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I Location

II General Description

Chichester Cathedral is situated within the SW quadrant of the city, which was originally laid out by the Romans. A small, irregular cloister ('Paradise') on the S side gives access to the Chapel of St Faith, the 15thc.Vicar's Close, and St Richard's Lane. The Bishop's Palace lies to the SW, and there are a number of clergy houses to the S, along Canon Lane (see separate entry for No.4 Canon Lane). A detached tower stands to the NW.

The Cathedral was erectedc.1075-1130 (see VII History, below), and despite centuries of alteration, enlargement, conflagration and collapse, it is still, predominantly, a Romanesque building. Many alterations and additions were madec.1187-1240, in a mature Early English style, but later medieval work is minimal. The building will be described from E to W.

The E End:

The E end of the original building comprised a choir of three aisled, straight bays, a seven-bay ambulatory and three radiating chapels. Of these elements, only the straight bays survive today. Initially the choir was unvaulted, but the remains of transverse arches (i.e. concealed buttresses) in the choir galleries have generated the theory that a barrel vault was planned, but never built (see Andrew 1980 and 1982). The remains of plinths, discovered in 1860, show that a transverse arch on shafts marked the beginning of the apsidal termination, and surviving stumps of walling in the fourth choir bay reveal that it was slightly stilted in plan.

In the early 1180s, the central apsidal chapel was replaced by a three-bay, Transitional-style Lady Chapel, and a consecration ceremony in 1184, led by Bishop Seffrid I, may have marked the completion of that work. After a serious fire in 1187, the remainder of the original apse was replaced by a two-bay choir extension (retro-choir) and, flanking the W bay of the Lady Chapel, the square-ended chapels of St Katherine and St Mary Magdalene. At the same time, the internal three-storeyed elevation of the choir straight bays was remodelled: the outer order of each arcade bay was refashioned in Purbeck marble, and vertical vaulting shafts were inserted between the bays. The gallery, with its twin openings and opus reticulatum spandrels, was left largely untouched, but the clerestorey passage was given a new arcade. Stone rib vaults were erected over the main vessel of the choir, and were supported externally by flying buttresses. The choir aisles, which may have had groin vaults originally, were also given rib vaults, and it has been suggested that blind arcading was removed from their inner walls at the same time.

The post-fire work is in a mature Early English style, and must have continued beyond the rededication ceremony of 1199, as a royal licence was granted to transport Purbeck marble by sea in 1206, and there are various references to work on the fabric throughout the first half of the 13thc. The most significant later work in the E arm is the two-bay Lady Chapel extension, dating fromc.1288-1304, with tierceron vaults and Decorated window tracery. Around 1300, the clerestorey walls of both choir and nave were raised, and the roofs rebuilt (dated by dendrochronology c. 1280-1315).

The Transepts and Crossing:

The two-bay transepts are simple, aisleless spaces, but may originally have had end galleries which would have permitted circulation around the entire building at triforium level. The original semi-circular E chapels, on two levels, were replaced by single-storeyed square chapels after the 1187 fire, and at the same time the inner clerestorey arcades were remodelled and the transepts vaulted. The chapel of the Four Virgins (i.e. the Treasury) on the E side of the S transept is the only post-fire work to incorporate Romanesque features (i.e. chevron). The great window in the S wall of the S transept dates from the early 14thc., and the N window of the N transept from the late 14thc. There is evidence that the crossing suffered from subsidence in the 12thc., and the piers had to be rebuilt or repaired. The tower was heightened in the late 13thc., and later given a Perpendicular spire based on that of Salisbury. The crossing was entirely rebuilt after its dramatic collapse during restoration work in 1861 (see VII History, below), and the piers, tower and spire are the work of Sir George Gilbert Scott, as is much of the stonework in the adjacent bays to E, S, W and N.

The Nave and W End:

The eight-bay nave is flanked by aisles and terminates in two W towers, positioned within the aisles. Like the choir, it has a three-storey elevation and was originally not vaulted, therefore the interior elevation would have had a strong horizontal, rather than a vertical, emphasis. A building break occurs in the fourth bay, but the same basic design is maintained throughout. After the fire of 1187, the elevation was remodelled in much the same manner as the choir, and rib vaults were erected. The nave aisles, which may have had groin vaults from the outset, were now given rib vaults. The N porch (bay N7) was also built in the late 12thc. St Richard's Porch (bay S3) and the Sacristy (bays S1-S2, with the Song School and Choir Library above) date from the 13thc. In the later 13thc., chapels were erected against the outer aisle walls (bays N2-N6 and S4-S7); their window tracery dates from 1847. The original aisle corbel tables may be viewed from the roof spaces of these chapels, and in the chambers over the porches.

The W façade comprises a gabled bay between two towers. The lower stages of the SW tower belong to the mid-12thc., but the upper stages have pointed apertures and were added in the late-12th or early-13thc., probably after 1210, when a storm reportedly wrecked two towers, variously identified as the central and SW tower, or the SW and NW towers. The S doorway is the most elaborate piece of Romanesque architectural sculpture in the cathedral. The 12thc. NW tower was rebuilt in 1901 by J L Pearson, having collapsed in 1630. Pearson seems to have been able to incorporate much original fabric into the east and south walls. Neither tower has a spire.

The façade between the towers has been wholly reconstructed since the 12thc., although the bases of the original W doorway were uncovered in the 1970s (boxed in, 1989). The W porch, with its quatrefoil blind arcading and Early English doorway, dates from the late 12thc., as does the triplet above the porch, and the W gable, although the decorative facing is probably reused 12thc. material. The great W window contains wooden mullions of 19thc. date.

Miscellaneous:

Aside from the architectural sculpture which is still in situ, Chichester Cathedral possesses the 'Chichester Reliefs' (Bethany and Lazarus), now displayed in the S choir aisle, and fragments of one or more reliefs, now in the Library.

III Exterior Features

1. Doorways

(i) S doorway of SW tower

This is a round-headed blocked doorway of two orders, with an additional minor order at archivolt level. The first order is continuous, with lateral chevron (two rolls) on the arch, and plain jambs. The springer voussoir on the E, and the fifth on the W have been replaced. The second order comprises two arches: a minor archivolt with a chamfered surface (i.e. of triangular section), carved with simple directional chevron, and the main archivolt, which is carved with lateral chevron (three rolls). The directional chevron changes direction three times, instead of just at the apex, and may have been wrongly assembled or reassembled. Several voussoirs of the outer archivolt have been renewed.

Both arches descend onto impost bands with hollow chamfers, carved with a row of circular rosettes on the face. The carving is very worn. The upper part of the W capital is carved on each face with a T shaped band, with a tapered and striated stem; the angles are chamfered and pointed, suggesting leaf shapes. The lower part of the capital is carved with a band of saltire crosses, and the necking with cable motif. The E capital is extremely worn. The upper part has large angle volutes; the lower part seems to have been carved with a collarette of pointed leaves. The necking is too worn to be deciphered. Both capitals are carried by modern monolithic columns, and have original attic bases on plinths. The label comprises a hollow on the face, containing a single chevron ribbon (with a central groove on the W springer only), and a plain, slightly hollow, chamfer.

Dimensions

2. Windows

(i) Choir

a. Clerestorey

The choir clerestorey windows survive in bays S2, S3, N2 and N3. S1 and N1 were rebuilt by Scott in the 1860s. They follow the same design, comprising two orders. The plain, continuous inner order is very narrow. The second involves voussoirs with a soffit roll and plain face, carried on imposts with a quirk (or slender roll) and chamfer. The soffit roll corresponds with plain cushion capitals and nook shafts on attic bases. The bases have relatively deep scotie compared with the aisle windows (see below). The label is narrow and carved with billet.

