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STANFORD 
 MEMORIAL CHURCH 
 
 THE MOSAICS, THE WINDOWS, 
 THE INSCRIPTIONS 
 
 BY WILLIS L. HALL 
 
 Copyright, 1917, by Willis L. Hall 
 PRICE FIFTY CENTS 
 
 S^3 
 printed by 
 Times Publishing Company 
 palo alto, california 
 
 I917 
 

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CONTENTS 
 
 , PAGE 
 
 Introduction 5 
 
 Stanford Memorial Church 15 
 
 The Mosaics 25 
 
 The Windows 35 
 
 The Inscriptions 39 
 
 Illustrations — • 
 
 The Stanford Family — Leland Stanford, Jr., Mrs. Jane Lathrop Stanford, 
 
 Senator Leland Stanford 2 
 
 Some of the Trees in the Arboretum 4 
 
 Original Main Gateway to the Stanford Campus. . . 6 
 
 . Eucalyptus Trees in the Arboretum 8 
 
 View of Stanford from the Lathrop Residence 9 
 
 President Wilbur and Chancellor Jordan 10 
 
 Dr. John C. Branner 11 
 
 Academic Procession at Installation of Dr. Branner 12 
 
 Academic Procession at Installation of Dr. Wilbur 13 
 
 Original Stanford Memorial Church 14 
 
 Stanford Memorial Church Restored. 16 
 
 On the Inner Quadrangle at the Wilbur Installation 18 
 
 The Chancel and Apse in the Original Church 19 
 
 Western Portion of Chancel and Apse in Original Church 20 
 
 A Fraternity House *. 22 
 
 A Stanford Graduating Class in Commencement Parade 24 
 
 Lobby of the Stanford Museum of Fine Arts 26 
 
 A Roadway Scene Near Stanford 34 
 
 The Annunciation 36 
 
 A Corner of the Outer Quadrangle 38 
 
 In the Foothill Country 42 
 
 The Roadway back of the University 43 
 
 The Stanford Battalion Receiving the Colors 44 
 
 The Stanford Family Statuary Group 46 
 
 Roble Hall, First Dormitory for Women 47 
 
 The Stanford Mausoleum 48 
 
 361975 
 
INTRODUCTION 
 
 O varied and numerous are the features of Leland Stan- 
 ford Junior University it would require a large volume 
 to do them any sort of justice. Hence that is not at- 
 tempted in this book. Aside from the educational work 
 carried on by the institution its most notable feature is 
 the Memorial Church, to which attention is turned. However, a few 
 words about the university itself are given. 
 
 Leland Stanford Junior University was founded by Senator Leland 
 and Mrs. Jane Lathrop Stanford as a memorial to their only son, who 
 died abroad March 13, 1884. The founders decided to devote nearly 
 all of their large fortune to the endowment of the university. They 
 appointed a board of trustees, which board is now in control. Dur- 
 ing the greater part of their lives after founding the university Sena- 
 tor and Mrs. Stanford were in direct control of everything concerning 
 it. Senator Stanford died June 21, 1893. Mrs. Stanford relinquished 
 control June 1, 1903, but remained a member of the board of trustees 
 until her death a few years later. 
 
 The board of trustees at the present time is composed of the fol- 
 lowing: 
 
 Frank Bartow Anderson, San Francisco. 
 
 Ralph Arnold, Los Angeles. 
 
 William Babcock, San Rafael. 
 
 Frank Prentiss Deering, San Francisco. 
 
 Charles Parmelee Eells, San Francisco. 
 
 Joseph Donohoe Grant, San Francisco. 
 
 Herbert C. Hoover, San Francisco. 
 
 Timothy Hopkins, Menlo Park. 
 
 Samuel Franklin Leib, San Jose. 
 
 Percy T. Morgan, San Francisco. 
 
 William Mayo Newhall, San Francisco. 
 
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INTRODUCTION 
 
 James Leroy Nickel, San Francisco. 
 
 Leon Sloss, San Francisco. 
 
 Thomas Welton Stanford, Melbourne, Australia. 
 
 Vanderlynn Stow, San Francisco. 
 
 Dr. David Starr Jordan was appointed president of the university 
 March 23, 1891, and was formally installed in office October 1 of the 
 same year. He continued as president until May, 1913, when he re- 
 signed to become chancellor, relinquishing all active connection as a 
 member of the faculty in May, 1917, and assuming the title of chan- 
 cellor emeritus. Dr. John C. Branner, a member of the faculty from 
 the founding of the university, was the second president, retiring from 
 office December 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 presidential office. 
 
 The property of Leland Stanford Junior University is estimated to 
 be worth more than $40,000,000. It consists of a large amount of valu- 
 able stocks and bonds, two large ranches in northern California, San 
 Francisco real estate and the tract upon which the university is 
 located. This tract was formerly known as the Palo Alto ranch, de- 
 voted principally to the breeding of fine horses. The only reminder 
 of that feature is the horse cemetery where monuments have been 
 erected to Electioneer and other famous trotters and pacers ; also the 
 mounted skeleton of Palo Alto, the great trotter, in the museum. 
 There are approximately 8,000 acres in this tract, of which less than 
 500 are devoted to the university campus. To the south, west and 
 north of the university itself, on Stanford lands and tracts owned by 
 private citizens, is located the twentieth division United States army 
 cantonment. 
 
