THE EASTERN ARM
THE EASTERN ARM (94 ft. long by 24 ft.
wide) is of five bays. The three west bays forming
the sanctuary are part of Bishop Ralph's early 12th-century church, with the repairs executed by Bishop
Seffrid II after the great fire of 1187. A portion of
the foundation of the springing of its apsidal east end
can be seen exposed in a pit in the floor by the third
north pier. The two east bays of the five were
added at the same time, or very soon afterwards, when
the apsidal end was abolished and the eastern arm made
square-ended. The work of this extension was
probably well advanced before the apsidal walls and
piers were completely cleared away and the junction
between old and new effected.
The new vaulting over both the main body and
aisles was probably the last work carried out in the
alterations, but preparation for it, by the provision
of the wall shafts, was contemporary with the repairs
and additions, and the influence of the apsidal ambulatory is demonstrated by the transverse vault-ribs
of the aisles close to the junction of the two periods.
These are set askew or canted (instead of being at
right angles like the others) because of the eastward
positions of the vault-shafts against the outer walls.
These shafts were evidently in position before the
apsidal walls were taken down and the vaulting erected.
The aisles and ambulatory probably had barrel
vaults originally and the task of alteration to the
quadripartite vaulting appears to have lagged in the
south aisle, and it was not till later in the 13th century
that this was completed, judging from the characteristics of the details there.
The main body retains the three original stages
of the wall—that is, arcades, triforium and clearstory.
The older arches were provided with new Purbeck
marble shafts and moulded outer orders towards the
sanctuary, but little or nothing was done to the
triforium; the clearstory, however, was given an
entirely new facing towards the interior, only the
older windows being left unaltered. The levels of
the stages in the additional two bays vary only in the
triforium, which has its basemould a trifle higher than
that in the older bays.
The construction of the vaulting in the main body,
in place of the former wood ceilings, necessitated the
strengthening of the buttresses. There were already
shallow buttresses in the original walls dividing the
bays of both main body and aisles. The triforium had
cross-arches above the barrel-vaults of the aisles;
these were removed, the buttresses to the aisles were
deepened and flying buttresses were carried over the
aisle roofs to those of the clearstory. The second and
third from the east on the south side were strengthened
later by additional arches. Subsequently, probably
early in the 14th century, the main roof was raised
to a higher level, evidently, as Professor Willis
suggested, to enable the tie beams of the new roof
to clear the crown of the vaulting. The east gable
and the side walls were heightened to receive it and
the latter finished with new parapets.
The gable-head contains a large rose window of the
14th century, but now practically all restored; its
tracery consists of six foiled circles around a central
circle of like size. The outer moulding is carved with
dog-tooth ornament. On either side of it can be seen
the traces of the original gable with the lower ends
of the weather-courses. The rose window is obviously
too large to have belonged to this gable. Below it is a
moulded string-course, and under that the three
lancet windows which are described with the interior.
The gabled wall is flanked by octagonal stair turrets,
which have a top stage with engaged shafts and triple
recessing on each face, the middle bay being pierced.
The parapets have moulded string-courses and an
embrasure in each side, and above are tall pointed
pinnacles with edge-rolls and moulded capitals. The
masonry of the turrets is mostly, if not entirely, of
modern repair. The gable and parapets encroach
considerably on the recessed top stages and parts of
the shafts, with their original bases complete, can be
seen inside the roof space above the earlier sloping
The five bays of the clearstory have each a window,
described below, and, some 4 ft. or 5 ft. above the
heads of the windows, the external faces of the walls
set back a few inches, probably a thinning of the
14th century when the parapets were added. The
bays are divided by shallow buttresses continued up
from the triforium and receiving the ends of the flying
buttresses from the aisle-walls; they are weathered
back to the overhanging parapets, which have trefoiled
arches and corbels like those of the Lady Chapel.
Owing to a deflection inwards in the north wall the
second buttress of the four is of deeper projection
than the others. The parapets have been much
repaired. The roof is covered with lead.
The eastern arch opening into the Lady Chapel has
splayed responds, both having about them five shafts
of Purbeck marble. The shafts have 'hold-water'
bases with leaf-spurs above the square lower members,
all on a splayed main plinth; the capitals are carved
with 'stiff-leaf' foliage and have moulded and splayed
square abaci continued north and south as string-courses. The arch, which is slightly pointed, is of three
moulded orders, and has small voussoirs.
The two east bays, or retro-quire, have north and
south arches of similar detail to that in the east wall,
but the heads are semicircular, slightly stilted in
horseshoe form above the capitals. The responds
have similarly spurred bases and foliated capitals.
In the east responds the moulded Purbeck marble
abaci to the outermost capitals are square, while the
others have splayed angles, but in the west responds
only the innermost are splayed.
The Purbeck pier between the two arches on each
side is of exceptional treatment. It has a cylindrical
column, 25 in. in diameter which is surrounded by
four smaller shafts, 9½ in. in diameter, set well away,
7 in., from the central column. The column has a
moulded base and sub-base and a deep capital, carved
with a double row of 'stiff leaves'; both abacus and
base follow the circular form of the column. The
free shafts have similar bases conjoined to the main
base, but their capitals, of slightly fuller foliage, are
much less in depth so that they adjoin only the upper
part of the main capital: their abaci are square with
splayed angles. Because the main abacus is circular,
it is unable to receive the middle orders of the arches,
which therefore spring from corbels of foliage above
the capital. Above the east arch and arcades is a
Purbeck marble moulded string-course at the base of
The triforium arcade in the east wall is of two bays:
the responds of three square orders of Caen stone have
shafts of Purbeck marble: they have moulded bases and
foliated capitals of varying forms. The central shaft
serves both bays. The moulded abaci are square
and are continued along the wall till they meet the
vault-shafts in the angles. The middle of each bay
has a cluster of three free shafts of Purbeck marble to
carry the two inner orders of the head. They have
conjoined bases and a carved capital common to the
three shafts, the northern of rather freer foliage than
the other; the moulded abaci are circular. The
heads are of three moulded orders, the outer two
similar in section to those of the archway below.
The outer order of each is the main round arch, and
the middle order forms coupled pointed secondary
arches of lesser radii. The innermost order is trefoiled,
the central foil of each bay being round instead of
pointed. The moulding has a hollow filled with
rich carving, the northern bay with monsters of
various forms and the southern with running foliage.
A sprig of foliage covers the central springing stones
of the outermost orders between the bays, also those
of the second order in the middle of each bay. The
tympana in the main arches have trefoil-shaped niches
or sunk panels with projecting moulded frames
surrounded by foliage in high relief which fills the
remainder of the spaces. Projecting from the niches
are demi-figures of angels, the northern (which has lost
its right wing) holding an asperges and holy-water pot,
the southern a censer. In the spandrel between the
two main heads is another quatrefoil niche in front of
which is a seated figure of Christ, with a cross-nimbus,
probably in the act of blessing; this figure may be
modern, but the hands are missing. Below it is a
moulded corbel carved with two demi-figures holding
up the abacus.
