL AND APSE IN ORIGINAL CHURCH 34 STANFORD MEMORIAL CHURCH and favour in his sight more than all the virgins : so that he set the royal crown upon her head, and made her queen instead of Vashti. "The Judgment of Solomon/' I Kings: 3-26, 27. Then spake the woman whose the living child was unto the king, for her bowels yearned upon her son, and she said, O my lord, give her the living child, and in no wise slay it. But the other said : It shall be neither mine nor thine : divide it. Then the king answered and said. Give her the living child, and in no wise slay it : she is the mother thereof. "Saul Casts His Spear at Da- vid," I Samuel: 1-9, 10. And an evil spirit from the Lord was upon Saul, as he sat in his house with his spear in his hand. And Saul sought to smite David even unto the wall with his spear; but he slipped away out of Saul's presence, and he smote the spear into the wall : and David fled, and escaped that night. "God's Promise to Solomon When Building the Temple," I Kings: 6-11, 14. And the word of the Lord came to Solomon, saying: Concerning this house which thou art building, if thou wilt walk in my statutes, and execute my judg- ments, and keep all my command- ments to walk in them ; then will I establish my word with thee which I spake unto David thy fa- ther. And I will dwell among the chil- dren of Israel, and will not forsake my people Israel. So Solomon built the house and finished it. Over the door near the pilas- ter: "The Garden of Eden," Gen- esis: 1-24, 28, 29. And God said. Let the earth bring forth the living creature after its kind, cattle and creeping things, and beast of the earth after its kind : and it was so. And God blessed them : and God said unto them, Be fruitful and mul- tiply, and replenish the earth, and subdue it : and have dominion over the fish of the sea, and over the fowl of the air, and over every liv- ing thing that moveth upon the earth. And God said. Behold, I have giv- en you every herb yielding seed which is upon the face of all the earth, and every tree, in which is the fruit of a tree yielding seed ; to you it shall be for meat. On the east wall of the clear- story, over the arches: "God Separating Darkness from Light," Genesis: 1-6, 10. And God said. Let there be a fir- mament in the midst of the waters, and let it divide the waters from the waters. And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament : and it was so. And God called the firmament Heaven. And there was evening and morning, a second day. And God said, let the waters un- der heaven be gathered together unto one place, and let the dry land appear : and it was so. And he called the dry land Earth ; and the gathering together of the "s r^!;!'^ WEST SIDE OF CHANCEL AND APSE IN ORIGINAL CHURCH 36 STANFORD MEMORIAL CHURCH waters he called Seas ; and God saw that it was good. "The First Family," Genesis: 3-17, 19. And unto Adam he said, Because thou has harkened unto the voice of thy wife, and hast eaten of the tree, of which I commanded thee, saying, Thou shalt not eat of it : cursed is the ground for thy sake; in toil shalt thou eat of it all the days of thy life. Thorns and thistles shall it bring forth to thee ; and thou shalt eat the herb of the field. In the sweat of thy face shalt thou eat bread, till thou return to the ground, for out of it -thou wast taken : for dust thou art and unto dust shalt thou return. "The Deluge," Genesis: 7-17 and 24. And the flood was forty days upon the earth ; and the waters increased and . bare up the ark and it was lift above the earth. And the waters prevailed upon the earth an hundred and fifty days. "The Tower of Babel," Gen- esis: 11-1, 9. And the whole earth was of one language and one speech. Therefore the name of it called Babel : because the Lord there did confound the language of all the earth : and from thence did the Lord scatter them abroad upon the face of the earth. "Moses Saved from the Wa- ters," Exodus: 2-1, 6. And when she could no longer hide him, she took him in an ark of bulrushes and daubed it with slime and with pitch : and she put the child therein and laid it in the flags by the river bank. And his sister stood afar off, to know what would be done with him. And the daughter of Pharaoh came down to bathe at the river : and her maidens walked along by the river side, and she saw the ark, among the flags, and sent her hand- maid to fetch it. In the clearstory, above the last row, between windows: "Noah Is Ordered to Build the Ark," Genesis: 6-18. But I will establish thy covenant unto thee ; and thou shalt come into