 The original plan of the buildings provides for three large quad- 
 rangles, of which only the central one has been completed. They face 
 north and are to form a continuous row almost a mile in length when 
 completed, Roble Hall being at the west end and Encina Hall at the 
 east. A beginning has been made on the second quadrangle by the 
 erection of the Thomas Welton Stanford Memorial Art Gallery, ready 
 for occupancy by January, 1918. The new library building is to be 
 the next structure undertaken. Others will follow in the course of 
 time. Back of the quadrangles the ground has been platted and tracts 
 leased for the erection of fraternity houses, residences for professors 
 
EUCALYPTUS TREES IN THE ARBORETUM 
 
INTRODUCTION 
 
 the Lathrop residence, from which a splendid view of the country to 
 the east is obtained. The university campus is in the foreground, the 
 city of Palo Alto and Santa Clara valley further along, then San Fran- 
 cisco Bay and the mountains to the east. 
 
 In the completed inner quadrangle many notable ceremonies have 
 been witnessed by the various generations of Stanford students. First 
 was the formal installation of President Jordan. President Branner's 
 installation ceremony was held in the same place. The colors of the 
 Stanford battalion were presented at a ceremony in the inner quad- 
 rangle and were afterward dedicated in the Memorial Church. 
 
 The illustrations show some of the events that have taken place at 
 Stanford, also some of the features of the campus and the Stanford 
 Memorial Church. 
 
 VIEW OF STANFORD FROM THE LATHROP RESIDENCE 
 
PRESIDENT WILBUR AND CHANCELLOR JORDAN 
 
DR. JOHN C. BRANNKR 
 
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 ORIGINAL STANFORD MEMORIAL CHURCH 
 

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 STANFORD MEMORIAL CHURCH 
 
 DELIGHT to artists is the Memorial Church at Stan- 
 ford University. In it are works of art destined to be- 
 come worthy of pilgrimages in years to come. Stately 
 architecture, substantial building, beautiful stained glass 
 windows and most of all the largest use of art mosaics 
 for mural decorations in x\merica combine to make it a structure 
 more than unique in character, one worth visiting and remembering. 
 
 El Camino Real, that 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 roadway, he will reach a broad gateway that gives 
 entrance to the Stanford University campus. Southward for a mile 
 through a vista of palm trees may be seen portions of low, fed-roofed 
 buildings. Above the central portion a golden point attracts attention. 
 While passing along the avenue of palms any one botanically inter- 
 ested could find much to absorb attention in the arboretum with its 
 hundreds of varieties of trees, but the visitor generally prefers to pass 
 on to the university itself. The avenue forks, the branches forming 
 an oval, very much racquet shaped, the enclosed space always covered 
 with a velvety lawn, outer edges of roadways still palm bordered. 
 At the dividing of the main avenue the first view is gained of the 
 entire row of buildings, all connected by cloisters, extending a thou- 
 sand 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. Passing between two truncated towers, for- 
 merly bases of a grand memorial arch, he enters the memorial court, 
 cloistered on all sides. Under the arches across the court to the 
 south are seen palms and still more cloisters ; but through the central 
 
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STANFORD MEMORIAL CHURCH 17 
 
 portion sections of a picture appear. The court crossed, the traveler 
 passes under one of the arches and is then directly in front of the 
 splendidly decorated facade of Stanford Memorial Church. Then he 
 learns that the brilliant golden point is the background and apex of a 
 great picture. 
 
 At first the impression is that the facade is painted over in a 
 most artistic manner. Figures are distinct, colors bright, 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 
 occupy 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 posi- 
 tion of rapt attention, each individual apparently paying close heed 
 to the most notable personage of all — Christ delivering his great 
 sermon. Back of him are waving palms and a gleaming sky — the 
 golden point that is visible from the distance. -' 
 
 From nearer vantage the visitor learns that the picture is not a 
 painting, but mosaic. Nowhere else in America can such an exten- 
 sive use of this form of decoration be seen. The facade, however, is 
 only an introduction to a more lavish use of this artistic work. Pass- 
 ing through the entrance and by the bronze scroll doors the visitor 
 enters a mosaic decorated vestibule. Pursuing his way 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 walls rising from the forward sloping 
 floor and in the clearstory, the splendors of stained glass reproduc- 
 tions of masterpieces of the old world are presented in colorful beauty. 
 Looking skyward under the dome in front of the chancel the visitor 
 sees four adoring angels, done in mosaic, apparently rising from 
 clouds, in the spandrels over the four large pilasters. 
 
 A closer view of the chancel reveals artistic 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 Cosimo Ro- 
 selli's "Last Supper." This is the only copy ever permitted to be 
 made of that famous mosaic in the Sistine Chapel at Rome. To the 
 
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STANFORD MEMORIAL CHURCH 
 
 19 
 
 right and left are golden mosaic niches which will be occupied by 
 statues of the apostles. Above in the apse appear groups of a seraph 
 choir, separated into four sections by three stained glass windows 
 showing the nativity, the crucifixion and the ascension. Still higher 
 on each side are four heroic size mosaics of prophets and Jewish 
 kings. Cherub faces in mosaic peep forth from flowery backgrounds. 
 Turning from the chancel one can see more beautiful stained glass 
 windows and mosaics in the transepts, in the clearstory and in the 
 great organ and choir loft at the extreme north end. » After this pre- 
 liminary view it will repay anyone to make a prolonged visit and 
 examine thoroughly this more than unique memorial. Returning to 
 the entrance to the church the detail of the mosaic work can be studied 
 at leisure. This method of decoration was selected by Mrs. Stanford 
 after she had noted its efifectiveness in Italy. Because of its unfad- 
 
