The Organ was rebuilt in 1894 by Hill and Son at a cost, including the case, of £4,400, and at the expense of the late Mr. W.H. Foster of Witley, Surrey, though his name, at his own wish, remained undisclosed during his lifetime. The action is now controlled by electricity.
The Great, Swell, Solo, and Pedal Organ (except the two stops Bourdon and Bass Flute of the last) are placed in four bays of the north triforium of the nave; the choir organ and the two Pedal stops are in the first bay of the north aisle, and the Console in the second bay behind the stalls. There are 68 speaking stops and 4,453 pipes as follows:
| Portion | Stops | Pipes |
| Great Organ (Compass CC to C in Alt.) | 17 | 1,342 |
| Choir | 11 | 671 |
| Swell | 17 | 1,330 |
| Solo | 11 | 720 |
| Pedal (Compass CCCC to F) | 12 | 390 |
The Canopied Reredos or Baldachino was given by the eight surviving children of Dean Saunders as a memorial of their parents. The retable was given by the Old Boys of the King's School. The reredos is a magnificent erection, and renders the east end of this cathedral one of the most dignified in the kingdom. The daïs on which it stands is thirteen feet square, and the summit reaches to the height of thirty-five feet. Four large marble columns stand at the corners, from the capitals of which spring cusped arches, the spandrels being enriched with mosaic; while at the angles, above the columns, are figures of the Evangelists in niches. The large central panel in front has the figure of Our Lord; at the back is S. Peter. The material is Derbyshire alabaster; the work was executed by Mr Robert Davison, of London.
The Mosaic Pavement, also the work of Mr Davison, was the gift of the late Dean and Miss Argles. The following description of it is from the pen of Mr Davison.
"Passing into the choir from the west, the pavement between the stalls is of tesselated Roman mosaic, in an effective geometrical pattern of squares, and oblongs of red, green and white marbles. The first bay of the chancel is also in Roman mosaic, but of more elaborate design, the central portion being a framework of interlacing cream bands, forming diamond shaped panels alternating with circles, the centres of these panels being varied reds and greens; the framework surrounds four large panels of Pavonazzo d'Italie, each in six slabs. This is a beautiful marble of feathery purple grey veinings on a creamy white ground. This central part is flanked on each side by a broad band of the same Pavonazzo, which separates it from the large side panels of a bold design of squares of red, green and cream placed diagonally, interlaced by white bands; upon these panels stand the pulpit on the north side, and the bishop's throne on the south. This bay is approached from the choir by the first marble step which is in Frosterley, a marble with beautiful madrepores of light colour on a dark ground. The next bay is of similar design to the first, but is approached by two steps of Levanto marble of reddish brown tint with small veinings of white. The third and fourth bays are in a marble mosaic called Opus Alexandrinum, composed of various rich marbles of brilliant reds, greens, greys, yellows, and creams, divided into the main design by bands of Pavonazzo. The design of the third bay is divided into three equal panels, in the centre of which are four large slabs of Cipolino, a charming marble of a light green tint in broad wavy lines on a lighter ground, which are framed in by a combination of small panels of mosaic of varied rich patterns of triangles and squares, which are again enclosed by a broad border of mosaic of white squares on a ground of light green Vert de Suède. The step up to this bay, and also the step to the next and to the altar pace, all of which stretch the full length of the chancel, as well as the three steps to the altar daïs, are in carefully selected Pavonazzo. The design of the fourth bay is a system of interlacing bands, forming alternately large and small octagons, between which are squares and oblongs. The small octagons are rich plaques of marble, while the large ones are divided radially into eight panels. All these parts are filled with mosaic of varying patterns and colours. At each end of this bay is a long panel of overlapping circles, filled in with rich mosaic. The panel on the altar pace and the three panels on the altar daïs are in the same mosaic, each of a different design; the long plaques of marble in the upper panel are red and green of rich dark marbles. The two panels at the side of the daïs are in opus sectile, a design of hexagons of Pavonazzo, with diamonds of Vert des Alpes between them. The broad band of red, the whole length of the chancel on the outsides of the pavement, is of Levanto marble, forming a finish to the work."
The Screens, enclosing the four eastern bays of the choir, were given as a public memorial to Dean Argles. They are of very admirable wrought-iron. The same may be said of the choir gates. The former are the work of White & Son, of London; the latter of Singer & Son, of Frome. The short pillars that support the choir gates, and the unrelieved backs of the returned stalls, have at present the unsatisfactory appearance of all unfinished work. A drawing of the complete design is exhibited in a frame on an adjacent pillar.
The single ancient object among the fittings in the choir is the brass eagle Lectern. This was given to the monastery by William Ramsey, Abbot, and John Malden, Prior; it is consequently of late fifteenth century date. An inscription recording the names of the donors, in two Latin lines, was engraved round a projection in the middle of the stem. Centuries of hard scouring have obliterated this; but the upper and lower ends of most of the letters can just be traced. An expert can satisfy himself that the inscription as preserved by Gunton is practically correct. It seems to have been this, though it is not possible to vouch for every letter.