"To the finial is fastened a strong metal ring, and to that is suspended a large piece of yellow fir-timber eighty feet long and thirteen inches square; the masonry at the apex of the spire, being from nine to six inches thick, diminishing as it rises. The pendulum is loaded with iron, adding all its weight to the finial, and has two stout solid oak floors, the lower one smaller by about three, and the upper one by about two and a quarter inches, than the octagonal masonry which surrounds it. The effect in a storm is surprising and satisfactory. While the wind blows high against the vane and spire, the pendulum floor touches on the lee side, and its aperture is double on the windward: at the cessation, it oscillates slightly, and terminates in a perpendicular. The rest of the spire is quite clear of scaffolding. This contrivance is doubtless one of the most ingenious and appropriate of its great inventor's applications." About 1814 T. King made a plan of the whole building and several drawings of the church as it then appeared. One of these [25] shows some carefully copied specimens of the decorations on the vaults. The engraving was published in 1831, and on it is the statement, "Painted 1520. Erased 1817." Another drawing showed the interior of the choir looking west. In this was represented in careful detail the design of the eastern elevation of the organ-case and the "return" stalls against the Arundel screen. It also shows the original iron gates in the archway, which pierced the screen in the centre below the organ, and formed the entrance to the choir. These gates were evidently copied in design from the thirteenth-century iron screen that protected the sanctuary, part of which is now in the Victoria and Albert Museum. In the distance the decoration on the nave vaulting is lightly indicated. There 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