 CHANCEL AND APSE IN ORIGINAL CHURCH 
 
 ing nature and brilliance in color effects it seemed most suitable. 
 Furthermore, it is especially adapted to this locality, wliere extremes 
 of heat and cold are not experienced. The grime and smoke that 
 smudge building exteriors in cities are not known, while abundant 
 rains at certain seasons of the year wash off whatever dust may 
 
 *1 
 
STANFORD MEMORIAL CHURCH 
 
 accumulate. So mosaics on the facade are always clear and brilliant. 
 The university ground plan comprises an outer and an inner quad- 
 rangle, each side of the outer being more than a thousand feet long. 
 On three sides of the outer quadrangle the buildings facing outward 
 are connected and enclosed by cloisters, every structure being of the 
 same rough buff sandstone, red tiling roofs. There is ample space in 
 this plan for many buildings, liberal provision for light and air, yet 
 
 WESTERN PORTION OF CHANCEL AND APSE IN ORIGINAL CHURCH 
 
 every one is convenient of access. The inner quadrangle, also clois- 
 tered, has an open court in which space has been allotted for trees. 
 On the south side of this court in the very heart of the university the 
 Stanford Memorial Church is located. 
 
 It does not impress by size, as it extends only 200 feet back from 
 
STANFORD MEMORIAL CHURCH 21 
 
 the court has a breadth of about 100 feet and the height to the cross 
 topping the apex is only about 90 feet. Adaptations of several styles 
 of architecture have been used in the structure. Surrounding it the 
 modified mission predominates, while the church is more Romanesque, 
 especially in the interior. The buff sandstone readily lends itself for 
 the lacy carving in the 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 con- 
 trast the bright colors in the mosaics and windows. 
 
 To speak of the church's history, it was built primarily by Mrs. 
 Stanford as a memorial to her husband and to fulfill one of the objects 
 of the university's establishment. The founders' deed of gift pro- 
 vided that non-sectarian religious study should be a part of the 
 work undertaken. In 1898 Mrs. Stanford and the trustees asked San 
 Francisco architects to submit designs. Shepley, Rutan & Coolidge 
 in making the original sketch followed the motif of Trinity Church, 
 Boston. Clinton E. Day of San Francisco prepared the plans and 
 Charles E. Hodges was the supervising architect. Mrs. Stanford 
 made a special tour of Europe to select designs and methods of deco- 
 ration. It was on January 25, 1903, that the church was sufficiently 
 advanced in construction for dedication. At the ceremony were cler- . 
 gymen of all denominations. By their participation they demon- 
 strated a friendliness non-sectarian in nature that has been fos- 
 tered and has grown under the guidance of Dr. D. Charles Gardner, 
 pastor of the church and chaplain of the university. From 1906 to 
 1913 the building was not in use, as during that time work was in 
 progress repairing the damage suffered in the earthquake. Since 
 then it has been in constant use. It is open every day for visitors. 
 
 Though occupying the anomalous 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 disappointing. The effort 
 is still in its experimental stage, according to Dr. Gardner, but there 
 seems to be no present cause for discouragement. 
 
 Apparently the idea of Mrs. Stanford and her coadjutors, both in 
 the erection of the original structure and in the reconstruction 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 artistic genius have been exerted to secure 
 
22 STANFORD MEMORIAL CHURCH 
 
 these two results. The 1906 earthquake badly wracked the carefully 
 constructed edifice. The tower and its chime of bells fell ; the solid 
 walls were cracked, while the mosiaics and Carrara marble statuary 
 in the chancel were injured beyond rep'aif. In reconstruction work 
 great care has been taken to assure permanence. Each stone of the 
 original structure, so far as -it has been posible to do so, has been 
 relaid as it was before beiiig thrown down. But this time, in addi- 
 tion to being set in cement, each stone is securely bolted to its neigh- 
 bors, making the whole structure practically one massive hollow rock 
 on a great steel foundation skeleton. On these firm walls the interior 
 and exterior mural decorations are placed. If the building stands for 
 
 A FRATERNITY HOUSE 
 
 centuries all the decorations will be as fresh hundreds of years from 
 now as they are today. Fadeless and enduring are the colors of this 
 work, not subject to the deterioration so lamentably shown among 
 frescoes and canvases seen in other countries. The Venetian and 
 
STANFORD MEMORIAI, CHURCH 
 
 23 
 
 Roman mosaics put in centuries ago show no signs of fading, nor 
 will those at Stanford. 
 
 It is a matter of congratulation not only to the people of the west- 
 ern portion of the country, but to all America as well, that the sub- 
 jects were so well chosen. In years to come it may be that artists 
 of other generations will journey to Stanford to study the master- 
 pieces which will show the true coloring and detail elaborated by 
 men of genius. It is noteworthy that the figures of women are more 
 numerous than in church decorations generally. Mrs. Stanford de- 
 sired this to show the uplifting influence of religion for women. The 
 result is eminently pleasing and satisfying. 
 
 For a great part of the years Stanford University has been open 
 for students many thousands of young people daily have been asso- 
 ciated with these evidences of art as applied to religion. Repeated 
 viewing does not lessen the attraction. Consciously or unconsciously 
 they have cultivated an appreciation of art and they have carried with 
 them to sterner fields of action standards of beauty and its presenta- 
 tion that prove uplifting. Memories of other things may dim ; les- 
 sons learned in the recitation halls may be forgotten 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 Stanford Memorial Church and its mas- 
 terful mosaics will always be reminders of artistic work. Nor will 
 they forget the sentiment carried on the dedication inscription : "Me- 
 morial Church erected by Jane Lathrop Stanford to the Glory of God 
 and in Loving Memory of Her Husband, Leland Stanford." 
 
