Henry C. Potter, an assistant bishop, announced plans to build St. John the Divine in 1887, exclaiming that it would rival St. Patrick's and would be the American Westminster Abbey. In 1891, Heins & LaFarge won the design competition for their Byzantine/Romanesque/Gothic cathedral conception. One of its most prominent features is the Guastavino tiled dome, constructed as a temporary roof during the fundraising for the massive central crossing tower, which was never completed.

Pictured here is the initial design.

The cathedral famously suffered many setbacks, including waning public interest to provide funds, significant design alterations, the replacement of Heins & LaFarge with Ralph Adams Cram, and building hiatuses during two world wars.

Despite delays, work was always resumed.

Despite its uneven developmental history, the cathedral remains a fascinating juxtaposition of styles and construction technologies. Its subsidiary structures were built around the Close in Gothic variations

In spite of being an international icon, the complex remained unprotected by the New York City Landmarks Preservation Commission for a long time. In 2007, the cathedral leased the Close’s southeast parcel for the construction of residential high-rises and two were built. It wasn't until 2017 that the Cathedral and six other accompanying buildings were given landmark status.

The Cathedral is still used for religious services, as well as concerts, and funerals of notable public figures.

The Greek Revival Leake and Watts Orphan Asylum, restored in 2006 and currently the home of the cathedral’s tapestry conservation studio, is Morningside Heights’ oldest extant structure.