THE INTERIOR.
The #Nave# of Chichester, compared with that of other cathedrals,
possesses several peculiar characteristics. It has a beauty apart from
others in the quiet simplicity with which it has been designed. 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 power in the square piers
of the arcades is stern compared with the more subtle variations of
light and shade produced by the curved surfaces of the circular piers
either at Ely or Peterborough.
During the Reformation period the divisions between the several
chapels to the north and south of the nave were removed; and so since
that date Chichester has been the only cathedral in England which has
what may be called five aisles, and it is wider than any other,
excepting York, being ninety-one feet across.
The central space, or nave proper, is divided into eight bays
throughout its length. The vertical lines which mark these divisions
are the triple attached vaulting shafts. They support the transverse
ribs of the stone vault; and from their carved Purbeck marble capitals
spring also the wall and diagonal ribs. A Purbeck string-course in
each case separates the triforium gallery from the arcade below and
from the clerestory above.
[Illustration: THE NAVE, LOOKING EAST. _Photochrom Co., Ltd., photo_.]
The nave arcades have round arches. The fine stone facing of the piers
toward the nave, the small columns in the jambs, the vaulting shafts,
and the moulded outer member of the arches are all additions to the
twelfth-century structure. In the triforium, the 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 ones became pointed in place of the early
round arches. The detached columns, the jamb shafts, and the moulding
of the arches were all altered in detail; and the stone used was of
finer texture, like that with which the piers of the arcade below were
faced.
In the #South Aisle# there is a good view, which extends beyond the
transept into the small chapel of S. Mary Magdalen at the east end, in
which is the only really fine stained-glass window in the church. The
chapel aisle to the south of this, again, is interesting, in that it
still retains some signs of what purposes it served in former days.
The two western bays were originally the #chapel of S. George#.
Those to the east were dedicated as the #chapel of S. Clement#. In
each of these the old piscina and 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 represented the
symbols of the Passion. Behind the altar, which is of oak, is a white
marble re-table. The deeply moulded arch which separates the two
vaulted bays of each of these chapels is carried by some very
beautiful carved capitals. Above them may be seen the square abaci
which are so much used in all the later work in the cathedral. They
are peculiarly a French characteristic, and serve to indicate the
relationship there was between the English and Continental schools of
mediæval architecture.
Beyond this chapel is the doorway from the south porch, which gives
access to the west walk of the cloister.
The doorway on the right in the south aisle next to the entrance to
the south arm of the transept leads to the #Bishop's Consistory
Court# (or Langton's Chapter House), which is now a muniment-room.
The small chamber above the south porch is supposed to have been a
secret #Treasury#. It is approached through the muniment-room, and
has been popularly known as the "Lollard's Prison."
[Illustration: THE SOUTH AISLE FROM THE NAVE. _S.B. Bolas & Co.
photo_.]
The #North Aisle# is similar to that on the south side. Towards its
western end is the entrance door from the north porch.
The north chapel aisle was originally used as three separate chapels
until the divisions between them were removed. The two bays at the
west were the #chapel of S. Anne#; the two next east of this formed
the chapel of the Four Virgins, and the last bay was the small chapel
of SS. Thomas and Edmund. In the first named of these there may still
be seen, in the jambs, the capitals, and 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 the #Four Virgins#, there is nothing to show where the
aumbry or the piscina was. But on the north 'the position of the
arcading on the east dividing wall remains. The #chapel of SS. Thomas
and Edmund# has an arcade on the east wall similar to that in the
chapel of S. Clement. The aumbry is on the north and the piscina on
the south side of the position which the altar used to occupy.
The #Rood-Screen# at the entrance to the choir from the nave was
erected in 1889, and is a memorial of Archdeacon Walker. It was
designed by Mr. T. Garner. At the point where the arms of the cross
meet is a figure representing the "Agnus Dei," and at the extremities
of the cross are carvings of the four-winged figures of the cherubim.
The #Pulpit# was designed by Sir Gilbert Scott, and is a memorial
of Dean Hook. It is very elaborately carved, and is made of Caen stone
and Purbeck marble. The four figures are intended to represent
Matthew, Mark, Luke, and John.
The #Lectern# of brass was presented to the church as a memorial of
Richard Owen, of Chichester, by his daughter.