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THE MOSAICS 
 
 LL the mosaics at Stanford University came from the 
 studio of Dr. Antonio Salviati & Co., Venice, Italy. 
 In addition to the work on the . Memorial Church are 
 eight large pictures high up on the walls of the museum 
 building and the decorated vestibule of the mausoleum. 
 From Salviati & Co. the 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 marble, sometimes of 
 enamel, improperly termed glass, the pieces being of numerous vary- 
 ing shades of colors, forms and sizes. They are made to produce 
 more or less successfully (according to the skill of the mosaicists 
 in dressing and joining them) the same result as is obtained by the 
 painter with his pencil or brush. The pieces, placed together ac- 
 cording to design, are fixed on cement; thus so joined the whole 
 forms one solid body of unquestionable durability. 
 
 Mosaics originated in Greece, but have been developed to their 
 highest beauty and excellence in Venice. The ancients knew the 
 advantage of color and prominence that should be given to it in 
 architectural decoration. Having used marbles of different colors and 
 painted substances without having been able to obtain the desired 
 effect, they perceived the necessity of using some new materials for 
 the purpose of making mosaics in order to obtain those varieties of 
 tints and shades which were not provided in natural substances. 
 They hit upon colored glass as this substitute. First it was trans- 
 parent, then opaque — that is, .enamel — and this was found to be the 
 fittest material with which to obtain the desired effect. Its suitability 
 was also determined by its power of resistance to atmospheric in- 
 
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 STANFORD MEMORIAL CHURCH 
 
 jury. Colored enamels are made from the same raw materials, sili- 
 ceous, etc., as glass, but to these ingredients are added other mineral 
 substances, 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 processes. On a 
 ground of thick glass is laid a sheet of gold or silver leaf, then a film 
 Df 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 being buried between two strata of glass. 
 
 LOBBY OF THE STANFORD MUSEUM OF FINE ARTS 
 
 This process requires considerable skill and knowledge for its suc- 
 cessful accomplishment. 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 necessity of the design requires. 
 
 Greek artists expelled from Byzantium founded the school of mo- 
 saic art in Venice. Strange to say, the pupils exceeded their masters 
 
THE MOSAICS 27 
 
 in developing the art, so that now Venice is known the world over for 
 the work in this line. Its progress is illustrated in the glorious basilica 
 of St. Mark's, which is covered with mosaics of the 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 presenting a collection of 
 many styles of architecture it also enshrines 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 
 feeling for color. They indeed were compelled to bring artists from 
 Constantinople to design the first mosaic 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 mosaic (mostly of the 
 twelfth and thirteenth centuries) represented in a central manner 
 by the great ones of St. Mark's, have been the most effective. They 
 covered the walls and roofs of the churches with inevitable lustre. 
 They could not be ignored or escaped from, their size rendered them 
 majestic, their distance mysterious, their color attractive. Churches 
 ought 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 legit- 
 imately expressed." 
 
 Street, in "Brick and Marble of the Middle Ages," says: "Over \y 
 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 main 
 object is the study of art, assuredly here it must also be to worship. 
 I think I never saw an interior so thoroughly religious and religion 
 inspiring, as this, and it is well, therefore, not lightly to pass it by 
 as useless for our general purpose. It seems to show, as strongly as 
 any example can, how much awe and grandeur even a small building 
 may attain by the lavish expenditure of art and precious materials 
 throughout its 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. 
 
28 STANFORD MEMORIAL CHURCH 
 
 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 subject, however, whether Venetian 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 Pit- 
 torica della Toscana," where, after having related the useless attempts 
 of the Florentines to decorate worthily the chapel of St. Zenobia, he 
 says : "It seems, indeed, that the glory of making mosaic has been 
 reserved to Venice." It is impossible to set it down as mere chance 
 that Venice succeeded in reaching so high a degree of perfection in 
 the mosaic art, for more probable it is that it was a privilege afforded 
 to her by peculiar and natural circumstances, arising out of her ma- 
 terial and artistic position, her natural inclination, her skill and her 
 possession of the grandest example for study and imitation. 
 
 These opinions have to do mainly with mosaic work of bygone cen- 
 turies. Strange to say, there was a decline in the art for a long 
 period. Its renaissance is due in great measure to the study and 
 experimentation of Dr. Antonio Salviati. His leisure time after 
 attention to his profession in the Forum of Venice was devoted to 
 studying the great works around him. It was a source of grief to 
 him that these were apparently decaying for want of attention such 
 as only skilled artists could provide. He was firm in his conviction 
 that his city still possessed the best elements for exercising and de- 
 veloping 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 produc- 
 tion of gold and colored enamels. As a result of their combined 
 efforts the new process of producing gold enamels was perfected. It 
 was pronounced by a committee of the Academy of Fine Arts of 
 Venice to be successful in producing "gold enamels for mosaic work 
 superior to those previously manufactured, even to some of the 
 ancient ones, from the brilliancy and transparency of the vitreous 
 layer (crystalline) over the gold leaf, having a compactness and 
 adhesiveness to the underlying layer, so as to secure the greatest 
 possible durability, as well as of the lustre and continuity of the 
 gold leaf and the tablet presenting neither scratches nor swelling. 
 As regards the pieces of colored mosaics, we have found them in 
 
THE MOSAICS 29 
 
 part even superior, through the delicacy and softness of the tints, to 
 those of ancient mosaics." 
 
