opposite on the north is a work of the fifteenth century.

The #Choir and Sanctuary#--These are very different in appearance now
from what they were, as will be seen by reference to the chapter on
the history of the fabric.

The #Reredos# was designed by Messrs. Slater & Carpenter, and has
never been completed. It is generally considered that it is not at all
in keeping with the character of the building, and there is some hope
that it may be one day removed. The subject of the figure-work in the
panel is "The Ascension."

The #Altar# was presented by the late Mr. J.F. France, and is made
of oak. Some of the frontals are very elaborate examples of modern
embroidery.

The #Pavements# are composed of many specimens of various coloured
marbles.

The #Stalls# are those which have been in use since the fourteenth
century. All the furniture of the choir had been removed for safety
before the fall of the tower and spire: but the bishop's throne (9)
and the stalls for the dean and precentor have been added since that
time.

The #Candelabrum# which hangs from the vault was presented by Lady
Featherstonhaugh and two other ladies, in the eighteenth century.

The #Iron Grilles# which screen the eastern part of the choir from
the aisles are good examples of simple modern ironwork copied from old
examples; they were made in Chichester by Halsted & Sons.

[Illustration: THE MODERN ALTAR AND REREDOS.]

The #Organ# was placed on the north side of the choir after it
had been removed from its earlier position on the Arundel screen; and
in 1888, when it was largely remodelled, a new oak case was designed
for it. It was made originally by Harris in 1678, and had then only
one manual and no pedals; but between this date and the last
alteration, it had already been enlarged no less than at six different
times.

As the choir stalls are immediately under the crossing, above which
rises the new central tower and spire, they are a convenient place
from which to examine the work of restoration. The new work represents
as nearly as possible all that was there before the collapse of the
old piers and arches.

In the #South Transept# the most important feature is the
beautifully designed stonework of the tracery in the south window; but
this may be seen better from the cloisters, as the crude vulgarity of
the bad painted glass makes it difficult to examine it from within the
building.

The #Sacristy# (10), now used as a choir schoo