Close to this effigy, but in the aisle farther to the east, and on the north wall, are two admirable memorial tablets which were designed in the eighteenth century. One is in memory of Dean Hayley and his wife (6), and the other in memory of Henry Baker and his wife and their only child (7), who, by comparison with the other tablet, appears to have been a second wife of the same Thomas Hayley. Close to the porch in the south aisle is the only complete old brass in the building (8). It is dated 1592, and records the fact that "Mr. William Bradbridge" was "thrice Maior of this Cittie," and "had vi sonnes & viii daughters." The other monuments in the nave are those of Matthew Quantock, Dean Cloos, Bishop Arundel, and William Huskisson, sometime member of Parliament for Chichester. One on the south side of the west porch is Bishop Stephen de Berghstead's, and the other opposite on the north is a work of the fifteenth century. The #Choir and Sanctuary#--These are very different in appearance now from what they were, as will be seen by reference to the chapter on the history of the fabric. The #Reredos# was designed by Messrs. Slater & Carpenter, and has never been completed. It is generally considered that it is not at all in keeping with the character of the building, and there is some hope that it may be one day removed. The subject of the figure-work in the panel is "The Ascension." 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.