"From two spots a capital view of the hall can be obtained. Standing in the centre of the uppermost gallery, looking towards the organ, the eye notes the depth, forty-four feet in the clear, from the flat ceiling to the parquet floor. The lines of the galleries converge upon the double platform, with the choir space behind it, and the organ recess, now concealed by the painted drop curtain. Placing oneself upon the upper platform, the width of the building can be seen at a glance, but not the length, the platform itself extending a good way outward. If the length but not the height is to be seen, the point for the spectator to station himself is at the entrance from the vestibule, or a sweeping perspective may be even obtained from the iron gate in the Mile End Road, the centre passage-way having an uninterrupted line from the pavement to the organ; few such buildings can boast as much.
"The illumination of the hall I heard frequently and favourably commented on. There are upwards of 130 windows, which, being glazed with yellow glass, admit a pleasant-toned light, whilst they wholly exclude any objectionable view. The bright orange, complemented by chocolate, of the decorations assists the aerial effect thus obtained, and there is an additional benefit secured by the adoption of ground glass windows. By shutting out external surroundings the hall is rendered self-contained. No mean neighbours, murky atmosphere, nor curling smoke distract the attention, which is left free to concentrate itself upon the life within the building itself. In a word, it will be quite possible for a visitor to imagine himself far from the squalor of the East End of London, from the moment he enters the Great Assembly Hall.
"The windows, especially the clerestory windows over the galleries beneath the flat ceiling, breaking the line of the coved sides, serve also to enhance the pleasing effect produced by the graceful lines of the architecture.
"At night the artificial lighting is not less striking, a continuous row of gas jets following the outlines of the clerestory arches. A skilful arrangement of subsidiary lights destroys all shadows, and the effect is that of bright sunshine. An alternative system dispenses with the upper jets and substitutes a row at the level of the first gallery which is sufficient to give light to the ground area, when small meetings only are to be held.
"With regard to ventilation, the plan selected seems most effectual. Every part of the building is under separate control, and there are numerous cunning little contrivances which are simple and not patented, but which do their work extremely well.
"In an accoustical sense the hall is perfect. I am told that the flat panelled ceiling, which resembles in form that of the House of Commons, contributes to this result.
"I was curious to know the truth of the assertion that from every seat, and there are four thousand three hundred, a view of the speaker upon the upper platform could be gained. I found it a fact.
"Three prominent adjuncts of the hall remain to be described. The first is the great organ, containing 2178 speaking pipes, erected at the cost of £1000 by Messrs. Bevington & Son. The natural steel colour of the pipes has been preserved. It is a very fine instrument, and is not dwarfed or spoilt by the platforms in front of it, nor hidden in the recess which it fills. This shell-shaped alcove acts as a sounding board.
"Over the great arch there are bas-reliefs representing groups of angels in the act of praise. From this arch falls the painted drop curtain, the subject of the picture thereon being the Feeding of the Five Thousand on the slopes of the Sea of Galilee. The curtain gives colour to the hall, and protects the organ when not in use.
"Under the choir platform there is a large inquiry room, a part of which is partitioned off to provide space for a gas engine to work the great organ.