The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1855-12-26
The CHURCH OF ALL SOULS.

ed by large pile Of buildings situated upon that
thoroughfare, between Twentieth aud Twenty-irst
streets. 1t is somewhat-as it at present looks-in
the shape of Greek cross, the arms being very
much shortened, or rather one-that to the north
being longer than the other, and the whole present
ing style of architecture exceedingly novel to the
nntravelled Gothamite. On first appearance it does
certainly look grotesque; and one would feel almost
inclined to call it folly" as structures erected in
violation Of the requirements Of utility, sense or
taste were wont to be denominated in the mother
country. There is large tin dome over the centre
OF the transept, pierced with round windows: and
one would imagine, not being apprised of the
destination of the edifce, that they were in
tended to throw q softened light upon some
choice collection below of the graceful results
of the pencil and chisel. But not 30. What
ever speculatons the uniformed observer
might indulge in as to the purposes for which the
building was designed, they would be speedily
thrown aside when his eye rested upon the symbol
of q common Christianity rearing its significant
form towards the sky-the Cross. The edifce to
which we have reference is the new church erected
by the First Unitarian Society of this city. and
hereafter to be known as "The Church Of All
Souls, report of the dedcatory services Of which
we give below.
The church, from the outsidc-as we have already
intimated-looks decidedly queer perhaps from
the fact that we have no specimens of the same
style of architecture presented in any one of the
hundreds OF churches around us--with possibly the
exception Of slight touch in Rev. DR.. Cummings
church in Twenty -eighth street-and perhaps from
the grotesque contrast of the streaks of red and
whitehall is, stone and brick-in the walls. The
style, however new to us, is not an architectural
innovation of yesterday 1t is technically speaking
what is termed the "Lombardio Romanesaue /"
style, Of which specimens may be seen to this day
In many cities in Italy, WIN Verona, Padua
Cremena, Milan, (not the celebrated Duorne,"
of course) Vicenza, Mantua, &c, &c. This
style partskes Of many Of the characteristics
of the saracenic; in fact, it might he justly termed
the Saracenic ecclesasticsed. The length Of the
building is a hundred and seven feet, with height
to the ridge pole-which, by-the-bye, is ornament
ed with iron work running its entire length-of
some eixty-two feet. The height to the is forty
three feet. The DOME which is the most attractive
object about the building, when viewed from the
outside is q hundred and six feet in height. In
fact that same dome is the most outre arrangement
connected with the entire fabric, and not few think
so; bat then, as ii is secussdem dsfem, and in the
"style of course it must be all right. The courses
OF stone and brick observable from the outside, are
what is termed in the profession "Tarsia, inlaid
work, distinguishing feature of the Saracenic or
der The main entrance is on the Fourth avenue
and consists Of porch Of considerable dimensions,
standing out from the main building. There are
three arched dosrs In this porch, fanked either
side by costly mixed yellow and rerd antique mar
BILE columns, which support capitals of white
marble exquisitely carved. Through these doors
entrance is obtained to vestbule the width
Of the porch, but not of much depth,
This vestibule is laid with encaustic tiles in
imitation Of Mosaic; and from that outer yestibule
you approach an inner yestbule by three doors
similar to those leading to the outer, but not SO
large of course, and thence into the interior Of the
building. Over the outside entrances there are
legends in the old English text consisting Of quota
tons from the Psalms:--
WITH ciADSEss.
Over the centre arch are inscribed these words
EN1RR INTO HIS COURTS WITH THANKSGIVING
INTO PRAISE.
And over the more southern of the three arched
entrances is this inscription
FOR HIS MERc1Es ARE EVERLASTING.
Whatever unpleasant impression may have been
made upon the mind of the spectator viewing the
church from the exterior it will scarcely fail to be
removed when the interior first strikes upon the
eye. Simplicity and elegance combined with
close attention to the distinguishing peculiarites
Of tie style of architecture in which the
church is built, are the marked features of
the interior. The building is lighted by
number Of long, narrow, round topped windows
filed with stained glass, also by a very beautiful
rose window over the main entrance, aud by the
light that streams down from the cupola or DOME
The pulpit is situated opposite the entrance. at the
east end of the church. in a semi-circuar alcove.
This alcoye is lighted from above by stained glass
window-.he centre piece Of which represents dove
(emblematic of the Holy SPIRIT. surrounded by a
halo Of glory. The pulpit is square, and is placed
upon the platform Of this alcove or chancel-the re-
ceases between the pillars at the back Of the acove,
afford convepiences for seats for those assisting at
service. The pulpit which is Of black walnut, ella
borattly carved, viii seat~about six. The reading
desk il plain. A fair white marble slab. upon q
carved walnut frame, constitutes the communion
table, The organ is placed in n gallery occupying
the northern transept. and is certainly very mag
niRcent specimen OF organ architecture. The organ
was built by r. NJ Ferris OF Houston street, and cost
Sc coo exclusive of the case, which, OF course, cor
responds in style with the other ornamentation Of the
church The probable cost of NE case will be about
$4,000 The organ is not by any means completed. as
yet. in consequence OF which as may be readily
supposed, the praiseworthy eSeriions Of the choir
yesterday were somewhat impeded. The front Of
the organ gallery is divided in two panels, elabo-
rateIy gilt and are in accordance with the general
style OF the whole. The roof of the building Is of
cream color, and is supported by uprights resting
upon transverse beams all of black walnut. These
beams are ornamented with pendants, and ut fu-
sure day will he adorned with iron work deliberately
gilt, after the Italian specimens Of this style Of
architecture. The cupola rests upon this walnut
framework, and is painted Of color corresponding
with that Of the walls Of the church. The upper
part Of the dome is pierced by number Of circular