The inside of the choir clerestorey was remodelled after 1187, retaining the plain inner order of each aperture.

b. Aisles

The only original choir aisle window to survive in a state of completeness is S1 (now blocked up, inside the boiler house). In addition, the heads of N1 (blocked-up, inside the Library Stairs) and the label of N2 (blocked up, inside the Treasury) are exposed to view. These apertures are quite different from the clerestorey windows, and comprise two orders plus a broad, non-projecting label. The inner order is plain and continuous. On the main (or second) order, a plain roll is carved on the face of the voussoirs, and is followed by a deep V-shaped channel. The label is very wide, and is carved on its face with large units of billet. The arches are carried on impost blocks with an edge roll, rather than a simple quirk, and the main archivolt corresponds to a plain cushion capital on nook shafts with attic bases. The bases are very upright, having a narrow upper torus and a broad lower torus, with neither projecting a great deal.

(ii) S Transept

a. E Clerestorey, S Window

This window is Transitional in style, with a plain, slightly pointed arch, carried on foliage capitals. The window probably dates after the 1187 fire and is similar to the two clerestorey windows on the E side of the N Transept. Internally, the opening was remodelled after the 1187 fire.

b. E Clerestorey, N Window

This window has an arch carved with a roll and a band of billet. This is carried by cushion capitals and nook shafts. Internally, the opening was remodelled after the 1187 fire.

(iii) N Transept

a. W Wall, ground level, S Window

Externally, this window has a continuous, plain, inner order. The second order arch is carved with a roll and hollow. The broad label, flush with the wall, is carved with large units of billet. The roll corresponds to plain cushion capitals and nook shafts. This window has the same form as the choir aisle windows.

Internally, the window comprises two orders. The inner order is plain and continuous. The second order arch is carved with a roll and hollow, carried by cushion capitals on engaged nook shafts with attic bases. Both capitals are original, but the stonework of the shafts and bases has been renewed.

b. W Wall, ground level, N Window

Internally, this window comprises two orders. The inner order is plain and continuous. The second order arch is plain and is carried by cushion capitals on engaged nook shafts with attic bases. Both capitals are original, but the stonework of the shafts has been renewed, and only the N base is original.

(iv) Nave

a. S Clerestorey

The single clerestorey windows in bays S4 to S7 are round headed and of two orders. On the exterior of each, the inner order is plain and continuous. The outer order has a roll archivolt carried on plain impost blocks, cushion capitals and engaged nook shafts. The bases cannot be seen from ground level. The label is carved with double billet. The windows in bays S1 and S2 are masked by the Sacristy/Song School, and those in bay S3 are masked by the wall of the chamber above St Richard's Porch.

b. N Clerestorey

The single clerestorey windows on the N side of the nave, in bays N1 to N7, are round headed and of two orders. On the exterior of each, the inner order is plain and continuous. The outer order has a roll archivolt carried on plain impost blocks, cushion capitals and engaged nook shafts. The bases cannot be seen from ground level. The label is carved with double billet. The window in bay N1 was rebuilt after 1861.

c. Aisles/Galleries

The only surviving nave aisle windows are in bay N1, which was rebuilt after 1861. This bay has two superimposed windows. The upper window, lighting the gallery, has two plain, continuous orders and sits on a plain string corresponding to gallery floor level. The lower window is in a 13thc.style but has a billet label which may be reused from the Romanesque window which originally occupied this position. It resembles the labels of the choir clerestorey windows rather than the choir aisle windows.

(v) SW Tower

a. S wall, first-stage window

Exterior: two orders, round-headed. First: plain, continuous, with much replaced stonework. Second: torus roll on continuous impost bands, cushions capitals, coursed shafts and attic bases. Billet label.

Interior: two orders, round-headed. First: plain, continuous. Second: plain arch on grooved impost blocks, cushion capitals with angle tucks, coursed shafts and attic bases.

b. S wall, second-stage window

Exterior: two orders, round-headed, and slightly taller than the window below (above, III.v.a). First order: plain, continuous, with some replaced stonework. Second order: torus roll on plain impost blocks, cushions capitals with angle tucks, engaged shafts and attic bases. Billet label.

Interior: two orders, round-headed. First order: plain, continuous. Second order: plain arch on grooved impost blocks, cushion capitals with angle tucks, engaged shafts and attic bases.

c. W wall, first-stage window

Exterior: two orders, round-headed. First order: plain, continuous. Second order: roll on plain impost blocks, cushions capitals, engaged shafts and attic bases. Billet label.

Interior: two orders, round-headed. First order: plain continuous. Second order: plain arch on grooved impost blocks, cushion capitals with angle tucks, engaged shafts and attic bases.

3. Exterior Decoration

a. String courses

A stringcourse carved with billet on face and chamfer seems to have run around the cathedral beneath the lower-level windows. This survives in places, as follows:

(i) S Choir aisle

Billet stringcourse under windows in bays S2, S3 and part of S4 (i.e.: to the turning point of the apse).

(ii) N choir aisle

Billet stringcourse under windows in bay N2 and most of N3.

(iii) S Transept

Transept Billet stringcourse on SW Buttress.

(iv) N Transept

Billet stringcourse on N side of NW buttress.

(v) Nave

Billet stringcourse under aisle window in bay N1.

(vi) SW Tower

Billet stringcourse on S wall.

(vii) NW Tower

Billet stringcourse on buttress W of N porch. The rest of the billet string here appears to date from Pearson's reconstruction of the tower.

c. Corbel tables, corbels

The original corbel tables of the choir and nave aisles have largely survived, unlike those of the main vessels (choir, transepts and nave), which must have been dismantled when the high vaults were erected, or when the roofs were rebuilt in the late 13thc. Only the corbel tables of choir aisle bays N3, S2 and S3, and nave aisle bay N1, can still be seen on the exterior of the building. Those in nave aisle bays S1 and S2 may have been destroyed when the Song School and Choir Library were erected against them, but many others may still be seen in situ within later structures which abut the aisles.

The corbel tables would have concealed and supported the wall plates of the original wooden roofs (since rebuilt) which covered both aisles and galleries. They are arcuated throughout, with carved corbels supporting squared blocks carved with round-headed arches circumscribed by plain roll mouldings. Usually, narrower ashlar blocks are positioned between the arcaded blocks to provide the correct width for the supporting corbels. The corbels have been blocked out in a variety of ways. Many have concave ground, from which a head or figure projects, while several have an oblique surface carved with shallow geometric motifs. Many of the designs are deliberately asymmetrical, and some were clearly carved to be seen from the ground.

The majority of the corbels are of Quarr stone but, surprisingly, one or two seem to have been carved from Sussex marble. Traces of plaster and/or limewash may be seen on some of the corbels protected by later chapel roofs.

(i) S choir aisle

Two corbels in bay S1 now lie within the boiler house, which is sandwiched between the S transept chapel and the choir wall. The corbels in bays S2 and S3 are visible from The Paradise. Two corbels at the W end of bay S4, just before the former turning of the apse, also survive.

