housed in the Scientific American Building. Within three years, however,
its rapid growth made larger quarters necessary, and in 1930 the museum
moved to the Daily News Building. It was installed in its present quarters
in Rockefeller Center in 1936.

St. Patrick's Cathedral

5th Ave., 50th to 51st St. IRT Lexington Ave. subway (local) to 51st St.; or IRT
Broadway-7th Ave. (local) to 50th St.; or 8th Ave. (Independent) Queens subway
to 5th Ave. (53d St.); or BMT subway (local) to 49th St.; or 5th or Madison Ave.
bus to 50th St.

St. Patrick's, America's first major cathedral built in the Gothic Revival
style, is the seat of the Archdiocese of the Ecclesiastical Province of New
York, which includes the dioceses of Brooklyn, Buffalo, Albany, Rochester,
Syracuse, and Ogdenburg. Begun in 1858, the nave was opened November
29, 1877, and the cathedral dedicated May 25, 1879. With the exception
of the Lady Chapel and two smaller chapels the entire project was de-
signed by James Renwick (1818-1895).

The cathedral with its dependencies occupies an entire block. Although
its twin spires are dwarfed by the skyscrapers of Rockefeller Center and
other near-by buildings, its granite and marble mass is still impressive.

The design is based upon that of the Cathedral of Cologne; the Fifth
Avenue facade is composed of a steep central gable flanked by towers and
traceried spires. Above the canopied central portal is a rose window,
twenty-six feet in diameter. The exterior is constructed of granite. Owing
to the nature of this material much of the delicacy and grace characteristic
of Gothic architecture is lost in the detail of the tracery, molded profiles,
and carved ornament of the exterior. A purist would be disturbed by the
lack of flying buttresses where he would expect to find them; the pinnacles
of the missing buttresses are present, however, though their function is a
bit puzzling in view of the lack of stone vaulting inside the church.

The plan of the cathedral is cruciform, with nave, transepts, and choir. The
interior is reminiscent of Amiens with a forest of magnificent clustered
piers of white marble separating the central aisle from the two side aisles.
The unusual height of the side aisles suggests St. Ouen at Rouen, while
the clustered columns, with their richly ornamented capitals, and the elab-
orately vaulted ceiling follow such English examples as York, Exeter, and
Westminster Abbey. The triforium above the side aisles affords a contin-
uous passage fifty-six feet above the floor, around the interior, broken only