the noted firm of Worthmann and Steinbach which drew up the architectural plans for many of the Northwest Side's Polish American churches as well as parts of the campus of Loyola University Chicago. Its Gothic architecture clearly differentiates it from the Renaissance style favored by the Resurrectionist Order, representing the more populist nature of the Polish National Catholic Church. Measuring only 63 feet in width, Steinbach's design makes effective use of the site. Built in the form of a cross, its two towers are each 135 feet in height while the center frame reached a height of 54 feet. Like most other Polish Cathedrals, it was originally designed with an exterior of brick and terracotta, which was later changed to white imitation cement stone. Although more expensive than natural limestone, the material is also more durable, giving the church the appearance of Joliet Limestone that decorates such famous Chicago area landmarks such as the Chicago Water Tower or the old Statesville Prison. Set among the intricate carving above the main entrance is the emblem of the Polish National Catholic Church adopted at the Synod of Scranton in 1904 which depicts a book, above which rises the bright sun of freedom, light and warmth, surrounded to the right by the cross and to the left by the palm. Emblazoned on the streamer beneath is an inscription in Polish: Prawdą, Pracą, Walką, which translates into English as "with truth, with work, with struggle", a motto by which Christian values are to be brought into life. The interior decorations are especially suited to All Saints' former status as a cathedral. Dominating the Dickens Avenue facade is a massive stained glass window installed in the early 1940s which portrays Saint Cecilia, the patroness of Music above the shield of the Western Diocese. All the paintings are on canvas and the Gothic motif is reflected throughout in the shrines, altars, Stations of the Cross and the canopies over the doorways. There are strong parallels between the church's internal painting scheme with its art nouveau-like flairs and the painter of many of Kraków's most famous Gothic churches Stanisław Wyspiański, making the church unique in this respect among Chicago's Polish churches. The main altar was imported from Italy, a gift of the ladies rosary sodality, and was originally designed to have its paintings change to reflect the different seasons of the liturgical year, a unique innovation. The