At the back of the passage behind the main arcade
is a wall-arcade of seven bays. The middle bay is a
segmental-pointed doorway to the roof space of the
Lady Chapel; the others have pointed arches of
Caen stone carried on Purbeck marble shafts with
foliated stone capitals.
The string-courses above the north and south
arcades are like that of the east wall: they step down
about one foot before they meet the vault-shafts west
of the second bay.
The two east main bays north and south of the
triforium have each coupled pointed arches of two
orders under a main round arch of one order; their
mouldings are somewhat heavier than those in the east
wall. The responds are of three square orders with
stone shafts cut out of the solid with carved capitals
and moulded square Purbeck marble abaci continued as strings along the wall. The middle pier
of each bay has a central stone shaft surrounded
by four Purbeck marble shafts with square foliated
The four bays are alike except with regard to the
panels cut in the tympana above the pointed arches,
which all differ. The eastern bay on the north side
has a wide ovate panel of eight foils in which are the
lower halves of seated figures, the heads of which are
missing. The western panel is a triangular arrangement of seven foils which have foliage cusp-points:
in it is an angel holding a chalice, probably modern.
On the south side the eastern bay also has a triangular
sept-foil, differing from the other in having three of the
foils pointed, but having also leaf cusp-points: in it is
a seated figure of a bearded man. The western bay
has a large quatrefoil-panel with foliated cusp-points,
and on either side and below it are three smaller trefoil-panels; in the quatrefoil is another seated figure of a
man with a misfitting modern head. The arches are
not set centrally in the bays, the wall space between
them being less than that to the east and west respectively.
In the second bay the wall is thinned above the
abacus-string, and while the lower masonry is of smooth
and fine-jointed Caen stone ashlar, the upper is
rough-tooled diagonally, probably earlier 12th-century
Above the triforium-arcades is another string-course
at the base of the clearstory, that to the east wall being
a little lower than those to the side walls.
The clearstory stage of the east end has a wall-passage which is screened on the inner face of the wall
by an arcade of three bays. The middle bay—the
tallest of the three—has a slightly pointed and stilted
arch which is carried on free shafts of Purbeck marble
that have capitals with semi-octagonal faces and
moulded abaci, both of which are continued back to
the outer wall as lintels across the passage: both
capitals and lintels are carved with foliage. At half-height the shafts have moulded bands which are also
tailed back as lintels, their sides being enriched with a
series of conventional leaves. The lower side-arches
are carried in the outer responds by similar shafts
against square reveals and are highly stilted. The
shafts have foliated capitals and moulded abaci—square with chamfered angles—that are a little higher
than the intermediate bands of the middle shafts. The
reveals behind have round-headed openings to the
wall-passage. The soffits of the arches are plastered.
The heads form the rear-arches of three lancet lights
which pierce the outer wall and which have rebated
and splayed jambs and slightly pointed heads. Externally these windows have been restored: they have
Purbeck marble shafted jambs and moulded pointed
The clearstory of the two eastern bays of the north
and south walls is treated with similar arcades, but
there are several minor differences. On the north side
the capitals of the free shafts are round, and only the
moulded abaci are tailed back to the outer walls: there
are no intermediate bands. On the south side the
east bay is similar, but the west bay is unevenly
treated, inasmuch as its eastern intermediate free shaft
is single like the others, and its western is a group of
three shafts, similar to those farther west, but taller.
It has the intermediate moulded band tailed back to
the wall. This seems to indicate a pause in the erecting of the clearstory over the two new bays and a
change of design after the work was resumed.
Only the middle bay of each arcade is pierced by a
window: these have slightly pointed heads and external
moulded arches like those in the east wall, but rather
badly weather-worn on the north side. The external
shafts also have badly perished surfaces except in the
easternmost jambs where they have been renewed in
stone. The south side has modern shafts and probably the arches are later renovations.
The mouldings of the arches in these two bays of
the eastern arm are finely contoured and have a general
resemblance throughout. They consist of a keeled
edge-roll between two hollows not very deeply undercut and sometimes a smaller secondary roll. The string-course and abaci-moulds are a keeled roll above a
hollow. The base-moulds are of the roll and hollow
section, often called the 'hold-water' mould. The
foliage of the capitals, etc., shows a pleasing variety
of the graceful conventional forms known as 'stiffleaf,' and they vary in profusion.
The three western bays of the eastern arm—that is,
the third, fourth and fifth bays—are a part of Bishop
Ralph's church, remodelled, as already described, after
the great fire of 1187. The remodelling of these bays
must have preceded the extension and the two parts
bear many marked differences one from the other in
all three stages of the walls.
Each bay is pierced by an early-12th-century round-headed archway of two orders; the inner order and
the outer towards the aisle have small chamfers only,
but their soffits have been repaired with Caen stone,
indicating that originally they had additional half-round members, which were removed during the late-12th-century renovations. They are built of small
voussoirs of variegated tints in no regular order.
The outer order towards the sanctuary is slightly
horseshoe shaped and is moulded similarly to the
eastern bays, this and the wall-facing over being of
fine-jointed Caen stone. This order is carried on
nook-shafts of Purbeck marble with moulded bases
and foliated capitals: the moulded square abaci are
continued as string-courses: the bases have leaf
spurs. The eastern shafts of the third bay are
polished; the others are not.
The inner order of the arch and the outer towards
the aisle are carried on half-round engaged shafts
coursing with the walling. They have cushion-capitals with moulded square abaci, and moulded round
bases on square sub-bases or plinths; the inner bases
of the third bay are buried in the higher platform of
Each of the three bays of the triforium has coupled
round-headed arches of one square order under an
outer main round arch of two roll-moulded orders.
The tympanum is filled with a diagonal checker of
grey or yellow and red stones: those in the south
side of the fourth bay are distorted by later settlement. The coupled arches are carried on a central
stone shaft. The responds are of three recessed
square orders with half-round shafts on the inner
reveals coursing with the walling. The two outer
orders have stone shafts of several courses not ranging
with those of the responds. The shafts have moulded
bases and diversely treated capitals, one of cushion
type, others double scalloped, and others with incipient leaves, some voluted and some with more
fully developed double rows of leaves or honeysuckle
ornament: one capital on the south side has scrolled
strap-work and a human head.
The abaci over the central shafts are plain-chamfered, those to the responds partly of grooved
and hollow-chamfered section. Two or three of the
neck-moulds are carved with cable-ornament. The
masonry generally is wide-jointed. The arcade in
the third bay is set west of the middle of the bay;
those in the fourth and fifth bays are nearly central.
The string-courses above and below the triforium
are of the same section as those to the east, of Purbeck
The clearstory has in each bay a range of three
arches of one hollow-chamfered order. The side arches
are much lower than those of the two east bays.
The tall, round-headed middle arches are of the same
height as those to the east, but are very highly stilted
because the intermediate shafts supporting them are
no taller than those in the responds.
The shafts in the responds are single and are of
Purbeck marble with foliated capitals and square
abaci, but the shafts carrying the middle arch are
groups of three, with foliated capitals and moulded
round abaci. In the easternmost of the three bays
under discussion the three shafts are set one to the
front and two to the rear, but in the other two bays
this arrangement is reversed. The rear-vault of each
of the lower side-arches is scooped out of the walling
in a rough kind of semi-dome and partly cemented.
