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Real-World Android by Tutorials Real-World Android by Tutorials

Real-World Android by Tutorials

Ricardo Costeira, Subhrajyoti Sen, Kolin Stürt & Antonio Roa-Valverde

Copyright ©2022 Razeware LLC.

Notice of Rights
All rights reserved. No part of this book or corresponding materials (such as text,
images, or source code) may be reproduced or distributed by any means without
prior written permission of the copyright owner.

Notice of Liability
This book and all corresponding materials (such as source code) are provided on an
“as is” basis, without warranty of any kind, express of implied, including but not
limited to the warranties of merchantability, fitness for a particular purpose, and
noninfringement. In no event shall the authors or copyright holders be liable for any
claim, damages or other liability, whether in action of contract, tort or otherwise,
arising from, out of or in connection with the software or the use of other dealing in
the software.

Trademarks
All trademarks and registered trademarks appearing in this book are the property of
their own respective owners.

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Real-World Android by Tutorials

Table of Contents: Overview

Book License ............................................................................................. 12
Before You Begin ................................................................ 13
What You Need ........................................................................................ 14
Book Source Code & Forums ............................................................. 15
Acknowledgments .................................................................................. 19
Section I: Developing Real World Apps ...................... 20
Chapter 1: Introduction ........................................................... 21
Chapter 2: Starting From the Beginning ........................... 26
Chapter 3: Domain Layer......................................................... 42
Chapter 4: Data Layer — Network....................................... 62
Chapter 5: Data Layer — Caching ........................................ 89
Chapter 6: Building Features — Animals Near You .... 121
Chapter 7: Building Features — Search........................... 155
Section II: Modularizing Your App ............................. 197
Chapter 8: Multi-Module Apps .......................................... 198
Chapter 9: Dynamic Features Theory ............................. 220
Chapter 10: Building a Dynamic Feature ....................... 228
Section III: Enhancing Your UI ..................................... 257
Chapter 11: Animations ........................................................ 258
Chapter 12: MotionLayout & Motion Editor ................ 281
Chapter 13: Custom Views .................................................. 304

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Real-World Android by Tutorials

Chapter 14: Style & Theme .................................................. 330

Section IV: Securing Your App ..................................... 356
Chapter 15: User Privacy...................................................... 357
Chapter 16: Securing Data at Rest ................................... 372
Chapter 17: Securing Data in Transit ............................... 396
Chapter 18: App Hardening................................................. 419
Section V: Maintaining Your App ................................ 437
Chapter 19: Firebase Integration ...................................... 438
Chapter 20: Release Optimizations ................................. 461
Chapter 21: Advanced Debugging .................................... 471
Chapter 22: App Analysis ..................................................... 498
Conclusion .............................................................................................. 519

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Table of Contents: Extended

Book License . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
What You Need . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Book Source Code & Forums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
About the Authors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
About the Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Content Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Section I: Developing Real World Apps . . . . . . . . . . . . 20

Chapter 1: Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
What Is This Book About? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Who Is This Book for? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
The Sample Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Signing Up for an API Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Where to Go From Here? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Chapter 2: Starting From the Beginning . . . . . . . . . . . . . . . . . . . . . 26
Package by Feature Approach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Full Stack Features Through Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Bridging Requirements and Implementation . . . . . . . . . . . . . . . . . . . . . . . . . 35
Devising a Plan of Attack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Key Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Chapter 3: Domain Layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
What Is a Domain Layer? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Creating Your Domain Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Inverting Dependencies With Repositories . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Testing Your Domain Logic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

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Real-World Android by Tutorials

Key Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Chapter 4: Data Layer — Network . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
What Is a Data Layer? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Network Data Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Connecting to the API With Retrofit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Interceptors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Testing the Network Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Key Points. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Chapter 5: Data Layer — Caching . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Cache Data Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Caching Data With Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Managing Cache Dependencies With Hilt . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Putting It All Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Testing Your Repository . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Chapter 6: Building Features — Animals Near You . . . . . . . . . 121
What Is a Presentation Layer?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Making Your Life Easier With Architecture . . . . . . . . . . . . . . . . . . . . . . . . . 123
Building Animals Near You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Creating the UI Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
Creating the View State . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Creating the Data Flow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Your First Use Case. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Connecting the Layers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Hilt on Android Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Displaying Cute Animals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Allowing an Infinite Scroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Chapter 7: Building Features — Search. . . . . . . . . . . . . . . . . . . . . 155
Building a Search Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

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Real-World Android by Tutorials

Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Searching Locally . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Triggering the Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Adding Search to the Repository . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Adding Search to the ViewModel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Searching Remotely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Canceling Old Search Requests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Finishing Touches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Testing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
ViewModel Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
UI Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Section II: Modularizing Your App . . . . . . . . . . . . . . . . 197

Chapter 8: Multi-Module Apps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
What is Modularization? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Types of Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Why Modularization Is Good . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Using Gradle With Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Looking Back Over Your Decisions so Far . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Creating the Onboarding Feature Module . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Navigating Between Feature Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Using Deep Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Additional Improvements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Chapter 9: Dynamic Features Theory . . . . . . . . . . . . . . . . . . . . . . 220
Android App Bundle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Dynamic Delivery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
What Are Dynamic Features? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Chapter 10: Building a Dynamic Feature . . . . . . . . . . . . . . . . . . . 228

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PetSave’s New Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Deciding How to Create Your Dynamic Feature . . . . . . . . . . . . . . . . . . . . 231
Preparing the App MNodule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Preparing the Feature Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Handling Navigation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Handling Dependency Injection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Testing Module Install . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Where to Go From Here?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Section III: Enhancing Your UI . . . . . . . . . . . . . . . . . . . . 257

Chapter 11: Animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Lottie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Animated Vector Drawables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Physics-based Animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Chapter 12: MotionLayout & Motion Editor . . . . . . . . . . . . . . . 281
Getting to Know MotionLayout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Adding Your First Constraint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Motion Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Adding a Trigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Overriding Visibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Animating More Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Adding Non-linear Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
ImageFilterView . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
Chapter 13: Custom Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Creating Custom Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Implementing a Progress Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Initializing the Paint Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

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Designing the Animation Logic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Painting Your Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Previewing Your Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Adding Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316
Drawing the Check Icon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Putting Everything Together . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Manually Stopping the Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Enhancing Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Chapter 14: Style & Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Defining Styles and Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Structure of a Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Structure of a Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332
Style Hierarchy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Theme Overlay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
TextAppearance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336
Setting Up Dark Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Styling Custom Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Section IV: Securing Your App . . . . . . . . . . . . . . . . . . . . 356

Chapter 15: User Privacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357
Securing the Foundations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Using Permissions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Opting Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Clearing Caches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366
Disabling Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Disabling Screenshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368
Wiping Memory Securely . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Where to Go From Here?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

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Real-World Android by Tutorials

Chapter 16: Securing Data at Rest . . . . . . . . . . . . . . . . . . . . . . . . . 372

Implementing the Login . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373
Securing Data with Biometrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Customizing Encryption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395
Chapter 17: Securing Data in Transit . . . . . . . . . . . . . . . . . . . . . . . 396
Understanding HTTPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397
Updating Security Providers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400
Understanding Certificate and Public Key Pinning. . . . . . . . . . . . . . . . . . 400
Using Certificate Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Preventing Information Leaks with OCSP Stapling . . . . . . . . . . . . . . . . . 407
Understanding Authentication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408
End-to-end Encryption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Where to Go From Here?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418
Chapter 18: App Hardening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
Introducing Overflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420
Paying Attention to Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421
Sanitizing Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423
Validating Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425
Nullability and Safety Checks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429
Concurrency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
Checking App Integrity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Section V: Maintaining Your App . . . . . . . . . . . . . . . . . 437

