The church occupies the whole breadth, in the rear, of a lot 140 feet on State St., by 150 feet deep; and as it now stands, comprises a Nave, Aisles, Chancel, Chapel, South and S. E. Porches, Clergy and Choristers' Rooms, covering a space of 140 by 65 feet. The material is a dark blue limestone laid horizontally, but not in courses, and not faced except on the State Street front, and the door and window-caps and sills, set-offs of buttresses, copings, and all other exterior finishing, are of a Nova Scotia free stone alternated in red and gray. The Nave and Chancel form a continuous roof 60 feet in height, the chancel-arch marked by the slender fleche or spire rising on eight pointed and gabled arches to a height of 100 feet. The west gable is crowned by a substantial stone cross rising ten feet above the roof, and the chancel-roof is further marked by an elaborate cresting of wrought iron. The Nave, 30 feet by 100, rises above the aisles in a lofty clerestory lighted by twelve triplet windows, and supported by broad arches resting on short circular columns, monoliths of Nova Scotia stone, whose capitals are left yet in block for future carving. The aisles are quite low, 13 1/2 feet by 100, and lighted by short Early English windows in couplets. The general style of the building is Early English, with a free use, however, both of earlier and later details, the capitals for instance being mostly of a late Norman or transition character, and the clerestory and great altar window more nearly of the I4th century. One of the finest features of the interior is the great window at the west end of the Nave, of five separate lancets, from eighteen to thirty-one feet in length by two and a half in width. This, like nearly all the .windows, is filled at present with plain cathedral glass with coloured borders, and it is difficult to realize what it will be when its immense surface is made one grand picture of many hues. The nave and aisles are seated with substantial but movable benches of ash, of a simple and graceful design adapted from those in the choir of Ely Cathedral. The same wood (black ash, much resembling dark oak) is used throughout the interior,--for the arches, cross-braces, collar-beams, rafters, purlines and ceiling of the beautiful open roof, for windowsills, doors, wainscot and furniture. From the aisles to the South and South East porches and chapel, open broad, double, segmental-arched and deeply-panelled doors.
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The Chancel is separated from the nave by a lofty arch of twenty-four feet span, the responds quite plain, with capitals and bases somewhat like those of the nave-piers (one capital already carved in Early English foliage), and by a low parapet wall of stone with a trefoiled coping, thrown out at the north end in a deep semicircular projection to form the yet unfinished, and, it must be said, nondescript pulpit (as it now stands), which we hope is destined sometime to represent the Ambo or Gospel-desk of the Primitive Church. Its four circular panels are intended for bas-reliefs in Caen stone. The Chancel, 26 feet square, is divided about equally into choir and sanctuary, the former occupied by temporary seats for the Bishop, clergy and choristers. The choir-pavement, three steps above the nave, is of encaustic tiles, alternately plain and figured, in the centre the Evangelistic symbol of S. Luke. A broad curved stone step and simple open rail of ash, lead to the Sanctuary, and three more steps to the stone footpace of the altar. The pavement of the Sanctuary is of rich porcelain tiling, alternated on the lower step only with plain tiles. All this costly work is a gift by Miss Helen A. Folsom, in memory of the late Hon. George Folsom, of New York, and its purpose is inscribed on a plate of polished brass, set in the pavement of the choir. The Altar with its retable and reredos, all worthy of the noble church, represent three years' offerings ($1500) of the children of the parish, being their part in the building of the Cathedral. The Altar itself is a massive table of white Italian marble, eight feet by three, marked by five inlaid crosses of red marble, and supported on a plinth of Caen stone with, five deep trefoiled panels, and engaged corner-shafts with delicately wrought capitals of the Passion flower. The cornice, continuous around the front and ends, is of wheat and grapes alternated with foliage, all sharply undercut, and very graceful, even where conventional in form. The reredos, ten feet in width by seventeen in height above the altar-level, is of Nova Scotia stone up to and including the retable, which is of the same length as the altar, and quite plain and massive. Above the retable the reredos is of Caen stone, in three unequal trefoiled pointed arches, the centre arch twice the size of the others, and the three resting on short massive columns of red jasper, with capitals richly carved in leaves and flowers, no two alike. The horizontal coping above the arches is broken by the lofty centre gable, crocketted, and terminating in a floriated Greek cross. The large centre panel is intended to be decorated in colour. On the retable is an altar-cross of brass, enamelled with the Lamb and the Evangelistic symbols in quatrefoils, jewelled with crystals and garnets, and standing on a twisted stem and circular base, with the legend, "CHRISTI CRUX MEA LUX." It is a memorial gift. The fine altar-vases and altar desk, also of brass engraved and enamelled, the embroidered frontals and palls, of which there are six sets in various colours, the richly wrought altar-linen, the carved capitals and corbels in the chancel, the credence, font, lectern, pulpit, parapet, organ-screen, alms-chest, stained glass so far as yet inserted, and in fact, all decorative work and furniture thus far are the gifts of individuals. Of these we must notice specially the beautiful credence niche of gray stone, deeply recessed in the east wall of the chancel, with its table of dove-coloured marble, and underneath it an aumbry with panelled doors and drawers of red cedar for the altar-linen,--the gift of a Sunday School class in memory of one of their number, a dear child now in Paradise:--the bronze eagle lectern with its clustered and banded pillars, the legacy of a parishioner in memory of the first Bishop of Maine:--the great rose-window above the altar, sixteen feet in diameter, containing the figure of our Lord in His Ascension, and around this centre light, twelve quatrefoils bearing the symbols of the Apostles, all the tracery in freestone, the gift of S. Chrysostom's Chapel, New York:--the one memorial window in the north aisle, an exquisite representation in the deep rich colours of English glass, of "Daniel," one of a series to be continued through the aisles, of the Patriarchs and Prophets of the Old Testament. (The subjects intended for the clerestory windows are " the Apostles," and for the great five-light window, of the nave, "the Creation.") Before the entrance of the chancel is a low Litany-desk of ash with panelled sides. The trumpet shaped organ pipes, bright with colour and gilding, project into the chancel, and are set in an open frame of ash resting on a cornice of twelve panels alternately plain and richly-veined, and this again on five pointed arches with pillars and carved capitals. The organ loft is on the South of the Chancel, over the choristers' room and porch; the choristers themselves having of course their proper seats in the chancel. Between the choristers' door and chancel arch is the Font, of Ohio freestone, on five pillars with carved capitals and shafts of coloured marble, green and red, and base of Nova Scotia stone. This too is the gift of two sisters in memory of a third. Another exquisite memorial is the mural tablet under the west window, of Caen stone, jasper, and enameled brass, admirable in design and work. 2ff7e9595c
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