f interest and value
to those who would know what changes have been made.

In Winkles's essay on Chichester, in his "Cathedrals of England,"
published between 1830 and 1840, are many beautiful drawings of the
fabric. There is one which shows the Arundel screen still in its
original position with the organ above it; and in another the complete
design of the back of the reredos appears. These careful studies of
the building, which were made before it became so changed by the
removal of its best remaining treasures, help to convey some idea of
what the place was before it was so radically "restored."

None of the drawings, however, show any of the beautiful decorations
of the vaults, for all this had been smeared over with a dirty yellow
wash about 1815, which earned for the church the name of "the leather
breeches cathedral." And when, later, the plaster on the stone-filling
between the ribs was removed, the paintings were utterly obliterated
for ever, excepting only the small portion remaining in the
lady-chapel bearing the Wykeham motto upon a scroll. But this recital
is but a prelude to the changes that were to follow. The energy of
revival found expression in many ways, and English architecture
suffered sorely at the hands of ardent ignorance. But the very desire
to deal well with the fabrics of our churches that were to be repaired
taught men to study closely the facts of archaeology. The studies had
a practical end, and at Chichester they found their opportunity in the
cathedral.

But first a new church of S. Peter was built in West Street in 1853,
so that the north arm of the transept should no longer be used as it
had been for about four hundred years. Then not long afterwards Dean
Chandler, at his death, left a large sum to be used for the purpose of
decorating the cathedral. To this sum other funds were added. The need
that more space should be provided for the congregation arose, and to
satisfy this it was decided that the choir should be opened out to the
nave. Consequently, in 1859 the work of decoration was begun by the
removal of the Arundel screen with the eighteenth-century organ above
it--one of the most beautiful remnants of the art of earlier days that
remained in the cathedral. The object of this act was most admirable,
but it involved in addition the destruction of the fourteenth-century
"return" stalls which were on the eastern face of the doomed screen.
In taking down the screen, or shrine, all