The eastern arch in the eastern bay is wider than the
western, so that the arcade fills the whole width
of the bay. In the other bays they are symmetrical.
The middle arch of each is pierced by a round-headed window of the early-12th-century period, with
plain splays and heads. Externally they have shafted
jambs of stone with cushion-capitals: the arches are
of a square and roll-moulded section and have labels
carved with billet ornament.
The deflection of both walls to the south is very
noticeable in the wall passages of the clearstory.
The vaulting of the eastern arm may be assigned
to practically one period for the whole five bays,
the easternmost being perhaps the last to be erected.
It is carried on triple wall-shafts, each member
keeled. The shafts have moulded bases and round
sub-bases, except those that come over the eastern
clustered piers of the arcades, which are stopped
by foliage-corbels above the capitals. That on the
north side between the second and third bays (where
the reredos-screen meets the wall) is also stopped by
a foliage-corbel 3 ft. or 4 ft. below the triforium.
All have intermediate bands, the lower being the
continuation of the abaci of the main arcades carried
round the shafts; the upper is level with the triforium
string-course but of a different section. The clearstory string-course abuts on the shafts. The shafts
have foliated capitals in the clearstory stage of Purbeck
marble with moulded half-round abaci. The masonry
backing the shafts has been made good with Caen
stone, and where the main face sets back above the
third piers (from the east) the upper half of the second,
and the south fourth pier, shallow flat pilasters have
been built out in order to preserve the verticality
of the shafts.
The vaulting has moulded transverse ribs with
keeled edge-rolls, and narrower diagonal ribs with a
wide hollow in the soffit which in the easternmost
bay only is filled with dog-tooth ornament; all but
the east bay have keeled edge-rolls. The intersections
are covered with round bosses of foliage, except in
the fourth bay, where it is carved with a demi-angel
holding a shield charged with the arms of St. Richard,
a cross between four chalices. The webs are plastered.
The wood roof above the vaulting is modern
except the easternmost tie-beam, which appears to be
an old timber re-used.
The chapel of St. John the Baptist
(fn. 1) (about 16½ ft.
long by 13½ ft. wide internally) projects eastward from
the north aisle and flanks the westernmost bay of the
Lady Chapel. Here were founded the two Arundel
chantries for the soul of William, Earl of Arundel, (fn. 2)
possibly the first Earl, who died in 1176. There was
also a chantry for William the Dean, whom Walcott
identified with the founder of St. Mary's Hospital. (fn. 3)
The chapel is lower than the aisle—having no upper
story—and is gabled at the east end. At the north-east angle is a deep, clasping buttress surmounted
by an octagonal turret of modern stonework; each
side of the turret is pierced by a slender lancet and a
small bull's-eye window, and it is capped by a tall
pinnacle which has edge-rolls and a foliated finial.
A string-course, crossing the east wall at the same
level as that of the Lady Chapel, is dropped to
a lower level below the east window to rise again
north of the window and pass around the buttress
and along the north wall, where it again drops below
the window. An upper string-course is cut through
by the head of the window. In the gable-head
is a small octofoiled bull's-eye window with dogtooth ornament, and above it is a small lancet, to
light the roof space. The former has been restored,
but was probably an early-14th-century insertion; the
latter was perhaps part of the original design.
The east window of the chapel is of the 15th
century and of three cinquefoiled lights and vertical
tracery in a two-centred head; it has moulded
mullions and continuously moulded jambs and arch,
rather weather-worn outside; the tracery is probably
a comparatively old restoration. In the north
wall is a window of two cinquefoiled lights and
tracery of the 15th century inserted in a late-12th
or early-13th-century opening, which retains its
original inner splays with Purbeck marble nook-shafts and moulded pointed rear-arch and hood-mould. The shafts have moulded bases and inter-mediate bands and stone foliated capitals with
moulded square abaci which continue along the
wall as string-courses. Within the original rear-arch
is the chamfered rear-arch of the 15th century.
The jambs and head outside, which have a wide
hollow or 'casement' mould, are much decayed.
An external string-course was probably the continued
abaci of the original window, and is lower than the
finish of the 15th-century label. The wall has an
eaves gutter and no cornice.
The south wall breaks forward in the west half for
the mass of masonry which carries the north-east
turret of the main body. This projection does not
course with the wall, and for no apparent reason
is canted to the south; against its west half,
and coursing with it, is a wide shallow pilaster or
buttress which was cut away below and supported
on three Purbeck marble shafts standing against
the wall face; this was done probably to lighten
the entrance to the chapel. The shafts have the usual
foliated capitals, and moulded bases above a moulded
plinth; they carry a moulded lintel, on a level with
the abaci of the north arcade, but of heavier section,
and the buttress or pilaster stands on this lintel.
The east shaft is more slender (6 in.) than the other
two (8¼ in.), and the 'hold-water' bases bulge over
the sub-bases in a manner quite different from any
of the other bases in the cathedral; the east base
has spurs. The west part of the buttress was afterwards splayed back above the lintel to accommodate
the vaulting ribs.
An internal moulded string-course below the sill
level runs round the north, east and the recessed
part of the south wall. Below the east window inside
is cut an original consecration cross. In the south
wall is a modern piscina set in an ancient round-headed recess.
The chapel was refitted for use in 1924 by Sir
Hugh Miller in memory of his son who was killed
in the Great War. It has a modern altar and other
fittings and is screened by an iron grille.
The North Aisle of the Quire has three bays exposed
externally, which are divided by square buttresses
having chamfered plinths and plain offsets that divide
them into two stages. The buttresses rise to about
2 ft. above the parapet, where they have string-courses;
from these spring the flying buttresses, with half-arches
well above the lean-to roof, up to the shallow buttresses
and angle-turret of the clearstory stage. The upper
slopes are leaded.
The wall of the third bay from the east and the
greater part of the second is thicker than the wall
of the eastern extension, and this thickening shows
outside in the wide-jointed masonry of the first
period. The face is set back to the later plane under
the east jamb of the 15th-century window in the
second bay, but the eastern 5 ft. of it is of fine-jointed
ashlar. It is also cut back for the west jamb of the
same window, but above the window the face is canted
back gradually, part of the masonry on the canting
being wide-jointed. It is possible that this canting is
evidence of the original apsidal curve to the ambulatory, although the straight wall-face below the window
may tend to neutralise this suggestion. The top of the
thicker walling, below the sill of the window, has
a 12th-century string-course with triple-hatched
ornament, which is copied in the later work where
it is carried round the buttress between the second
and third bays. The string-course continues eastwards as a moulding of the later period. There is a
higher string-course above the window in the first
bay, but interrupted by the later windows in the
second and third bays; this extends along the whole
wall and around the buttresses, and marks the base
of the triforium. Midway between the two are the
remains of another early string-course marking the
level of the abaci of the original windows in the second
and third bays; it appears only in the thicker early
walling, and is not carried round the buttresses.
