The Chapel of St. Columba, (17 on plan), designed by Messrs. Heins & LaFarge, is in the Norman style of _Architecture_. It is 50 feet long and 27 wide, seats 100 persons, and cost about $150,000. The interior walls are of Minnesota dolomite, separated from a base course of polished Mohegan granite by a moulding of yellow Verona marble. The pavement is a fine grained gray stone from Illinois. The semi-circular arched window heads, and particularly the six large cylindrical pillars diversified by spiral and diaper patterns, convey the idea of the Norman style which one sees exemplified on a larger scale in Durham Cathedral and other churches of that period in England. The vaulting over the _Sanctuary_ is lined with gold mosaic, upon which appear black and white Celtic crosses. The lectern, communion rail, Glastonbury chairs, and other wood work of the Sanctuary were designed by Mr. Charles R. Lamb and made by J. & R. Lamb of New York. They are carved in low relief with ornament expressive of English Gothic feeling. The lectern shows a composition of three figures: Christ in the center, between John the Baptist, his Forerunner, and St. John the Divine, namesake of the Cathedral, who closes the biblical record with the Book of Revelation. The _Altar_, of cream colored Italian marble, is in the form of a table supported by marble pillars. It has no _Reredos_. The _Sanctuary Windows_, three in number, were made by Messrs. Clayton & Bell of London. In the central light of the window above the Altar is represented the baptism of Christ by John the Baptist, and in the side lights are St. John with cup (left), and St. Paul with sword, (right.) In the bottom of the three lights are the four symbols previously explained (p. 74), namely, the ΙΗϹ, the Alpha, the Omega, and the Chi Rho. The windows on either side of the middle window are in grisaille, copied from the famous lancet windows called the Five Sisters in the North Transept of York Cathedral, although these windows have only two lights each instead of five. The six wonderfully graceful seven-branched _Candelabra_, after Donatello, were brought from Italy by Mr. George Gordon King. Turning toward the entrance, in which is a wrought iron _Screen_ in the Spanish style, designed by Mr. Samuel Yellen and made by the Industrial Ornamental Iron Works of Philadelphia, Penn., one sees an extremely interesting feature in the _Statues_ by Mr. Gutzon Borglum of representatives of the successive stages of the development of Christianity in England, which stand in the niches between the clustered columns at the sides of the great entrance archway.[42] The figures, five on each side, one above the other, and corresponding to as many on the Ambulatory side,—twenty in all,—are in the following relative positions, it being understood that the left side as seen from the chapel is the same as the right side as seen from the Ambulatory. _Seen from Chapel._