the ark, thou, and thy sons, and thy Avife, and thy sons' wives with thee. "Abraham Informed He Will Have a Son," Genesis: 18-10. And he said, I will certainly re- turn unto thee when the season cometli around ; and lo, Sarah, thy Avife, shall have a son. xA.nd Sarah heard in the tent door, which was behind him. "Abraham Sees the Promised Land," Genesis: 13-14, 15. And the Lord said unto Abram, after that Lot was separated from him, lift up now thine eyes, and look from the place where thou art, northward and southward and east- ward and westward : For all the land which thou seest, to thee will I give it, and to thy seed forever. "Daniel's Prophecy," Daniel: 5-25 to 28. And this is the writing that was inscribed, Mene, Mene, Tekel, Upharsin. This is the interpretation of the thing: Mene, God hath numbered STANFORD MEMORIAL CHURCH 37 thy kingdom and brought it to an end. Tekel, thou art weighed m the balances, and art found wanting. Peres, thy kingdom is divided, and given to the Medes and Per- sians. "Angel Gabriel Announces to Zacharias the Conception of John to Elizabeth," Luke: 1- 12, 13. And Zacharias was troubled when 38 STANFORD MEMORIAL CHURCH he saw him, and fear fell upon him. But the angel said unto him, Fear not, Zacharias ; because thy suppli- cation is heard, and thy wife Eliz- abeth shall bear thee a son, and thou shalt call his name John. In the wall of the gallery of the east transept are mosaics of Noah, Noah's Wife, Isaac, Rebecca, Jacob, Rachel, Tobias, Sarah, Nathan, Deborah, Aaron and Naomi; also over the doors are lunettes of cherub singers, while the remainder of the wall is filled in with tapestry mosaic work in varied colors. In the center of the wall of the chancel is the reproduction of "The Last Supper," from the Sistine Chapel in the Vatican at Rome. The original is the work of Cosimo Roselli. On either side are niches in which Carrara marble statues of the apostles rested before the demolition of the church. They are to be re- placed. A large picture, ''The Seraph Choir" or ''The Glory of the Angels," covers a large portion of the apse. It is sepa- rated into four sections by the stained glass windows. This was designed by Paoletti and was approved by Mrs. Stanford. It contains a large number of figures. Above are mosaic por- traits of John the Baptist, Eze- kiel, Samuel and Jeremiah on the east; opposite are David, Elias, Moses and Isaias. Nu- merous cherub faces appear at appropriate places. Over the four pilasters sup- porting the dome are spandrel mosaics representing angels emerging from clouds. The ceiling of the dome is painted in imitation of mosaic and a number of medallions are placed in the frieze. Returning to the entrance and coming forward on the west side of the nave the mosaics are in order as follows: "Rebekah and Isaac," Gene- sis: 24-64, 65. And Rebekah lifted up her eyes, and when she saw Isaac she lighted off the camel. And she said unto the servant, What man is this that walketh in the field to meet us? And the serv- ant said, It is my master ; and she took her veil and covered herself. "Rachel Sees Jacob Ap- proaching," Genesis: 29-12. And it came to pass when Jacob saw Rachel the daughter of Laban his mother's brother, and the sheep of Laban his mother's brother, that Jacob went near, and rolled the stone from the well's mouth, and watered the flock of Laban his mother's brother. And Jacob kissed Rachel and lifted up his voice and wept. And Jacob told Rachel that he STANFORD MEMORIAL CHURCH 39 was her father's brother, and that he was Rebekah's son, and she ran and told her father. ''Moses Is Ordered to Take Israel out of Egypt/' Exodus, 3-9, 10. And now% behold, the cry of the children of Israel is come unto me : moreover I have seen the oppres- sion wherewith the Egyptians op- press them. Come now, therefore, and I will send thee unto Pharaoh, that thou mayest bring forth my people the children of Israel out of Egypt. ''Moses Sees the Promised Land," Numbers: 34-4. And your border shall turn about southward of the ascent of Akrabin, and pass along to Zini ; and the go- ings out thereof shall be southw^ard of Kadeshbarnea; and it shall go forth to Hazaradar, and pass by to Azmon. "Joshua Finds a Captain for His Hosts," Joshua: 5-13, 14. And it came to pass w-hen Joshua was by Jericho that he lifted up his eyes and looked, and behold there stood a man over against him with his sword drawn in his hand; and Joshua went up to him, and said unto him, Art thou for us or for our adversaries? And he said, Nay ; but as captain of the host of the Lord am