The altar and reredos were designed by the church's architects, Henry M. Congdon and his son Herbert.

The base of the altar is made of pink Knoxville marble, with risers of the same, standing on a platform of dark American dove marble'. The columns are made of alternating Mexican onyx and Numidian marble, and the bases and capitals are carved Caen stone. The panels between the columns are light Siena marble, with the center panel recessed to show the Chi-Rho/Alpha and Omega inlaid in red Verona marble. The upper part of the altar, including the table top are made of light Hautville marble, inlaid on top with five crosses in red Verona marble.

The inscription on one end of the altar reads, "To the Glory of God and in loving memory of Lyman W. Coe." The other end reads, "Erected by his wife, Eliza Coe, All Saints 1898."

The reredos behind the altar has a base of Hautville marble to match the altar, upon which is the gothic structure of carved Caen stone. The niche pillars are of St. Sylvester marble, and the niches are lined with Siena marble. The statues are of Christ (center), Archangel Gabriel, The Blessed Virgin Mary, St. John, and Archangel Michael. The base of the reredos is carved with the words "Behold, O God, Our Defender and look upon the Face of Thine Anointed" (from Psalm 84:9).

(Right) The painted ceiling in the Chancel

One of Trinity's most outstanding decorative feature is the painted ceiling in the chancel. This style of decoration was introduced in the age of great European Cathedrals in the middle ages but fell out of favor in England when the country adopted the Protestant religion, especially after the sweeping reforms following the reign of James II in 1689. Gothic church architecture and decoration was rediscovered in England in the middle of the 19th century. A group of men at Oxford University called for a return to the Catholic roots of the Anglican church, saying the Church of England had become secularized. They championed a return to "beauty and holiness" in the worship service, the Eucharist as the central part of the worship, and such details as lighted candles. The revival of the Gothic artistic style was begun by A. W. N. Pugin in the 1830's and continued through the rest of the century.

Painting of the interior of churches in the middle ages served to focus the worshippers' attention on the beauty and grandeur of God's house and to inspire and enhance the spiritual experience. The gold, red and blue stars painted on the dark Georgia pine ceiling reminds one of the starry heavens.

(Above) The Trinity seal inlaid in the floor. The emblem may have been designed by Trinity's architect, Henry Congdon. The top of the shield shows three intertwined rings, a traditional symbol of the Trinity. The fleur-de-lys on the bottom comes from the borough emblem of Great Torrington, Devon, England.

(Right): One of two chapel altars on the east walls of the transepts. This one, in the north transept, has a stained-glass window by Payne-Spiers Co. of Paterson NJ depicting Mary and Elizabeth in what is known as "The Visitation." (See more of Trinity's stained glass treasures.)

Above: Looking from the Epistle side of the altar towards the west end of the nave and the Baptistry.

At the west end of the nave, opposite the altar, is the Baptistry. In an article written in 1899 by Rev. R. H. Gesner and published in The Churchman, it was described: "At the west end of the nave is a gabled projection covering the arched recess for the baptistry, which is approached by three steps, thus, with the altar at the east end, making the two great sacraments of the Church to be plainly set forth, and giving to each its ritual position and importance."

The baptismal font is made to match the materials of the altar. The bowl and central shaft are made of Siena marble, with four columns of Mexican onyx supporting it. The columns have bases and capitals of carved Caen stone. The platform and steps are made of Tennessee marble. The bowl is octagonal, the form adopted from early Christian times, representing the six days of creation, the day of rest, and the new day in Jesus Christ. The measurements of the font are deliberately in multiples of three, for the Trinity: three feet, six inches high; diameter three feet; and central stem, twelve inches. There are also three colors of marble used in the font.

The inscription reads, "And he showed me a pure river of water of life, clear as crystal, proceeding out of the throne and of the Lamb." (Revelation, 22:1). On one of the faces of the octagonal font is, "His servants shall serve Him, and they shall see His Face and His Name shall be in their foreheads." (Revelation 22: 3-4). The font was the gift of Mr. and Mrs. John Workman in memory of their daughter, Jennie Gould Workman; her dedication is on one of the other faces: "To the Glory of God and in loving memory of Jennie Gould Workman, All Saints, A.D. 1898."

Behind the font are three stained glass windows with the baptism of Jesus in the central window, and angels in both of the side windows; the lower portion of the windows contain the ark, the baptism of King Ethelbert of England, and the parting of the Red Sea on the right. (Click here to see these windows up close)

Below: Close-up of the Baptismal Font

Above: The Pulpit

The beautiful carved wood pulpit was designed by the architects, Henry and Herbert Congdon, and donated to the church in 1907 by Mrs. Henry J. Hendey and her daughters in memory of Mr. Hendey who had served as Junior and Senior Warden and who was chairman of the building committee during the building of the present church edifice.

Below: The Garden

To the left of the Prospect Street parish hall entrance is a peaceful setting with benches.

Right: The Children's Corner

On one side of our library (below), space has been set aside to feature the children's books we have.

Below: The Library

This area of the parish hall is filled with comfortable seating and books and videos that members can borrow.