Choir S1

1. Possibly a ram's head. Damaged.

2. Carved with three horizontal rolls. Damaged.

Choir S2

1. Animal head with hands covering eyes.

2. Modern head.

3. Plain modern block.

4. Geometric design involving saltire cross within a triangle on the face.

5. Modern head.

6. Animal head.

7. Worn.

8. Modern head.

9. Modern head.

10. Diaper.

Choir S3

1. Head with hands over mouth.

2. Worn.

3. Damaged.

4. Worn.

5. Small head with triangular ears separated by unit of chevron.

6. Oblique face carved with 'stick' figure.

7. Oblique face carved with cable, saltire crosses and billet.

8. Cut back to wall face.

9. Damaged.

Choir S4

1. Cut back for rainwater head.

2. Head, badly damaged.

3. Human head with pointed chin.

(ii) N choir aisle

The corbels in bays N1 and N2 are now within the Cathedral Library. Those in bay N3 are visible from the exterior. A loose corbel is located on the Library stairs (see below, VI Loose Sculpture).

Choir N1

1. Beast's head with open jaws displaying teeth and form resembling a unit of billet. h. 0.21m; w. 0.30m; d. 0.21m.

2. Two human heads, with a kneeling body carved on right side only. The right face is frontal, the left angled. h. 0.19m; w. 0.265m; d. 0.21m.

3. Strangely-shaped face (with flaps like spaniel ears) to the front, and a cat-like face, turned 90 degrees, on each side. h. 0.14m; w. 0.21m; d. 0.19m.

4. Beast's head with ringed eyes, snout and open mouth. h. 0.21m; w. 0.175m; d. 0.21m.

5. 'Abstract' head. h. 0.20m; w. 0.17m; d. 0.185m.

6. Plain block.

7. A face with a triangular forehead, between two hands, which are carved on the sides. h. 0.18m; w. 0.185m; d. 0.20m.

8. Plain block.

Choir N2

1. An animal head with hollow triangular ears and oval eyes. Its open jaws display teeth which grip a human figure, facing right. The figure covers its torso with its arms, and appears to wear a short tunic. Its legs are folded backwards. h. 0.22m; w. 0.27m; d. 0.20m.

2. Cow-like animal head with curled horns and snout. h. 0.205m; w. 0.25m; d. 0.21m.

3. Modern carving of a dog.

4. Four chip-carved saltire crosses form a horizontal band above a cable moulding. On the underside is billet. The left side is carved with a disc carved with an X, the right side with an almond-shaped hollow filled with zig-zag. Compare Choir S3 7. h. 0.24m; w. 0.24m; d. 0.21m.

5. Animal head with asymmetrical horns. The nostrils are triangular. h. 0.20m; w. 0.24m; d. 0.20m.

6. Dog-like head with snout, ringed eyes and large ears. h. 0.17m (NB: cut to fit window head); w. 0.29m; d. 0.19m.

7. Human head with moustaches, blowing a horn (held in hand on left side of head). h. 0.19m; w. 0.225m; d. 0.19m.

8. Dragon, on left, licking a human head, on right. The body and hand of the figure is carved on the underside of the corbel. h. 0.19m; w. 0.225m; d.0.20m.

9. Human head touching cheek and forehead with hands. The figure is in a kneeling posture, with deeply undercut legs on the underside of the block. h. 0.195m; w. 0.225m; d. 0.19m.

Choir N3

1-3. Modern.

4. Worn.

5. Two human heads, possibly with bodies.

6. Head with hands over mouth.

7. Animal head with hole in forehead.

(iii) S nave aisle

The corbels in bays S1 and S2 were probably destroyed when the Sacristy/ Song School was built. Those in bay S3 can be seen in the choir library, the chamber over St Richard's Porch, and those in bays S4, S5, S6 and S7 can be seen in the roof spaces of the aisle chapels of St George and St Clement. Those in bays S3 and S4 have lost their arches. Access to the roof spaces from gallery level was created by breaking through the centre of each bay, necessitating the removal of several corbels. These are not taken into account in the numbering system, which is from left to right within each bay (i.e. W to E).

Nave S3

1. Two human heads, one on each angle of the corbel. They are widely separated and there may have been a geometric motif in the centre. Extremely worn.

2. Damaged.

3. Damaged.

4. A band of chevron above a human face, with hands (?) clasped under chin.

5. An animal head. The mouth is cut into the flat underside of the head.

6. Damaged or crudely carved, probably representing two human heads, one on each angle but with features all over the shop.

7. Small, round human head.

8. A block with a projecting unit of chevron on its face and underside, cf: a unit of point-to-point chevron.

9. A block carved with three units of billet on face and five on soffit (cf; chequer pattern).

10. Damaged on left; carved with 'wheel' motif on right.

11. Cut back.

Nave S4

1. Three rolls on an oblique surface.

2. Four rolls on an oblique surface.

3. Plain, with shallow concave shape.

4. The face is carved with hollow chevrons, and the (damaged?) oblique underside is part carved with small hollow triangles and squares. There is a curved band of sawtooth on the left side; the right side is plain.

5. A 'wheel', with a plain rim, on the left and a human head on the right.

6. A roll pinched by a central clasp.

7. A human head with moustaches.

8. Four rolls on an oblique surface.

9. A roll with a pellet projecting from the front, and a damaged cylinder on the underside.

10. A small roll above a fat roll.

11. Broken.

12. Animal head with mouth cut into underside of snout.

Nave S5

1. Two discs, each carved with a cross, project from the face and underside of a block on a concave ground.

2. Thin corbel with concave surface. Plain.

3. Carved with two units of billet on face and one in centre of oblique underside.

4. Two cones carved from block on concave ground.

5. Broken

6. Human head with long neck on concave ground.

7. Thin corbel with concave surface carved with a raised square block incised with a saltire cross.

8. Head-like shape with S shape (or volute shape) on right side.

9. Thin corbel with oblique surface carved with a raised rectangle incised with two squares containing saltire crosses.

10. Two human heads, one on each angle.

11. A polygonal roll.

Nave S6

1. A beast's head, with hollow triangular ears, almond-shaped eyes, and a triangular nose with the nostrils hollowed out of the underside of the block. The oval underside of the snout is also carved with a mouth displaying a ring of teeth and a tongue. On a concave ground.

2. A roll carved with lozenges.

3. The right half is carved with a human head on a concave ground. There may have been a second head on the left originally, but there is no trace.

4. Vertical chevron?

5. Thin corbel with concave underside with projecting block carved with incised geometric design, involving four rectangles each carved with a saltire cross.

6. A roll with a hollow end to the left but not to the right. On a concave ground.

7. A horizontal roll shaped like the shields of cushion capitals to either side of a vertical bar. On a concave ground.

8. Plain roll on a concave ground.

9. A double 'wheel', with a cusped left rim and cable right rim. On a concave ground.

10. Plain roll on a concave ground.

11. A concave surface, carved with a shape resembling a tongue.

Nave S7

1. Two horizontal cable rolls, one above and one below a third roll.

2. Plain.

3. Thin corbel with oblique surface carved with a cross (cf: N5 5).

4. Sheared off. Appears to be Sussex marble.

5. Large drop shape. Possibly originally a head?

6. Human head on each angle. Note that axis of face does not correspond with angles of block, but is on a diagonal.

7. Plain roll on concave ground.

8. A small human head with a long neck on concave ground.

(iv) N nave aisle

The corbels of bay N1, partly replaced after the collapse of the tower in 1860, are visible from the flat roof of a structure occupying the angle of the N transept and nave. Those of bays N2 to N6 lie inside the roof spaces of the chapels of St Thomas, St Edmund and St Anne, which were built against the aisle in the late 13thc.; those of N7 are in the roof-space of the N porch. Access to these roof spaces from gallery level was created by breaking through the centre of each bay, necessitating the removal of several corbels. These are not taken into account in the numbering system, which is from left to right within each bay.

