In 1873, the congregation purchased the undeveloped site at Fifth Avenue and 55th Street for $350,000 for construction of a new sanctuary. Church leaders believed that the recently established
Central Park would be a natural barrier against business and factory expansion. With its steeple rising 286 feet high, the church was the tallest building in Manhattan when it was dedicated in 1875. Eleven architects were considered to design the new church, with the choice eventually between
George B. Post, architect of the
New York Stock Exchange Building and the former
Cornelius Vanderbilt II House on Fifth Avenue, and
Carl Pfeiffer (1834–88), a little-known, 37-year-old German émigré. Pfeiffer's only other prominent building in New York was the
Metropolitan Savings Bank Building, designed in 1867. Remarkably, Pfeiffer got the nod. Pfeiffer's engineering skills are evident in the technological innovations he introduced in the sanctuary. Wooden
louvers installed beneath the
pews allowed warm air to rise into the sanctuary from steam pipes in the basement. On warm days, enormous blocks of ice were delivered to the basement, where fans blew cooling air upward. The Sanctuary did not have modern air conditioning until 2003.
Facade The church is built of New Jersey red sandstone. The clock tower employs the original clockworks installed in 1875. The clock is not electrified and must be wound once a week by hand. There are no bells or chimes in the tower; when the church was built,
St. Luke's Hospital was housed in what is now the
Hotel Peninsula (across 55th Street), and there was a concern church bells might disturb the patients.
Interior With a capacity of nearly 2,000, Fifth Avenue Presbyterian Church is the largest Presbyterian sanctuary in Manhattan. Designed in the
Victorian Gothic style, the Sanctuary interior follows strict,
Reformed Protestant precepts—the most important being the emphasis on the spoken word. The pulpit is the focal point of the Sanctuary, with the choir loft and organ above and communion table below. There are no Biblical figures or saints depicted in the Sanctuary, reflecting an
iconoclastic austerity prevalent among 19th-century Presbyterians, who believed no one should be venerated other than God. One exception is the woodcarving on the front of the pulpit (above), which features the symbols of the four Gospel authors—Matthew (angel), Mark (lion), Luke (ox) and John (eagle). Unlike most Gothic churches, the interior of the sanctuary has no right angles. The floor slopes, the pews fan outward, and the balcony surrounds all that is below, bringing the entire congregation within clear sight and hearing range of the preaching and music ministry. Most of the carved woodwork in the Sanctuary is original. The New York firm of
Kimbel and Cabus designed the woodwork using ash, a durable, light-colored wood that has taken on a darker
patina over time. The stained glass windows were designed and executed by
John C. Spence of
Montreal. Above the Fifth Avenue entrance is a mosaic of
Venetian glass by the American artist
Eugene Savage (1883–1978). The mosaic, depicting iconic images from the
Hebrew scriptures, was added during a renovation in the early 1960s. Kirkland Chapel, named for former senior pastor Bryant M. Kirkland, offers a distinct contrast in design philosophy to the Sanctuary. All is rigidly organized in a long and narrow rectangular space from back to front, where there is a semi-circular
apse with a raised
pulpit off to one side and a
lectern on the other. In a pre-Reformation church, the center of the apse would contain an altar, where the priest would celebrate the
Eucharist. Following Reformed precepts, however, seats for the now-called ministers replace the altar. The design accentuates the Word rather than the Eucharist as the central act of worship. Another obvious difference between the Chapel and the Sanctuary is the stained glass that shows Biblical stories and figures. (Iconoclastic sentiment was beginning to wane by the early 20th century.) The window above the ministers’ seats depicts the apostles and the four evangelists. The most exquisite window in the church is above the balcony in the rear of the Chapel. It depicts Christ surrounded by seven
archangels. The hardstone surfaces of the interior, with its resultant echo, make the Chapel superb for the performance of organ and choral music.
Chapel and church house The current chapel and church house were added to the church grounds in 1925. Both were designed by the New York architect
James Gamble Rogers (1867–1947). Rogers was the favored architect of New York philanthropist
Edward Harkness, who provided the funds for the project.
Renovation Fifth Avenue Presbyterian Church underwent a major renovation and expansion project beginning in 2003. The project resulted in a new Christian Education Center, carved from the unused space below the Sanctuary, and a complete renovation of the church house, including air-conditioning and fire proofing systems. Beginning in summer 2015, FAPC conducted extensive repair work to the
brownstone exterior and renovated the music loft in the sanctuary. This work has been completed. ==References==