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, and is of peculiar interest, since it is a record of many features now entirely removed.  The early reredos appears still in its place, but the upper portion of it is gone.  This was a gallery which was accessible from either triforium, across which boys early in the century used to run races by starting up the staircase in one aisle and down that in the other.  The absence of the gallery in the drawing shows that it was made after 1829, the year in which the gallery was removed.  The “glory” which was added to the reredos during the eighteenth century appears just above the altar.  On the south side of the choir are some spectators in the gallery above the stalls.  There were also at this time other galleries on the north and south of the sanctuary, and above the arch on the east side of the north arm of the transept was a gallery too.  To this last there was access from the staircase that led to the chamber above the east chapel of the transept close by.  These drawings show what the interior of the church was like up to the time when that extraordinary revival of activity in matters ecclesiastical began in the nineteenth century.

  [25] See illustrations, pp. 33 and 125.
  [26] Supposed to be by Carter, an architect of Winchester.

Like other churches, that at Chichester felt the sting of controversy in unnecessary vandalism.  But it may be admitted that destruction, like a storm, carried at least some virtue in its clouds.  In attempting to sweep away the accumulated refuse heaped within the building, some precious things fell before the broom of zealous furnishers, and were lost for ever in the dust raised by this new cleansing dream.

[Illustration:  THE NAVE, ABOUT 1836. From Winkles’s Cathedral Churches.]

The removal of the gallery above the old fifteenth-century reredos in 1829 was the beginning of a serious attempt to repair, restore, and reanimate the fabric.  This revival of faith began to try to do good works—­but not always with discretion, not always with knowledge, wisdom, and taste.  Here was rash ardour, often without the hesitation of true reverence.

[Illustration:  THE RETRO-CHOIR AND REREDOS, ABOUT 1836. From Winkles’s Cathedral Churches.]

It is certain the building was not all it should have been when these works were begun; it is not what it might have been had some of them been deferred.  Consequently any illustrations which show its condition before the middle of the nineteenth century are of 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.”