Nave N1

1-5. Victorian replacements.

6. Broken.

7. Two cones (cf: Nave S5-4).

8. Rude?

9. Damaged.

10. Human head.

11. Human head with almond shape on forehead.

Nave N2

1. Broken.

2. Large animal head.

3. Four tiers of double shields or scales

4. Plain cylinder.

5. A round head with slightly pointed chin on square detached from ground.

6. Cable roll clasping three plain rolls.

7. Head with small animalistic ears.

8. Three plain rolls (cf: 6, without cable band).

9. Plain cylindrical roll in broad clasp.

Nave N3

1. Scroll on E side, head and angle head.

2. Saltire cross and inverted V on upright; very shallow row of chevron below.

3. Plain cylinder.

4. Human head between two strange side motifs, possibly stylised acrobat.

5. Quadruped carved on curved underside of corbel.

6. Animal head with pointed ears between two motifs like 4 (acrobat?).

7. Human head with long, up-curled, pointed moustaches.

8. Human head on NE angle; front face seems unfinished

9. Geometric design on face; roll below

10. Damaged. Unidentified motif on underside

11. Triple billet

Nave N4

1. Three rolls on upright, and saltire cross on chamfer.

2. Blocked out in form of very stylised bridled horse's head.

3. Cylinder clasped by band.

4. Head with moustache and open mouth carved on NW angle of block.

5. Roll, pinched or indented without band in centre.

6. Same as 5, with band in centre.

7. Bald human (?) head with deeply cut semi-circular ears and eyes. Vertical score on top of head.

8. Animal head (horse?) with circular eyes with drilled pupils and muzzle.

9. Plain hollow chamfer.

10. Animal head with almond-shaped eyes and ears, and mouth cut into circular base of snout.

11. Plain hollow chamfer.

12. Animal head with bulging eyes and snout with mouth in its base (cf: 10).

13. Plain roll.

Nave N5

1. Head.

2. 'Wheel' type; plain.

3. 'Wheel' type, with billet on underside.

4. A block with a circular form on underside.

5. Thin corbel with oblique face carved with a shallow cross (cf: S7 3).

6. Damaged. Plain roll?

7. A human head, with and arm and hand carved on the right side.

8. Thin corbel with oblique surface carved with chip-carving.

9. A plain block.

Nave N6

1. Unidentified.

2. Saltire cross on all faces.

3. Bearded human head.

4. Head.

5. Two Heads (?).

6. Unidentified.

7. Head on each angle and pellet motif in centre.

8. Two 'wheels' with diagonal grooves (cf cable).

9. Cylinder clasped centrally by band with chip-carved saltire crosses.

10. Unidentified.

11. Plain roll.

Nave N7

1. Possibly an animal head with a muzzle.

2. Unidentified.

3. Unidentified.

4. Human head.

5. Human head between legs.

6. Arc? Damaged.

7. Two raised triangles meeting on convex surface.

8. Unidentified.

d. Miscellaneous

(i) W facade, gable

The diaper work on the gable of the W facade may be reused 12thc. carving, probably from the 12thc. facade. See also under W window inside.

IV Interior Features

1. Arches

b. Tower/Transept arches

(i) Crossing arches

These were all rebuilt by Scott, following the collapse of the central tower in 1861. Post-collapse photographs show that the central shaft of the N and S responds carrying the W arch was carved with chevron, a feature reinstated by Scott. The E and W crossing arches are carved with a cable moulding, chip-carved saltire crosses and chevron.

(ii) Arches from transepts to choir and nave aisles

These were all rebuilt after 1887.

(iii) Tower arches

SW tower, E arch

The round-headed E arch of the SW tower, leading into the S nave aisle, has three orders on the W and two on the E. The first order comprises a plain chamfered archivolt carried by twinned, semi-columnar, engaged shafts with double scallop capitals and impost blocks comprising an upright, groove and hollow chamfer. On the main face of the N capital a tongue rises between the cones; the shields on the S capital are defined by double grooves, the cones are separated by two superimposed triangles and the necking bears a cable moulding. The second order E and W involves a roll archivolt carried by semi-columnar, engaged shafts and cushion capitals. The SE and NE capitals have angle tucks and slightly recessed shields; the SW capital simply has an angle tuck and the shields of NW capital are defined by incisions.

SW Tower, N arch

The round-headed N arch of the SW tower, leading into the W bay of the nave, has two orders on its N face, and three on its S. The first order has a plain chamfered archivolt carried by semi-columnar, engaged shafts. The impost blocks have an upright, groove and hollow chamfer; the capitals are double scallops. That on the W has a reeded triangle between the cones, that on the E has scales in its R shields. The second order on the N was remodelled after 1187. That on the S has a roll archivolt carried by cushion capitals with slightly recessed shields; the E capital has an angle tuck. The plain archivolt of the third order descends onto plain cushion capitals with recessed shields, E and W.

There are plain relieving arches on the ground-floor of the SW tower. The N side of the E arch dies into the tower wall and appears stilted above a flat capital carved with a heart shaped palmette and a cushion, the cone tucked and the shield underlined by two deep grooves. On the S it is carried by a cushion capital with an angle tuck and a grooved shield. The E and W sides of the S relieving arch also descend onto cushion capitals with angle tucks and grooved shields, as does the S side of the W arch. The W capital of the S arch and S capital of the W arch are adjacent, and here the internal angle colonnette of the tower springs from their impost blocks. The N side of the W relieving arch dies behind the NW angle colonnette, sharing its cushion capital (see above). The relieving arch on the N wall of the tower dies behind the NW angle colonnette on the W, and terminates on the impost block of the third order of the N tower arch on the E.

NW Tower, E arch

Rebuilt 1901? Inner order arch has simple chamfers to E and W and is carried on triple scallop capital with grooved shields on S and double scallop with angle tucks to N. The responds are in the form of twinned half-columns. The E face of the arch, second order, has a roll on a plain cushion capital (S) and block capital (N). The E face, third order, has plain arch on roughly shaped block capital (S) and dies into the wall on the N. The W face of the arch, second order, has a roll on a scallop capital with grooved shields (S) and a plain scallop capital (N). The W face, third order, has a plain arch, dying into wall.

NW Tower, S arch

Rebuilt 1901? The inner order is carried on the W by a double scallop capital with grooved shields and a triangle, which rises between the cones. The necking had cable motif. The second order on the N descends onto a cushion capital.

2. Arcades

a. Choir

The first three bays of the choir have arcades with round-headed arches of two orders carried by compound piers with semi-columnar engaged shafts and cushion capitals with angle tucks. The impost blocks consist of an upright, a narrow roll and a hollow chamfer; the attic bases have shallow scotie and narrow upper tori. The first order archivolts are chamfered, as are the second order archivolts facing the aisle. Their equivalents facing the nave were replaced, together with their supports, following the fire of 1187. At that time vaulting was introduced and the choir extended. The chamfering of the arcade archivolts was probably also carried out then. The collapse of the central tower in 1861 damaged the first choir bays, which were subsequently restored by Scott. Of the 12 cushion capitals on each arcade, six have been renewed on the S and ten on the N.

There are no pre-fire responds on the S wall of the S choir aisle.

(i) Choir, S Arcade (E to W)

Bay 1: The first order capitals are modern; those on the second order are original.

Bay 2: The first order W capital has been slightly retooled; the E capital is modern. The second order W capital is original; the E capital is modern.

