years, the ethnic character of the parish has undergone a gradual change from an exclusively Polish to one that is multicultural and multiracial, as the neighborhood first witnessed an influx of Hispanic and Filipino immigrants during the 1990s and later began to experience minor pockets of gentrification.

On June 10, 1950, Richard Nickel, an American photographer and historian best known for his efforts to preserve and document the buildings of the architect Louis Sullivan, married Adrienne Dembo, a young Polish-American girl, at St. Wenceslaus.

Two monumental angel sculptures loom over the façade of the main entrance, which leads into a spacious and commodious narthex or vestibule whose walls are lavishly lined with Notre Dame and Oriental marble on a base of Red Levanto, while the floor is paved in ceramic tiles.

To a height of ten feet above the floor and against the entire exterior wall a wainscot of rich American black walnut has been installed, a wood known for its exceptional beauty and sturdiness.

The wainscot rests on top of a continuous base of Windham Verde Antique marble, and is indented by four confessionals and in the forward part of the nave four votive shrines that are set up against the wall.

The reredos was formed by inlaying some 25 precious woods on a foundation of Honduras mahogany rising to a height of 37 feet above the sanctuary floor as the setting for the huge crucifix, which is cut from a mammoth block of bluish-black Port D'Oro marble.

The altar table rests on a predella or stylobate of Verde Nicoli stone, the top platform which is inlaid with red Verona and rose coral marbles.

All of the furnishings of the church such as altars, pulpit and pews were executed from designs by the original architects at the expressed wish of Monsignor Czastka who was the pastor at St. Wenceslaus at that time in order to present a consistent and harmonious edifice.