I now come. And Joshua fell on his face to the earth, and did w^orship, and said unto him, AMiat saith my Lord unto his servant? Over the arches on the wall of the clearstory: "Moses Receiving the Tab- lets of the Law" Exodus: 24-12. And the Lord said unto ]\Ioses, Come up to me into the mount, and be there, and I wnll give thee tables of stone, and the law and the com- mandment which I have written, that thou mayest teach them. "Joshua Successor of Moses," Joshua: 1-2, 3. Xow it came to pass after the death of ]\Ioses the servant of the Lord, that the Lord spake unto Joshua, the son of Nun, Moses' minister, saying, ]^Ioses my servant is dead; now therefore arise, go over this Jordan, thou and all this people, unto the land which I do give them, even unto the children of Israel. "David Anointed for the First Time," I Samuel: 10-13. Then Samuel took the horn of oil and anointed him in the midst of his brethren : and the spirit of the Lord came mightily upon David from that day forward. "Meeting of David with Abi- gail," I Samuel: 25-22. And wdien Abigail saw David, she hasted, and lighted off her ass, and fell before David on her face, and bowed to the ground. "David Singing Psalms," Psalms : 43-3, 4. O send out thy light and truth ; let them lead me ; let them bring me unto thy holy will, and to thy tab- ernacles. Then will I go unto the altar of God ; unto God my exceeding joy ; and upon the harp wnll I praise thee, O God, my God. Over the arches and between the windows, west wall of clear- story : 40 STANFORD MEMORIAL CHURCH ''Sale of Joseph/' Genesis: 37-23, 28. And it came to pass when Joseph came unto his brethren, that they stript Joseph of his coat, the coat of many colours that was on him. And there passed by Midianites, merchantmen ; and they drew and lifted up Joseph out of the pit and sold Joseph to the Ishmaelites for twenty pieces of silver. And they brought Joseph into Egypt. ''Jacob Going to Canaan," Genesis: 31-17, 18. Then Jacob rose up and set his sons and his wives upon the cam- els. And he carried away all his cattle, and all his substance which he had gathered, the cattle of his getting, which he had gathered in Pandanaran, for to go to Isaac, his father, unto the land of Canaan. "Isaac Blessing Jacob," Gen- esis: 27-21 and 30. And Isaac said unto Jacob, Come near, I pray thee, that I may feel thee, my son, whether thou be my son Esau or not. And it came to pass, as soon as Isaac had made an end of blessing Jacob, and Jacob was yet scarce gone out of the presence of Isaac his father, that Esau his brother came in from his hunting. "Dream of Jacob," Genesis: 28-12, 13. And he dreamed, and beheld a ladder was set up on the earth, and the top of it reached to heaven; and behold the angels of God as- cending and descending on it. And, behold, the Lord stood above it, and said, I am the Lord, the God of Abraham thy father and the God of Isaac : the land where thou liest, to thee will I give it, and to thy seed. "Abraham Restrained from Offering up Isaac," Genesis: 22-11, 12. And the angel of the Lord called unto him out of heaven, and said, Abraham, Abraham, and he said. Here am I. And he said. Lay not thine hand upon the lad, neither do thou any- thing unto him : for now I know that thou fearest God, seeing thou has not withheld thy son, thine only son, from me. Over the door on the west of the nave: "Predictions of the Proph- ets Concerning the Coming of Our Lord on Earth." This is a large picture exactly opposite "The Garden of Eden," over the east door. In the gallery v^all of the west transept are twelve mosa- ics of the saints: Helena, James, Margaret, Andrew, Philemon, Thaddeus, Elizabeth, Bartholo- mew, Madeline, Barnabas, Ger- trude, Philip. Lunettes over the gallery doors correspond in size to those in the east gallery, but are of different design, while the tapestry mosaic work is of the same pattern. THE WINDOWS IT IS quite obvious to ordi- nary observers that some stained glass windows, though well done, somehow seem to be wrong. Each of them individu- ally may appear satisfactory; the ensemble has a jarring ef- fect. Fortunately this is not the case with the windows in the Stanford ^Memorial Church. They were planned, designed and placed by Frederick S. Lamb of Nevv- York and are en- tirely of American manufac- ture. In this connection it is of interest to repeat something of what AA^illiam Frederic Fa- ber has said in regard to win- dow construction and placing. A window is a component part of the building. In a church the win- dow is inevitable just as it is : to