Chapter 19: Firebase Integration . . . . . . . . . . . . . . . . . . . . . . . . . . 438
Setting up Firebase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439
Crashlytics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442
Remote Config . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446
Firebase Test Lab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

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Real-World Android by Tutorials

Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Chapter 20: Release Optimizations . . . . . . . . . . . . . . . . . . . . . . . . 461
Using APK Analyzer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
Enabling an Optimizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462
ProGuard Versus R8. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
Fixing Compilation Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464
Enabling More Optimizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467
A Few Things To Keep in Mind… . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Chapter 21: Advanced Debugging . . . . . . . . . . . . . . . . . . . . . . . . . 471
Memory Leaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472
Android Studio Profiler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479
Layout Inspector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497
Chapter 22: App Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
Debugging Versus Investigating . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499
Extracting Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 500
Recovering Deleted Data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507
Black Box Testing And Reverse-engineering . . . . . . . . . . . . . . . . . . . . . . . . 508
Using Reverse-engineering Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
Debugging With ProGuard Output Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Some Final Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Key Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519

raywenderlich.com 11
L Book License

By purchasing Real-World Android by Tutorials, you have the following license:

• You are allowed to use and/or modify the source code in Real-World Android by
Tutorials in as many apps as you want, with no attribution required.

• You are allowed to use and/or modify all art, images and designs that are included
in Real-World Android by Tutorials in as many apps as you want, but must include
this attribution line somewhere inside your app: “Artwork/images/designs: from
Real-World Android by Tutorials, available at www.raywenderlich.com”.

• The source code included in Real-World Android by Tutorials is for your personal
use only. You are NOT allowed to distribute or sell the source code in Real-World
Android by Tutorials without prior authorization.

• This book is for your personal use only. You are NOT allowed to reproduce or
transmit any part of this book by any means, electronic or mechanical, including
photocopying, recording, etc. without previous authorization. You may not sell
digital versions of this book or distribute them to friends, coworkers or students
without prior authorization. They need to purchase their own copies.

All materials provided with this book are provided on an “as is” basis, without
warranty of any kind, express or implied, including but not limited to the warranties
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All trademarks and registered trademarks appearing in this guide are the properties
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Before You Begin

This section tells you a few things you need to know before you get started, such as
what hardware and software you’ll need, where to find the project files for this book
and more.

raywenderlich.com 13
i What You Need

To follow along with this book, you’ll need the following:

• Android Studio 4.1.x: Available at https://developer.android.com/studio/. This is

the environment in which you’ll develop most of the sample code in this book.

raywenderlich.com 14
ii Book Source Code &
Forums

Where to Download the Materials for This

Book
The materials for this book can be cloned or downloaded from the GitHub book
materials repository:

• https://github.com/raywenderlich/adva-materials/tree/editions/2.0

Forums
We’ve also set up an official forum for the book at https://
forums.raywenderlich.com/c/books/real-world-android-by-tutorials. This is a great
place to ask questions about the book or to submit any errors you may find.

raywenderlich.com 15
 Another Random Document on
Scribd Without Any Related Topics
 “We beseech Thee to ‖ hear us Good Lord ‖ Grant us Thy Peace ‖ Have Mercy Upon
us.”

The desk was given by the Laymen’s Club.

The Choir

Architecture. The Choir (10) may best be surveyed from the eastern end of the
Crossing. (Visitors not admitted to Choir during service time except by permission.)
The half-round arches and other features exhibit a late Romanesque style with
Byzantine influence, which is not inappropriate to the eastern end of the Cathedral,
and which will relatively become a local detail as the prevailing Gothic style of the
whole Cathedral develops.[20] The interior facing is of Frontenac stone. Numerous
symbols from the Revelation of St. John the Divine will appear as the description of
the Choir and its environs proceeds. The first to attract attention is the broad course
of red jasper from South Dakota seen at the base of the piers of the great Choir
arch. This foundation course, which appears in the Ambulatory (12-12-12) running
entirely around the Choir, recalls St. John’s description of the Heavenly City: “And
the foundations of the wall of the city were garnished with all manner of precious
stones. The first foundation was of jasper” (Rev. xxi. 19). The green moulding above
the jasper is Pennsylvania serpentine. The floor of the Choir has three principal
levels. From the Crossing 5 steps lead to the Choir proper, which contains the stalls
for the clergy and choristers and which occupies the first two bays. An ascent of six
more steps leads to the second level which may be designated as the Presbytery.
Upon it are the two thrones hereafter mentioned and the altar rail, the latter a step
higher.[21] In the Sanctuary within the altar rail, 4 steps lead to the third level upon
which stands the Altar with its 3 white steps.[22] Around the Sanctuary stand eight
Great Columns described hereafter. The principal donor to the building of the Choir
was the late Hon. Levi Parsons Morton (Vice-President of the United States 1889-
93, Governor of the State of New York 1895-96) who, after the Great Columns were
erected, gave $600,000 toward the completion of the fabric and the installation of
the Altar, Reredos, Organ, Choir Stalls, Bishop’s Throne, and some other
furnishings. This sum was generously supplemented by Mrs. Morton. The ornate
Altar Rail of English oak is inscribed:

“To the Glory of God ‖ and in loving memory of ‖ Anna Livingston Morton ‖ May 18,
1846-August 14, 1918 ‖ Given by her daughter ‖ Edith Morton Eustis 1920.”

The Parapet at the entrance to the Choir is designed to represent outstanding

characters of 20 centuries of the Christian Era. It is in two sections, one on each
side of the steps leading from the Crossing to the Choir, each section being 18½
feet long and 4 feet high. It is built mainly of Champville (France) marble, in
modified French Gothic style. The twelve marble columns, alternately green, red
and yellow, are of Alps Green from Italy, Rouge de Rance from Italy, and Numidian
from Africa, respectively. The figures, from right to left, are as follows (authorities
differing slightly as to some of the dates given): (1) St. Paul (died A. D. 66) with
sword symbolizing his decapitation; (2) St. Justin Martyr (100-165) with axe and
block; (3) St. Clement of Alexandria (150-220) holding cross in left hand; (4) St.
Athanasius (296-373) pouring baptismal water from a sea-shell, referring to a
playful incident of his boyhood which led to his calling; (5) St. Augustine of Hippo
(354-430) with miter, pen and tablet; (6) St. Benedict (480-543) in habit of
Benedictine monk pointing to scroll; (7) St. Gregory the Great (550-604) with slave
child in broken shackles, referring to his intercession for pagan children in the slave
market; (8) Charles Martel (688-741) with crown, battle-axe and pennant; (9)
Charlemagne (742-814) with crown, scepter and orb; (10) Alfred the Great (849-
901) crowned, with sword by side, holding three burnt cakes on book;[23] (11)
Godfrey of Bouillon (1061-1100) crowned, with Crusader’s sword and shield; (12)
St. Bernard (1091-1153) in monk’s habit, holding aloft a cross in his right hand and
clasping a book in his left; (13) St. Francis of Assisi (1182-1226) in Franciscan
monk’s garb, contemplating a cross in left hand, and preaching to birds[24] in tree;
(14) John Wyckliffe (1325-1384) with book and staff; (15) Columbus (1435-1506)
lifting the veil from the globe, symbolizing the age of discovery; (16) Archbishop
Cranmer (1489-1556) with right hand thrust voluntarily into the flame, symbolizing
his martyrdom; (17) Shakespeare (1564-1616) standing amidst growing laurels; (18)
Washington (1732-1799) in civilian attire as President; (19) Lincoln (1809-1865)
standing by a burial cross delivering his Gettysburg Address; (20) uncarved block.
The basis for selecting the figures was the representative character of the nineteen
men selected in conjunction with their contribution to the development of Christian
civilization. The Parapet was designed by Messrs. Cram & Ferguson, and the
figures, modelled by Ferrari, were carved by John Evans & Co., of Boston. The
Parapet bears the following inscription:

“To the Glory of God and in Memory of ‖ Richard Delafield, ‖ Brigadier-General, Chief of
Engineers, ‖ Brevet Major-General, United States Army. ‖ Born September 1, 1798, Died
November 5, 1873, ‖ This Parapet is Erected by his Children, ‖ Albert, Juliet Covington
and Emma Delafield. ‖ Righteousness Exalteth a Nation: But ‖ Sin is a Reproach to any
People.”

The Pavements of the Ambulatory and Choir, designed by Mr. C. Grant LaFarge in
Romanesque and Byzantine motives, are related in their symbolism. The colors in
the Ambulatory are reddish, or earthy; while those in the three ascents of the Choir
progress through increasingly rich designs of greens and whites (hope and purity)
to greens, whites and blues (hope, purity and heaven) until they reach the pure
white steps of the Altar. The risers of the steps leading from the Crossing to the
Choir proper are of yellow Numidian marble and the treads of green Pennsylvania
marble. The pavement of the Choir is richly inlaid with Numidian, Swiss and other
marbles and Grueby Faience tiles. The steps to the Presbytery are of marble from
Hauteville, France. In the center of the floor of the Presbytery is a magnificent
mosaic rug of tiles and marbles, 32½ feet long and 10 feet wide, with smaller
patterns at the ends. In the center is an oval of black Belgian marble surrounded by
violet marble from Italy, while Grueby tiles of many colors, and Grecian, red
Numidian and other marbles form the rest of the design. The pavement of the
Sanctuary, within the communion rail, in addition to its rich designs of tiles and
marbles, contains, immediately in front of the steps to the Altar, a red tile
surrounded by a square brass border, inscribed:

“Whoever shall have prayed at this spot will have pressed with his feet a tile from the
ancient Church of St. John the Divine at Ephesus, built by the Emperor Justinian in the
year DXL over the traditional site of St. John’s grave.”

The tile was presented to the Cathedral by Bishop Kinsman of Delaware, its
authenticity being attested by Prof. George Weber of Smyrna, who procured it from
the ruins on the hill of Ayassolouk and who, in his lifetime, was a leading authority
on Ephesian archaeology.
The Eagle Lectern of bronze at the north side of the Choir steps is a replica of an
ancient lectern found near St. Albans Cathedral, England, in a lake into which it had
been cast when that structure was destroyed in the Saxon invasion. The eagle,
standing on a globe, is the symbol of St. John in his capacity as an Evangelist.
Around the lectern are the figures of the four Evangelists: St. Matthew with open
book, St. Mark with closed book and pen, St. Luke with open book in one hand and
pen in other, and St. John with chalice. Below are their respective symbols (p. 44).
The lectern was made by the Gorham Co. It bears the following inscription, the
initials at the end being those of the donor, Mary Gertrude Edson Aldrich:

“In Memoriam ‖ Horatio Potter ‖ Bishop of New York ‖ 1854-1887 ‖ M. G. E. A.”

 THE BISHOP’S THRONE, CHOIR STALLS AND DEAN’S STALL

The Choir Stalls, rising in four tiers on either side of the Choir proper, are of
carved American oak. The canopies are after studies of those in the Chapel of
Henry VII in Westminster Abbey used as the Chapel of the Knights of the Order of
the Bath. The finials of the stalls are figures of great musicians and composers of
church music, as follows:

East.
Left. Right.
Bortniansky Mendelssohn
Handel Haydn
Bach Purcell
Tallis Palestrina
Pope Gregory St. Cecelia
Asaph King David
West.

The figures, modeled by Mr. Otto Jahnsen, are represented in the costumes of
their day; and the features of all but those of David and his chief musician Asaph
are from portraits.
 The high canopied stall nearest the Crossing on the south side of the Choir is the
Dean’s Stall.[25] It was designed in the office of Messrs. Cram & Ferguson and is a
very skillful blending of styles to harmonize with the Jacobean canopies of the Choir
Stalls and the Flamboyant note in the stalls themselves. It has many interesting
details of carving, notably the three panels depicting the Good Shepherd (front),
Learning (east side), and Charity (west side). On the back of the stall is inscribed:

“In the Name of the ‖ Father Son & Holy Ghost ‖ This Stall is Dedicated by ‖ The Head
Mistresses Association ‖ to the Memory of ‖ Agnes Irwin ‖ 1841-1914 ‖ Holding fast the
faithful word as she ‖ had been taught herself being not dis- ‖ obedient unto the heavenly
vision ‖ Head Mistress of the Agnes Irwin School 1867-1894 ‖ First Dean of Radcliffe
College 1894-1909 ‖ First President of the ‖ Head Mistresses Association ‖ 1911-1914.”

In the Presbytery, on the south side, is the lofty Bishop’s Throne of carved oak,
while opposite to it is one with a little lower canopy for the use of a bishop other
than the Diocesan.
On one of the Choir Stalls is inscribed:

“These Stalls are Erected to ‖ the Glory of God ‖ and in Loving Memory of ‖ Susan
Watts Street ‖ 1818-1893 ‖ By her Daughter ‖ Anna L. Morton.”

On a tablet in the Choir is inscribed:

“The Stalls ‖ of the Sanctuary ‖ and the Choir ‖ are Erected to ‖ the Glory of God ‖ and
in Memory of ‖ Susan Watts Street ‖ 1818-1893 ‖ By her Daughter ‖ Anna Livingston ‖
Morton.”

The stalls and the cathedra of the Diocesan were made by the John Barber Co.,
of Philadelphia, and the corresponding Bishop’s throne on the north side by Messrs.
Irving & Casson, of Boston.
The Organ, seen in the upper arches on either side of the Choir, contains 7,000
pipes and a chime, connected by electric wires with the console located in the
gallery on the south choir screen. The console has four manuals and two octaves of
pedals, 106 speaking stops, 31 couplers, and 33 pistons. The organist, invisible to
the congregation, can see the choir and clergy either directly or by means of
mirrors. A Gothic tablet in the south Ambulatory is inscribed:

“This Organ ‖ is Dedicated ‖ to the Praise of ‖ the Blessed Trinity ‖ and ‖ in Loving
Memory of ‖ Lena Kearny Morton ‖ 1875-1904 ‖ By her Parents ‖ Levi Parsons Morton ‖
and ‖ Anna Livingston Morton.”