The parapet of the aisle overhangs considerably
with a hollow-chamfered edge and is carried on a
series of corbels: those to the first bay and eastern
half of the second bay are like those of the Lady Chapel.
The western half of the second bay, above the canted
wall face, has plain corbels. The third bay has carved
corbels of the earlier period, of various devices,
including a pig's head, a human head, a double-headed
monster, etc. Some are perished, others missing,
and one is restored. The coping is modern.
The aisle internally is about 11 ft. wide. The first
or easternmost bay retains the original late-12th
or early-13th-century single light similar to that in
the corresponding chapel; externally it has also the
original moulded outer order of the head carried on
shafted jambs: the shafts are modern, but the bases
are perhaps old.
Above the window, set centrally in the bay, is a
late-12th-century window to light the triforium
gallery: it has chamfered jambs and round head.
The second bay has a window of four cinquefoiled
lights and vertical tracery which has been restored.
The old head outside and the rear-arch are moulded
in much the same contour as those of the window
in the first bay, but of smaller members, and there
is an external hood-mould. The jambs inside and
out have recessed square orders with Purbeck marble
shafts having 'hold-water' bases and foliated capitals.
The mullions are very similar to those in the east
window of St. John the Baptist's Chapel. The window
is of 15th-century date (restored), but the jambs and
framework are probably those of a late-13th-century
The third bay has a window, also of four cinquefoiled lights and vertical tracery, but narrower than
the other. The mullions and part of the tracery
have been renewed, but the window appears to be
of the 15th or early 16th century, and was inserted,
probably in 1660, in an earlier and wider opening
of the 14th century, the jambs and arch of
which are visible outside and to which the inner
splays and shafted jambs belong. The shafts of
Purbeck marble have moulded bases (of three rounds
instead of the 'hold-water' section), and carved
capitals; the 14th-century label has defaced headstops. The older window was about 2 ft. wider
than the other, the filling between the two being of
The north wall of the fourth bay is solid, but a
patch of repair in the middle suggests a former
recess; the moulded string-course which runs
along the wall below the sill level is lifted over it as a
label. The tomb now attributed to Bishop Story
formerly stood here.
The fifth bay is also solid, except for a pointed
doorway to the library, mostly of modern stonework.
Along the wall, excepting in the fifth bay, is a stone
The vaulting of the aisle and of St. John's Chapel
has transverse ribs of the same section as those
of the main body, but the diagonal ribs differ,
having a filleted roll-section; the flat fillets in the
soffit are wide in the chapel and three east bays,
but narrow in the two west bays. At the inter-sections are round bosses of foliage.
Against the north wall the vault-ribs, except that
noted below, are carried on triple shafts like those of
the main body, but on the south side—that is, against
the main piers—there are single shafts of Purbeck
marble which have moulded round bases 3 ft. 3 in. high
behind the second and third piers, and 1 ft. 9 in.
high behind the fourth. The bases stand on chamfered
plinths or sub-bases about 9 in. high belonging to the
responds of the cross-arches which were abolished
when the vaulting was erected. There are also single
shafts in the east angles of the chapel. All the shafts
have foliated capitals and the string-course passes
round the triple shafts as bands.
The ribs at the entrance to the chapel spring
directly from the moulded lintel above the three shafts,
and those above the clustered pier of the arcade
spring from its northern shaft. The transverse rib
here, instead of being at right angles to the walls, is
canted to the east from south to north because the
triple shaft in the north wall is out of place in relation
to the south shafts. Perhaps also because of this, the
next diagonal rib westward falls short of the triple
shaft on the north wall between the second and third
bays of the aisle, and is carried on a supplementary
corbel which is carved with three long-necked monsters
biting each other.
The Chapel of St. Mary Magdalene
(fn. 4) corresponds
in position to St. John the Baptist's Chapel, on the
south side. It is of about the same length, but about
1½ ft. wider. Externally it resembles the northern.
The string-course continued from the Lady Chapel
is cut through by the window and the portion removed
is reset below the sill of the window. A higher
string-course marking the original abacus level is
lower than the label-stops of the later window. A
yet higher one is interrupted by the arch of the window.
In the gable-head are a bull's-eye and a lancet window.
A weather-course on the east wall of the aisle shows
that this gable was originally about a foot higher.
On the south face of the angle buttress is an
18th-century sundial. The east window is
of three cinquefoiled lights under a pointed head
with tracery of 14th-century character, but all
modern. The internal splays are probably of early-16th-century date, and have moulded edges
and semi-octagonal engaged shafts with moulded
capitals and bases, the latter of a curious late form.
The rear-arch is hollow-chamfered, and there are
hood-moulds inside and out. Below the window
inside is a consecration cross cut in the walling.
Externally there is a filled-in rectangular recess for
relics, as in the east wall of the Lady Chapel, and south
of it another well-cut cross. The south window is the
original pointed light similar to that in the first
bay of the north aisle; the external shafts and the
west capital (uncarved) are modern restorations.
The north wall has the projection in the western
half as in St. John's, and the whole wall is canted
to the south. It has three similar wall-shafts, 8¼ in.
diameter, with bulging 'hold-water' bases as in the
north chapel. In the recessed north wall is an ancient
locker with a pointed head which has been partly
filled in with masonry to from a smaller recess with a
cinquefoiled ogee-pointed head of the 14th century.
The back of it has remains of colour decoration of a
dark red or brown and apparently the nimbed heads
of figures, perhaps of the Blessed Virgin and Child.
It was in this locker that a reliquary containing the
head of St. Richard was kept until it was removed at
the time of the Reformation. (fn. 5) In the south wall is
a restored piscina in a square recess.
The chapel was restored by Dean Pigou (1877–92)
in memory of Canon Crosse. (fn. 6) It has a stone altarslab with five consecration crosses cut in the top.
Behind it is a painted stone reredos with figures
of Our Lord and St. Mary Magdalene. The chapel
is lined with modern panelling decorated with
paintings, on the south side, of St. Mary anointing
the feet of Christ, the Crucifixion, and the risen Christ
appearing to St. Mary, and on the north side
incidents in the life of St. Richard. A modern iron
grille with gates screens the chapel.
The external elevation of the South Aisle of the
Quire, excepting the windows described below, may
be taken as following that of the north aisle, but as the
changes in the fenestration have been less drastic
more evidence exists of the former windows which
lighted the triforium gallery. In the first bay above
the late-12th-century window, which is crossed by
the roof of the cloister, is a 15th or early-16th-century
triforium window, badly weatherworn, of two cinquefoiled lights and tracery, in a square head with a
moulded label. In the second bay—that is, the first
west of the cloister—there is an original round-headed
window, to the west of the head of the lower window.
It is now blocked and its westward position is taken
as evidence by Prof. Willis (fn. 7) and others that there
was originally in Bishop Ralph's church a chapel
projecting from the apsidal ambulatory, east of the
window. In the third bay, but set centrally, is the
upper half of a similar blocked window. In the
fourth bay is another similar window, but this has
had a 15th-century window inserted in the blocking.
It has a trefoiled square head with a moulded label.