 Along with this improvement in materials another great obstacle 
 had to be surmounted. The ancient mosaicists prepared a space on 
 the wall, then slowly, piece by piece, placed the mosaic together. 
 This was a very expensive method. It required the services of the 
 artist on the ground where the mosaic was placed in order to have the 
 work done at all, practically requiring a complete mosaic studio and 
 factory for each installation 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 much more simple and vastly 
 cheaper. By it he can produce work at his studio in Venice and send 
 it to any place in the world, ready to be mounted in permanent form. 
 The subject is first designed and painted out in full color. Then a 
 copy is made on paper and this is cut into sections which are distrib- 
 uted to various artists, each one of whom is employed in covering 
 with mosaic such parts of the general subject as his skill permits 
 him to master. These pieces are worked upon the paper in reverse. 
 When finished the sections are packed in cases and sent to the place 
 which is intended to be decorated with the mosaic. Here the work 
 is put together and fixed on the wall. 
 
 Each artist in preparing his section has to exercise the greatest 
 intelligence and patience as well as his knowledge of color. His eye 
 must be very exact to enable him to choose the right bit of enamel 
 from more than 10,000 different shades at his command. Bit by bit 
 he proceeds, matching the colors of the original painting perfectly 
 and duplicating all its lines. When properly placed in position there 
 are narrow interstices between the component parts of the mosaic. 
 
 Accompanying each completed mosaic when it leaves the studio 
 is a rough sketch or preferably a photograph marked ofif in irregular 
 lines according to the sectional parts, each section being numbered 
 for easy identification. An assembled mosaic, mounted on paper, is in 
 exact 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. Inequalities of surface caused by uneven thickness 
 of enamel are overcome in the final mounting by the face being fas- 
 tened to the smooth mounting paper ; then in placing permanently the 
 
30 STANFORD MEMORIAL CHURCH 
 
 backing material yields to the deeper indentation of the thicker por- 
 tions, leaving the exterior surface smooth. 
 
 To Lorenzo Zampato was entrusted the work of placing the Stan- 
 ford mosaics. For more than four years he was constantly employed 
 on the task. He illustrated the truth that to be an artist one must 
 first be an artisan. In preparation for mounting 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 position and presses it firmly into place. Pres- 
 sure forces the adhesive mixture into the interstices between the 
 enamel pieces, holding them firmly and permanently, and 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 level- 
 ing type forms the artist smooths the mosaic surface, hammering it 
 into place. As the material is very hard there is not the slightest 
 danger of injury to any portion. After another interval the mosaic 
 is thoroughly cleansed, exuded portions of the cement removed and 
 the mounting of the section is complete. So it goes on till all is done. 
 After the moisture evaporates 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 dislodged in handling. 
 These are replaced by the artist, making the whole mosaic perfect. 
 Making and placing mosaics of this character is more than a trade ; 
 it is art. 
 
 M. Zampato had more to do than merely placing the mosaics as 
 received from Venice. In reconstructing the facade, in particular, 
 the design was changed. A large inscription 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 windows and allowed to remain in place for a 
 few months. It proved inharmonious and a changed architectural 
 scheme outlined by John K. Branner was adopted. For this M. Zam- 
 pato furnished the mosaic design and put the material in place after 
 the stonework had been completed. 
 
 To appreciate the full artistic value of mosaic work it is best not 
 to approach too close. The work is broad in its lines, necessarily so 
 from the nature of the medium employed. When viewed from too 
 
THE MOSAICS 31 
 
 near a vantage the small component parts stand out too distinctly 
 and rob the composition of that continuity of line which must persist 
 to convey the idea of the artist. 
 
 It would require the ability of an artist of rare judgment to select 
 the best piece of work among the numerous fine mosaics. No choice 
 will be made here. The largest single piece of work, of course, is 
 that on the facade, "The Sermon on the Mount." Among the 47 peo- 
 ple to be counted in the whole assemblage may be recognized the 
 apostles and many of the women mentioned in the Bible as closely 
 associated with Christ. The grouping is excellent and the portraiture 
 when viewed from the proper distance 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 immortal sermon. 
 
 The vestibule of the church is decorated in a uniform tapestry 
 design, all in mosaic. Alternating medallions bear in monogram 
 form the Greek letters Alpha and Omega and Christ's initials. In 
 the frieze over the doors are two cherub groups supporting tablets 
 bearing the inscriptions, "Domus Dei Locus Orations," "Domus Dei 
 Aula Coeli." 
 
 After entering the body of the church from the vestibule the chan- 
 cel and apse decorations may' be viewed at a distance, but it is better 
 to begin a methodical examination at the doors. To the east, under 
 the organ loft and over the doors, is "Our Lord on His Throne Sur- 
 rounded by the Four Evangelists, Apostles, Kings and Friends;" to 
 the west is "Our Lord Receiving Christ in Paradise." 
 
 Proceeding along the east side of the nave the visitor may see the 
 mosaics in this order : 
 
 Under the arches of the east wall of the nave : 
 
 "The Prayer of Hannah." 
 
 "Ahasuerus Selects Esther to Be His Queen." 
 
 "The Judgment of Solomon." 
 
 "Saul Casts His Spear at David." 
 
 "God's Promise to Solomon when Building the Temple." 
 
 Over the side door, near the pilaster : 
 
 "The Garden of Eden." 
 
 On the east wall of the clearstory, over the arches : 
 
 "God Separating Darkness from Light." 
 
 "Driven from Eden." 
 
 "The Deluge." 
 
32 STANFORD MEMORIAL CHURCH 
 
 "The Tower of Babel." 
 
 "Moses Saved from the Waters." 
 
 On the east wall of the clearstory, between the windows : 
 
 "Noah Is Ordered to Build the Ark." 
 
