The #Altar# was presented by the late Mr. J.F.  France, and is made of oak.  Some of the frontals are very elaborate examples of modern embroidery.

The #Pavements# are composed of many specimens of various coloured marbles.

The #Stalls# are those which have been in use since the fourteenth century.  All the furniture of the choir had been removed for safety before the fall of the tower and spire:  but the bishop’s throne (9) and the stalls for the dean and precentor have been added since that time.

The #Candelabrum# which hangs from the vault was presented by Lady Featherstonhaugh and two other ladies, in the eighteenth century.

The #Iron Grilles# which screen the eastern part of the choir from the aisles are good examples of simple modern ironwork copied from old examples; they were made in Chichester by Halsted & Sons.

[Illustration:  THE MODERN ALTAR AND REREDOS.]

The #Organ# was placed on the north side of the choir after it had been removed from its earlier position on the Arundel screen; and in 1888, when it was largely remodelled, a new oak case was designed for it.  It was made originally by Harris in 1678, and had then only one manual and no pedals; but between this date and the last alteration, it had already been enlarged no less than at six different times.

As the choir stalls are immediately under the crossing, above which rises the new central tower and spire, they are a convenient place from which to examine the work of restoration.  The new work represents as nearly as possible all that was there before the collapse of the old piers and arches.

In the #South Transept# the most important feature is the beautifully designed stonework of the tracery in the south window; but this may be seen better from the cloisters, as the crude vulgarity of the bad painted glass makes it difficult to examine it from within the building.

The #Sacristy# (10), now used as a choir school and vestry, is a large vaulted chamber, lighted on the south side by six small windows (see page 87).

The #Chapel of S. Pantaleon# (11), on the east side of the transept, still retains the old piscina in the south wall; but it is used now as the vestry for the dean and canons.

The vaulting ribs in the part of the transept between this chapel and the sacristy are carved like those in the last bay of the presbytery next to the lady-chapel, and are of the same date.  They appear to be part of the work done during Bishop Gilbert Leophardo’s episcopate.

The #Pictures# by Bernardi on the back of the choir stalls (see illustration, p. 113) represent Ceadwalla and Henry VIII. granting and confirming privileges to the bishops of their day.  The portraits of the bishops of the see from Wilfrid to Sherborne are in the north transept.