The "Cathedral of St. Luke" is a noble structure of stone.[117] It was consecrated with great pomp in the autumn of '34, having occupied three years in its erection. The site is unfavourable, but it possessed an interest for many of the old citizens which no other spot could claim. Here had stood their ancient sanctuary, with which was associated the holy feelings of their earliest days; here had been the baptismal font and the marriage altar; while beneath reposed the sacred remains of many a being, loved and honoured, but passed away. The former church was a rude structure of logs. The dimensions of the present building are a length of about one hundred and forty feet, to a breadth of eighty and an altitude of forty, with a tower of upward of an hundred feet, surmounted by a lofty cross. The steeple contains a peal of six bells, the three larger of which were cast in Normandy, and chime very pleasantly; upon the four sides of the tower are the dial-plates of a clock, which strikes the hours upon {139} the bells. The porch of the edifice consists of four large columns of polished freestone, of the Doric order, with corresponding entablature, cornice, pediment, and frieze, the whole surface of the latter being occupied with the inscription "_In honorem S. Ludovici. Deo Uni et Trino, Dicatum, A. D. MDCCCXXXIV_," the letters elevated in _basso-relievo_. Over the entrances, which are three in number, are inscribed, in French and in English, passages from Scripture, upon tablets of Italian marble. The porch is protected from the street by battlements, surmounted by an iron railing, and adorned by lofty candelabra of stone. The body of the building is divided by two colonnades, of five pillars each, into three aisles. The columns, composed of brick, stuccoed to imitate marble, are of the Doric order, supporting a cornice and entablature, decorated with arabesques and medallions; and upon them reposes the arch of the elliptic-formed and panelled ceiling. Between the columns are suspended eight splendid chandeliers, which, when lighted at night, produce a magnificent effect. The walls are enriched by frescoes and arabesques, and the windows are embellished with transparencies, presenting the principal transactions of the Saviour's mission. This is said to be one of the first attempts at a substitute for the painted glass of the Middle Ages, and was executed, together with the other pictorial decorations of the edifice, by an artist named _Leon_, sent over for the purpose from France. The effect is grand. Even the garish sunbeams are mellowed down as they struggle dimly through the richly-coloured {140} hangings, and the light throughout the sacred pile seems tinged with rainbow hues. In the chancel of the church, at the bottom of the centre aisle, elevated by a flight of steps, and enclosed by a balustrade of the Corinthian order, is situated the sanctuary. Upon either side stand pilasters to represent marble, decorated with