 "Abraham Is Informed He Will Have a Son." 
 
 "Angel Gabriel Announces to Zacharias the Conception of Eliza- 
 heth." 
 
 "Abraham Sees the Promised Land." 
 
 "Daniel's Prophecy." 
 
 In the wall of the chancel is a reproduction of "The Last Supper," 
 from the Sistine Chapel in the Vatican at Rome. The original is 
 the work of Cosimo Roselli and this reproduction at Stanford is the 
 only one that has been allowed to be made. 
 
 A large picture, "The Seraph Choir" or "The Glory of the Angels," 
 separated into four sections by stained glass windows, is from a sketch 
 made by Professor Paoletti and approved by Mrs. Stanford. It con- 
 tains a large number of figures and is a masterly piece of work. 
 
 Above in the apse are mosaic portraits of John the Baptist, Ezekiel, 
 Samuel and Jeremiah on the east; opposite are David, Elias, Moses 
 and Isaias. 
 
 Over the four pilasters supporting the dome are spandrels in mosaic 
 representing angels^emerging from clouds. The ceiling of the dome is 
 decorated in mosaic, a notable feature being a frieze containing a large 
 number of medallions. 
 
 Under the arches on the west wall of the nave, beginning at the 
 entrance : , 
 
 "Rebekah and Isaac." 
 
 "Rachel Sees Jacob Approaching." 
 
 "The Lord Speaks to Moses from the Burning Bush." 
 
 "Moses Is Ordered to Take Israel out of Egypt." 
 
 "Joshua Einds a Captain for His Hosts." 
 
 Over the door, near the pilaster : 
 
 "Old Testament Prophecies Concerning the Coming of Christ." 
 
 On the west wall of the clearstory, over the arches : 
 
 "Moses Receiving the Tablets of the Law." 
 
 "Joshua Successor of Moses." 
 
 "David Anointed for the First Time." 
 
 "Meeting of David and Abigail." 
 
THB MOSAICS 
 
 33 
 
 "David Singing His Psalms." 
 
 On the west wall of the clearstory, between the windows : 
 
 "Joseph Sold by His Brothers." 
 
 "Jacob Going to Canaan." 
 
 "Isaac Blessing Jacob." 
 
 "Dream of Jacob." 
 
 "Abraham Restrained from Offering up Isaac." 
 
 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, Naomi ; also over the doorways are lunettes of cherub 
 singers, while the remainder of the wall is filled in with tapestry 
 mosaic work in varied colors. 
 
 In the wall of the west transept gallery are shown in mosaic twelve 
 Saints : Helena, James, Margaret, Andrew, Philemon, Thaddeus, Eliz- 
 abeth, Bartholomew, Madeline, Barnabas, Gertrude, 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. 
 
A ROADWAY SCENE NEAR STANFORD 
 
THE WINDOWS 
 
 f^cDDD dWE windows are as much a feature of the church as the 
 mosaics. For these the works of master painters of Eu- 
 rope were drawn upon for subjects. It required three 
 years for J. and R. Lamb of New York to complete them. 
 These works of art were not injured in the earthquake of 
 1906 and are seen in all their original beauty. An exception is the 
 large window in the organ loft, which replaced the famous rose win- 
 dow of the original structure. Appropriate scriptural quotations are 
 added below the pictorial portion of the window. These are given 
 with the names of the subjects for the larger pieces. 
 
 Beginning in the nave on the east side of the door the windows in 
 order are as follows : 
 
 "The Annunciation" (after Shields), Luke: 1-30, 31. 
 
 And the angel said unto her. Fear not, Mary, for thou has found favour with 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" (after Plockhurst), Matthew: 2-13. 
 
 Now when they were departed, behold, an angel of the Lord appeared to Joseph 
 in a dream, saying. 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 Hofifman), 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 Hunt), Luke: 2-48, 49. 
 
 And when they saw him they were astonished : and his mother said unto him, 
 Son. why hast thou thus dealt with us? behod thy father and I sought thee sor- 
 rowing. 
 
 And he said unto them. How is it that ye sought me? wist ye not that X must be 
 in my Father's house? 
 
THE ANNUNCIATION 
 
THE WINDOWS 37 
 
 "Christ's Baptism" (after Dore), Mark: 1-11. 
 
 And a voice came out of the heavens, Thou art my beloved Son, in, thee I am 
 well pleased. 
 
 "The Sermon on the Mount" (after Hoffman), Matthew: 5-16. 
 
 Even so let your light shine before men, that they may see your good works 
 and glorify your Father which is in heaven. 
 
 "Christ Calming the Tempest" (after Dietrich), Matthew: 8-25, 26. 
 
 And they came to him and awoke him, saying, Save, Lord; we perish. 
 And he saith unto them, Why are ye fearful, O ye of little faith? Then he 
 arose and rebuked the winds and the sea and there was a great calm. 
 
 "The Raising of Jairus' Daughter" (after Hoffman), Luke: 8-52,54. 
 
 And all were weeping and bewailing her: but he said. Weep not, for she is not 
 dead, but sleepeth. 
 And they laughed him 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" (Fel- 
 
 lowes-Prynne), "The Crucifixion" (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 and set before the mutitude. 
 
 "Christ and the Adulteress" (after Hoffman), John: 8-7 and 11. 
 
 But when they continued asking him, he lifted up himself, and said unto them. 
 He that is without sin among you, let him cast the first stone at her. 
 
 And she said. No man, Lord. And Jesus said. Neither do I condemn thee : go 
 thy way; from henceforth 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 foil his sheep. 
 