The #Font# under the south-western tower is a copy of an old one in
the church at Shoreham. It was the gift of Bishop Durnford, as a
memorial of his wife.
The #Monuments in the Nave# have in many cases suffered from bad
usage, and in most instances they do not now occupy their original
places in the building.
The canopied memorial to Bishop Durnford (1), [30] under which is a
recumbent effigy, forms part of the screen between S. Clement's
chapel and the south aisle of the nave. It was designed by Mr. Garner.
There are several tablets in the nave and aisles by Flaxman. The best
are those to the memory of Captain Cromwell's wife and daughter (2),
in S. Clement's chapel, and one on the north side of the nave, in the
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
Friars at the time of the Reformation, and were placed in their
present position in 1843, having been found embedded in the stonework
of the chapel wall close by. The base upon which the figures rest is
modern. The earl is represented in full armour. At his feet is a lion,
and at his head, under the helmet, is a coronet and a lion's head. At
the countess's feet is a dog, and her head rests upon two pillows.
[30] The figures in parenthesis refer to the numbers on the plan at
the end.
The most beautiful monument now remaining in the church is that which
is said to represent Maud, Countess of Arundel (1270) (5). The
modelling of the whole figure and the long flowing lines of her robes
are worthy of careful study. The whole pose and the disposition of the
two angels at the head arranging the pillows, with the two dogs upon
which her feet rest, have been finely conceived and well executed. The
hands are clasped over the breast, with the forearms bent upwards
slightly 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 the figure appears to be badly mutilated, but the
damage to the features has been done principally by an endeavour to
preserve them. A thick coat of plaster had been placed over the face
to protect it from injury, perhaps in the seventeenth century or
earlier, and this was never completely removed. It had become
gradually polished like the material of the figure itself, and so it
remains, with a cut across it to represent a mouth. The remains of the
real face are still hidden beneath.
[Illustration: THE SACRISTY (SEE P. 90). _S.B. Bolas & Co. photo_.]
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.
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.
The #South Aisle of the Choir# is entered from the south transept
under a deeply moulded arch. On the south is the priest-vicars' vestry
(12), and at the east end the #chapel of S. Mary Magdalen#. This
chapel was restored by Messrs. G.F. Bodley, A.R.A., and T. Garner,
architects, in memory of the Rev. T.F. Crosse, who was precentor and
canon of the cathedral. The aumbry in the north wall was the
receptacle 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) The
Crucifixion, (iii) After the Resurrection. The carved and painted
reredos is of stone. Close to this chapel is the doorway into the
church from the east walk of the cloisters; in the spandrels of the
arches, both inside and outside, are the arms of William of Wykeham.
Above it is a window, the glass in which was given by Cardinal Manning
(when Archdeacon of Chichester) in memory of his wife.
[Illustration: THE TRIFORIUM IN THE CHOIR. _S.B. Bolas & Co., photo_.]
[Illustration. DECORATION ON THE VAULT OF THE LADY-CHAPEL, BY TH.
BERNARDI, 1519 (SEE P. 34). (Scale about 4 feet 10 ins. to 1 in).
_H.C. Corletle, delin_.]
The #Presbytery#, Ambulatory, or retro-choir, is the space between
the back of the reredos and the entrance to the lady-chapel. The
design in detail of these two bays is very different in character from
the three in the choir, which are like those in the nave. The two
piers of Purbeck marble are circular, and about them are grouped four
detached 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 north and south sides, has moulded and carved details of a
similar character. Some of the beautifully carved figure-work still
remains in the spandrels between the subsidiary pointed arches. But
the most beautiful piece of design in all this work is in the arches
of the triforium passage across the east wall, above the entrance to
the lady-chapel.
[Illustration: THE PRESBYTERY OR RETRO-CHOIR, LOOKING NORTH-EAST.]
It should be noticed that the sub-arches in the triforium here are
pointed, not round, as in the case of those in the same position
westward of this portion. And the support 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 central arch, as well as the side ones, is lifted up much
higher, the detached columns being lengthened to obtain the
alteration. Each arch also, at this level, is now pointed.
S. Richard's shrine occupied the bay in the presbytery immediately
behind the High Altar. It stood upon a platform which was approached
on its eastern side by steps, and was enclosed by iron grilles. The
platform was removed at the time of the general restoration in
1861-1867, and upon it used to stand also the tombs of Bishop Day and
Bishop Christopherson or Curteys.