The organ was built by the Ernest M. Skinner Co., of Boston. (See also Choir
School, page 106).
 The Cathedral Flag which hangs above the choir stalls on the north side of the
Choir opposite the American flag, bears upon a purple field a white Latin cross, on
the crossing of which is a shield displaying the arms of the Cathedral. The shield is
divided by radial lines into three parts: In the upper left-hand part (as viewed) are
the arms of the city of New York, in the upper right-hand part the arms of the state;
and at the bottom the seven candlesticks and seven stars of the Book of Revelation
(ii. 1) symbolizing the seven churches and seven spirits of the churches founded by
St. John the Divine in Asia Minor. The Cathedral flag and the American flag were
given by Mrs. J. Herman Aldrich. The American flag which is sometimes carried in
the procession and which was first used in the victory celebration in 1918, was
given by Mrs. William Iselin. (See page 6).
The High Altar is of white Vermont marble. The beautiful Gothic Reredos is of
pierre de Lens, quarried in the vicinity of the city of that name in the north of France
which was so terribly ravaged in the late war. In the center is a majestic figure of
Christ. On His left, (in order from center to spectator’s right) are Isaiah, Jeremiah,
Ezekiel and Moses, representing the Old Testament; and on His right (in order from
center to spectator’s left) are St. John, St. James, St. Peter and John the Baptist,
representing the New Testament. The scale of the Cathedral may be judged from
the size of the figure of our Saviour, which is seven feet high. Those of Moses and
John the Baptist are 6 feet 10 inches high. In smaller niches on the front and sides
are 16 angels holding various emblems—palm, sword, shield, swinging lamp,
crown, trumpet, etc. Under the pedestals of the statues are clusters of grapes,
symbolizing Him who gave His body and blood for man. The statue of Christ was
made by Sig. Leo Lentelli under the direction of Mr. Carl Bitter. The other figures
were made by Mr. Otto Jahnsen. The great rectangular panel in the lower part of
the Reredos is filled with a rare Spanish embroidery in arabesque design, 200 years
old. The Altar and Reredos were built by the Barr, Thaw & Fraser Co. Upon the Altar
is the following inscription:

“To the Glory of God ‖ and in Memory of ‖ Anna Livingston ‖ Morton ‖ 1846-1918.”
 THE HIGH ALTAR

The Credence Table, at the right (south) side of the High Altar, is supported by a
shaft composed of three stones from the ruins of the ancient Abbey of Bury St.
Edmunds, England, in which the Barons met on November 20, 1214, and swore
before the altar to secure from King John the liberties which they embodied in
Magna Charta. These relics are of Caen stone, and may be recognized by their
gray color. They were given to the Cathedral in 1922, with the consent of the Abbey
authorities, by the Marquis of Bristol through Dr. Raphael Constantian of New York.
Near the shaft is the following inscription:

“The Adjoining Shaft ‖ Was Once a Part of ‖ the High Altar of the ‖ Abbey of Bury St.
Edmunds ‖ Upon Which on ‖ November 20, 1214, ‖ the Barons Swore Fealty ‖ to Each
Other in Wresting ‖ the Great Charter ‖ from King John. ‖ It is Placed Here ‖ as a Symbol
 of ‖ the Community of ‖ Political Tradition, ‖ Laws and Liberties, ‖ Which is the Inheritance
‖ of the English Speaking ‖ Commonwealths ‖ Throughout the World.”

Credence Table with Shaft made of Magna

Charta Stones

The Eight Great Columns standing in a semicircle around the Sanctuary and
forming seven interspaces opposite the seven Chapels of Tongues, are among the
marvels of the Cathedral. They are approached in size only by those in St. Isaac’s
Cathedral, Petrograd. The shafts of light gray granite from Bear Island, near Vinal
Haven on the coast of Maine, were quarried as monoliths and turned on a special
lathe which cost $50,000. When the first two were subjected to the pressure of
polishing they broke, and the contractor then obtained permission to make the
shafts in two pieces. The lower stone in each shaft is 38 feet high and weighs 90
tons, and the upper stone is 17 feet high and weighs 40 tons, the total height
between base and capital being 55 feet and the weight 130 tons. The octagonal
capitals of pierre de Lens by Mr. Post represent singing angels. The columns were
given as memorials of the men whose names are carved on the bases seen in the
Ambulatory (south to north:) “Alonzo Potter,[26] Bishop of Pennsylvania, 1800-
1865;” “Colonel Richard Tylden Auchmuty, U. S. V., 1831-1893;” “Harry Manigault
Morris, 1817-1892;” “Eugene Augustus Hoffman, 1829-1902;” “John Jacob Astor,
1763-1848;” “John Divine Jones, 1814-1895;” “Josiah Mason Fiske, 1823-1892;”
and “Joseph Lawrence, 1788-1872.” Each column cost $25,000, not including the
expense of erection. They were made by Mr. John Pierce of Vinal Haven, Me.
The Clerestory Windows of the Choir, nine in number, of which seven are above
the entrances to the seven Chapels of Tongues, are designed to depict the Book of
Revelation of St. John the Divine. Seven of them are in place. They are of painted
mosaic glass made by Messrs. James Powell & Sons of Whitefriars, London,
according to the methods used in the thirteenth century and cost $10,000 and
upwards apiece. Each window is of three lights with rose window at the top, and is
28 feet high and 17 feet wide. The seven windows above the entrances to the
Seven Chapels of Tongues (north to south) are designed to symbolize in their
circular lights the messages to the seven churches in Asia mentioned in the Book of
Revelation (i. 11), in the order there named: Ephesus, Smyrna, Pergamos, Thyatira,
Sardis, Philadelphia and Laodicea. They are connected by the inscriptions in their
lower borders which read consecutively as follows:

“Grace be unto you and Peace from Him ‖ Which is and Which was and Which is to
come ‖ From the Seven Spirits which are before His throne ‖ Jesus Christ the Faithful
Witness ‖ The First Begotten of the Dead ‖ The Prince of the Kings of the Earth. ‖ To Him
be Glory and Dominion for ever and ever” (Rev. i. 4-6).

These windows, which are of surpassing charm to the unaided eye, flash out with
extraordinary brilliancy of color and affecting beauty of composition and execution,
particularly those called “Christ Reigning in Glory” and “the Woman in the Sun,”
when examined with long distance glasses (apply to Verger), although the less
brilliant windows contain subtle details well worth studying, as, for instance, the
symbolisms of the elements held by the angels in the window above the Chapel of
St. Boniface. Individually, from north to south:
St. John and the Seven Churches are the subject of the window above the Chapel of
St. Ansgarius. In the upper part of the central light, St. John between two praying
angels is depicted in the character of Apostle, beardless, and holding the
sacramental cup—the young St. John, symbolical of love and high ideals and the
feeling which filled all his writings; while in the lower part he appears as the aged
exile on the Isle of Patmos, sitting with book in lap and pen in hand, listening to the
angel behind him who commands him to write (Rev. i. 11). In the side lights are the
angels of the seven churches (i. 11), bearing on scrolls their names: (Upper left)
Ephesus; (lower left) Smyrna and Pergamos; (upper right) Thyatira and Sardis;
(lower right) Philadelphia and Laodicea. In the circular light at the top are the name
“Ephesus” and a shield bearing the seven candles mentioned in the message to the
church of Ephesus (ii. 1). In the lower border of the three lights runs the inscription:
“Grace be ‖ unto you and Peace ‖ from Him.” The window was given by Mrs. E. C.
Ludlow Johnson in memory of Gabriel Ludlow.
The Natural Elements upon which the vials of the wrath of God were poured (Rev.
xvi. 2-17) are the principal subject of the window above the Chapel of St. Boniface.
In the lower part of the left side light is an angel holding between his hands the
earth (green foliage); in the middle light three angels respectively holding the air
(invisible), the sun (yellow glow), and the sea (green waves); and in the right side
light an angel holding the rivers and fountains (blue currents). In the upper part of
the middle light is the Lamb that was slain (v. 12) between the four beasts (iv. 7)
which are in the side lights—on the left, the lion and the beast with the face of a
man; and on the right, the ox and the eagle.[27] In the circular light at the top are the
word “Smyrna” and a shield bearing the crown of life mentioned in the message to
the church in Smyrna (ii. 10). In the bottom border is the inscription: “Which is and ‖
Which was and Which ‖ is to come.” A tablet in the Ambulatory reads as follows:

“The Clerestory Window Above ‖ the Chapel of Saint Boniface ‖ is Dedicated ‖ to the
Glory of God ‖ and ‖ in Loving Memory of ‖ Annie Allen Wallace ‖ February 14, 1853-
August 25, 1890.”[28]

The Seven Angels with Trumpets (Rev. viii. 2) are the main subject of the window
above the Chapel of St. Columba. Three of them are in the lower part of the middle
light and two in each of the side lights. In the upper part of the middle light is the
mighty angel of the cloud, overarched by the rainbow, standing upon the sea, and
holding aloft in his left hand the little open book (x. 1, 2). In the upper part of the left
side light is the angel with the seal of the living God (vii. 2) and in the right side light
the angel with the golden censer (viii. 3). In the middle of the side lights are four
angels (two left and two right) blowing the four winds of the earth (vii. 1). In the
circular light at the top are the name “Pergamos” and a shield bearing the sharp
two-edged sword of Him who sent the message to the church in Pergamos (ii. 12)
between the Greek letters ΙΗϹ and ΧΡϹ (Jesus Christ.)[29] In the bottom border are
the words: “From the seven ‖ Spirits which are before ‖ His throne.” A tablet in the
Ambulatory reads as follows:

“The Clerestory Window Above the ‖ Chapel of Saint Columba‖ is Erected ‖ to the Glory
of God ‖ and ‖ in Loving Memory ‖ of ‖ 1797 John Williams Leeds 1873 ‖ 1800 Eliza Leeds
1885 ‖ Emily Irene Hardenbergh 1899 ‖ By Their Daughter and Sister ‖ Josephine Eliza
Leeds ‖A. D. 1915.”

Christ Reigning in Glory, as described in the first chapter of the Book of

Revelation, is the principal subject of the great central window above the Chapel of
St. Saviour. In the central light is the Son of Man, with up-raised hands, vested as
King and Priest, wearing a royal crown, a crimson mantle and a golden pallium. He
stands in the midst of the seven candlesticks (i. 13), holds in his right hand the
seven stars (i. 16, 20), and is surrounded by winged seraphim. Beneath him a
rainbow (iv. 3) over-arches the sea of glass (iv. 6). In the side lights are the four
principal archangels: St. Michael (left, above,) is depicted in armor as the Prince of
the Celestial Armies, while the balance in his left hand, supposed to contain the
souls of the dead, symbolizes his character as Guardian Angel of Departed Spirits.
St. Raphael, below him, with pilgrim’s staff, is represented as the friendly traveller,
recalling Milton’s “affable archangel.” St. Gabriel (right, above,) appears as Angel of
the Annunciation, as indicated by the lilies (symbol of purity) in his right hand; and
below him is St. Uriel, as Angel of Light, holding the sun.[30] In the circular window
at the top are two angels holding the morning star mentioned in the message to the
church in Thyatira (ii. 28), but the name “Thyatira” is lacking. In the border at the
bottom of the three lights are the words: “Jesus Christ ‖ the Faithful ‖ Witness.” The
window was given by Mrs. Whitelaw Reid. A tablet in the Ambulatory reads:

“The East Window ‖ is Erected in Memory of ‖ Whitelaw Reid ‖ October 27, 1837-
December 15, 1912.”

The Seven Last Plagues (Rev. xv. 1) are the principal subject of the window above
the entrance to the Chapel of St. Martin of Tours. These are represented in the
lower part of the window by seven angels holding the seven vials containing the
plagues, three in the central light and two in each of the side lights. In the upper part
of the middle light is an angel holding aloft in his right hand the everlasting Gospel
(xiv. 6) in the form of a scroll bearing (obscurely) the symbols of the four
Evangelists. In the upper part of the left side light is the angel with the measuring
rod (xi. 1), and in the right side light is the angel standing in the sun (not to be
confused with the woman in the sun mentioned in the next window,) calling the
fowls of the air to the supper of the great God (xix. 17). In the circular light at the top
are the name “Sardis” and a shield bearing a white dove in the midst of the seven
stars (the seven Spirits of God,) mentioned in the message to the church in Sardis
(iii. 1). In the border at the bottom of the three lights are the words: “The First ‖
Begotten of ‖ the Dead.” A tablet in the Ambulatory reads:

“The Clerestory Window Above ‖ the Chapel of St. Martin of Tours ‖ is Erected to the
Glory of God ‖ and in Loving Memory of ‖ Sophia R. C. Furniss ‖ and ‖ Mary B. Hubber ‖
by ‖ Margaret E. Zimmerman ‖ nee Furniss ‖ Blessed are the peace-makers for they ‖
shall be called the children of God.”

The Woman in the Sun is the title of the window above the entrance to the Chapel
of St. Ambrose. In the central light is the woman clothed with the sun and wearing
the crown of twelve stars (Rev. xii. 1). She is surrounded by a dazzling radiance of
flaming rays. Above her, a cloud of glory is carrying her Child up to the throne of
God (xii. 5). In the left side light, above, is the angel proclaiming the fall of Babylon
(xiv. 8), and below, symbolizing that wicked city, the woman in scarlet holding the
golden cup of abominations and seated on the beast from the bottomless pit (xvii. 4,
18). In the right side light, above, is the angel with the sharp sickle and the clusters
of the vine (xiv. 18), and below, the angel with the keys to the bottomless pit and the
chain to bind the dragon (xx. 1). The whole window symbolizes the triumph of Christ
over the forces of evil. In the circular light at the top are the name “Philadelphia” and
a shield upon which, between six D’s, is the key of David mentioned in the message
to the church in Philadelphia (iii. 7). In the border at the bottom are the words: “The
Prince ‖ of the Kings of ‖ the Earth.” A tablet in the Ambulatory is inscribed:
 “The Clerestory Window Above ‖ the Chapel of Saint Ambrose ‖ is Erected to ‖ the Glory
of God ‖ and in Loving Memory of ‖ Morgan Lewis Livingston ‖ 1800-1869 ‖ and ‖
Catharine Manning Livingston ‖ 1810-1886 ‖ By Their Daughter ‖ Julia Livingston ‖ 1916.”