 "Christ in the Home at Bethany" (after Hoffman), Luke: 10-41, 42. 
 
 But the Lord answered and said unto her, Martha, Martha, thou art anxious 
 and troubled about many things. 
 
 But one thing is needful : Mary hath chosen the good part, which shall not be 
 taken away from her. 
 
 "Christ in Gethsemane" (after Hoffman), Luke: 22-42. 
 
 Saying, Father, if thou be willing, remove this cup from me; nevertheless not 
 my will, but thine, be done. 
 
 In the west wall of the nave : 
 
 "The Dream of Pilate's Wife" (after 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. 
 
38 
 
 STANFORD MEMORIAL CHURCH 
 
 "The Angel at the Tomb" (after Encler), Alark: 16-6. 
 
 And he saith unto them. Be not amazed ; ye seek Jesus, the Nazarene which hath 
 been crucified : he is risen ; he is not here : behold, the place where they laid him ! 
 
 "Lo, I am with yon always," an original design by Paoletti. Revela- 
 tions : 22-4. 
 
 And they shall see his face. 
 
 In the clearstory windows, beginning near the organ on the east 
 side, are portrayed Abraham. Hagar and Ishmael, Moses, Pharaoh's 
 Daughter. Joshua, Deborah, David. Ruth, Solomon, the Queen of 
 Sheba, Elijah, Esther, Isaiah, Judith, Daniel, Hannah; opposite are 
 the Saints — Simeon, Anne, Matthew, Faith, ]Mark. Charity, Luke, 
 Dorcas, Paul, ]\Iartha, Stephen, Agnes, Peter, Priscilla, John, Hope — 
 seen :n the order named. 
 
 A CORNER OF THE OUTER QUADRANGLE 
 
THE INSCRIPTIONS 
 
 ,^ XSCRIPTIONS occupy places on the walls specially set 
 '^ apart for that purpose. In all cases except the memorial 
 ^.^J^ tablets on the four pilasters the inscriptions are enclosed 
 ^gj^ in a carv^ed framework of the bufT sandstone of which the 
 church is built. It is best to take them in succession 
 while making a circuit of the auditorium. Beginning at the east of 
 the central inner entrance the inscriptions in order are as follows: 
 
 A not)le 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 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 something outside of and beyond ourselves. "Remember, you are not your 
 own, — You are bought with the precious blood of Jesus." 
 
 The world is new to every soul when Christ has entered into it. 
 
 We can never perish if we remain in the arms of our Father Almighty. 
 
 In the great record above, our names are written in characters of love, — which 
 love for our dear Jesus alone can read, and which by his great love for us alone 
 have 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 uneventful, un- 
 recorded duties, the Son of God grew and waxed strong, 
 
 On the base of the pilaster, in gold illuminated letters, the first me- 
 morial tablet is placed. Another similar tablet is on the side facing 
 the chancel. They read: 
 
 In loving memory of Leland Stanford, son of Josiah and Elizabeth Stanford. 
 Born March 9, 1824. Died June 21, 1893. 
 
 In loving memory of Elizabeth Stanford, mother of Leland Stanford. Born 
 April 14, 1791. Died February 2"], 1873. 
 
40 . STANFORD MEMORIAL CHURCH 
 
 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 v^rhat His children want before they ask, but it proves their faith 
 in him to pray for what they want. 
 
 -^.-^.-^.^ 
 
 Religion is intended as a comfort, a solace, a necessity to the soul's welfare ; and 
 whichever form of religion furnishes the greatest comfort, the greatest solace 
 it is the form which should be adopted be its name what it will. 
 
 The best form of religion is, trust in God, and a firm belief in the immortality 
 of the soul, life everlasting. 
 
 An eternal existence in prospect converts the whole of your present state into a 
 mere vestibule of the grand court of life ; a beginning, 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 immortality, it finds 
 all that is not eternal is too short, all that is not infinite is too small. 
 
 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. 
 
 We speak of love, but what do we know about it, unless we see the power of 
 love manifested; unless we are given the power to bestow, and a willing heart to 
 bestow it upon, and within humanity? We say God is love, but if we do not 
 feel the power of His love, we do not know anything about it. To be loved by 
 others makes the power of love within our hearts grow. 
 
 This is carved on a cross in the center of the transept wall : 
 
 The CROSS is the emblem of faith, hope and love, those ineffable virtues of the 
 soul that abide iforever, that can never be outgrown, even on the loftiest planes of 
 being in the mighty universe of God. 
 
 Man, like every other indivicTuality, has an object and a purpose to fulfill; and, 
 when he comprehends this, he will think too much of hirnself 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 without acknowledging God's great love for 
 us, and it is His love and tender care and wise leading we should all reflect upon 
 more than we do, — much more if we would do our duty. 
 
 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 
 
THE INSCRIPTIONS 4I 
 
 in sickness. Love in trouble. Comfort in weakness. Renewed hope in disap- 
 pointment. Tears in sorrow. Smiles to follow tears. 
 
 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 com- 
 prises all knowledge. Wisdom is the highest spiritual intelligence, while the natural 
 man, through knowledge, can know nothing of wisdom. 
 
 A man may have great intelligence and yet have nothing of the Christ life 
 
 within him. 
 
 -^.-^.-^.-^ 
 
 May we belong to God in this mortal life, serving Him faithfully 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. 
 
 On the base of the pilaster at the east side of the chancel is another 
 memorial tablet in gold lettering: 
 
 In loving memory of Josiah Stanford, father of Leland Stanford. Born Feb- 
 ruary 28, 1795. Died April 19, 1862. 
 
