lled in to deal with the spire
in 1813-1814, and under his direction the "useful piece of machinery"
which had been put there by Wren was "taken down and reinstated." In
his "Life of Wren" an illustration is given of the device, which he
had carefully examined and measured. He describes it thus:

"To the finial is fastened a strong metal ring, and to that
is suspended a large piece of yellow fir-timber eighty feet
long and thirteen inches square; the masonry at the apex of
the spire, being from nine to six inches thick, diminishing
as it rises. The pendulum is loaded with iron, adding all
its weight to the finial, and has two stout solid oak
floors, the lower one smaller by about three, and the upper
one by about two and a quarter inches, than the octagonal
masonry which surrounds it. The effect in a storm is
surprising and satisfactory. While the wind blows high
against the vane and spire, the pendulum floor touches on
the lee side, and its aperture is double on the windward: at
the cessation, it oscillates slightly, and terminates in a
perpendicular. The rest of the spire is quite clear of
scaffolding. This contrivance is doubtless one of the most
ingenious and appropriate of its great inventor's
applications."

About 1814 T. King made a plan of the whole building and several
drawings of the church as it then appeared. One of these [25] shows
some carefully copied specimens of the decorations on the vaults. The
engraving was published in 1831, and on it is the statement, "Painted
1520. Erased 1817." Another drawing showed the interior of the choir
looking west. In this was represented in careful detail the design of
the eastern elevation of the organ-case and the "return" stalls
against the Arundel screen. It also shows the original iron gates in
the archway, which pierced the screen in the centre below the organ,
and formed the entrance to the choir. These gates were evidently
copied in design from the thirteenth-century iron screen that
protected the sanctuary, part of which is now in the Victoria and
Albert Museum. In the distance the decoration on the nave vaulting is
lightly indicated. There is also an original drawing by T. King in the
possession of the Chapter, which gives a view looking eastwards.
Another drawing [26] which was made some time after 1829 shows the
choir looking east towards the reredos. It is a careful study