The Heavenly City is the principal subject of the window above the entrance to the
Chapel of St. James. In the lower part of the middle light is the angel showing to St.
John the Heavenly City (Rev. xxi. 10 et seq.) and in the upper part is a glorified
figure symbolizing the holy city, new Jerusalem, coming down from God out of
heaven prepared as a bride adorned for her husband (xxi. 2). Beneath this figure in
the upper part is the pure river of water of life, and on either side of it is the tree of
life whose leaves are for the healing of the nations (xxii. 1-2). In the lower part of the
left-hand light is the angel with the Alpha, and in the corresponding part of the right-
hand light is the angel with the Omega (xxii. 13); while above each of them is a
beckoning angel saying “Come” (xxii. 17). In the circular light at the top are the
name of the church of Laodicea and the word “Amen”—the latter being the name of
the sender of the message to the Laodiceans (iii. 14) and the word with which the
Book of Revelation and the Bible end (xxii. 21). In the bottom border of the three
lights is the inscription: “To Him be Glory ‖ and Dominion for ‖ Ever and Ever.” The
window was given in memory of Mary C. and Dr. John D. Ogden by their children
Francis L. Ogden, Margaret Ogden, Mrs. Gardiner Sherman and Mrs. Francis C.
McNutt.

The Ambulatory
The Ambulatory (12-12-12) is a passage about 20 feet wide leading entirely
around the Choir and giving access to the seven Chapels of Tongues, the Sacristy,
and other environments of the Choir. Some of the features have already been
described. The symbolism of the earthly life in the pavement, before mentioned (p.
51), is noticeable in the large areas of clay-red tiles with borders of grassy green
serpentine and green marble from Pennsylvania. The beautifully colored
wainscoting between the great pillars is of Grecian marble from the island of Scyrus.
The Ambulatory is entered through elaborately wrought steel gateways, 30 feet
high, in the archways on either side of the great arch of the Choir. The gates, made
by Messrs. Warren & Wetmore, were presented by the Cathedral League and the
Diocesan Auxiliary. In the south Ambulatory gateway is a white marble tablet,
showing in relief two angels and two portrait medallions of Mr. and Mrs. Levi P.
Morton, and bearing the following inscription:

“To the Glory of God ‖ and ‖ in Enduring Memory of ‖ Levi Parsons Morton ‖ 1824-1920
‖ Vice-President of the United States ‖ Governor of the State of New York ‖ and ‖ of His
Wife ‖ Anna Livingston Morton ‖ 1846-1918 ‖ Whose Gifts Made Possible the ‖ Building
and the Furnishing of ‖ the Choir of this Cathedral ‖ Yea saith the Spirit that They ‖ May
Rest from Their Labours ‖ and Their Works do Follow Them.”
 THE FOUNDER’S TOMB

The Founder’s Tomb, containing the remains of Bishop Horatio Potter, sixth Bishop
of New York,[31] in the Ambulatory between the fourth and fifth great pillars opposite
the entrance to St. Saviour’s Chapel, is a beautiful example of an “altar tomb” such
as are seen in many English churches. Its position, immediately behind the High
Altar, is that traditionally reserved for the Founder of a cathedral. It is designed in
the English Gothic style of the 15th century after studies of the tomb of Edward the
Confessor in Westminster Abbey. The sarcophagus, the recumbent figure of the
Bishop and the figures of the five ornamental niches of the front are of Indiana
limestone. The figures, from left to right, are those of (1) Edward the Confessor, with
crown, scepter and orb; (2) St. Remigius, with cup and scourge; (3) St. John the
Divine, with pen, book and eagle; (4) St. Isidore, with miter, pallium and crozier; and
(5) St. Theodosius of the Eastern Church, wearing a coronet with cross, holding a
staff and reading from a scroll. Above the niches is a decorative moulding of oak
leaves and acorns[32] with little squirrels at the ends. On the edge of the slab on
which the Bishop’s figure rests is inscribed:

“Horatio Potter, D.D., D.C.L., Oxon. ‖ Sixth Bishop of New York, Founder of this
Cathedral. Died 2d Jany. 1887, Aged 85 Yrs.”

On the rear of the sarcophagus is inscribed “St. John’s Day ✠ Anno Domini
1921,” the day on which the Bishop’s remains were transferred from Poughkeepsie
to this tomb. Above the tomb, reaching to a height of 15 feet above the pavement, is
a canopy of American oak with richly carved frieze and cresting, supported on
corbels springing from the great granite columns on either side. A narrow stairway
behind the columns and the tomb leads to a landing which permits a closer view of
the figure of Bishop Potter. The architect was Mr. Thomas Nash of New York and
the sculptor of the figures was Mr. Isidore Konti of Yonkers, N. Y.
The Brownell Memorial Tablet on the wall of the bay at the entrance to the Chapel
of St. Ansgarius reads as follows:

“In Memory of ‖ The Right Reverend ‖ Thomas Church Brownell, S.T.D., LL.D. ‖ Born
1779 Died 1865 ‖ Third Bishop of Connecticut 1819-1865 ‖ Presiding Bishop 1852-1865 ‖
and ‖ in Grateful Remembrance of the Foundation of ‖ the Bishop Brownell Memorial Fund
for the ‖ Endowment of the Cathedral by His Daughter ‖ Frances Johnston Holland.”

The Choir Boys’ Stone on one of the piers of the Ambulatory near the Chapel of
St. Ansgarius, is the bust of a boy of the class of 1911, carved by Mr. William Scott.
It represents the choir boys’ contribution to the building of the Cathedral.

The Seven Chapels of Tongues

The seven Chapels of Tongues, built around the Choir on lines converging toward
the Sanctuary and deriving their name from the fact that they were intended for
services of the church in the languages of the principal ethnological groups or
regions of the world, are one of the noblest conceptions of the Cathedral. In early
Gothic churches, the fundamental idea of the apse with radiating chapels was
Christ in the company of his Saints. Here, in the great cosmopolitan Diocese of New
York, this idea has appropriately been carried a step further in these chapels to
include the idea of all the nations of the earth gathered around the Altar of the
Saviour of Mankind. They recall the cry of the multitude in Jerusalem at Pentecost:
“How hear we every man in our own tongue wherein we were born ... the wonderful
works of God” (Acts ii. 8, 11). Among the interesting services held in these chapels
are those in the eastern (St. Saviour’s) chapel for the Japanese and Chinese in
their languages and for colored people in English. The spirit fostered by these
chapels is occasionally reflected in great congregations, entirely of Italians, entirely
of negroes, or predominantly of some other race, at services held in the main part of
the Cathedral filling it to its utmost capacity.[33] Services in English are held in one
or more of the chapels every day of the year, and oftentimes weddings and
baptisms are held in them. As a group, the seven Chapels of Tongues eloquently
express the catholic and democratic spirit of the Cathedral of St. John the Divine
referred to on page 14. They may be visited in order either from south to north or
north to south; but by beginning on the south side they will be seen in the order in
which they were observed on the exterior (p. 31), and by looking through the
archways of the Choir to the opposite side of the Ambulatory, glimpses may be had
of the tapestries and the clerestory windows in the order in which they have been
described. The chapels are all separate gifts and are memorials of the persons
mentioned under their respective headings following:

The Chapel of St. James

St. James, the Apostle, after whom this chapel is named, was the son of
Zebedee and was a Galilean fisherman. He is sometimes called St. James the
Great to distinguish him from another Apostle called St. James the Less. He was a
brother of St. John the Divine. He went almost everywhere with the Lord. After the
ascension, he preached a while in Judea and then in Spain. After his mission there,
he was beheaded by the Jews, and, according to tradition, his body was
miraculously transported back to Spain, where his relics are said to rest at
Compostella. Spanish historians chronicle 38 instances in which he is believed to
have descended from heaven and in shining white armor led the Spanish armies
against the Moors. Under the Spanish equivalent of his name, St. Iago or Santiago,
he became the patron saint of Spain and his name was adopted as the Spanish
war-cry. His shrine at Compostella was one of the most popular for pilgrimages in
the Middle Ages, and it was said that two visits to Compostella equaled one to
Rome. St. James is usually represented in the dress of a pilgrim with a peculiar
staff. His Memorial Day is July 25.
The Chapel of St. James (13 on plan), designed by Mr. Henry Vaughan, is in pure
English Gothic Architecture of the 14th century; 66 feet long and 39 wide, with a
sort of transept on the north side 15 feet wide; seats 250 persons, and cost about
$200,000. Its interior walls are of Bedford, Ind., limestone. On the front of the Altar
of gray Knoxville, Tenn. marble, is sculptured DaVinci’s Last Supper. The central
feature of the limestone Reredos is a relief representing the Transfiguration, after
Raphael. In four niches, two on either side of the Transfiguration, are statues of the
four Evangelists with their appropriate emblems at their feet (left to right:) St.
Matthew with winged man; St. Mark with lion; St. Luke with ox; and St. John with
eagle. Beneath the Transfiguration is a smaller sculpture of the Nativity, with an
alleluia angel on each side. On four escutcheons, two on each side of the Nativity,
are emblems of the condemnation and crucifixion (left to right:) (1) Crown of thorns
and spear (John xix. 2, 5, 34); (2) pillar to which Christ was bound for scourging,
cord, knotted scourge (John xix. 1) and sponge on reed (John xix. 29); (3) ladder,
sponge on reed and spear; and (4) hammer, pincers, coat, and three dice (Mark xv.
24). Beautifully carved canopies surmounted by six adoring angels crown the
Reredos. The stained glass East Window, by C. E. Kempe & Co. of London above
the Reredos, depicts in its three lights (left to right) St. Lawrence, St. James and St.
Vincent. In two walled-up panels of the window, one on each side of the glass, are
statues of St. Peter with keys (left) and St. Paul with sword (right). The Saint James
Window in the middle bay of the south aisle portrays in its four lights scenes in the
life of the patron saint of Spain (see page 71) and other subjects, as follows,
reading from left to right: Bottom, (1) Coat-of-arms of St. John and the words,
“James, servant of God;” (2) St. James preaching to the natives of Spain; (3) St.
James before the judge, forgiving his accuser and giving him his blessing, “Peace
be with thee;” (4) Coat-of-arms of King Ramira I of Spain, and the words (to be read
with those first quoted), “And of the Lord Jesus Christ.” Middle, (1) “Unto his shrine
the mighty and the lowly fared on pilgrimage;” (2) “St. James, the radiant knight,
upon a great white horse;” (3) “Before the banner of his name the Moorish warriors
fled;” (4) “At Compostella still men serve Santiago’s shrine.” Top, (1) angel with ΙϹ-
ΧϹ symbol; (2) “They bore his body to a ship that sailed for Spain;” (3) “Over his
tomb they built a chapel passing fair;” (4) Angel with Ichthus symbol.[34] In the
tracery at the extreme top is a representation of the Crucifixion. The window was
given by Bishop Potter’s daughters and was designed and made by Mr. Henry
Wynd Young, glass-painter, of New York City. In niches of the walls of the chapel
are the following statues and symbols: East Wall, St. Augustine of England with
crozier (left) and St. Gregory the Great (who sent him to England) with papal tiara
and papal cross (right) West Wall, end of main aisle, above, Christ between his
kinsmen St. James the Great (left) and St. James the Less (right); and at end of
south aisle, the Venerable Bede. On four escutcheons, two on each side of the west
door, are: (1) A floriated cross (emblematic of the flowering or productiveness of the
Christian religion); (2) the monogram ihc (representing the first two and last letters,
uncial form, of the Greek word for Jesus[35]); (3) the Greek cross form of the chi rho
monogram (first two Greek letters of the name Christ); and (4) the Alpha and
Omega, the first and last letters of the Greek alphabet, (Rev. i. 8). North Wall, statue
of William of Wykeham. In the upper part of the north wall is the gallery of the organ,
which is independent of the great organ of the Cathedral. Choir Stalls near the Altar
are a distinctive feature of this chapel. Two clustered columns divide the south aisle
into three bays in the middle one of which is Bishop Potter’s Tomb, of Siena marble.
On the tomb is a recumbent figure of the Bishop in Serevezza marble, by Mr. James
E. Frazer. The Bishop is represented in his episcopal robes, and the execution is so
fine that even the texture of the lawn sleeves is apparent. On the front of the tomb is
inscribed:

“Henry Codman Potter ‖ MDCCCLXXXIII Assistant Bishop of New York MDCCCLXXXVII

‖ Bishop of New York ‖ MDCCCLXXXVII-MCMVIII ‖ Upholder of Righteousness and Truth
‖ Soldier and Servant of Jesus Christ.”
 THE SANCTUARY OF THE CHAPEL OF ST. JAMES

On the rear:

“He laboured that this Cathedral Church ‖ Should rise to the Glory of God and as ‖ A
witness to the Life of our Lord and Master Jesus ‖ Christ that here the prayers of the
children ‖ of many lands should rise to that ‖ Father in whom alone all men are brothers ‖
Whose service is perfect freedom.”

Around the edge of the top slab:

“I saw the Holy City coming down from God out of Heaven ‖ and I heard a great voice
saying ‖ Behold the tabernacle of God is with men and he will dwell with them ‖ and they
shall be his people.”
 On the west wall is inscribed:

“The Chapel of St. James ‖ Consecrated ‖ May 2, 1916 ‖ To the Worship of ‖ Almighty
God ‖ And in Loving Memory of ‖ Henry Codman Potter ‖ Bishop of New York ‖ Born May
25, 1834 ‖ Died July 21, 1908 ‖ The Gift of His Wife ‖ Elizabeth Scriven Potter ‖ Born
September 30, 1848 ‖ Died March 4, 1909.”

Story of the Blind Woman. A beautiful and touching incident occurred in the Chapel
of St. James a few years ago. One day, a woman who was blind, deaf, and could
make only a few hardly articulate sounds, but who was cultured and could read by
touch, visited the Cathedral with another woman. The Verger, the late Charles F.
Barnard, first led her the full length of the Cathedral in order that she might
comprehend its size. Then the general features of the edifice were communicated
by her friend by the touch of their hands. The wood and stone carvings, however,
she read with her own fingers. When she came to the Chapel of St. James, she
wished to feel of Bishop Potter’s features as reproduced in the effigy on his tomb,
but on account of the delicacy of the marble, visitors are not allowed to touch it. The
blind woman, however, produced from her bag a pair of thin white gloves, and by
signs asked if she might feel of the statue if she put them on. The Verger assenting,
she ran her fingers deftly over the Bishop’s countenance, felt of the signet ring on
his finger, etc., and then, satisfied, proceeded to the Altar. Here she knelt down and
began to feel of the relief representing DaVinci’s Last Supper. As soon as she
recognized the work, she threw up her hands in ecstasy and exclaimed in broken
accents, the best she could utter, “Vinci! Vinci!” The venerable Verger, in relating
this incident, said that he was moved to tears by the spectacle of the blind woman,
kneeling before the Altar, with up-raised hands, “seeing” the Cathedral through the
sense of touch. One may well ask, if this blind woman could see so much spiritual
beauty in the Cathedral without eyes, how much more ought those to see who have
the blessed gift of sight.