 Below the base of the pulpit at the east side of the chancel : 
 Lord Jesus, without reserve, without exception, without limitation, may Thy holy 
 will be done in all things, at all times. 
 
 Below the reading stand on the west oT the chancel : 
 
 It is by suflfering that God has most nearly approached to man; it is by suffering 
 that man draws most nearly to God. 
 
 On the base of the pilaster west of the chancel : 
 
 In loving memory of Dyer Lathrop, father of Mrs. Leland Stanford. Born May 
 14, 1787. Died April 19, 1855. 
 
 On the wall of the west transept, beginning at the pilaster at the 
 chancel : 
 
 There are but few on earth free from cares, none but carry burdens of sorrow, 
 and if all were asked to make a package of their troubles and throw this package 
 on a common pile, and then were asked to go and choose a package which they 
 were wilhng 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? 
 
 The test of a Christian lies in deeds and actions, not in words, a true follower 
 of truth and Godliness, not a follower of the impressions of the flesh nor the 
 impress of the intellect alone, but endeavoring to let the heart be touched by the 
 divine principle of God's truth and that qlone makes Christians. The instinct 
 
42 
 
 STANFORD MEMORIAL CHURCH 
 
 given to all of God's children to seek happiness is proof that happiness is a reality 
 within the reach of all. 
 
 ^.^ 
 
 If we do good deeds to others and try to help them to live happier and better 
 lives by being kind to them, and teaching them of the God germ within themselves, 
 we in that way sow the seed and God in His own way and time will make it grow. 
 There is such a thing as mistaking Christian privileges for Christian attainments, 
 and of imagining that we are what we ought to be simply because we know it. 
 There is something in all hearts that can be reached, — some chord that will give 
 forth sweet music if we only have the skill to touch it. 
 
 May the peace which no earthly disturbances can mar, which is of the Father 
 through His inspiration and love, fill your hearts, and enable you to go on in the 
 
 IN THE FOOTHILL COUNTRY 
 
 It is a region of rolling foothills between the Stanford University campus and the 
 
 Santa Cruz Mountains to the west. Over these hills and mountains the 
 
 soldiers will carry on their training campaign work. 
 
 journey of life with a feeling of trust and confidence that nothing can disturb. 
 It is not love for God, but love for the neighbor, good will toward man universal, 
 kindness and gentleness, that makes saints on earth. One must give as well as 
 take of goodness, gentleness and unselfish kindness to meet with God's approval. 
 
 On a cross corresponding to that in the east transept is carved : 
 O God, Thou Divine principle of good, who dwellest in harmony and love, we 
 
the: inscriptions 
 
 43 
 
 feel in our souls that thou art good to us, for we believe that Thou rulest in all 
 things for each one's ultimate good, and we desire to be true children of light and 
 of Thine. 
 
 God is all in all : and, if we cannot appropriate and worship Him in all things, 
 we worship only part of God. 
 
 As we grow and improve, we will love more and more the beautiful everywhere. 
 Praise God for the gift of nature for giving so much of everything that is beautiful 
 in all the universe, because His life is in it all. 
 
 By your life only can you prove your principles to the world and show to them 
 there is a life worth living. 
 
 Regard not the appearances of things you are to do, but Him who commands 
 
 THE ROADWAY BACK OF THE UN[VERSITY 
 
 them, and who, when he pleases, can accomplish His glory and our perfection 
 through the most trifling things. 
 
 When a person thinks a duty is beneath him, he places himself above God, for 
 He deals with that same duty. 
 
 Let us never be sad, save at having offended God. 
 
 God gives all some work to do. — if not great deeds, then small ones, — as the cup 
 of cold wateV to one of his children. 
 
 Yes, even less than that, — a word of advice, something lent to another, a little 
 vexation patiently borne, the fault of thoughtlessness of another repaired without 
 his knowledge. God will recompense it all a thousand-fold. 
 
 Thoughts and words travel just as God's life travels. They do not travel like an 
 
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THE INSCRIPTIONS 
 
 45 
 
 individual, but breathe your spiritual life into the atmosphere as you do your breath, 
 and some one else breathes it in. Those not present still perceive it, for it per- 
 meates space, and all live in it and receive from it according to their unfoldment. 
 
 On the pilaster facing the chancel and on the side toward the door : 
 In loving memory of Jane Ann Lathrop, mother of Mrs. Leland Stanford. Born 
 
 May 6, 1803. Died Steptember 3, 1882. 
 
 In loving memory of Leland Stanford, son of Leland and Jane Lathrop Stanford. 
 
 Born May 14, 1868. Died March 13, 1884. 
 
 On the west wall of the nave : 
 
 We must not desire to begin by perfection. It matters little how we begin pro- 
 vided we be resolved to go on well and end well. 
 
 Earth grants joys that are great, but transplant 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 compensation 
 which the wealthy do not attain — the giving and receiving of heart offerings without 
 price, deeds that win crowns and scepters in heaven. 
 
 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 civilization 
 that can compensate for it. No widening of science, no possession of abstract truth, 
 can indemnify for an enfeebled hold on the highest and central truths of humanity. 
 "What shall a man give in exchange for his soul?" 
 
THE STANFORD FAMILY STATUARY GROUP 
 Formerly in the Memorial Court, now in the lobhv of tlie Museuni 
 
ROBLE HALL, FIRST DORMITORY FOR WOMEN 
 
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. 
 
m\m 
 
 
 ^upoP/ THE STiSsi.FORD CAMPUS 
 
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 UNIVERSITV OF CAUFORNIA UBRARY 
 
 
 MAR12194T