we could transplant the building to England". His revised designs were reviewed in April and May 1869, but again rejected. Both Gregg and the dean, Arthur Edwards, supported Burges, and moved the decision from the general committee to a select vestry sub-committee. Webster continued to object, but the modified designs were finally approved. Interior Plan and elevation The cathedral's plan is conventional; the west front is opened by three entrance doors leading to the nave, with internal vaulting, arcade, triforium and clerestory, rising to a timber roof. Beyond the nave, the pulpit, choir, bishop's throne and altar end in an ambulatory. The small floor plan drew criticism both at the time and in later years. The building is relatively short at 180 feet, but contains all of the traditional elements of a larger cathedral. A contemporary critic, Robert Rolt Brash, wrote, "the effect of this is to make the building look exceedingly short, and disproportionately high". Although modest in size, the compact design makes the most of the small footprint. The three spires allow the illusion of greater interior space. Main features Burges designed most of the interior, including the mosaic pavement, the altar, the pulpit and bishop's throne. The narrow and unusually high marble nave, from red and puce stone, is supported by large columns supporting the central tower and spire. The exterior gives the impression of a large structure, which is at odds with the reduced size of the interior, where the choir, sanctuary and ambulatory take up almost half of the floor space. The interior is filled with colour, most especially from the stained glass windows. This aspect of the interior is in marked contrast to the uniform and austere grey exterior. The cylindrical pulpit is near the entrance and was completed in 1874, but not painted until 1935. Like the baptismal font, it is placed on four sculpted legs. It contains five stone relief figures, assumed to be the four evangelists, and Paul the Apostle sitting on an upturned "pagan" altar, and a winged dragon below the reading stand. The baptismal font is near the entrance. Its ledge is decorated with a carving of the head of John the Baptist. The font's bowl is of Cork red marble, and supported by a stem, also red marble, a marble shaft of sculpted capitals, and an octagonal base. Brass lettering reads "We are buried with Him by baptism