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.
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.