The Church of Our Lady of Perpetual Help, Boston, is a large Ro manesque or round-arched Gothic pile with twin-towers in front and an octagonal lantern at the intersection. Its dimensions are 215 feet in length and 115 across the transepts.
The " New" Old South Church, Boston (X 57, fig. 0, is one of the finest in America—an Italian Gothic structure of pleasing outline with a central lantern and groups of lancet windows. The tower rises massive and square, without buttresses, to the ornate belfry-stage. The entire struc tvre, with its bands of light and dark stone, recalls the churches of Italy.
Trinity Church, Boston, (pl. 58, fig. 1), a Romanesque—or, if pre ferred, a " Byzantine "—structure, is the work of Richardson. The exte rior has a grand central tower and is of massive and imposing propor tions, though it needs the addition of the towers which were intended to flank the entrance. The interior, covered with mural paintings and lighted by the central lantern, has a grandeur seldom found in American churches. About a year before his death (April, 1886) the architect improved his original .design by adding to each of the square towers a storey about 20 feet in height and terminating in a pyramidal roof; tile towers are to be connected by an arcade supported on double columns. A grand porch with three round arches and elaborate sculpture was also designed, and will, if executed, make of Trinity Church perhaps the noblest, though not the largest, church-edifice in the United States.
Among ecclesiastical structures it may perhaps be permissible to include the well-designed lodges at the entrance of Greenwood Cemetery, Brooklyn, New York—structures which, though small, are at once architectonic and sculpturesque. Both lodges are cruciform, and the keeper's lodge rises into a solid central tower. Another noticeable entrance-lodge gives access to Spring Grove Cemetery at Cincinnati, where also is the Dexter Mon umental Chapel, which in its whole treatment, from the base which sup ports the bold standards and the pinnacles from which spring the flying buttresses to the elegant terminal //eche, speaks the aspiring spirit of true Gothic.
Mormon more singular structure can be found than the Tabernacle at Salt Lake City; it has been likened to an inverted soup-tureen or to a turtle's back. A huge oval-shaped roof covering an area 25o feet long by 15o feet wide, with a seating capacity of about ten thousand persons and acoustically so arranged that the voice of the preacher can be heard with startling clearness at its farther extremity, it is, notwithstanding the lack of all architectonic effect in its huge roof or in the short brick piers which support it, a monument to the bold originality of the man who designed it. The 'Mormon Temple, erected at a cost of ten million dollars, and said to be like Solomon's, is fortress like in its massiveness and has walls 9 feet thick.
Synagogucs.—For some reason not particularly evident, synagogues. usually affect the Moorish style. Nothing can be more certain than that the temple of the Jews at Jerusalem bore no resemblance to this style, but Saracenic brings to the modern mind Oriental ideas; and thus the horseshoe arch, the minaret, and the ornament of Ishmael have been adopted by the descendants of Jacob. The Temple Emmanuel, New York City (pl. 57, fig. 2), has a most ornate and symmetrical exterior with two towers and an arcade in the centre, and, although the effect—almost inseparable from the style—is pretty and fanciful rather than grand, it ranks among the finest of the religious edifices of the city. The Rodef Shalom Synagogue, Philadelphia, has an effective facade, and is Gothic in sentiment notwithstanding its Moorish forms. The Synagogue Emmanuel in San Francisco is peculiar among synagogues from the fact that the windows are filled with Gothic tracery and its walls and towers set with Gothicized buttresses.
Public Buildings: Government has been remarked (p. 351), the government buildings of the United States either are for the most part strictly classical structures or are conceived in the Palladian phase of the Renaissance, and hence do not call for lengthy descriptions.