of S. Richard.  In many old prints its character is represented, and Dallaway gives some dimensions of it in the long section he shows of the church as it was before the reredos was removed (see page 2).  The feretory no doubt had a reredos at this point, but what the type of this earlier arrangement may have been it is impossible exactly to tell.  But the work which took its place was evidently beautiful, as the many remains still in existence prove to those who may examine them.  Walcott [11] gives some interesting details concerning this work.  From the representations, descriptions, and remains of it, it may be gathered that the whole was much carved, niched, and canopied, and decorated in colour; and there is a note extant showing that Lambert Bernardi in the sixteenth century repaired “the painted cloth of the crucifix over the high altar.” [12] This reredos had a gallery across the top of it, from which the candles on a beam over the altar could be lighted and a watch kept over the precious jewels in S. Richard’s shrine.  The whole screen was made of oak, and those old sketches and drawings, or prints, of it still preserved, help dimly to show what had been its character.  An old letter in the British Museum refers to it as having the finest “glory” above the high altar “we have ever seen.”  But this so-called “glory” was an eighteenth-century production.  Much of the reredos is still hidden away unused in the chamber over the present library of the church, and since its first removal it has travelled as far as London in search of a friendly purchaser.  In the chapter on Chichester in Winkles’s “Cathedrals” a view in the “presbytery,” dated 1836, [13] shows the reredos still in its place where it remained till after the fall of the spire.  There are in existence two drawings of considerable interest. [14] One of these shows the east end and the other the west end of the choir as it was about the beginning of the last century (c. 1818); the other indicates what were the changes made after 1829, when the altar was set back six feet farther eastward.  The latter was taken from a water-colour drawing supposed to have been made by Carter, an architect of Winchester.

[10] Walcott, p. 16. [11] “Early Statutes.” [12] Walcott, p. 23, note a. [13] See page 45. [14] See drawings in vestry of cathedral.

Other minor works were added during the fourteenth century, but to few of these can any exact dates be assigned.  The parapets to the north and south wall of the nave, the choir, and lady-chapel, and the painted oak choir-stalls were some of those additions.

In the fourteenth century we meet many changes in the treatment of the windows.  They became larger; they were themselves very treasuries of design, and this not only for the stonework of their tracery, but also for the very beautiful glass with which they had been filled.  Their outer arches are more varied in shape, more rich in moulded detail, and the entire character of the curves of the moulded forms had been developed and made more delicate than the stronger and deeper-cut types from which they were derived.  Two causes had apparently urged the builders to exert their capacities and apply their increasing technical skill to compass the aims proposed to them.