Also in the fourth bay, on either side of the late-12th-century window to the aisle, can be seen traces
of the earlier 12th-century window which it superseded. The string-course which coincided with the
abaci of its capitals is still in place and has a groove and
hollow chamfer like that seen in the priest-vicars'
vestry described later.
Under the aisle windows in the second and third
bays are three semicircular markings, one in the
former and two in the latter, as though a scheme for
inserting a doorway or wall arcade had been considered and abandoned. Above the first is carved a
The thicker walling in the western half of the second
bay—stopped by a low buttress below the aisle
window—and the walling in the third and fourth
bays, is wide-jointed and has a triple-hatched string-course on the top of it. Above the east haunch of the
window in the second bay the wall-face has been
hacked back for the window-head.
The corbelling to the parapet of the first and eastern
half of the second bays is like that of the Lady Chapel
without the intermediate arches; it has been lifted
up in the former above the 15th-century triforium
window. The western half of the second, and the
third and fourth bays have the original corbelling
with beasts, heads, grotesque masks, etc., between
semicircular arches; some are decayed.
The aisle is about 12½ ft. wide internally. The
first or easternmost bay has a late-12th or early-13th-century window similar to that in the chapel,
but the later doorway below it has encroached on
its lower half. Its east shaft inside is complete, but
part of the west shaft, etc., was destroyed for the doorway, which is not central with the bay and window.
Outside, the east capital has been restored in block
but the shaft is missing. It is filled with coloured
glass, presented by Archdeacon (afterwards Cardinal)
The doorway which forms the entrance from the
east walk of the cloister is a late-14th or early-15th-century insertion; there was probably no doorway
there previously. It has moulded jambs and two-centred arch and rear-arch both in square heads with
moulded labels; the traceried spandrels have shields
of arms of William of Wykeham (or New College,
Oxford), two cheverons between three roses. In it
is a pair of ancient oak doors, constructed of vertical
and horizontal battens with moulded fillets, partly
restored, planted on the outside. Some way above
the doorway, on the exterior face, the wall is thickened
about 1½ ft. above a moulded four-centred arch
to carry the north end of the cloister roof which stops
about 1½ ft. short of the aisle-wall above. The
second bay has a large window of four cinquefoiled
lights and geometrical tracery in a two-centred head.
The tracery is entirely modern, but the inner jambs
with Purbeck marble shafts, the moulded rear-arch
and the external arch are old and resemble those in
the opposite bay of the north aisle. The head of
the window rises well above the vaulting. The window in the third bay has similar jambs and arches,
but is of five pointed lights with 17th-century
intersecting tracery. The fourth bay has a wide
single light of late-12th-century date, like those in
the chapel and first bay. The fifth bay has a 13th-century doorway opening into the priest-vicars'
vestry. It has roll-moulded jambs and two-centred
head, partly restored. Above it is a partly walled-up early 12th-century window; its exterior can
be seen in the vestry. It has jambs of two square
orders with nook-shafts of two or three courses,
not ranging with those of the jambs; they have
cushion capitals with grooved and hollowed abaci
and carry a round head of roll-and-hollow moulding; the hood-mould is carved with double billetornament.
East of the doorway in the aisle is a small rounded
recess with a rough back; the remains of smoke
blackening said to have been found in it suggest that
it was used for the heating of charcoal for censers.
West of the doorway is a similar round-headed
doorway giving entrance to a stair-turret which leads
to the triforium, etc. In it is an old door of feathered
battens, hung on plain strap hinges.
The south wall has a stone bench from the first
bay up to the doorway to the vestry in the fifth bay.
The vaulting of the chapel and aisle resembles
in most respects that to the north side, but there are a
few differences. The single Purbeck marble shafts
against the piers are evidently of later 13th-century
date than those in the north aisle; they have moulded
bases of three rounds instead of the 'hold-water'
section, and the moulded capitals are not carved, while
their abaci are of a different section. The bases are
at a high level, like the northern, but the original
12th-century plinth below that at the second pier is
nearly all cut away, and there is only a small and
probably later one at the fourth pier.
Of the five transverse ribs to the vaulting only
the eastern two are like the northern ribs. The three
western resemble those to the nave-aisles and have a
V-shaped soffit between two rolls; the diagonal ribs
have filleted soffits like the north ribs, those to the
three east bays being broad and those to the three
west bays narrow. In the westernmost bay they are
carried on modern corbels.
The carved bosses at the intersections in the
chapel and the first and second bays are round masses
of foliage, but those to the later 13th-century vaults
display a little more variety; the third bay has a ring
of foliage inclosing six conjoined human faces with
six eyes, each eye serving two faces; the fourth has a
rosette and foliage, and the fifth has a sexfoil or star
surrounded by a ring of six human faces with chins
outwards. The cross-rib between the first and
second bays of the aisle is set askew like that in the
north aisle but less violently.
The Triforium Gallery has, on the inner wall above
each aisle, shallow buttresses above the second, third,
fourth and fifth piers, which rise to the clearstory
and are carried on the responds of former transverse
arches. The opposite responds remain in the outer
walls and both sides retain a few of the lower voussoirs
of the arches. The shallow buttresses between the
first and second bays of the clearstory are carried
on corbels just below the triforium roofs. The backs
of the older triforium arches on the north side have
chipped and reddened stones as visible evidence of
the fire of 1187.
An interesting feature on the north side is the
remains of a triforium arch which extended eastwards from the second pier, i.e. into the second bay.
This is of the wide-jointed masonry of the early period
and is not seen from the floor of the church. It consists of a short length of a respond with a chamfered
impost or string-course like the others but higher, and
the walling above the haunch of a former round arch of
which no voussoirs remain. This arch must have
been considerably higher than those of the triforium
west of it. The wall has a slight cant inwards (to
the south) which may perhaps on careful measurement be found to agree with the curvature of an
apse, but as the whole of the two later east bays is
canted to the south, the extra deflection, if any, of
this ancient piece is not very noticeable to the eye.
As a matter of fact both the north and south sides of
these two bays are canted inwards, perhaps unconsciously influenced by the pre-existing apsidal
curve; no traces of the original extension remain
over the south aisle.
In the two west bays of the outer wall over the
north aisle are the two original windows seen in the
room over the library (q.v.); in the third bay is a
similar window blocked and central with the bay,
and in the second bay another, also blocked, in the
west half of the bay corresponding with that seen
in the south elevation. East of this window the wall
is thickened inside, and in the first bay is the later
window described with the exterior. Over the south
aisle the blocked original windows in the second and
fourth bays, as well as one in the fifth bay, now form
recesses inside. In both north and south walls the
masonry west of the middle of the second bay is wide-jointed.
In the east walls are round-headed doorways into the
roof spaces of the two chapels, their rear-arches being
towards the chapels. Below their thresholds can
be seen the crowns of rough arches which cross the
mouths of the chapels above the vault-ribs.
The stair turrets forming the east angles of the main
body lead up from the triforium to the clearstory
and roof space. The southern has a spiral handrail of
twin-roll section worked in solid with the central
Much of the ancient paving of Purbeck marble
or stone remains in the floor of the aisles and retroquire, although considerably altered by the introduction of gravestones, etc. The pattern was in
longitudinal bands of square stones set diagonally
between narrow strips of similar stones. Later
repairs have been done in grey and white marble, etc.