make it larger or smaller, to close up one where now there is one, or to make one where there is none is to do violence to the building. If such change does not violate the in- tegrity of the building as a whole the fact simply goes to show that the building had no plan Avorthy of honor; the window space, therefore, is always to be preserved for future use. The use of a window is to give light w^hile affording shelter. And this light space is to serve artistic- ally as a kind of contrast to the dark space of the solid Avail ; hence this light space is to art sacred and must be permitted to the end to assert itself as just Avhat it is and such as it is, so much rightly apportioned and correctly proportioned translu- cent Avail space. AMien this AvindoAv space has been first filled with plain glass, Avhich is then to give way to stained glass, the ncAv treatment must say — just as obviously, only more beautifully — just Avhat the old said: it must still be a AvindoAA' — letting in light, though the light be colored — and in its architectural A'alue it must be just what it Avas before, asserting the shape of the structural Avindow, plainly and faithfully. In other Avords, the true stained glass Avin- doAV is now to give the beholder the impression that he is looking out through an opening and seeing some- thing beyond, so much as the size of the opening Avill permit : in a Avord, the spectacular impression of looking into some beautiful outdoor Avorld through a hole in the Avail. The beholder must be conscious of still looking at the Avail itself, the translucent part of it, Avhich confines him Avithin the edifice as much as stone or brick. Nor yet is the true stained glass Avindow merely a col- ored glass picture coA^ering so much Avail area — the outline form is to be so obA^ious and the treatment so non- realistic that the architectural idea may never for a moment be in dan- 42 STANFORD MEMORIAL CHURCH ger of submersion under some other idea. As these ideas have been fol- lowed in the construction of the Stanford Memorial Church win- dows the harmonious impres- sion to the beholder is at once apparent. The windows har- THE y\NNUNC[ATlON monize with each other, with the other decorations, with the whole architectural scheme. In part this is due to the designing by one man, the planning be- ing systematic instead of hap- hazard; the making of the win- dows likewise received his care- ful attention, the result being a splendid efTect. Unfortunately it occurs in man}^ churches that memorial windows are gifts of different individuals. Donors varied in preferences ; diff'erent designers were selected who at times were not en rapport, with others chosen for work on the same church. The results were not satisfactory either to artists or patrons and certainly not to people attending church. This has happened often even though each individual window was an excellent work. American stained glass work is probably the best that is be- ing done. Of the three schools it has advanced farther in the way of delicate self-contained coloration that will retain bril- liance permanently. The earli- est glass workers of Eiu'ope did not have facilities for cutting and coloring, so their windows were made up of designs main- STANFORD MEMORIAL CHURCH 43 ly along geometrical lines. The colors and their permanency were assured, but were limited as to variety and shading. The English school has developed this idea considerabh^, retain- ing the feature of self-contained coloring, so that the jewel-like splendor is retained at all times. German workers resort to paint to secure desired color effects. The trouble with this is that the colors fade, become dull and muddy and in time the glass loses the brilliancy that makes it attractive. Both schools use glass of uniform thickness in their work. Among the stained glass art- ists of America it is usual to attain color shadings by em- ploying glass of uneven thick- ness, sometimes doubling lay- ers to get the desired effect. It is very unusual for any of them to resort to painting. For these reasons the American product has a more delicate scheme of coloration than any of the for- eign glass and its colors remain brilliant. The process of making these windows in the Lamb studio is an interesting and fascinating one. After choosing the subject THE FLIGHT INTO EGYPT a light sketch is made in color, afterward extended to full size. From this a tracing is made in charcoal of the main outlines. Close study of this tracing is made to learn whether these lines are suitable for the leading 44 