The Chapel of St. Ambrose

St. Ambrose, or Ambrogio, the namesake of this chapel, was born in Treves
about 340, the son of a Roman Prefect in Gaul (now France). While in his cradle
one day, a swarm of bees settled upon him, clustering around his mouth, but doing
him no harm. A similar thing having happened to Plato, it was considered an omen
of future greatness. He studied law at Rome, became a magistrate in upper Italy
with court at Milan, and by his wisdom and gentleness won such popular esteem
that when called upon to settle of succession of the bishopric of Milan between the
Arians and Catholics he himself was chosen by both parties to be Bishop of that
see. He was one of the most celebrated fathers of the church. His most distinctive
symbol is the bee-hive, although two human bones, the scourge, the crozier, the
mitre, etc. are sometimes used. The Memorial Day for St Ambrose is kept on April
4.
 The Chapel of St. Ambrose (14 on plan), designed by Messrs. Carrere &
Hastings, is in modern Renaissance Architecture. It is about 50 feet long and 27
wide, seats 100 persons and cost over $150,000. The floor is inlaid with grey Siena
and red Verona marbles, bordered with cream colored Cenere marble. The walls
are lined with Rosato marble. On the under side of the marble archway at the
entrance are reliefs representing the Three Persons of the Trinity with angels, as
follows: (Left) the Father in human form[36], with triangular nimbus, holding the
globe of sovereignty; angel with lute; angel with lily; (top) the Holy Ghost in form of
the dove; angel with trumpet; angel praying; and (right) the Son in form of the
Paschal Lamb. The false perspective of the side walls is similar to that in the
Sacristy of the Cathedral of Siena. In the spandrels of the false arches of the left-
hand wall (as one faces the Altar) are figures in relief (reading from entrance toward
Altar) of: Moses and the prophets Isaiah, Jeremiah and Ezekiel; and on the
opposite wall, in same order, St. Matthew with cherub, St. Mark with lion, St. Luke
with ox, and St. John with eagle. The ceiling is of white marble carved in low relief.
From the ceiling hang four silver lamps, one an antique Italian lamp and the others
copied from it. On the front of the Altar of alabaster are three golden ornaments,
representing the Paschal Lamb (Christ) between two angels swinging censers, the
latter symbolizing the prayers of all saints (Rev. viii. 3). The Reredos, not copied
from any one European prototype but inspired by many examples found in the
transitional and early Renaissance period in Italy, is of carved wood overlaid with
gold leaf. The lower part consists of a triptych, covered by an elaborate canopy and
flanked by niches in which are statues of St. Francis (left) and St. Ambrose (right).
In niches at the left of the canopy are figures (left to right) of a kneeling angel, St.
Benedict with crozier, St. Agnes in female apparel, and Dante in red gown and
hood; and at the right (same order) Fra Angelico, Galileo with globe, Savonarola,
and kneeling angel. Upon the cross of the canopy is a dove, symbolizing God the
Holy Ghost; above that is the all-seeing eye in a triangle within a sun-burst,
symbolizing God the Father; and on the top-most spire is the figure of God the Son,
holding a cross and pronouncing a benediction. The Apse Windows, one on each
side of the Altar, transmit a soft amber light which gives a peculiar charm to this
chapel. Each has a border of Italian Renaissance tracery, within which is a field of
many small panes of leaded glass. In the left window these panes are ornamented
with repeated designs representing the chalice with emerging serpent and the eagle
(symbols of St. John), flowers, and the chi-rho monogram. In the upper part are the
seven stars and candlesticks from the Cathedral seal, and the legend, “Sigil.
Eccles. Cath. S. Johan;” and in the lower part the words, “For God is the King of all
the Earth. Sing ye Praises with Understanding.” In the right window the panes are
ornamented with repetitions of the bee-hive, mitre and scourges (symbols of St.
Ambrose), the cross and wreath, flowers, and the ΙϹ-ΧϹ and IHS symbols. Near the
middle is a small fragment of brown glass, marked with an “R”, from Rheims
Cathedral. In the upper part is the coat-of-arms of St. Ambrose—the bee-hive, mitre
and croziers—with the legend, “Sigil. Sanct. Ambrosii,” and in the lower part are the
words, “God is our Refuge and Strength, a Very Present Help in Trouble.” The
windows were made by Mr. Henry Wynd Young, glass-painter, under the
supervision of Messrs. Godwin & Sullivant, architects, of New York. Along the side
walls are Stalls and Wainscoting of dark Italian walnut, inlaid with pear-wood in
designs including the star of the east, chalice, Latin cross, patriarchal cross, and
Bishop’s mitre. Inlaid in the top border of the wainscoting is this inscription:

(Left) “Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are ‖ full of thy glory. Glory
be to Thee, O Lord Most High. ‖ Blessed is he that cometh in the name of the Lord.
Hosannah in the Highest. ‖ (Right) O Lamb of God, that takest away the sins of the world,
grant us thy peace. ‖ Glory be to God on high, and on earth peace, good will towards men.
‖ Thou only, O Christ, with the Holy Ghost, art most high in the Glory of God the Father.”

The wrought iron Italian Screen at the entrance to the chapel is best seen from
the inside. Upon the finials at either end are angels blowing trumpets, and the
space between them is divided by seven tall candlesticks into eight spaces, in
which are bronze groups representing scenes in the life of St. Ambrose (left to
right:) (1) His youth; (2) settling the succession of the bishopric of Milan; (3) his
baptism; (4) nuns and (5) monks, listening to the preaching of St. Ambrose, who
stands between them facing the Altar; (6) the public penance before St. Ambrose of
Emperor Theodosius who caused the massacre of the Thessalonians; (7) laying the
corner-stone of the Church of St. Ambrogio in Milan; and (8) his death. Beneath the
figure of St. Ambrose who stands between the nuns and monks is a bee-hive with
crossed croziers. The screen was designed by Mr. Thomas Hastings and was made
by Messrs. E. F. Caldwell & Co., of New York. On the south wall is inscribed:

“To the ‖ Glory of God ‖ and in ‖ Loving Memory ‖ of ‖ Augustus Whiting ‖ Sarah Swan
Whiting ‖ Jane Whiting ‖ Amelia Whiting Davis ‖ Augustus Whiting, Jr., ‖ Natica Rives
Burden ‖ This Chapel ‖ has been Erected by ‖ Sara Whiting Rives.”

The Chapel of St. Martin of Tours

St. Martin, after whom this chapel is named, born in 316, in his young manhood
was a Roman soldier in Gaul. One wintry day, (according to the traditional story
related by Ruskin in his “Bible of Amiens,”) when Martin was riding forth from the
city of Amiens, he saw a beggar shivering by the roadside; whereupon he divided
his cloak with his sword and gave one half to the beggar. That night in a vision he
saw Christ wearing the half cloak and surrounded by angels. And Christ said to the
angels: “Know ye who hath thus arrayed me? My servant Martin, though yet
unbaptized, hath done this.” After this, Martin was baptized; but he remained a
soldier for 17 years. Then, after several years of religious works, he was made
Bishop of Tours. It is related that one day, when going to church in his full robes, he
practically repeated the charitable act beforementioned by giving his stole to a
ragged beggar; and when St. Martin was at the altar, elevating the Host, a globe of
light appeared above him and angels descended and hung chains of gold and
jewels (not of earth) on his bare arms. Sweet, serene and dearly beloved, he was