Bay 3: The first order W capital is modern; the E capital is slightly retooled and its left angle is damaged. The second order (facing aisle) W capital is modern; the E capital is slightly retooled.

(ii) Choir, N Arcade (E to W)

Bay 1: All capitals are modern.

Bay 2: The first order W capital is retooled; the E capital is modern. The second order capitals are both modern.

Bay 3: The first order W capital is modern; the E capital is original. The second order capitals are both modern.

c. Nave

The seven-bay nave arcades have round-headed arches of two orders carried by compound piers with semi-columnar engaged shafts. As in the choir, the outer orders facing the nave were remodelled after the fire of 1187. At the same time the first order archivolts were chamfered. The second order archivolts facing the aisles have plain rolls. There is much more variety in capital and base types than in the choir arcades, and the form of the impost blocks changes in the fifth bay: in bays 1-4 and the E side of bay 5 they consist of an ungrooved face and a chamfer, while after that they comprise an upright face, groove and hollow chamfer. This change is accompanied by a slight increase in the width of the arch. The first (E) bays were badly damaged in 1887 and restored by Scott.

(i) Nave, S Arcade

Bay 1: Both archivolts and impost blocks have been reconstructed. The first order E and W capitals are modern. The second order E capital is modern, but on the W is an original cushion capital. It can be seen in a photograph ofc.1861, which shows the W pier standing, and reveals that the W capital of the inner order was a double scallop.

Bay 2: The first order capitals are double scallops with central inverted half-cones between the main cones. The second order capitals are plain cushions.

Bay 3: The first order capitals are double scallops. The second order capitals are plain cushions.

Bay 4: The first order E capital is a double scallop with a half-pyramid between the cones; the W capital is a plain cushion. The second order capitals are plain cushions.

Bay 5: The first order E and W capitals are double scallops with central inverted half-cones between the main cones. The second order E capital is a damaged plain cushion; that on the W has incisions marking the shields and the angle.

Bay 6: The E impost blocks revert to the type found at the E end of the arcade (see above, IV.2.c). The first order E capital is a plain cushion. The W capital is a double scallop, with shields delineated by double incisions and two superimposed triangles rise between the cones. There is cable moulding on the necking. The second order, W capital is a plain cushion; that on the E has an angle tuck.

Bay 7: The first order E and W capitals are double scallops: the shields are delineated by double incisions and three superimposed triangles rise between the cones. That on the E has a cable necking. The second order E and W capitals are plain cushions.

(ii) Nave, N Arcade

Bay 1: As IV.2.c.i, bay 1. The width of this arch has been reduced and the W capital of the second order, a plain cushion, is now embedded in 19thc. masonry. Other capitals post-1861.

Bay 2: The first order capitals are double scallops. Deep, curved channels have been carved into the cones of the W capital, the upper half of which has been replaced by modern blocks. The second order capitals are plain cushions.

Bay 3: The first order capitals are double scallops with half-cones between the main cones. The L angle of the W capital is damaged. The second order capitals are plain cushions.

Bay 4: The first order capitals are double scallops with half-cones between the main cones. The R angle of the E capital and the L angle of the W, are damaged. The second order capitals are plain cushions.

Bay 5: The first order, E capital is a plain cushion; the W capital is a double scallop with angle tucks and two superimposed triangles between the cones. The second order, E capital is a plain cushion; that on the W has incisions marking the shield and the angle.

Bay 6: The first order capitals are double scallops. That on the E has two superimposed triangles between the cones. The shields of the W capitals are delineated by two grooves, and a half-cone within a triangle rises between the cones. The shields on the main face descend markedly lower than those on the lateral faces. The second order, E capital is a cushion with an angle tuck; the W capital is a double scallop with incisions marking the shields and the angle.

Bay 7: The first order E capital is a double scallop, its shields underlined by double grooves, and three superimposed triangles rising between the cones. The shields of the W capital, also a double scallop, are underlined by a single groove, and there are two superimposed triangles between the cones. Both capitals have cable neckings. The second order, E capital is a double scallop, with two scales in each W shield, a cross in the N shield, angle tucks, and an upper band carved with two rows of zigzag meeting at the points. The W capital has lost its surface.

3. Wall passages/Gallery arcades

b. Triforium

(i) Choir

The three westernmost bays on each side are Romanesque. In each bay, two arched openings are twinned beneath a main arch. The twinned openings have round-headed arches of one plain order, carried on chamfered impost blocks with plain faces (with a groove on the N gallery imposts only), carved capitals (described individually below), and supports comprising en delit central shafts and engaged semi-columnar responds, all on attic bases with minimal upper tori. The tympana, facing the choir, are filled with opus reticulatum , composed of grey, yellow and red stones. The main arches have two orders which are plain facing the gallery and carved with angle rolls facing the choir. They are carried by engaged shafts with impost blocks, capitals and bases, as described for the inner order. A number of masons' marks can be seen in the galleries. The capitals are carved as follows:

Choir, S gallery

Bay 1 Facing choir (N face):

W side, inner order (respond) capital: smooth with volutes (modern).

W side, second order capital: two tiers, with foliage on lower tier and volutes on upper tier (modern).

W side, third order capital: two tiers, with foliage on lower tier and volutes on upper tier (modern).

Capital of central shaft: square double scallop with angle tuck (modern).

E side, inner order (respond) capital: two tiers, with rinceaux on lower tier and foliate volutes on upper tier.

E side, second order capital: one tier; smooth leaves and angle volutes. E side, third order capital: two tier; lower tier of fluted leaves and upper tier of angle volutes separated by a triangular motif.

Bay 1 Facing gallery (S face):

W side. second order capital: smooth, with angle volutes separated by pointed leaves (modern).

W side, third order capital: smooth, with angle volutes (modern).

E side, second order capital: volutes issuing from broad, flat V-shaped bands and separated by a group of three pointed leaves.

E side, third order capital: volutes issuing from broad, flat V-shaped bands and separated by a group of three pointed leaves. Necking damaged.

Bay 2 Facing choir (N face):

W side, inner order (respond) capital: interlace with stems, issuing from sides of inverted animal head with drilled pupils, forming heart shape on main face. Scrolls on sides. Left angle and left of main face damaged.

W side, second order capital: two tiers, with lower tier of pointed leaves and full-height volutes (crockets).

W side, third order capital: two tiers, with lower tier of fluted leaves and upper tier with volutes separated by triangular motif.

Capital of central shaft: square double scallop.

E side, inner order (respond) capital: two tiers, with lower tier of thick pointed leaves with curled tips, and upper tier with angle volutes (modern?).

E side, second order capital: one tier; smooth leaves and angle volutes.

E side, third order capital: one tier; smooth leaves and angle volutes.

Bay 2 Facing gallery (S face):

W side, second order capital: volutes rise full height of basket; S face badly damaged.

W side, third order capital: two tiers, foliage on lower tier and volutes separated by a group of three pointed leaves on upper tier; angle damaged.

E side, second order capital: smooth, with angle volutes separated by groups of three pointed leaves. Angle broken.

E side, third order capital: volutes with flat V-shaped stems are separated by groups of three pointed leaves. Angle broken.

Bay 3 Facing choir (N face):

W side, inner order (respond) capital: a very damaged and repaired capital carved on the face with affronted volutes sprouting palmettes above rounded leaf shapes. Five-petal rosette and incised motif under broken angle volute to the left.

W side, second order capital: smooth leaves, terminating in angle volutes separated by groups of three pointed leaves.