STANFORD MEMORIAL CHURCH which holds the whole piece to- gether. It must also be deter- mined how such lines will har- monize with the artistic effect of the completed window. Af- ter it has received final approval a drawing of the exact size is THE CRUCIFIXION made on manila paper, which is then mounted on a large sheet of plate glass through which comes light from a win- dow close at hand. The lines of the drawing are cut away, leav- ing the picture formed of many STANFORD MEMORIAL CHURCH 45 THE ASCENSION small pieces of paper, outlined by clear spaces of light. From his assortment of colored glass pieces Mr. Lamb makes selec- tions to match the shades in the colored drawing. Each in turn is held by an assistant at the right place on the drawing that is mounted on glass. When the matching in color has been at- tained, proved by the light coming through it, the bit of glass and the paper it covered are taken away together, the 46 STANFORD MEMORIAL CHURCH glass to be cut the exact size and shape of the paper pattern. Afterward all are assembled and bound firmly together by thin strips of lead. In the nave, chancel, tran- septs and clearstory there are fifty windows showing human figures, while the lesser win- dows are filled out with colored glass in geometrical designs. During the morning hours the windows on the east side of the church are splendidly attract- ive, their colors scintillating and illuminating the church in- terior. During the greater part of the day the three great win- dows at the back of the chancel form a brilliant group, while the west windows late in the af- ternoon, in addition to their own coloring, have the tinting supplied by the fading glories of the setting sun. Each win- dow has been located with spe- cial reference to its immediate surroundings, therefore win- dow, mosaic and inscription in combination convey an impres- sive message to the visitor. At the base of each window is given the scriptural quota- tion appropriate to the subject. The pictures themselves are ad- aptations of masterpieces in Eu- rope, with one exception. Tak- ing them in the order from the east door of the nave and going forward they are: "The Annunciation" (after Shields), Luke: 1-30, 31. And the angel said unto her, Feai STANFORD MEMORIAL CHURCH 47 not, ^lary, for thou hast found fa- vour w'Ah God. And behold thou shalt conceive in thy womb and bring forth a son, and thou shalt call his name Jesus. ''The Flight into Egypt" (af- ter Plockhurst), ]\Iatthew: 2-13. Xow when they were departed, behold, an angel of the Lord an- peared unto Joseph in a dream, say- ing, arise and take the young child and his mother, and flee into Egypt, and be thou there until I tell thee : for Herod will seek the young child to destroy him. ''The Home at Nazareth" (after Hoffman), Luke: 2-40. And the child grew and waxed strong, filled with wisdom, and the grace of God was upon him. . The five windows in the east transept are : "Christ in the Temple" (after Holman Hmit), Luke: 2-48, 49. And when they saw h!m they were astonished: and his mother said unto him, Son, why hast thou thus dealt with us? behold thy father and I sought thee sorrowing. xAnd he said unto them, How is it that ye sought me? wist ye not that I must be about my Father's business? "Baptism of Christ" (after Dore), Mark: I-IL And a voice came out of the hea- vens, Thou art my beloved Son, in thee I am well pleased. "The Sermon on the Mount" (after Hoffman), Alatthew: 5- 16. Even so let your light shine before men, that they ma}' see your good w^orks and glorify your Father which is in heaven. "Christ Cahiiing the Tem.- pest" (after Dietrich), Mat- thew: 8-25, 26. And they came to him and awoke him, saying, Save, Lord ; we perish. And he saith unto them, Why are 48 STANFORD MEMORIAL CHURCH -^m^ sii^ld ^^t^^fm CHRIST AND MARY MAGDALENE ye fearful, O ye of little faith? Then he arose and rebuked the winds and the sea and there was a great calm. ''Raising of Jairus' Daugh- ter" (after Hoffman), Luke: 8- 52, 54. And all were weeping and bewail- ing her: but he said, Weep not, for she is not dead, but sleepeth. But they laughed hint to scorn, knowing that she was dead. But he, taking her by the hand, called, saying, Maiden, arise. The three large windows in the chancel are ''The Nativity" (Fellowes-Prynne), "The Cru- cifixion" (Degger) and "The Ascension" (Carlotti). In the west transept from the chancel onward, are: "The Miracle of the Loaves and Fishes" (after Murillo), Luke: 9-16. And he took the five loaves and the two fishes, and looking up to heaven, he