Church Building (c. 1887)

The following description of the Church of St. James was written from notes prepared by the architect, Edwin F. Durang, and was released to the press at the time of dedication, October 16, 1887.

St. James Church, c. 1887 (approx.)

The new Church of St. James is built in a pure Gothic style throughout, with rich ornamentation and foliage in the more modern conventional type now so popular in Europe. The external facing of the basement is executed in granite, and the entire superstructure is faced with Maryland white marble, with bold projecting buttresses, corbel tables, wreathings and deep under-cut mouldings, handled with the master hand and producing a fine effect from all points of sight. The general plan has two towers on the front, with central gable facing the nave. The main entrance door is 15 feet wide by 30 feet high, with richly moulded jamb of deep recesses filed with red polished pillars of granite, with white marble bases and finely carved capitals supporting the imposing enriched pointed arch 30 feet high, that has a gable finished with bold croketts and finials. Above this is the large gable window cut up with central rose of strongly designed geometrical work filled with rich stained glass, and producing an equal effect inside. The main or church floor is planned with a nave 30 feet four and half inches diameter up to the sanctuary line, equal to 135 feet long, and 75 feet high to the crown of the main groined ceiling. The side aisles are five bays deep, 15 feet square each, or 85 feet long and 25 feet high to the crown of the groined ceiling side arches. the transept is 30 feet wide by 69 feet long, with magnificent gables east and west.

St. James Church, c. 1887

The nave is divided in elevation in stages, the side aisle arches forming the first stage; and it is divided into bays supported by marbleized strong columns, but light in diameter in order to give clear vision of the altars. These columns have banded astragals with corbel courses from which spring clustered white marble caps, polished red granite clustered columns and finely carved white marble capitals; and from the side aisle arches spring from cap to cap and again to the rich corbels at the walls. The bays' ceilings are groined with moulded ribs. Above the arches in the nave are string courses and deep bands of pointed-head panels, with dwarf columns extending entirely around the interior, broken by intersecting clusters of the vertical marking of the several divisions or bays. Above is the clerestory. Each bay contains triple windows and is marked by clustered trefoil columns with foliated capitals, moulded bands and bases. From these again spring the intersecting moulded ribs forming the groined ceiling of the nave. From the bold and artistic method with which it has been handled by the architect, for general effect it is not excelled in any similar building in this country.

The truly grand effect is produced at the intersection of the nave and transept by the four bold arches deeply moulded and relieved by the dog-tooth flower; from these arches spring the pendentive arches forming into an octagon with the upper groined arches, and displaying eight upper arches all richly interlaced into a central dome decorated with the Agnus Dei surrounded by radiating rays of gloria in sparkling gold on a deep blue ground. The spandrils of the arches are filled with medallions, on the front, of Moses and King David.

The polychromatic decorative treatment and colors of the walls and ceilings is after the style of the mediaeval school of art of the European buildings of the seventeenth and eighteenth centuries, and with some of which the vandalism of later ages has covered many finely-painted structures with whitewash; but happily the late restorations have revealed some fine examples. The artistic designs of the artist and architect have in this case brought harmonizing color and form into the most successful portions of the work.

The transept gables have the confessionals with a group of small pointed headed windows; a corbel table extending across the wall, above which are the large windows, 13 feet by 30 feet in height, filled with richly carved geometrical tracery, and the finest stained glass work executed, the subjects being the Ascension of Our Lord on the west, and that on the east the Nativity of Our Lord. The subjects are conceived and executed in the very highest manner of the art.

The subjects on the east flank windows are as follows: St. Joseph with the infant, St. Patrick, St. Benedict, St. Bernard, St. Francis of Assisi, St. Dominic, St. Francis Xavier, St. Vincent de Paul.

Those in the west flank contain the following subjects: B.V. Mary, St. Ann, St. Agnes, St. Cecilia, St. Clara, St. Catherine of Siena, St. Teresa, St. Rosa.

