All the stonework is exectued in rectangular, quarry-face limestone blocks laid in random horizontal courses. Traditionally massed into a double height nave with single height side aisles, a large transept on the south containing the children's chapel follows this same massing, creating a smaller entrance facade facing 30th Street. Three taller rectangular windows at the clerestory level lend light to the nave, while smaller versions punctuate the side aisles, or cloisters. Inside the main entrance, the narthex is a low-ceilinged room finished in dark oak, somber and quiet, intended by the architect and the congretation as a reverent, meditatory space. Immediately behind, one enters the tall nave, beautifully austere with its white plastered walls, dark oak trusses, and ceiling, richly colored stained glass windows, and a tile floor, which the congregation felt gave the church the feeling of a European cathedral.
Cylindrical pendants drop between the trusses to provide lighting.
The side aisles are divided from the nave by massive piers broken by low segmental arches, while the Chancel and transept areas are entered through two story round arches. The Chancel and Sanctuary are raised two steps, then one step respectively above the floor of the nave. All the furnishings are in dark oak, with the pew ends hand carved by Austin's famous woodcarver, Peter Mansbendel. The overall effect is a delightful synthesis of the ancient with the modern. It is possible that the church was acknowledged as one of Austin's most sophisticated buildings of the 1930's, because of its many amenities and unusual technological advances, including central heating and cooling, a central speaker system which had special ear phones for the hard of hearing and the capability for commercial broadcasting, and a large neon cross surmounting the bellcote.