building on South Michigan Avenue at 20th Street (now Cullerton), the congregation again turned to James Renwick. Renwick designed a church based on early English Gothic examples, with a high-pitched gable roof, a rose window in the east wall, and a corner bell tower. The exterior is clad in limestone with sandstone trim. Sculpture on the exterior is limited; the Four Evangelists and the head of Jesus appear on the entry wall on Michigan and gargoyles loom from the bell tower. The interior was also thoroughly Gothic, with pointed arches leading to the side aisles, slender iron columns supporting the balcony, and extensive stenciling adorning the walls. The sanctuary in the new building was dedicated in 1874. In March 1900, fire gutted the sanctuary. The church turned to one of its members, Howard Van Doren Shaw, for the rebuilding. Shaw, 31 at the time, was a graduate of Yale University and the architecture program of the Massachusetts Institute of Technology. After working briefly in the office of Chicago's skyscraper pioneer William Le Baron Jenney, Shaw established his own practice. Shaw also had traveled extensively in Britain and was familiar with the work of Arts and Crafts architects like Philip Webb and C.F.A. Voysey. The remodeled interior Shaw, working with his friend, the painter Frederic Clay Bartlett, and several other designers and craftsmen, gave Second Presbyterian a sanctuary firmly rooted in Arts and Crafts principles. Abandoning the original neo-Gothic approach, Shaw lowered the pitch of the roof and moved the support columns closer to the side walls to visually increase the width of the space, and used warm stained oak and plaster panels throughout. He planned an auditorium-style sanctuary, with no central aisle. This was appropriate for a congregation that emphasized preaching and musical worship. For the same reason, the pews are gently curved, providing good sight lines to the pulpit. The decorative program of the interior is rich, but subdued, emphasizing brown, buff, dusky crimson, and dull gold. The church's figurative art, with dozens of angels in glass, wood, and plaster, and two brightly colored saints in the lobby windows, is perhaps surprising for a Presbyterian congregation. This congregation, however, was culturally sophisticated and well-traveled. Many members had seen the great cathedrals of Europe and wanted their home church to make an equivalent artistic statement. In line with the Arts and Crafts ethos, Shaw and Bartlett designed every element of