DESCRIPTION OF THE FIRST INDEPENDENT CHURCH IN BALTIMORE. WITH AN ENGRAVED VIEW. THE whole length of the edifice, including the portico, is one hundred and eight feet, and its breath seventy-eight feet. The perystile, which has a front of fifty-six feet, nine inches, is formed by a colonade, of the Tuscan order. Four columns and two pilasters-one of the latter of which is at each extremity; forming altogether, three arcades, of about twelve feet opening, support the grand Tuscan cornice which runs round the exterior, and a pediment, in the centre of which is to be placed a colossal figure of an angel-executed in burnt clay, by M. Capellano, formerly first sculptor at the court of Spain, now a resident in Baltimore, and an artist of the very first merit. This figure, which has been much admired by connoisseurs, is surrounded by rays, and holds a scroll, on which are inscribed in Greek characters, bronzed, these words: To the only God.' The attic, which rises above the whole extent of the great cornice, is in a simple style, and its cornice is raised fifty-two feet above the pavement of the portico; the whole is crowned towards the centre of the building by the dome. The portico is ornamented in the back part with six pilasters, corresponding with the columns and pilasters of the front. It is ten feet deep, and fifty-four feet six inches long; and is ascended by five steps of Italian marble, stretching the whole length of the perystile-it is paved with flags of the same marble, and its ceiling is formed of what are denominated groin arches. Five doors, all of equal dimensions, and well painted in imitation of bronze, open from the portico-three of these, corresponding with the three arcades of the perystile, lead into the body of the church-the other two at each laternal end of the portico, lead to the staircases of the gallery; which are hidden from the view either within or without the church. These doors are an imitation of the doors of the Vatican, except that they have been simplified by suppressing the modern circular pediments; and substituting archivaults, in the style of those of the Farnesian palace, assimilating them to the great simplicity of the Tuscan order. This por tico, which necessarily gives a character to the whole exterior of the building, is exquisitely beautiful. The nave of the church is a square, formed by four equal arches, in full semicircle of fifty-three feet six inches diameter. These arches support a dome, which is also a full semicircle of fifty-three feet six inches diameter-the base of which is about forty-nine feet, and the summit of the cupola, eighty feet, above the pavement of the nave-the cupola is terminated by a glass star. The recesses of the arches on the right and left of the nave, are occupied by pews-at the bottom of the nave, the recess is filled by the pulpit and several rows of semicular pews on either side: under the arch opposite to this, at the entrance of the church, is a gallery for the organ and choir. This gallery, which is the only one in the church, is supported by eight columns, in two rows, the capitals of which are in the Egyptian style the shape elegantly executed in white Italian stucco. The floor of the gallery, which serves as a diameter of the arch under which it is placed, rises above the cornices of the pilasters which run round the interior, and which are taken from those of the Palace Mattie at Rome-its front is finished with balustrades. The three principal intercolumniations beneath, correspond with the three doors of entrance. 1 The arch at the bottom of the church, opposite to the gallery, is determined in the form of a niche, in its whole breadth and height, the form of which is fifty-three feet six inches, and the latter forty-seven feet nine inches. The floor of this arcade or niche, is raised three steps above the pavement of the nave, and is covered with an imitation of mosaick. In the centre of the arcade, rises the pulpit. This stands upon a double square base, the first of which is of the Verd Antique marble, of Connecticut, of great beauty-the second is of white Carrara marble, of most exquisite polish, in the middle of which is a noble ornament of cast lead and bronze, executed by M. Capellano. The pulpit rests on the second socle-it is constructed of bird's eye maple, the most beautiful wood of our country, and is semicircular. On the frize of the cornice, are Grecian ornaments in relief of cast lead, bronzed, called palmets. It is ascended by a flight of eight wide steps on each side, which give it the style of a rostrum, or antique tribunal. These steps are enclosed by four large pedestals and balustrades of the same wood as the pulpit, and in the style of Grecian columns.-On the landing places, on each side of the pulpit, is an arm chair of antique form, made also of the bird's eye maple, and enriched with bronzed ornaments in relief; and behind the pulpit is an antique sopha. The workmanship of these seats and the pulpit, is by Mr. Camp, of Baltimore, and to those who know the skill of that excellent mechanick, it can hardly be necessary to add, that the whole is in the finest style of execution. Between the two pilastres on the wall, behind the pulpit, is a species of pedestal or slylobatum, supporting two tables in basso relievo, which are surrounded with rays and clouds of white stucco, and on which are inscribed various appropriate passages of scripture. The nave is lighted by three windows in arcades, on each side: the wall above which is ornamented with two garlands, three crowns, and two festoons of olive leaves, all in white stucco. It is divided into its whole length by three aisles, paved with the tiles of Italian marble-these aisles are adorned by the arms of the pews, which are richly decorated with Grecian ornaments, sculptured in wood, and admirably bronzed, by Mr. Finley of Baltimore, whose taste and skill in ornamental work, are well known. The nave being square, the angles below the dome, are ornamented with triangular pannels, called pendentives, in each of which is a colossal basso relievo of white stucco, representing the various emblems of peace, toleration, fortitude, and union-and uniting with them the allegory of time, winging its way towards eternity. The dome, which is imitated from the Pantheon at Rome, is ornamented with caissoons, or square pannels, as are also the four great arches which support the cupola-the caissoons of the latter are enriched with a rose in each. Each of the four arches is also embellished with an archivault; and the base of the dome is supported by a cornice in its whole circumference. With the exception of the plinths and frames of the doors, which are admirably painted to imitate gray marble, no part of the decoration of the edifice is coloured-a circumstance which produces, in a remarkable degree, that imposing calm so appropiate to houses of devotion. Nothing can exceed the beauty of the plastering on the inside walls, arches and dome; the work of which was done by Mr. Whitlock of Baltimore. And the outside, which is roughcast, is done in so masterly a manner, by Mr. John Gill, of Richmond, as actually to have deceived many close observers into a belief that the building was of stone. The organ merits particular mention, as well from the classick taste which has been displayed by Mr. Godefroy, in giving it a form perfectly novel, as from the intrinsick excellence of the instrument. Instead of the usual heavy, gothic shape, given to this instrument, it is constructed in the form of an antique lyre, of colossal dimensions, the strings of which are represented by the pipes. The two angles of the front are terminated by two columns, in the Egyptian taste, the shafts of which are formed by large pipes. The top of the lyre, which is generally enriched with some emblematick ornament, is formed by a half crown of stars, in the centre of which reposes a bronzed eagle, amidst gilded rays. The body of the organ is of bird's eye maple and mahogany; and all the ornaments of the frize, the capitais, and the bases are bronzed. This truly magnificent instrument, which is twentytwo feet nine inches high, and sixteen feet nine inches wide, contains fourteen hundred pipes; the tones of which, as they sweep through the arches, under the masterly execution of Mr. Carr, are sublimely melodious. It was built by Mr. Thomas Hall, of Philadelphia, to whose skill it does infinite honour. The perspective behind the organ, is terminated by a higher gallery, which stretches along the whole length of the portico; and is ornamented with arcades and a balustrade, in the same style as that of the pulpit the extremities are formed by horns in the manner of an antique altar. Having thus attempted to describe the church, we must be permitted to add a few words, to express our admiration of the talents, the skill, and the taste of those concerned in the building. The public have already been informed, that the edifice was designed by Maximilian Godefroy, Esq. member of the Philadelphia Academy of Fine Arts, to whose merit as a gentleman, a scholar, and an artist, it gives us infinite pleasure to pay this public but feeble tribute. Whether this building be viewed in the beauty of |