The sanctuary has been repaved in modern marbles.
At the third pier are three marble steps up to the
altar platform in the third bay; most of the floor of
the second bay, behind the reredos, is at the same
height, having been restored to this level in recent
years, after it had been lowered subsequently to
1860. On the predecessor of this platform stood the
shrine of St. Richard which was destroyed in 1538.
Its site is now occupied by a wooden altar-table of
1930. On the floor before the altar is an inscription
that reads: IN HOC LOCO OLIM STABAT FERETRVM
SANCTI RICARDI CICESTRENSIS A.D. MCCLXXVI EXSTRVCTVM
IVSSV AVTEM REGIS HENRICI VIII A.D. MDXXXVIII
DIRVTVM ET SVBLATVM. BEATI MITES. BEATI MVNDO
The high altar is modern; it has a carved and
gilded oak reredos designed by the late Somers Clarke
and given in 1910 by the late Dean Hannah in memory
of his wife. It has canopied niches with the Crucifixion, and images of SS. Richard, Peter, Stephen and
Nicholas; the last three saints represent the dedications of the churches with which the late Dean was
associated at Brighton. The reredos followed one
which was erected in 1870 from the design of R. H.
Carpenter and W. Slater; it was intended to fill the
whole width of the sanctuary, but, being thought unsuitable, only the middle part was completed and it
was removed to St. Saviour's Church, Brighton, about
1905. (fn. 8) It is of alabaster and various marbles, and
has a carved tableau representing the Ascension,
under an arched and gabled head.
When it was removed, the present oak screen,
modelled upon and incorporating remains of one that
had been erected by Bishop Sherburne, was placed in
position behind the altar. The central portion of the
original screen had been removed about 1759 and the
remainder in 1866. (fn. 9) It had suffered many alterations
and mutilations, and parts of it were stored in various
places and many of them lost, but enough was left for
the original design to be recovered. It is divided into
seven bays by main posts, the lower halves treated as
panelled buttresses, the upper halves, of cylindrical
form, decorated with scale ornament. In the outermost bays are doorways; the remainder is filled with
narrow trefoiled close-panels in five tiers. Along the
top of the front is a range of ten canopy-heads with
foiled arches and enriched gables and pinnacles. Most
of the screen is modern, but some of the posts and
heads of the panels and canopy-soffits and a few
other pieces are old.
South of the altar are three oak sedilia and a
canopied screen erected in 1910 in memory of the Rev.
James Vaughan, Prebendary of Hova Villa. The
brass communion rails are also modern. The other
side bays of the sanctuary are enclosed by modern
iron grilles of the same design as those to the Lady
West of the quire stalls, in the fifth bay, is the
modern bishop's throne (fn. 10) with foiled pointed arches
under a gabled and pinnacled canopy. They are
carried on coupled round shafts to the stall and desk,
and above them are figures of bishops, on the north
In the sanctuary and quire are two candelabra,
each with two tiers of twelve branches; the moulded
central bosses are inscribed: 'The gift of Lady
Williams, Lady Fetherstonhaugh and Mrs. Page,
In the south aisle, now framed and under glass, are
two most interesting early stone panels of carving.
They are said to have been discovered in 1829 in the
sanctuary behind the quire stalls and were refixed
here. One, set in the south wall of the second bay,
represents Christ visiting Martha and Mary, the
sisters of Bethany. Our Lord, the central and largest
figure, is bearded and has long hair in banded lines.
He has a nimbus with a high-relief cross which is
further emphasised by parallel lines in the arms. He
clasps a book with His left hand; the right hand is
missing. Behind Him are four disciples, all with
nimbi, the foremost also holding a book. The sisters
are represented on the dexter side kneeling to Christ
in adoration and behind them is a castellated structure
with a round arch or doorway on two columns. The
eastern column is treated spirally and has next to it
what is probably intended for the door with foliated
ironwork. Above are jettied round turrets with
conical roofs. The panel has a chamfered top member
or cornice, probably not belonging to it originally;
the face of the cornice is carved with a series of
'honeysuckle' flowers of varying widths. The
carving, which is 3 ft. 10 in. high by 3 ft. 8½ in. wide,
was cut on a wall surface, in six courses of masonry.
The other panel, in the fourth bay, represents the
Raising of Lazarus. Christ, again the largest figure,
has a plainer and less deeply cut cross-nimbus than
the other. He is a more slender figure, the folds of
His costume are on rather more severe lines, His face
is long and narrow and more strongly marked than
the other, and His hair is dressed with rows of small
curls in front instead of bands. His right hand is
held in blessing and He clasps a book with His left.
Behind Him are three disciples with nimbi, the front
one with a book. All these figures occupy the sinister
half of the panel. The dexter half represents the grave
scene. Lazarus is seen standing with his hands in
prayer or adoration while his grave-clothes are being
removed by two other disciples. Behind in the top
dexter corner are the weeping figures of his sisters
Martha and Mary, and in the foreground are two
workmen with conical roll-edged caps holding the
staves or bars with which they have opened the tomb.
The carving is in courses of masonry almost, but not
exactly, tallying with those of the other scene. The
whole carving is more archaic in appearance than the
other, but has more individuality and character and is
probably the earlier. It is certainly by a different hand.
The eastern edge of the panel is of modern repair.
It has been suggested that the panels may have
belonged to the former cathedral at Selsey and were
brought to Chichester after the transfer of the see in
1075. (fn. 11) As no other parallel examples are known in
England, it is difficult to assign a close date for them
or to ascertain for what purpose they were made,
whether as wall decorations or as ritualistic fittings.
It is possible that the Lazarus scene is of Saxon origin
and that it served as an inspiration for the other,
which may have been a 12th-century carving based
partly on the same grouping of Christ and the disciples
with a somewhat more free treatment.
The coloured glass in the windows dates from 1842
onwards with the exception of one piece, which is
among a number of modern shields of arms of the
Bishops of Chichester in the third bay of the south
aisle, in a window erected in memory of the wife of
Dean Hannah; the ancient shield shows the arms of
Edmond More, Archdeacon of Lewes 1528–31: Gules
three leopards' heads or. There is similar glass
in the opposite bay of the north aisle to the Rev.