blessed them, and brake ; and gave to the disciples to set be- fore the multitude. "Christ and Mary Magda- lene" (after Hoffman), John: 8-7 and 11. He that is without sin among you, let him cast the first stone at her. Woman, where are thine accusers? Hath no man condemned thee? And she said, No man, Lord. And Jesus said. Neither do I condemn thee ; go and sin no more. "The Good Shepherd" (after C. S. Parker), John: 10-11. I am the good shepherd : the good shepherd layeth down his life for his sheep. "Christ in the Home at Beth- any" (after Hoffman), Luke: 10-41, 42. But the Lord answered and said unto her, Martha, Martha, thou art anxious and troubled about many things. STANFORD MEMORIAL CHURCH 49 But one thing is needful : IMary hath chosen the good part, which shall not be taken awav from her. "Christ in Gethsemane" (af- ter Hoffman), Luke: 22-14. Saying, Father, if thou be willing, remove this cup from me; never- theless not my will, l^ut thine, be done. "Dream of Pilate's Wife" (af- ter Dore), Matthew: 27-19. And while he was sitting on the judgment seat, his wife sent unto him, saying. Have thou nothing to do with this righteous man : for I have suffered many things this day in a dream because of him. "The Angel at the Tomb" (after Ender), Mark: 16-6. And he saith unto them. Be not amazed ; ye seek Jesus, the Naza- rene which hath been crucified ; he is risen ; he is not here : behold, the place where they had him ! "Lo, I am with Yoti Always," an original design by Paoletti, Revelations : 22-4. And they shall see his face. In the clearstory windows, beginning near the organ on the east side, are seen Abraham, Hagar and Ishmael, Moses, Pharaoh's Daughter, Josh u a, Deborah ; in the east transept gallery, David, Ruth, Solomon, the Queen of Sheba, Elijah, Esther, Isaiah, Judith, Daniel, Hannah: opposite are St. Sim- eon, St. Anne, St. Matthew, Faith, St. Mark, Charity, St. Luke, St. Dorcas, St. Paul, St. Martha : in the west clearstory, St. Stephen, St. Agnes, St. Pe- ter, St. Priscilla, St. John, Hope, in the order named. 50 STANFORD MEMORIAL CHURCH i i ^I'K^B^^-^mB'i' I i »J*™»-F"^-'ti THE ANGEL AT THE TOMB THE INSCRIPTIONS INSCRIPTIONS occupy places on the walls specially set apart for that purpose. In all cases except the memorial tablets on four pilasters the lettering is plainly carved. Memorial tablets are lettered in gold. Carved stone frames enclose each. The in- scriptions were chosen b}^ Mrs. Stanford. It has been believed by some that these were original productions by her, but those familiar with the w^ork of the church state that her method was to take some sentiment that proved attractive or appropriate and adapt it to the use proposed. Many of them were formed by com- binations from several. There was always the governing plan to make them fitting for the church and its great object. Inter- esting indeed it is to walk along the dusky aisles and read these uplifting sentiments. Following the same line of progress as with the mosaics and the windows, beginning at the east of the central inner entrance, the inscriptions are as follows: yi^^t^t^^»ii)(^{^^t^^i^t»ai^t^^iK^tiS£i(^^ i A noble ambition is among the most helpful influences of student life, and the higher this ambition is, the better. No man can work well unless he can speak as the Great Master did of the joy set i before Him. And this leads to the greatest of all safeguards, and the most encouraging of all stimulating influences to a noble life, — ■ that is, the power of personal religion. We need som'ething outside of and beyond ourselves. ''Remember, you are not your own, — i You are bought with the precious blood of Jesus." ^irr>Tirr^^i?rrii?f^irf^lrrrifr>Ti?r!tl?^irr^ The world is new to every soul when Christ has entered^ into it. 1 We can never perish if we remain in the arms of our Father 1 Almighty. 1^^^3^^^t^(^t^^?lt78^(78?1^;^(^t^Vlt^ 52 STANFORD MEMORIAL CHURCH J]MMM!MMM\MMJMMMMM\MM\i 1 111 the great record above, our names are written in characters of P love, — which love for our dear Jesus alone can read, and which by his great love for us alone has been graven. The highest service may be prepared for and done in the humblest surroundings. In silence, in waiting, in obscure, unnoticed offices, in years of un- eventful, unrecorded duties, the Son of God grew^ and waxed strong. On the base of the pilaster, in gold illuminated letters, the first memorial tablet is placed. Another similar tablet is on the side facing the chancel. They read: i\^3SM\mmm ^^^\^\Mm.m?, In loving memory of LELAND STANFORD, Son of Josiah and Elizabeth Stanford. Born March 9, 1824. Died June 21, 1893. ^ In loving memory of I ELIZABETH STANFORD, 5J ^Mother of Leland Stanford. I Born April 14, 1791. I Died Februarv 27, 1873. On the walls of the east transept the inscriptions are: True life is the principles of Christ lived. There is no other life that is true. To condense it still more, the true life is the Christ life lived. God knows what His children want before they ask, but it proves '*'' their faith in Him to prav for what thev want. ItTTtiWItT^It^ WIWI^It?