“If Chichester Church steeple fall
In England there’s no King at all.”
The rebuilding was entrusted to Sir Gilbert Scott with a stipulation that the new tower and spire should be exact reproductions of the originals. Scott, however, added six feet to the height.
“The central tower, which is battlemented, with octagonal turrets at the angles, also battlemented, has in its principal or second story, two couplets in each face, with a quatrefoil in the head, each under a pointed arch. The spire is of beautiful design, octagonal; in each face is a window of two lights, flanked by pinnacled turrets, crocketed and canopied. Its elegance has constantly led to its being compared with that of Salisbury, which, however, differs from it in age and many other particulars, as well as size. It forms not only the central but the principal feature of the church, all whose lines are designed to work in with it, a very perfect effect of unity, as at Salisbury, being attained. It is locally said that the master built Salisbury and the man, Chichester.”—(W. J. L.)
The West Front is composed of three stories, a gable, porch and two towers. The northern tower is modern, copied from its twin, which is Early English above the third story. The great West Window is modern, copied from Fourteenth Century examples. The central porch (Early English) is of the same date and character as the south porch, which opens into the cloisters. The north porch (Early English) lies between the aisle and the north-west tower.
The north wall of the nave has some curious buttresses. In the south transept notice a richly traceried window (Decorated), of seven lights, with a beautiful rose window above. A trefoiled string-course ornaments the parapet in the transept and choir. The East Window consists of three lancet windows, with a rose window of seven foliated circles of the choir in the gable; it is flanked by arcaded pinnacles with small spires.
The first view of the interior of Chichester is somewhat severe.
“On entering the nave the eye is at once caught by the five aisles, a peculiarity shared by no other English cathedral but that of Manchester, although some parish churches have it on a smaller scale, as Taunton and Coventry. On the Continent the increased number of aisles is common, witness Beauvais, Cologne, Milan, Seville, and seven-aisled Antwerp. Grand effects of light and shade are produced by these five aisles: remark especially the view from the extreme north-east corner of the north aisle, looking across the cathedral. The great depth of the triforium shadows is owing to the unusual width of this wall passage. The breadth of the nave (91 feet) is greater than that of any English cathedral except York (103 feet).
“The first two stories of the south-west tower at the end of the nave deserve examination. The rude, long capitals, and plain circular arches, probably indicate that it formed a part of the first church completed by Bishop Ralph in 1108. The nave itself, as far as the top of the triforium, and the two aisles immediately adjoining, are the work of the same Bishop (died 1123),—or should perhaps be described as having formed part of the Norman cathedral completed in 1148. The clerestory above, and the shafts of Purbeck marble which lighten the piers, are Seffrid’s additions (died 1204). The vaulting is perhaps somewhat later; and it was because it was determined, after the burning of 1187, to replace with a stone vault the wooden roofs to which the frequent fires had been owing that Seffrid carried up his vaulting-shafts along the face of the Norman piers, some of which he re-cased. The two exterior aisles, north and south, were probably added by Bishop Neville (died 1244), when it became necessary to provide additional room for chantries and relic shrines. The positions of the various altars are marked by piscinas and aumbries in the walls. The two, however, occur together in the south aisle alone; in the north are aumbries only, an arrangement possibly resulting from the feeling with which that quarter was always anciently regarded. A certainly triplicity pervades all this part of the cathedral, which was dedicated by Bishop Seffrid to the Holy Trinity. The side shafts are triple throughout. The bearing-shafts of the vaulting are clustered in threes, and branch out with three triple vaulting-ribs above. The transitional character of Bishop Seffrid’s work is especially marked in the clerestory, the inner arcade of which is pointed, whilst the windows themselves are round-headed.”—(R. J. K.)
The nave is full of monuments and tablets, some of which are by Flaxman. The one in the Chapel of the Four Virgins (north side) is a memorial to Collins the poet. Near it are the two figures of the Earl of Arundel and Maud, his wife. Arundel was beheaded in 1297. He is represented in full armour and at his feet is a lion.
“The most beautiful monument now remaining in the church is that which is said to represent Maud, Countess of Arundel (1270). The modelling of the whole figure and the long flowing lines of her robes are worthy of careful study. 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