W side, third order capital: the angle volutes rise from V-shaped bands and are separated by groups of three pointed leaves.

Capital of central shaft: double-scallop, with angled tucks.

E side, inner order (respond) capital: a plain cushion (repaired?)

E side, second order capital: smooth basket, with angle volutes.

E side, third order capital: crocket capital, 13th century.

Bay 3 Facing gallery (S face):

W side, second order capital: smooth, with angle volutes on upper part of basket.

W side, third order capital: two tiers, lower tier carved with eight-petal rosettes separated by groups of ringed, pointed leaves; upper tier carved with three pointed leaves in the centre of each face, and smooth angle volutes. Cable moulding on necking. Angle broken.

E side, second order capital: cushion capital; S side badly damaged.

E side, third order capital: volutes capital; angle and necking damaged.

Choir, N gallery

Bay 1 Facing choir (N face):

W side, inner (respond) capital: foliage scrolls (modern).

W side, second order capital: smooth, with volutes separated by groups of three pointed leaves (modern).

W side, third order capital: two tiers, with foliage on lower tier and volutes separated by groups of three pointed leaves on upper tier (modern).

Capital of central shaft: double-scallop with angled tucks (modern).

E side, inner order (respond) capital: fluted pointed leaves issue small volutes.

E side, second order capital: two tiers, with thick pointed leaves with curling tips on the lower tier and angle volutes separated by groups of three pointed leaves on the upper tier (modern?).

E side, third order capital: smooth, with angle volutes.

Bay 1 Facing gallery (N face):

W side, second order capital: two tiers, foliage scrolls on lower tier and foliate volutes separated by bound foliate stems on upper tier (modern).

W side, third order capital: volutes (modern).

E side, second order capital: two tiers, foliage on lower tiers and angle volutes separated by three pointed leaves on upper tier.

E side, third order capital: the angle volutes with broad V-shaped stems, separated by groups of three pointed leaves. Angle broken.

Bay 2 Facing choir (S face):

W side, inner (respond) capital: double scallop, N side repaired.

W side, second order capital: two tiers, with foliage on lower tier and volutes separated by groups of three pointed leaves on upper tier.

W side, third order capital: angle volutes with broad V-shaped stems, separated by groups of three pointed leaves.

Capital of central shaft: double scallop.

E side, inner order (respond) capital: smooth, with angle volutes.

E side, second order capital: two tiers, lower tier with palmettes separated by groups of three pointed leaves; upper tier with foliate angle volutes separated by groups of three pointed leaves.

E side, third order capital: smooth, with angle volutes (probably a replacement).

Bay 2 Facing gallery (N face):

W side, second order capital: plain volute capital, polygonal shape.

W side, third order capital: the angle volutes separated by groups of three pointed leaves rising the full height of the basket.

E side, second order capital: angle volutes separated by lozenge shape. Damaged.

E side, third order capital: two tiers, foliage on lower tier, angle volutes separated by groups of three pointed leaves on upper tier.

Bay 3 Facing choir (S face):

W side, inner order (respond) capital: smooth, broad leaves terminating in volutes on face and angles. Polygonal shape. Angles repaired.

W side, second order capital: smooth, with angle volutesseparated by groups of three pointed leaves.

W side, third order capital: two tiers, palmettes on lower tier and volutes separated by groups of three pointed leaves on upper tier. Cable on necking.

Capital of central shaft: double scallop with angled tucks.

E side, inner order (respond) capital: smooth, with angle volutes.

E side, second order capital: angle volutes with broad V-shaped stems, separated by groups of three pointed leaves.

E side, third order capital: smooth, with angle volutes separated by groups of three pointed leaves.

Bay 3 Facing gallery (N face):

W side, second order capital: smooth, with angle volutes separated by groups of three pointed leaves. Necking badly damaged.

W side, third order capital: two tiers; lower tier with palmettes separated by groups of three pointed leaves; upper tier with angle volutes separated by groups of three pointed leaves. Necking badly damaged.

E side, second order capital: two tiers, lower tier with palmettes separated by groups of three pointed leaves; upper tier with angle volutes separated by groups of three pointed leaves.

E side, third order capital: angle volutes with broad, smooth, V-shaped stems, separated by a group of three pointed leaves on each face.

(ii) Transepts

S Transept, E opening to choir gallery

This opening is modern except for the S respond.

S Transept, W opening to nave gallery

This opening is modern except for the S respond.

N Transept, E opening to choir gallery

This opening is completely modern, except for the N respond (photographs demonstrate it survived collapse of central tower), and apparently some stones in the opus reticulatum of the tympanum.

N Transept, W opening to nave gallery

This opening is entirely modern although photographs show that the N capital survived the collapse of central tower.

(iii) Nave

The nave gallery bays comprise an inner twinned order on a central column and semi-columnar responds, framed by two additional orders facing both nave and gallery. The tympana or spandrel areas of the inner orders are decorated towards the nave, and appear to be heavily restored. The archivolts are plain to the gallery, where there is a lot of damage, and have rolls to the nave. There are no capitals on the gallery side. Grooved impost blocks make their first appearance on the N side of bay 4, where the jambs are treated differently from elsewhere.

Nave gallery, S elevation

Bay 1. This entire bay appears to post-date the 1861 fire. The tympanum is carved with scale motif.

Bay 2.The central column carries a modern double scallop capital; all respond capitals to E and W are plain cushions. The tympanum is laid as opus reticulatum .

Bay 3. The central column carries a modern cushion capital; all respond capitals to E and W are plain cushions. The tympanum is laid as opus reticulatum.

Bay 4. The central column carries a cushion capitals with angle tucks; all respond capitals to E and W are plain cushions. The W capital of the inner order is modern. The tympanum is laid as opus reticulatum .

Bay 5. The central column carries a cushion capital; all respond capitals to E and W are plain cushions. The tympanum is carved with scale pattern.

Bay 6. The central column carries a double scallop capital; all respond capitals to E and W are plain cushions. The tympanum is carved with lozanges.

Bay 7. The central column carries a double scallop capital; all respond capitals to E and W are plain cushions. The tympanum is laid as opus reticulatum, carved to produce a pattern of overlapping circles.

Nave gallery, N elevation

Bay 1. This bay was largely rebuilt by Scott. The masonry of the tympanum, laid as opus reticulatum , is modern. The only original capitals are the five W respond capitals, all plain cushions, most of which are badly damaged.

Bay 2. The tympanum contains opus reticulatum . The central capital of the first order is a double scallop; all the respond capitals are plain cushions. The shafts and bases are badly damaged.

Bay 3. As Bay 2. The NW angle of the central capital is damaged.

Bay 4. The tympanum contains opus reticulatum . The first order comprises a central double scallop capital, damaged and bound by an iron band, and plain cushion respond capitals. The second and third orders, N side, have plain jambs with grooved impost blocks. That these are insertions is suggested by the remains of an ungrooved impost block to the extreme E and W of these jambs. The second and third orders, S side, are treated as before, with ungrooved impost blocks and cushion capitals: the third order E capital has an angle tuck.

Bay 5. The tympanum contains a scale pattern. The central and E respond capitals of the first order are both damaged on their N sides and the W respond capital, a double scallop, is carved from two horizontal slabs. The respond capitals of the second and third orders are plain cushions, except for the third order, S face, W capital, which is a double scallop with an angle tuck. The capitals on the NE are badly damaged. The impost blocks are not grooved on the E side of the bay.