^! ? 1 Religion is intended as a comfort, a solace, a necessity to the ^' 1 soul's welfare ; and whichever form of religion furnishes the grcat- 1 est comfort, the greatest solace it is the form which should be 1 adopted be its name what it will. The best form of religion is, si trust in* God, and a firm belief in the immortality of the soul, life 3 everlasting. i _ __^__„__ _ ________________^_ _____ _ ____^ STANFORD MEMORIAL CHURCH 53 An eternal existence in prospect converts the whole of your pres- | ent state into a mere vestibule of the grand court of life ; a begin- ning, an introduction to what is to follow ; the entrance into that immeasurable extent of being which is the true life of man. The best thought, affections and aspirations of a great soul are fixed on the infinitude of eternity. Destined as such a soul is for immortal- ity, it finds that all that is not eternal is too short, all that is not infinite is too small. l^(^l^l^l^t^(^t^l\»]lvi^lt^^U^^ A life that is founded on the principle of goodness, love, wisdom and power that represents the Christ has a lasting foundation and can be trusted. AA^e speak of love, but what do we know about it, unless w^e see the power of love manifested ; unless we are given g the power to bestow, and a willing heart to bestow^ it upon, and I within humanity? We say God is love, but if we do not feel the power of iHis love, we do not know anything about it. To be loved 3 b}^ others makes the power of love within our hearts grow. [^»S£j{^{^(Vim8iJ(^lV8^»i£|US^B^^ would do our dut>= ]\Ian, like every other individuality, has an object and a purpose § to fulfill ; and, when he comprehends this, he will think too much of H himself to stoop to any material action that shall bring him down from the highest position on the throne of his nature. To acknowledge God is often done w^ithout acknowledging God's great love for us and it is His love and tender care and wase lead- i ing we should all reflect upon more than we do — much more if we i gfiig^irvTlT?^l^tlr?^l?f^lT7^l??^lTr^lr?^lT?^ JS ^^f E^IMIMlMlMI^JM g yJJIMIMI^IMI^IMI^IMI^IMI^^ Events are messengers of either Divine goodness or justice. Each has a mission to fulfill, and, as it comes from God, accomplish it and, in sending them, the good Father sends means by which they may be endured, — perhaps averted. Remedies in sickness. Love in trouble. Comfort in weakness. Renew^ed hope in disappointment. Tears in sorrow\ Smiles to follow tears. :',r/^l??^l^?^lff^lT?^lTf^ir>tlf;^lf?^lff^l?^lT?^iT:^lT^ 54 STANFORD MEMORIAL CHURCH Knowledge is intelligence and its impress comes upon the mind. Wisdom is the desire of the heart prompted by God's highest and most Divine nature and comprises all knowledge. Wisdom is the highest spiritual intelligence, while the natural man, through knowl- edge, can know nothing of wisdom. A man may have great intelli- gence and yet have nothing of the Christ life within him. Tlf?^lff^lg^l?:^Tlt?^lrf^i^ff^lff^lr7^lr?^iyvTi?/^l^ a! *;jJIM|t.yj[MIMI^IM^!l\lUJ{I^IMIMI^IMlMl^l^y^lMI^IMIMIM^ May we belong to God in this mortal life, serving Him faith- fully through its trials, bearing the cross after Him, and may we be His forever in life eternal, with the whole Celestial Court. It is a great advancement toward the fulfillment of desires in the life beyond to have lived a Godly life on earth. s?i{^vif^(^t^(^^f7i?)(7i?itr8vtra«ihf8^ravir^ On the base of the pilaster at the east of the chancel is another memorial tablet in gold lettering. Below the pulpit on the east and the reading stand on the west are inscriptions, while a me- morial tablet is on the west pilaster. The four read: ? yjlUJI^IMlM!^iltL^IMiMIMIMI^^I^IM^B^^^ In loving memory of JOSIAH STANFORD, Father of Leland Stanford. Born February 28, 1795. Died April 29, 1862. '/-^lfr?tlr7^it7^l fr?tlT7^Tir^lf ?^lT?^\T lT?^lr?