This church was unceiled and unpainted within. Along its walls unlighted kerosene lamps hung on brass brackets; pine benches served as pews. Behind the rough oak pulpit a faded pink silk banner proclaimed God Is Love, the church’s only decoration except a rotogravure print of Hunt’s The Light of the World. There was no sign of piano,organ, hymn-books, church programs -- the familiar ecclesiastical impedimenta we saw every Sunday. It was dim inside, with a damp coolness slowly dispelled by the gathering congregation. 這座教堂沒有吊頂，內(nèi)部也沒有粉刷。順著墻壁掛了許多沒有點燃的煤油燈在黃銅壁架上，松木做的長椅充當(dāng)著教堂條凳。粗糙的橡樹講臺后面有條褪色的粉色絲綢橫幅宣揚著“上帝即是愛”，這條橫幅是教堂唯一的裝飾，除了一幅Hunt的《世界之光》的凹版印刷以外。那沒有鋼琴、管風(fēng)琴、圣歌集以及教會流程——那些我們每個禮拜天司空見慣的基督教會的繁文縟節(jié)。室內(nèi)光線昏暗，聚集而來的教堂會眾漸漸驅(qū)散了潮濕的涼意。