the new interior to work together to create a restful and harmonious whole. Attention was paid to every detail of pew carving, plaster casting, and fixture design. Leading Chicago area designers and craftsmen were employed for elements like the seven-armed electric candelabra flanking the pulpit (William Lau) and the four stately heralding angels standing atop the organ case (Beil & Mauch). Electric lighting was used throughout the sanctuary, and Shaw embraced the naked bulbs as design elements in the circular chandeliers and the fixtures hanging over the side aisles. A number of recurring motifs tie the various interior elements together. The most obvious is that of the angel. Some 175 grace the interior, including the four heralding angels above the organ loft and those carved into the brackets from which the chandeliers hang. Another recurring motif is the grapevine, found in the pew ends, the light screen at the sanctuary's rear, many of Bartlett's murals, and the dull gold of the screen concealing the organ pipes. The congregation installed a Hutchins-Votey organ following the 1900 fire. The Austin Organ Co. reworked the instrument in 1917 as its Opus 767, providing it with a two-manual console and ten ranks. The organ today has 43 ranks and 2,600 pipes. Second Presbyterian Church occupies a prominent place in Chicago's social and industrial history and its artistic heritage. Its glorious interior is now being seen by a wider audience after decades of semi-obscurity. Tours featuring the art and architecture of the building are offered on a regular schedule. Friends of Historic Second Church, organized in 2006, was formed to guide the accurate restoration of the building and to oversee tours and events. Murals Bartlett's pre-Raphaelite murals are one of the glories of the sanctuary, and they were widely published after their completion. From a well-to-do Chicago family, Bartlett had studied painting at Munich's Royal Academy and with masters in Paris. For Second Presbyterian, Bartlett sought inspiration in the work of medieval church painters. He consciously rejected the post-Renaissance artistic tradition, with its emphasis on perspective and verisimilitude. Bartlett preferred to focus on expressiveness and spirituality, which he found in the flat and serene figures painted on the walls of medieval Italian churches. Bartlett painted directly on the dry plaster of the sanctuary's vertical walls. The paintings in the ceilings of the arches were done on canvas in his studio and then mounted in the