The #Lady-Chapel#, as its walls and vaulting clearly show, was once
completely decorated with designs in colour. The windows now are the
only parts that indicate an attempt to renew this portion of its
earlier condition. The new reredos is of alabaster, and was designed
by Messrs Carpenter & Ingelow.
The #North Choir Aisle# contains some monuments which are referred
to separately. The now unused chapel at its eastern end was dedicated
to S. Catharine.
The #Library# is approached through a doorway in this aisle. There
is a chamber above in which was the library of pre-Reformation days.
The present library formed the chapel 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 nave. Part
of the vaulting in it is unlike any other in the building, having the
chevron or zigzag ornament cut on the side of the mouldings of the
ribs (see page 98).
[Illustration: THE LADY-CHAPEL.]
The library collection contains many relics of various kinds: among
them are Oslac's grant of land to the church at Selsea, A.D. 780; a
manuscript of the twelfth century; Cranmer's copy of the "Consultatio"
of Herman of Cologne; an old Sarum missal; the sealed book of Charles
II.; fragments of ecclesiastical vessels; and a leaden "Absolution" of
Bishop Godfrey dating from the eleventh century.
The #North Transept# has on its west side two of the old
twelfth-century round-arched windows, and opposite are the two large
round-arched openings into the library and 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. Close by the south springing of the arch leading to the
library is one of the few pieces of figure-carving in the church. It
is a head full of vigour and character.
The #Monuments in the Transepts and Choir# have been injured and
restored or removed at various times. The large one (14) under the
south window is Langton's tomb and effigy (d. 1336). The new one
nearest to the singing school is a memorial and effigy of Mr. John
Abel Smith, of Dale Park, who represented Chichester in the House of
Commons. On the east wall is another tomb of Tudor date (15), with
niches for sculpture. The tomb next to the back of the choir-stalls
(16) is that of Bishop 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 Martha at Bethany." These are two of the most
interesting relics of earlier days that remain in the cathedral.
Historically and artistically, they are of much value, but at present
no more than has been stated is known about them. Bishop Sherborne's
monument (18) was built during his lifetime, and at his death he
provided for its care by New College, of which he had been a fellow.
It is still well cared for; but with its original decorations it must
have been a very beautiful object.
[Illustration: THE NORTH CHOIR AISLE, LOOKING WEST. _S.B. Bolas & Co.,
photo_.]
Dean Hook, who died in 1875, is commemorated by a monument (19)
opposite Sherborne's. It was designed by Sir Gilbert Scott, and, like
the pavements of the choir, it has in its composition many specimens
of coloured marbles. Much of the detail is executed in mosaic. Under
the arch of the presbytery arcade nearest to the reredos, on the south
side, is Bishop Day's tomb (20). On the south side of the
lady-chapel, close to the entrance, are the memorial slabs of two
early bishops, perhaps Hilary and John de Greneford, beneath the arch
where Bishop Gilbert's effigy was placed. On the opposite side is a
space under an arch in 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 of the arms, supporting a
heart, and the full inscription, now almost gone, was "ICY GIST LE
COEUR DE MAUDDE" ("Here lies the heart of Maud"). It is evidently work
of an early date, but nothing is accurately known of its history,
though it has been assumed that it was made in the twelfth or
thirteenth century (23). To the west of this is a bust of Bishop Otter
(24). In an arched recess in the wall nearer to the library is the
tomb and effigy of Bishop Storey (25). Close to this are two memorials
of the sixteenth century. On the west side of the north transept are
the monuments of Bishops Henry King, Carleton, and Grove.
[Illustration: THE LIBRARY. _S.B. Bolas & Co., photo_.]
The #Stained Glass# in the cathedral is all modern, and most of it
is of the worst possible kind. It is bad in design and crude in
colour, and much of it is not really stained glass at all, but a
painted substitute. 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 is better than most of the rest, and it is
admitted that the worst glass that was ever placed in any cathedral
church by a generous munificence is that which is now in the large
window of the south transept.
[Illustration: THE TOWN CROSS. Built by Bishop Storey, _c_. 1500.
_Photochrom Co., Ltd., photo_.]