The sanctuary is constructed on iron beams upon which North River flagstone is set, and on this foundation and other piers the finish is built. The entire finish is of marble of various colors, striking in effect and combination. The flooring is laid in white marble tiles with black marble divisions, borders, and dots, laid in pattern. Outside of the altar railing the flooring and steps are of marble. The altar railing is of exquisite design, having white marble bases and red marble shafts, white marble capitals, pointed arches, and railing cap, with the terminations at the main columns of finely carved clusters of the grape leaves and fruit. The central gate is folding and is a fine piece of metal work of cast and polished brass set with jewels. The wainscoating, bases and steps are all of marble.

The sanctuary is strongly marked by the bays of the side chapels with polished granite pillars and wall responds, finished with marble bases and white marble capitals. The bay of the high altar is extended by an apsidal termination of seven bays with colored marble scamilli or plinths and white marble bases, polished red granite shafts and artistically carved white marble capitals supporting pointed arches with moulded archivolts, hood-moulds and the panelled arch work above and further carried up to the clerestory, which contains seven very fine windows filled with some of the finest specimens of glass work yet shown. The centre window contains St. James, the other six the full-sized figures of St. Peter, St. Paul, St. Mark, St. Luke, St. John and St. Matthew. In the rear of the arcade is found the usual circular passage way beyond the high altar, and connecting the two sacristies. This apsidal passage is finished with groined ceiling and very rich geometrical stained glass windows of fine coloring. In the B.V. Mary's chapel is the window containing the Sacred Heart of Jesus.

The high altar is a striking and imposing design, presenting a chaste appearance, and is elevated upon marble steps and platforms. The altar proper is constructed in various colored marble with artistic work. The reredos is finished in white marble, containing much incident in the arrangement of the several niches, gablets, finicals, finials, crockets and panelling, with many bases, shafts and caps. The height is twenty-seven feet above the platform. The tabernacle is executed in white alabaster, with metal door. The pedestal on the Gospel side has the memorial inscription to the late Rev. Francis P. O'Neill [the St. James pastor (1874-1882) who began the building of the church].

The side altars of the B.V.M and St. Joseph are of elaborate Gothic design with columns, bases, capitals, niches, gablets, tabernacles, crockets, finials, etc., all executed in the best manner in variegated colored marbles. The painting over St. Joseph's Altar is the subject of the flight into Egypt. That over the B.V. Mary's Altar is the Annunciation of the B.V.M. These paintings are by the celebrated artist, Philip Costaggini.

Above the side altars are respectively marble statues of the Blessed Virgin Mary and St. Joseph.

The wood work of the doors, pews and other wood finish, together with the four, is all executed in oak, filled and hard oil finished in the antique style.

The gas lighting of the interior is accomplished by three massive chandeliers, also lines of light around the abacus of the capitals of the side aisle columns. The are all of elegant design, finished in brass.

The grand organ is one of the very best instruments in this city; it is operated by water power. The case is of oak, while the pipes alone are grouped to form the screen for the works, and all is richly decorated. The light of the front window breaks through the piping, and the entire coloring is in unison with the general tone of color.

The Stations of the Cross are in bas relief, painted in natural colors, and framed in massive frames.

The niche in the front gable is to contain an eight feet high Italian marble statue of St. James, now being sculptured in Italy.

The main sacristy is an outer wing on the southeast corner, adjoining the sanctuary. It is an octagonal building, having a vaulted lantern, fitted up with oaken vestment case, while on the southwest corner is the minor sacristy, circular in form.

The basement floor or story is divided by fourteen massive iron pilasters supporting the upper structure and the heavy rolled iron beams upon which the main floor rests. This basement story has been used as the temporary church until the present completion of the church proper, which is now fully finished with the exception of the western spire, which is intended to be one hundred and eighty-five feet high when completed.

The names of the several artists and architect whose work aided in the erection of this temple are as follows: architect, Edwin f. Durang; artists, Signor Filippo Costaggini, and Lorenzo Scattaglia; mason and cut stone work, Edward Delaney; carpenters, Messrs. Doyle and Jas Maginn; plaster ornaments, Wm. Sterrett; stained glass, from Innsbruck, supplied by F. Pustet; altar builder, Hall, of Boston; Organ builders, Hook & Hastings; gas fixtures, Horn, Brennan & Smyth; mill work, Wilts Sons.