Bell's Cathedrals: Chichester (1901)

gned. There is an evident restraint, almost severity, to be felt in studying the exquisite proportions of its parts. It does not exhibit the massive force and strength of Durham; but the rigid

ve were removed; and so since that date Chichester has been the only cathedral in England which has what

e attached vaulting shafts. They support the transverse ribs of the stone vault; and from their carved Purbeck marble capitals spring also the w

he round arch again occurs with two smaller sub-arches of similar shape. In the nave these were not altered after the second fire; but the clerestory above was much changed in character. The central arch of the three remained semicircular, but the side on

nd aumbry remain near where the altar had been placed. The latter chapel has now been restored in memory of Bishop Durnford (see page 121). Mr. G.F. Bodley, A.R.A., and Mr. T. Garner were the architects who designed the new work. The old wall arcade is now again used as part of the reredos. The figures under the arches are-in the centre S. Clement, on the south S. Anselm, and on the north S. Alphege. In the quatrefoils above are figures of two angels bearing in their hands shields, on which are re

om the south porch, which gives acce

to the south arm of the transept leads to the Bishop's Consistory

een a secret Treasury. It is approached through the muniment-

e south side. Towards its western end is

d the arch-moulds of the north-western window, some of the colour decoration of which so much remained until the nineteenth century. The space in the north wall shows where the aumbry used to be. The small remnants of the division wall at the east are some slight indication of what the design of the arcading on this wall was before it was destroyed. In the next chapel, that of t

Walker. It was designed by Mr. T. Garner. At the point where the arms of the cross meet is a figure representi

. It is very elaborately carved, and is made of Caen stone and Purbeck marbl

the church as a memorial of Richard

f an old one in the church at Shoreham. It was the

ed from bad usage, and in most instances they do no

e chapel of the Four Virgins, as a memorial of Collins (3), the poet, who was a native of Chichester. The two recumbent figures under the arch leading into this same chapel are said to be those of Richard Fitz-Alan, Earl of Arundel, and his wife (4). It was restored by Richardson. Fitz-Alan was beheaded in 1397. Some say that these two figures were removed from the chapel of the monastery of the Grey Fri

towards the face. On each of the long sides of the base supporting the figure are six elongated quatrefoil panels, containing in all six female figures and six shields. Between the quatrefoils are winged heads of ten angelic figures. The blazoning of the shields is entirely gone, and the brilliant colouring that once covered the entire monument is only to be traced in a few places. The outer robe still shows some signs of the rich blue with which it used to be covered. The face of t

ge

igned 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 wi

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 mem

ppearance now from what they were, as will be seen by

y considered that it is not at all in keeping with the character of the building, and there is some

ance, and is made of oak. Some of the frontals

ed of many specimens of

of the choir had been removed for safety before the fall of the tower and spire: but the b

was presented by Lady Featherstonhaugh and

the aisles are good examples of simple modern ironwork copied f

888, 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 on

d spire, they are a convenient place from which to examine the work of restoration. The new work r

e tracery in the south window; but this may be seen better from the cloisters, as the crude

vestry, is a large vaulted chamber, lighted on t

transept, still retains the old piscina in the south wall

ed like those in the last bay of the presbytery next to the lady-chapel, and are of the sam

t Ceadwalla and Henry VIII. granting and confirming privileges to the bishops of their day.

ceptacle in which S. Richard's head was preserved in a case of silver. This is mentioned in William de Tenne's will. On the other side is the old piscina. The paintings in the panels by Miss Lowndes represent, on the north side (i) S. Richard celebrating the Eucharist in S. Edmund's Chapel, (ii) the same bishop preaching, and (iii) his death; on the south, (i) Mary anoints our Lord's Feet, (ii)

shafts of the same material. They are united only at the base and by the abacus above the capitals, which are beautifully carved (see page 16). The main arches in the two bays are not pointed, but round, like those in the nave and choir; but, unlike the latter, they have deeply cut mouldings in three orders. The triforium arcade above, on the n

rt to these arches in the centre, is a group of shafts instead of only one column. The clerestory, however, offers a greater contrast to the earlier work in that the centr

s approached on its eastern side by steps, and was enclosed by iron grilles. The platform was removed at the time of the ge

in colour. The windows now are the only parts that indicate an attempt to renew this portion of it

h are referred to separately. The now unused chape

hapel of S. John the Baptist and S. Edmund the King (13) until it became the chancel of the parish church of S. Peter the Great, the north transept being used as its

; a manuscript of the twelfth century; Cranmer's copy of the "Consultatio" of Herman of Cologne; an old Sarum missal; the sealed boo

d the chamber above it. The vaulting of this transept is not the same in detail as that to the south of the choir, and is rather earlier in the type of its mouldings

p Richard de la Wych. The two panels in relief (17), in the south aisle of the choir are works of about the twelfth century (see page 105). It is supposed that originally they were brought to Chichester from Selsea. They were discovered in 1829 hidden in the wall behind the woodwork of the stalls in the choir, and were subsequently placed in their present position. The subject of the one nearest to the transept is the "Raising of Lazarus," and of the other, "Our Lord with Mary and M

n which may be traced the lines of some decoration which once ornamented some memorial. Upon the floor below is the memorial of Bishop Ralph (21), the builder of the first portions of the cathedral. Close by is a large wall tablet in memory of Bishop Thomas Bickley. It is a design of the seventeenth-century period, and is interesting of its kind. Under the arch on the north side of the presbytery, opposite Day's tomb, is that of Bishop Christopherson or Curteys (22), and against the wall of the aisle near the chapel of S. Catharine is a curious marble slab with some carving upon it. It represents two hands, with parts

stitute. The only really good window in the building is that at the east end of the south choir aisle in S. Mary Magdalen's chapel. It was designed by Mr. C.E. Kempe. The glass in the lady-chapel windows i