interior. Through his ability, careful leadership of his team, artistic control, and by vastly exceeding the intended budget, Burges produced a building that—though not much larger than a parish church—has been called "a cathedral becoming such a city and one which posterity may regard as a monument to the Almighty's praise". 20th and 21st centuries Mindful that the cathedral was unlikely to be finished in his lifetime, Burges produced comprehensive plans for its decoration and furnishing, recorded in his Book of Furniture and Book of Designs. At the end of the 20th century, a major restoration of the cathedral, costing £5 million, was undertaken. This included the reinstatement and restoration of the twin trumpets held by the resurrection angel which had been vandalised in 1999. The restoration programme also saw the cleaning, repointing and repair of the exterior of the building, including the re-carving of some of Burges's gargoyles, where repair proved impracticable. The cathedral's heating system was also replaced when it was found to be damaging the intricate mosaic floor. In 2006, Lawrence and Wilson published the first detailed study of the cathedral's history and architecture, The Cathedral of Saint Fin Barre at Cork: William Burges in Ireland. The building is also covered in Frank Keohane's volume Cork: City and County, in the Buildings of Ireland series, published in 2020. The cathedral is one of the three cathedrals of the Anglican Diocese of Cork, Cloyne and Ross, the other two being Saint Colmán's Cathedral in Cloyne, and Saint Fachtna's Cathedral in Rosscarbery. Notable interments in the graveyard include those of archbishop William Lyon (died 1617), Richard Boyle (died 1644), and, in a family vault, the first "Lady Freemason", Elizabeth Aldworth (died ). Exterior Architecture The cathedral's style is Gothic Revival, Burges's preferred period, which he used for his own home, The Tower House, in London. He reused elements of unsuccessful designs he had produced for competitions for cathedrals at Lille and Brisbane. The shell of the building is mostly limestone, sourced from near Cork, with the interior walls formed from stone brought from Bath. The red marble came from Little Island, the purple-brown stone from Fermoy. Each of the three spires supports a Celtic cross, a reference to Saint Patrick, seen as a foundational ancestor by both Irish Catholics and Protestants. This inclusion was an implicit statement of national identity, but was against Burges's wishes. His initial design included