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 the stones composing it had been carefully numbered, with the intention that it should be rebuilt in a new position.  But although these materials are still wantonly distributed about the cathedral and precincts, no attempt has been made to use them again, either as a screen or as an evidence to show by contrast that the result has justified the change.  Its removal was the beginning of a series of alterations, both by accident and design.  The old reredos, that quiet and beautiful witness of things so sacred and some so profane, was torn away.  The whole of the choir was to be rearranged.  But when the piers of the central tower were exposed by the removal of the screen, it was discovered that they were in a precariously rotten condition at the core.  Other indications of weakness, which had been overlooked before, were now observed.  Large and deep cracks and various earlier signs of apprehended weakness both in arches and piers were remarked.  That the work now begun had given impetus to the fall has been denied on excellent authority, and to discuss such a question at this time is useless.  The serious trouble now was that the whole tower with the spire was rapidly settling on its base.  Every method that could be used was tried in order to save the piers.  They were propped up with shores, and the arches held up with centres, while new masonry was bonded into the older work.  But the labour availed nothing, for towards the end of the year 1860 matters had developed seriously.