of randomly arranged brown, pink and mauve Brisbane tuff stone from the O’Connelltown Quarry in the (now) suburb of Windsor, while the interior is primarily dressed sandstone (Helidon freestone) from Helidon near Toowoomba. The granite and basalt used in the foundations and at the base of the columns came from Harcourt and Footscray in Victoria and the sandstone for the window dressings, doorways and arcading came from Pyrmont, New South Wales. The initial architectural impact is achieved via its lofty ceilings, tall and delicately proportioned columns and low level lighting. The architects achieve a layering effect through the masking of external walls via colonnades (a colonnade denotes a long sequence of columns joined by their entablature which is the superstructure of mouldings and bands which lies horizontally above the columns) often free-standing. The interior (by Frank Loughborough Pearson) reflects liturgical arrangements favoured by the Oxford movement from the 1840s. The design of the central nave toward the east end was reworked by Frank Pearson (1898–1904). He lengthened the nave and exchanged the lancet windows in the north transept for a rose window, simplified the details of the east end and omitted much of the cathedral's internal decoration to meet financial constraints. The north and south aisles, representing a bird's folded wings, are separated from the nave, or body, by Pearson's slender piers. The nave terminates at the crossing. The central tower rests on four large piers and is directly above. The north and south transepts (the transverse part of a cruciform church, crossing the nave at right angles) representing outstretched arms are to the left and right and the most sacred part of the cathedral is ahead. In many respects, the architecture of St John's resembles the great Cistercian abbey churches of 12th and 13th century Europe. The Cistercian monks believed that church architecture should be simple and utilitarian and also preferably made of stone, relying for its effects upon simple elegance of design, noble proportions and the natural qualities of the materials. This can be seen in St John's in the atmosphere of the building created by the mass of stone pillars, ceilings and arches, the quality of the sandstone and the basic simplicity of the design and, apart from the west front, minimal ornamentation. According to Cleary, Pearson's elevated choir symbolically marks the passage from the secular nave into the higher and more holy choir. Here the clergy