John Hannah and to Dean Gregory of St. Paul's,
1911. In the east windows of the triforium and
of St. Mary Magdalene's Chapel is glass by the late
C. E. Kempe.
Many Monuments have been erected in the
eastern arm of the church. In the middle of the
fourth bay of the quire before the high altar and
below the altar-pace five floor-slabs which probably had
brasses are shown on the plan of 1658. Two on the
north side are allotted to Bishop William Rede
(d. 1385) and Bishop Robert Rede (d. 1415); one in the
middle is unidentified, but may have been that of
Bishop John de Climping (d. 1261). On the south
side is shown the tomb of Bishop Simon Sydenham
(d. 1438) and an unidentified tomb. These slabs
were moved apparently to the nave and nave-aisles
when the quire was paved with black and white
marble in 1731. (fn. 12)
North of the high altar, under the arch of the
third bay of the arcade, is the altar-tomb of Edward
Story, (fn. 13) bishop 1498–1503. It has a recumbent
effigy in alabaster of the bishop in a (damaged) mitre
and full vestments, his feet resting on a (broken) lion;
his hands, raised in prayer, are missing. At the head
are small angels, also nearly all broken away. The
effigy rests on a Petworth marble slab with a moulded
edge in which are rivet-holes for the former attached
inscription. The sides of the base of alabaster have
multifoiled lozenge panels enclosing blank shields also
with rivet holes. The moulded plinth is also panelled.
The tomb is inclosed on the north side by a wrought-iron screen and has above it a carved and painted wood
canopy, both modern.
In the retro-quire, north of the altar of St. Richard
is a plain altar-tomb with a moulded marble slab. In
the sides are indents for former brass shields; the
plinth is moulded. This is ascribed to William Barlow, bishop 1559–1568. (fn. 14)
South of St. Richard's Altar is the altar-tomb of
George Day, bishop 1554–1556; the top is a moulded
slab of Petworth marble with a brass inscription in
black letter: 'Georgius Dayus ejus nominis primus
Sacre theologie Professor se semper famulum Regis
Christi verbo et conversatione prebuit. Obijt Secundo
Aug. Año Dñi M° quingentesimo quinquagesimo
Sexto.' It has a 19th-century brass of a crozier and
mitre and a shield charged with the See of Chichester
impaling Quarterly argent and gules a cross between
four half-roses with rays above. In the north side of
the tomb is an indent and in the south side a brass
shield charged with the same arms with a daisy in the
centre point, of 16th-century execution. This altartomb is marked as Neville's tomb in the plan of
1658. (fn. 15)
Against the south wall of the third bay of the
south aisle is the altar-tomb, canopied recess and
recumbent effigy of Robert Sherburne, bishop 1508–1536. It is of painted alabaster. The effigy represents the bishop in his gilded mitre and crozier and
full vestments, his hands in prayer, his feet resting on
a lion, beyond which are the figures of two bedesmen.
At his head are small censing angels. It rests
on a marble slab on the moulded edge of which
is carved the inscription: 'NON INTRES IN IVDICIVM
CVM SERVO TVO DOMINE: ROBERT' SHURBURNE.' The base
has a panelled front with a narrow central and four
wider side panels with sub-cusped quatrefoils and
shields. The central shield is charged quarterly:
1, Argent a pelican in her piety vert, in an indented
border; 2 and 3, Argent a lion vert; 4, Vert an eagle
argent. The other shields bear these charges
separately, the first and fifth the lion, the second the
eagle and the fourth the pelican. The plinth is
moulded and has a band of quatrefoils.
The canopied recess has moulded jambs canted
inwards and a three-centred arch: in each reveal is a
canopied niche with crocketed gablets, all gilded, and
the soffit is panelled. The back is carved with a
shield, incorrectly repainted, with the quarterly coat,
and with two angel supporters bearing a mitre above
the shield. Above are two demi-angels from conventional clouds and a scroll with the motto OPERIBVS
CREDITE. The background is painted and carved with
the initials R S, also the name ROBERTVS SHVRBVRNE on
a band. The spandrels of the arch are carved and
gilded and have shields with the pelican and lion.
The whole is flanked by semi-octagonal shafts and
finished at the top with cresting. The chantry at
the tomb was to be served by the Bursal Prebendary
who was to pray for the souls of the bishop, of William
of Wykeham and many others, and to see that the
tomb, and particularly the alabaster image of the
bishop, was kept cleaned from cobwebs, dust and
filth, and that the curtains hanging over the image
should be drawn or folded back according to the state
of the weather. (fn. 16)
In St. John the Baptist's Chapel, standing on the
floor against the south wall, is a monument to Margaret, daughter of John Peachy of Chichester and first
wife of Sir John Miller, bart., died September 1701,
aged 38. The monument is of veined marble having a
panelled base and tablet with the inscription, flanked
by Corinthian columns and two weeping cherubs.
Above is an entablature with a scrolled broken pediment and achievement of arms. The inscription also
records her infant son Thomas and her daughter
Emblem d. Jan. 1718–19, aged 17; her husband Sir
John died Nov. 1721, aged 56; his second wife Ann,
daughter of William Elson of Groves, died May 1709,
aged 29, and their two infant children. On the base
is recorded the burial in a vault 'on the north side of
this wall' of Sir Thomas Miller, baronet, d. Dec.
1705, aged 70, and Dame Hannah his wife died Jan.
1706–7, aged 70, the parents of Sir John. (fn. 17)
Against the north wall of the north aisle is a marble
coffin-lid, in the face of which is a sunk trefoil-panel
inclosing two hands holding a heart; a fragment of
the inscription which surrounded the trefoil reads
'MAUD D. . .' in Lombardic lettering. It is probably
of 13th-century date. (fn. 18)
On the north wall in the third bay is a brass inscription in Latin to Henry Ball, Archdeacon of
Chichester, d. 1603, aged 50.
The inscription reads:—
(BALLE IACES) IVSTE CVNCTIS DEFLENDVS: AMICVS
OMNIBUS: (HEV) TRISTI FVNERE (BALLE IACES)
(BALLE IACES) VITA CVNCTIS EXEMPLAR HONESTAE:
DVLCI SONANS VERBI BVCCINA: (BALLE IACES)
PAVPERIBVS PATER: AEGROTIS SOLAMEN: ET ISTIS
AEDIBVS (AH) MERITO GLORIA: (BALLE IACES)
DILECTI QVONDAM BICLAEI PRAESVLIS OSSA
IVXTA, HIC CONTIGVO MARMORE (BALLE IACES)
HENRICUS BALLVS, LITCHFELDIAE NATVS COMITA:
STAFFORD IN VTROQ COLLEGIO WICHAMICO, IL
LO WINTONIAE, ALTERO OXONIÆ EDVCATVS,
SACRAE THEOLOGIAE DOCTOR, HVIVS ECCLIAE
PRAECENTOR ET ARCHIDIACON: CICES
TREN: HOC TVMVLO TEGITUR OBIIT
30 MAR: A° 1603 AETAT SVAE 50.
In the third bay of the north aisle, by Bishop
Story's tomb, is a tapering coffin-lid probably of the
13th century: it is 6 ft. 6 in. long and has chamfered
edges on one side and both ends, the other side being
square as though it had been originally placed against
a wall. It is incised with a crozier.
In the north wall of the sixth bay, east of the
doorway to the library, is an early-16th-century tomb
and recess in grey marble rather badly decayed.
The shelf has a moulded edge and stands on panelled
base with three blank shields. The recess has panelled
jambs with shafted front edges which have capitals
and bases and carry a moulded flat Tudor arch. The
canted soffit has quatrefoil panelling. Above is an
entablature with a panelled frieze and moulded cornice surmounted by cresting. In the back of the
recess are indents of two figures kneeling before prayer
desks, a central figure of the Trinity (?) and several
scrolls for prayers and texts.