Bay 6. The tympanum is carved with diaper/ repetitive units of nailhead. The central pier and capital of the inner order is modern. The E respond capital, a double scallop with angle tucks, is damaged on the NW angle and has been recut. The W respond capital, also a double scallop, is damaged on its N side. The second and third order respond capitals are all cushions. The second order N capitals are slightly damaged: that on the W has been retooled. The third order N capitals have both been slightly retooled, and that on the W is badly broken.

Bay 7. The masonry in the tympanum is opus reticulatum , which has been carved to create a pattern of overlapping circles. There is a mend above the W arch. The central pier and capital of the first order are modern; the E respond is a double scallop, the W respond a cushion. The remaining respond capitals are cushions except for the third order, N face, E capital and the second order, S face, W capital, which are double scallops.

SW Tower, E opening to nave gallery

A plain, round-headed, relieving arch encloses twinned arches. These share the central support of a column carrying a grooved impost block and a double scallop capital with angle tucks. There is an iron band around the shields of the capital. The engaged semi-columnar responds have double scallop capitals with angle tucks and three superimposed triangles rising between the cones. The sunken tympanum on the W face is decorated with scale pattern, and incorporates a repair above the S arch

SW Tower, N opening to nave (false gallery)

This opening has three round-headed orders on its S face (in tower) and four on its N (in nave). The first order comprises twinned arches on a central columnar support and semi-columnar engaged responds, surmounted by a plain tympanum facing S and a tympanum decorated with scale pattern facing N. The central capital is a double scallop with angle tucks; the E respond capital is a plain double scallop, and the W respond capital is a double scallop with angle tucks and a triangle between the cones. The impost block of the central column is plain; those of the responds are grooved. The second order, S face, has a plain archivolt on cushion capitals with angle tucks; on the N face is a roll on cushion capitals, the W one having an angle tuck. The third order, S face, has a plain archivolt on cushion capitals, the one on the E having an angle tuck; on the S face is a roll on cushion capitals, that on the E with an angle tuck. The moulded archivolt of the fourth order, N face, dates from after 1187, and is carried by cushion capitals with angle tucks.

NW Tower, E opening to nave gallery

This twin opening has been heavily restored, probably when the tower was reconstructed. The central support is completely modern, but the double scallop respond capitals are original: that on the N has angle tucks. There is also original stonework in the scale pattern of the tympanum.

NW Tower, S opening to nave (false gallery)

Despite the vicissitudes of the tower this twin opening seems to incorporate mainly original stonework. The first order has restored scale patterning on the S (nave) face of the tympanum; the N (tower) face is plain. The central shaft carries a cushion capital, and both respond capitals are double scallops. The second order (S) has a roll archivolt on cushion capitals: the W capital has a groove under the shields and an angle tuck; the E capital is plain. The second order (N) has a plain archivolt on cushion capitals. The third order is the same as the second order on both faces. The fourth order (S) archivolt has a step along its angle, and is carried by cushion capitals with angle tucks.

4. Vaulting/Roof supports

d. Other

(i) Treasury

The Treasury, located in the angle of the N transept and N choir aisle, is covered by four rib vaults. The ribs of the NW vault are flanked by lateral chevron, and the formrets of the windows in the NW, NE and SE bays are carved with frontal chevron of the same type. All other architectural features of the Treasury are Early English (ie: Purbeck marble central shaft, bases and imposts; E lancets with pointed arches decorated with dogtooth; stiff-leaf capitals and bosses; keeled mouldings).

(ii) Lady Chapel

The two W bays of the Lady Chapel are Transitional in style. The W arch was remodelled in an Early English style, leaving only the NW respond capital of the W bay. It is a plain block capital. The responds between the two bays are formed from a group of three ringed shafts, the central of which is keeled. The S respond capital is a multi-scalloped capital with waterleaf carved on the cones, while that on the N is a mature stiff-leaf capital with nailhead decoration.

5. Interior Decoration

a. Blind arcades

(i) Nave aisle bay N7

In the N wall of nave aisle bay N7 is a double scallop capital, with a half-cone between the main cones on the S face. It was probably once supported by an en delit colonnette, although the positioning of the plinth makes a reconstruction problematic, and is suspended from an impost block with a tall upright, groove and hollow chamfer on its E face; the S face may have been razed. A stilted, round-headed arch springs eastwards from the impost block. This feature introduces the possibility that the nave aisles originally had internal blind arcading: it is difficult to imagine another function for the capital. Blind arcading has been removed from the aisle walls of the choir, probably after 1187 (Tatton- Brown).

a. String courses

(i) SW Tower, between ground and first stages

Chamfered, with a single row of zig-zag between two rows of single billet.

(ii) SW Tower, between first and second stages

A single row of sawtooth on upright and chamfered faces.

(iii) NW Tower, between ground and first stages

An upright band of chip-carved zig-zag between two chamfered bands of single billet.

(iv) NW Tower, between first and second stages

A single row of sawtooth on upright and chamfered faces.

c. Miscellaneous

(i) SW Tower, angle columns

Engaged columns occupy the internal angles of the SW tower. The NE and NW shafts descend to the ground, interrupted by capitals at ground-floor capital level. The NE shaft has a volute capital with a smooth basket, carved with a palmette on the W face; the NW shaft has a cushion capital with angle tucks and grooved shields. The shaft in the SE angle is slightly off-set above a cushion capital with a grooved shield: this has a columnar support and forms a group with the S capital of the E relieving arch and E capital of the S relieving arch (see above). The shaft in the SW angle springs from the impost blocks of the adjacent capitals of the S and W relieving arches (see above). Further up, these angle shafts are encircled by the stringcourses separating ground from first and first from second stages (see above).

V Furnishings

1. Fonts

(i)

Current font, 1894.

2. Tombs/Graveslabs

(i) Coffin slab

Coffin slab with hipped roof, Bishop Luffa (d. 1123) (VCH 1935, 112; Hobbs 1994, 341). Location: N side of entrance to Lady Chapel. This coffin lid has an inscription on its W face. The lid is carved with a crozier, mitre and stole.

Dimensions

(ii) Coffin slab

Coffin slab with hipped roof, unidentified 12thc. bishop (VCH 1935, 112; Hobbs 1994, 341)Location: S side of entrance to Lady Chapel. The surface carving is worn but seems to incorporate a crozier.

Dimensions

(iii) Coffin slab with hipped roof, 12thc. bishop (VCH 1935, 112; Hobbs 1994, 341)

Location: S side of entrance to Lady Chapel. The surface is completely worn.

Dimensions

4. Other

'Chichester Reliefs', S wall of S choir aisle. In 1829, a number of carved stones were found behind woodwork 'just above the choir stalls' on the E crossing piers. They are probably of Caen limestone, not Purbeck limestone as is sometimes stated, and have been discoloured by fire (probably the 1187 fire). The majority belonged to two scenes, carved on coursed ashlar, which were reassembled and set into the S wall of the S aisle, where they remain today. One represents Christ Arriving at Bethany and the other the Raising of Lazarus (John 11:1-44). In both scenes a hierarchy of size indicates the relative importance of each figure, with Christ at the top of the hierarchy. There are no traces of paint, and no surviving insets. Fragments of other reliefs, depicting unidentified scenes, were also discovered in 1829 are now displayed in the Library (see Loose Sculpture, below).

(i) Relief: Christ Arriving at Bethany

This depicts Christ and four of his disciples arriving at the town gate of Bethany, where he is met by Martha and Mary, one standing and the other kneeling before him in supplication. Above the figural scene is an acanthus border. The town gate which frames Mary and Martha is represented by a cluster of crenellations, rows of round-headed windows and conical roofs. The gateway itself has a round-headed arch resting on curling foliage capitals. The columns are twisted and the doors decorated with wrought ironwork.

