The church would serve the congregation until 1914, when it was demolished in order to begin construction of a new one designed by Bertram Grosvenor Goodhue, who had recently struck out on his own from Cram, Goodhue & Ferguson.
While it was being built, the congregation worshipped in a temporary building at East 67th Street.

The architect wrote to a friend that he considered St. Vincent Ferrer his best Gothic work; he designed the Gothic Revival church in the style of 14th-century French Gothic, with echoes of Romanesque.
Lee Lawrie's carving of the Cross above the entrance was the first time one had been located on the exterior of an American Catholic church, and is still one of the few instances.
Guastavino tile was used on the interior to provide for excellent acoustics;.
Goodhue had Charles Connick's stained glass windows positioned so that the colors complemented each other.
He also decided that, reflecting the Dominican Order's Spanish origins, the representations of Christ at each of the Stations of the Cross would be oil paintings rather than the statuary or carvings more commonly used in American Catholic churches.
The images were painted by Telford and Ethel Paullin in imitation of styles from different countries and eras, which accounts for the changing color of Christ's robe between them.

As originally planned the church was to have a fifteen-story fleche.
As construction progressed that became unfeasible.
A former stream that passed under the site, as well as the construction of the IRT Lexington Avenue Line subway tunnels, made it impossible to lay a sufficient foundation.
On October 22, 1916 the construction of the present incarnation of St. Vincent was completed, at a cost of $1.5 million ($35.2 million in contemporary dollars).
It was dedicated on May 5, 1918, when over 50,000 people attended.

In 1930 the Holy Name Society building was constructed.
It was one of architect Wilfrid Anthony Edwards' many designs for the Catholic Church, and considered one of his best overall.
The oaken High Pulpit was installed in the sanctuary.
Its 14th-century French Gothic detailings were consistent with the church's architecture.

The school building quickly outgrew its intended design, and a new one was built over it in 1948.
Architects Elliott Chisling-Ferenz & Taylor designed a building with sympathetic Gothic motifs that help it blend into the older buildings.
Following Vatican II in the 1960s, the Dominicans replaced their rite with the standard Roman Rite Mass of Paul VI.
A new altar was installed at the front of the choir, while the original High Altar at the rear continues to be used for reserving the Blessed Sacrament.

During the late 1960s and 1970s Andy Warhol, a devout Byzantine Catholic who lived nearby, attended Mass regularly at St. Vincent Ferrer.
Father Sam Matarazzo, the priest at the time, remembers him sitting quietly in the back of the church, taking neither communion nor confession.
He speculated that Warhol, one of many gay men who attended services at St. Vincent Ferrer despite Matarazzo's regular preaching of Catholic doctrine opposing homosexuality, was perhaps afraid of being recognized.
Warhol himself said he was self-conscious about being seen crossing himself "the Orthodox way."

Later in the 20th century, contributions from William E. Simon and an anonymous donor allowed the church to purchase the newer of its two Schantz pipe organs.
In the early 2000s a capital campaign allowed the church to install new heating and cooling systems, and restore its exterior.
That latter project was complete in 2009.

On May 8, 2015, the Archdiocese of New York announced the merger of parishes between St Vincent Ferrer and St. Catherine of Siena Church.
Both churches will remain open.
The church would serve the congregation until 1914, when it was demolished in order to begin construction of a new one designed by Bertram Grosvenor Goodhue, who had recently struck out on his own from Cram, Goodhue & Ferguson. While it was being built, the congregation worshipped in a temporary building at East 67th Street.
The architect wrote to a friend that he considered St. Vincent Ferrer his best Gothic work; he designed the Gothic Revival church in the style of 14th-century French Gothic, with echoes of Romanesque. Lee Lawrie's carving of the Cross above the entrance was the first time one had been located on the exterior of an American Catholic church, and is still one of the few instances. Guastavino tile was used on the interior to provide for excellent acoustics;. Goodhue had Charles Connick's stained glass windows positioned so that the colors complemented each other. He also decided that, reflecting the Dominican Order's Spanish origins, the representations of Christ at each of the Stations of the Cross would be oil paintings rather than the statuary or carvings more commonly used in American Catholic churches. The images were painted by Telford and Ethel Paullin in imitation of styles from different countries and eras, which accounts for the changing color of Christ's robe between them.
As originally planned the church was to have a fifteen-story fleche. As construction progressed that became unfeasible. A former stream that passed under the site, as well as the construction of the IRT Lexington Avenue Line subway tunnels, made it impossible to lay a sufficient foundation. On October 22, 1916 the construction of the present incarnation of St. Vincent was completed, at a cost of $1.5 million ($35.2 million in contemporary dollars). It was dedicated on May 5, 1918, when over 50,000 people attended.
In 1930 the Holy Name Society building was constructed. It was one of architect Wilfrid Anthony Edwards' many designs for the Catholic Church, and considered one of his best overall. The oaken High Pulpit was installed in the sanctuary. Its 14th-century French Gothic detailings were consistent with the church's architecture.
The school building quickly outgrew its intended design, and a new one was built over it in 1948. Architects Elliott Chisling-Ferenz & Taylor designed a building with sympathetic Gothic motifs that help it blend into the older buildings. Following Vatican II in the 1960s, the Dominicans replaced their rite with the standard Roman Rite Mass of Paul VI. A new altar was installed at the front of the choir, while the original High Altar at the rear continues to be used for reserving the Blessed Sacrament.
During the late 1960s and 1970s Andy Warhol, a devout Byzantine Catholic who lived nearby, attended Mass regularly at St. Vincent Ferrer. Father Sam Matarazzo, the priest at the time, remembers him sitting quietly in the back of the church, taking neither communion nor confession. He speculated that Warhol, one of many gay men who attended services at St. Vincent Ferrer despite Matarazzo's regular preaching of Catholic doctrine opposing homosexuality, was perhaps afraid of being recognized. Warhol himself said he was self-conscious about being seen crossing himself "the Orthodox way."
Later in the 20th century, contributions from William E. Simon and an anonymous donor allowed the church to purchase the newer of its two Schantz pipe organs. In the early 2000s a capital campaign allowed the church to install new heating and cooling systems, and restore its exterior. That latter project was complete in 2009.
On May 8, 2015, the Archdiocese of New York announced the merger of parishes between St Vincent Ferrer and St. Catherine of Siena Church. Both churches will remain open.
Church of St. Vincent Ferrer (Manhattan)