West of the same doorway is another tomb of
similar type, but probably of a slightly later date. (fn. 19)
The recess is fronted by octagonal shafts with concave faces, moulded bases and capitals: the flat arch
has a middle key block with a foliated soffit. Of
the entablature only the panelled frieze remains. In
the back are the indents of a kneeling man, inscription
plate, scrolls for prayers and texts and a small central
seated figure (the Trinity ?).
In the same bay under the arch of the arcade is a
tapering coffin-lid without any inscription.
In the south aisle by the third pier is another tapering
coffin-lid with hollow chamfered edges, and by the
fourth another with remains of an incised crozier:
both of the 13th or 14th century.
These four coffins in the north and south aisles of
the quire were found under the arches where they
now stand, in 1829, but it is said they had been
moved there from other parts of the church. In that
under the first arch from the west on the north side
were found the remains of a bishop, the gold fringe
of whose robe was little injured. The crook of his
staff of jet was bound to the staff by a gold band
with arabesque ornaments of dragons, and he was
wearing a gold thumb-ring with an agate bearing a
Gnostic emblem. On his breast was a chalice 5½ in.
high and 4½ in. in diameter; below the bowl is a round
gilt knop and the foot is formed by an inverted
calyx, with a double layer of leaves. The date of the
chalice is between 1275 and 1300. (fn. 20) The paten, 5½ in.
in diameter, has an octofoil decoration, and in the
centre a gilt roundel on which is engraved a hand
in blessing, with a crescent on one side and a star
on the other. (fn. 21) The date of the paten is 1290–1300.
Presuming, as is to be expected, that the chalice and
paten were those in use by the bishop here buried,
in his lifetime, their date would assign the coffin to
Gilbert de Sancto Leofardo (d. 1304). If so, it was
probably moved from the Lady Chapel when that
chapel was converted into a mausoleum for the Dukes
of Richmond in 1750 and became the cathedral library.
In another of these coffins (we are unfortunately
not told which) was a pewter chalice and paten of
probably the 12th century, (fn. 22) perhaps of Bishop
Hilary (d. 1169). A third of these coffins held a
chalice 5 in. high and 4½ in. in diameter, which is
much broken. It has a knop of gold in the middle
of the short stem, and its date is between 1200 and
1250, so that the coffin may have been that of Bishop
Ralph Neville (d. 1244). The paten, 5 in. in diameter,
has a roundel within a quatrefoil in which is engraved
an Agnus Dei, and around it is the legend 'Agnus
Dei qui tollis peccata mundi miserere nobis.' (fn. 23) Its
date is of about the end of the 12th century, and it may
have belonged to the coffin of Bishop John Greenford
A coffin was dug up in Paradise on the south side
of the church, also in 1829, and placed in the
south transept near Bishop Langton's tomb. Near
or in the coffin was found a lead cross, now in the
library, with an inscription giving papal absolution
to Bishop Godfrey (d. 1088). The coffin has been
moved. (fn. 24)
On the raised platform by St. Richard's Altar are
floor slabs to Canon William Barcroft, D.D., 1712,
and Mary (Blaker), his wife, 1713, also Mary,
their daughter, 1741, and Richard, their son, 1742–3;
to Canon John Backshell, LL.D., 1750, and Mary
(Mill), his wife, 1767; to Daniel Walter, A.M.,
1761; to Elizabeth, wife of Dr. Thomas Manningham, Bishop of Chichester, 1714; to Mrs. Martha
Ballowe Grane, daughter of Dr. Thomas Ballowe,
1707, late residentiary, and M . . . Moody, 1736,
and another to Dean James Hargraves, D.D.,
1741, and Mary (Williamson), his widow, 1785,
In the north aisle are floor slabs to Sarah Peckham,
1784, Rev. G. P. Farhill and the Rev. H. P[eckham],
1795; to Daniel Singer, 1787; to William Bately,
Surveyor and Commissioner of His Majesty's
Navy, 1773, and Catherine, wife of Charles Heath,
his eldest daughter, 1785; to Frances, daughter of
Dean Joseph Gulston, D.D., 1688; to Robert
Smyth, alderman, 1721, and Henry, his son,
1725; and small brass inscriptions to Thomas William
Cook, Bishop of Lewes, 1926–1928, and to William
Champion Streatfeild, Bishop of Lewes, 1929; to T. Y.
1804; and others that are indecipherable, including
one with a lozenge-shaped shield.
In the south aisle are floor slabs to Mary, wife of
John Backshell and daughter of Sir John Miller, bart.,
1738; to Thomas Bowers, Bishop of Chichester, (fn. 25)
1724; to Thomas Luxford, 1778, and Hannah
(Jordan), his wife, 1793; to Mary, wife of Prebendary
George Parker Farhill, 1782; and a small brass to
Winfrid Oldfield Burrows, Bishop, 1919–29. A slab
inscribed 'Rediturae Animae deposit[um]' covers the
grave of Bishop Henry King, and was so inscribed in
accordance with his will.
There are other slabs here, hidden or illegible.
West of the Lady Chapel are brasses to Mary
Louisa Lennox, 1843; to Canon William Clarke, 1771;
to William Otter, Bishop, 1833–40; and to Philip
Nicholas Shuttleworth, Bishop, 1840–42.
On the north wall are mural monuments to the
Rev. H. Peckham, 1795, and Sarah, his wife, 1782,
of white marble with an allegorical figure, erected by
their daughter, Sarah Farhill; also to Harry Peckham,
Recorder of Chichester, 1787; to John Peckham,
1782, and Elizabeth, his widow, 1820; to Dean
Samuel Slade, D.D., 1829; to Lambrook Thomas,
S.T.P., Dean of Chichester, 1672; to Joseph Gulston,
S.T.P., Dean of Chichester, 1669; to William
Otter, D.D., Bishop of Chichester, 1840; to William
George James Thomas, 1842; to Francis Goater,
Alderman, 1734, and Mary (Palmer) his wife, 1728,
and Mary their daughter, 1736; to Ernest Roland
Wilberforce, D.D., Bishop, 1907, with kneeling figure
of the Bishop, in alabaster. A mural tablet on the
south side of the Lady Chapel arch commemorates
Charles Henry Gordon Lennox, 6th Duke of Richmond, 1903.
In St. Mary Magdalene's Chapel there is a wall
tablet, with figure and urn, to the Rev. George Farhill,
1790, and Sarah, his wife, 1819.
In the south quire aisle are monuments to Edward
Waddington, S.T.P., Bishop, 1731, and Frances
(Newey), his wife, 1728; to Dean Walter Farquhar
Hook, 1875; to Thomas Wheeler, 1769, and Susanna
Gilham, his daughter, 1782; to Sarah Charlotte,
wife of James Robert Matthews, 1838; to Major
Hugh Fitzharding Drummond, killed at Sebastopol,
1855; to Bishop John Buckner, LL.D., 1824; to
Lieut.-Col. Richard Buckner, C.B., 1837, and Mary
Marsh, his widow, 1852.