aration lines among these pictures are 
emphasized by a series of neatly capped 
pilasters, while along their bases is ex- 
tended a heavy moulding that rests on a 
line of corbels. The lower wall area of 
the apse is finished in dark red tone, 
with buff diaper filling in satin effect. 
All this decoration of moulding and color 
makes a beautiful setting for what is the 
Principal appointment of a Catholic 
church:—The altar. The main altar of 
this church is an exquisite output of 
Italian workmanship, and an evidence 
of the artistic temperament of the Italian 
designer. It is a stately, yet graceful 
Structure of white Carrara marble, the 
dead white effect being relieved, how- 
ever, by columns and panels, here and 
there, of Brescia stone. The panels of 
the comparatively low reredos are 
characterized by intersecting Roman 
Curves in chaste carving. The taber- 
NORTH SHORE BREEZE. 
(Courtesy Beverly Times.) 
nacle and its superimposed canopy rise 
majestically from the centre of the 
structure, the classic canopy pediment 
being softened by a symmetrically 
arranged display of boss-ornamentation 
in the projection soffits. Crowning this 
Romanesque marble pile, and supported 
by a line of delicately wrought miniature 
columns in pergola array, is a_ perfectly 
rounded dome, which was hewn and 
carved from one piece of white Carrara. 
The front of the altar-table exhibits, in 
full relief, an artistically carved repro- 
duction, in one piece, of Da Vinci's 
‘* Last Supper.’’ 
The good taste, fine perception of 
aptitude, sense of balance, and excel- 
lence of treatment, displayed here, make 
this altar one of the very few in New 
England to which unqualified praise may 
be given. 
The two side-altars, each ensconced 
| 
R OF St. Mary’s Srar oF THE SEA CHuRCH — SHOWING THE ALTARS, PAtNTINGS, FREscogs, STATUARY AND COLUMNS. 
in a chancel alcove, and dedicated to the 
Blessed Virgin and St. Joseph, are in 
close harmony with the main _ altar, 
showing in their table panels most ex- 
cellent carving in floral and conventional 
design. Each altar is surmounted by its 
titular statue and is flanked by a_beauti- 
fully wrought marble pedestal, on which 
stands a statue of heroic size. “The four 
statues (the Blessed Virgin, St. Joseph, 
the Sacred Heart, and St. Anthony) are 
from Mayer and Company of Munich. 
The separation of chancel from aud- 
itory is distinctly marked by a_ sanctuary 
rail of quartered oak, with cherry top 
relieved by an ornate oak pulpit. An 
examination of the hand-carving on 
both rail and pulpit will repay the visitor, 
the rosette elaboration of the former and 
the symbolic representation of the four 
evangelists in the panels of the latter, 
manifesting the painstaking work that 
