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While the gable end at the east wall was being formed at the rear of the photograph, the roof trusses were being lifted into place. These functional but decorative wood and steel trusses were fabricated on the ground and lifted into place. Roof purlins span between the trusses and are supported by steel purlin hangers connected to the top chord of the truss. Electrical conduit to the light fixtures in the nave is run above the bottom chord of the truss.
The top photograph shows the last set of forms to the underside of the tower cupola springline. The roof framing is also completed over the nave of the church. The bottom photograph shows the cross at the very top of the tiled cupola. The cupola itself is constructed of flat steel bands formed in the shape of the cupola over which the cupola tile was placed.
This photograph shows the interior of the completed church shortly after completion of construction in December, 1949. A more comprehensive description of the church decorations and interior artwork can be found in the Parish History section. The present stained glass windows were not yet in place at the time this photograph was taken.
Although somewhat difficult to discern in a low-resolution photograph, the original wooden communion rail can be seen. This wooden rail has since been replaced by the present wrought iron and marble rail. The original wall painting behind the altar is also visible, but at some point this was painted over, Bishop Ward commissioned the present mosaic recreation. The mosaic reproduces the decorative band at the edge of the painted area, but substitutes two cherubs on either side of the altar in lieu of the starburst design in the original wall painting. The original configuration of the altar is also shown in this photograph. Following the Second Vatican Council, Bishop Ward had the altar brought forward to allow the celebrant to face the congregation. The top two steps had to be removed to provide for space for the celebrant to stand behind the altar table. Other subtle changes were made in the arrangement of the marble to facilitate the present configuration, but these were done with care and the extent of these alterations is only apparent when viewing photographs such as this one showing the original configuration.
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