^lt7^lr;^Tlf^ i I 1 I i i i r^tlfrttlrTiTlMliSiiMlfntli^rTTtlTrStlr^^ In loving memory of DYER LATHROP, Father of Mrs. Leland Stanford. Born May 14, 1787. Died April 19, 1855. I I 1 Lord Jesus, without reserve, j^ 1 without exception, without limi-p Itation, may Thy holy will be| Idone in all things, at all times. | § IP 1 It is by suffering that God has Imost nearly approached to man; iit is by suffering that man| idraws most nearlv to God. 1 On the wall of the west transept, beginning at the pilaster west of the chancel: STANFORD MEMORIAL CHURCH 55 ^ t i iyj|tj^ i tii^ i ^^i^i^i*>yjiiyiii^ ^ iti^ i ^i^i^iM!^ iiyiii^ iio There are but few on earth free from cares, none but carry bur- dens of sorrow, and if all were asked to make a package of their troubles and throAV this package on a common pile, and then were asked to go and choose a package which they were willing to bear, all would select their own packages again. Your heartaches may be great, burdens heavy, but look about you, and with whom would you change? ifmmifmfmfmfmmifmmifmtrs^^g^?,^^^i*y*i^[! Thoughts and words travel just as Cod'^- life travels. The}" do not 1 travel like an individual, but breathe your spiritual life into the I atmosphere as you do your breath, and some one else breathes it in. Those not present still perceive it, for it permeates space, and all live in it and receive from it according to their unfoldment. SilMlMiMII il(^»i?lf^l^v){^^(^^f7iv1^^^^t}S?ll^r^(?i(l On the west wall of the nave: We must not desire to begin by perfect?'. n. It matters little h(3\v | we begin provided we be resolved to go on well and end well. | ' i STANFORD MEMORIAL CHURCH 57 Earth grants joys that are great, but Lransplant such joys to heaven, ennoble them through the ennobling love of God, and they grow to a magnitude beyond the comprehension of earth mind. God in His infinite wisdom gives to the poor blessings by way of com- pensation which the wealthy do not attain — the giving and receiv- ing of heart offerings without price, deeds that win crowns and scepters in heaven. mmm&iimmmmsmimmmmimismmiimmmmiimim There is no narrowing so deadly as the narrowing of a man's horizon of spiritual things. Xo Avorse ev-i can befall him than in his course on earth to lose sight of Heaven And it is not civiliza- tion that can prevent this; it is noi ci'^^ilization that can compen- sate for it. No widening of science, no possession of abstract truth, can indemnify for an enfeebled hold on the highest central truths of humanity. '*A\^hat shall a man give in exchange for his soul?" s^t^(^e8viii^f^?i[{^{^t^(^f7i?i(^(^r)«vih«vt l^^I^^ [l^^MlT?^l?;^l^lT?^|ynTl^?^!yrT',^ On the pilaster facing the chancel and on the side toward the door: 1 ng; I 2 JlM|^U^(XS^t\S^^^tXi^U^^^^U^^B^^ In loving memory of AXE AXX LATHROP, ^^Mother of Mrs. Eeland Stanford Born May 6, 1803. Died September 3, 1882. E^{^hivihivi^^ivM(i®^b®dr«vit^{^^ In loving memory of LELAXD^ STAXFORD, Son of iLeland and Jane Lathrop Stan ford. Born Alay 14, 1868. p Died :\Iarch 13, 1884. ^ i^^^i^»ivi^^«»^if^^^^^^^^vn^^i?n7s^i^i^^ Enclosed in frames of cross design in the center of the east and west transepts, respectively, are these: 58 STANFORD MEMORIAL CHURCH The CROSS is the emblem of faith, ^1 hope and love, Wsmmmu;: those ineffable virtues of the soul that abide forever, that can never be outgrown, f even on the STANFORD MEMORIAL CHURCH 59 O God, Thou Divine principle of good, who dwellest in harmony and love, Ave feel in our souls that thou ^} ^MIMIiLl^iUS4 i i I I m^iwmmnim good to art us, for we believe that Thou rulest in all tilings for each one's ultimate good, and we desire to be true children of light and of Thine. g I 60 STANFORD MEMORIAL CHURCH EUCALYPTUS TREES IN THE ARBORETUM STANFORD MEMORIAL CHURCH 61 O ?d I— t a o *^ H O cl H H d > d ?d > o r STANFORD MEMORIAL CHURCH IN THE INNER QUADRANGLE JORDAN HALL ZOOLOGY BUILDING STANFORD MEMORIAL CHURCH 63 STANFORD FAMILY STATUARY GROUP 64 STANFORD MEMORIAL CHURCH THE STANFORD MAUSOLEUM Two senior students, a young man and a young woman, are appointed each term to place flowers at the door of the mausoleum every Sunday morning. ""'^v^TF::^^ ^'.^^•>!JlVS^l^lVS/4WWlVWWiy4WWl«^ There is no narrowing so deadly as the narrowing of man's horizon of spiritual things. No worse evil can befall him than in his course on earth to lose sight of Heaven. And it is not civilization that can prevent this; it is not civ- ilization that can compensate for it. No widening of sci- ence, no possession of abstract truth, can indemnify for an enfeebled hold on the highest and central truths of human- ity. "What shall a man give in exchange for his soul?" rs>(i.7S\irr*\ir7i\ii>s\ir/svir)^in^rr4jvir)«^r)«\iYiYir/^ LIBRARY OF CONGRESS 029 895 926 4