(i) Relief: Raising of Lazarus

This depicts Christ, now with five disciples, blessing the figure of Lazarus which is being unwrapped from its shroud, as two sextons in pointed caps open his sarcophagus. His grief-stricken sisters, Martha and Mary look on. The stones were wrongly assembled in 1829, as shown on a Scharf drawing of 1852, but this was corrected sometime after 1886.

VI Loose Sculpture

(i) Carved fragments

Thirteen carved fragments, found with the 'Chichester Reliefs' in 1829, are now displayed on the N window sills of the Cathedral Library. Like the Lazarus and Bethany Reliefs, they are of a pale fine-grained limestone usually identified as Caen stone. They have a pink tinge, indicating fire damage, and at least two retain traces of pink pigment used to cover the flat background. Several retain traces of plaster or limewash, sometimes on broken surfaces. They fall into two categories, as three pieces (xi - xiii) are much thinner than the rest and are carved on both sides. As the pieces are irregular, the measurements given here are the maximum dimensions.

1. Drapery fragment.

2. Drapery fragment with diagonal pleats and hem.

3. Drapery with diagonal pleats.

4. Drapery and right hand of a figure, with traces of pink pigment on the ground behind the figure.

5. Drapery, probably a curved shoulder, with pink pigment behind it.

6. A hand holding a book.

7. Drapery hem.

8. Drapery, probably over a leg.

9. Drapery, including swag which is probably either a loopy sleeve or a swathe of material falling over a stomach.

10. Drapery, including a swag which is probably either a loopy sleeve or a swathe of material falling over a stomach. The border of the scene may be on the right.

11. Carved on both sides: (a) A plain block capital with a necking supports a turret with three arched apertures. To its left is a roof with tiles laid in a scale pattern. Behind than is a smaller turret, with a conical roof covered in scale-pattern tiles; (b) Uncertain forms (emaciated arm?).

12. Carved on both sides: (a) A wing with scale pattern and end feathers; (b) Uncertain forms.

13. Carved on both sides: (a) The eye and ear of an animal's head, with a scaley object above which may be a wing; (b) A hand either resting on an object or carrying something, or raised in prayer (NB: no second hand visible).

Dimensions

(ii) Corbel

A fragment located in a niche on the W side of the Cathedral Library stairs is the left half of a Quarr stone corbel. It is carved with a human head with asymmetrical features, a long chin and moustaches.

Dimensions

(iii) Lost sculpture

A photograph of 1861 shows a pile of carved fragments, sorted from the debris of the collapsed tower. The following are recognisably Romanesque, rather than Gothic, but their original locations in the Cathedral are uncertain, and their current whereabouts is not known:

1. Capital. Carved with three pointed leaves on face, and with smooth leaf issuing small volutes on angle. Probably a gallery capital.

2. Two blocks carved with scale pattern.

3. Two rectangular blocks carved with quartered circles, with a drilled bead in each quarter.

4. A rectangular block with a sunken field carved with a winged dragon(?)

5. A rectangular block carved with plain directional chevron.

6. Two rectangular blocks carved with lozanges, one with a drilled bead in each unit.

7. A rectangular block carved with two slightly overlapping circles carved with rosettes.

8. A rectangular block carved with two slightly overlapping concentric circles. Similar to 7 above.

9. A rectangular block carved with back-to-back crescent shapes, chip carved.

VII History

The impoverished episcopal see of Sussex was transferred from Selsey (qv) to Chichesterc.1075. Chichester had been an important Roman town, but seems to have been largely abandoned until nominated a burh by Alfred the Great in the late 9thc. A minster dedicated to St Peter was taken over by Bishop Stigand, and was probably used as the Cathedral until the present building was erected,c.1075-1140.

Throughout the medieval period the town of Chichester maintained a low population (about 2000), and was not particularly prosperous. The Cathedral inherited the endowments (ie: parish churches and estates) of Selsey, but from the mid-12thc. these were divided up to provide the canons (of whom there were about 26) with prebends, leaving only a small amount in communa1 to support the resident Cathedral staff. Aside from these endowments, the main sources of income were donations made at Pentecost and on other holy days (especially St Faith's day, which coincided with a fair), when people flocked to the cathedral, and bequests from wealthy citizens and cathedral dignitaries. Until a shrine was set up to contain St Richard's body in the 1260s there were no major relics, and no local cult, which might have attracted greater numbers of pilgrims. As a result, the Cathedral, if not exactly strapped for cash, was not particularly wealthy. It is therefore credible that the erection of the new building might have been staggered over 50 years.

There is general agreement that Chichester Cathedral was erected in the usual manner, from E to W, but its absolute chronology is controversial. Arguments revolve around five key dates: the translation of the see in or around 1075, the appointment of Bishop Ralph de Luffa in 1091, a dedication in 1108, a fire in 1114 and the death of Luffa in 1123.

William of Malmesbury's statement that the church was built a novo by Bishop Ralph de Luffa (1091-1123), is deemed unlikely by some architectural historians (eg: Richard Gem and Tim Tatton Brown) who believe that it was begun shortly after 1075 by Bishop Stigand. While Tatton Brown has suggested that the church was completed as far as the fourth nave bay before 1091, Martin Andrew has suggested that the Cathedral was only begun c. 1091. The first phase (or two virtually indistinguishable phases, ofc.1091-1108 and 1108-c.1120, according to Andrew), in Quarr stone, would have included the choir, ambulatory and radiating chapels, the crossing, the N and S transepts and the four eastern nave bays, where there is a clear building break. It is uncertain how much of the building would have been completed by 1108, when it was dedicated, or how much was rebuilt after a serious fire in 1114. Andrew has argued that the nave building break reflects the death of Luffa rather than either of these two events. While Tatton Brown has suggested that the entire church might have been completed by 1114, Andrew has placed the completion of the nave and W towers in the 1130s. In conclusion, the widest date brackets for the original building are considered to be 1075 to 1140.

The three western bays of the Lady Chapel (two with their original groin vaults and late Norman capitals) are thought to have been erected under Bishop Hilary, in the early 1180s. Its completion may have been celebrated by the consecration ceremony of 1184. Only three years later, in 1187, a fire gutted the cathedral, initiating at least 20 years of repair, alteration and addition (see II General Description, above). During that work, which is Early English in style, some of the earliest Romanesque sculpture in the Cathedral, in the ambulatory and radiating chapels, would have been destroyed. Other carved elements would have been lost in the later medieval period, when larger windows were inserted, the clerestorey walls were heightened, and aisle walls were broken through to erect chapels and porches.

The church was damaged by Henry VIII's commissioners in 1538. The NW tower, which is represented in an engraving by Hollar, collapsedc.1636 and shortly afterwards (1642) the Cathedral was damaged by Sir William Waller's troops during the Civil War. Around 1684 Sir Christopher Wren suggested demolishing the SW tower and rebuilding the entire W end; this was not done, but Wren did rebuild the upper part of the central spire. Throughout the 18thc., the building seems to have been neglected. Repairs were carried out by James Elmes in 1812-17 and 'major repairs and improvements' were carried out in the choir and presbytery in 1829, when the Chichester Reliefs were discovered and moved to their present position. In 1847, R C Carpenter was engaged to carry out more extensive restorations, which continued through the 1850s.

In 1860 the architect William Slater supervised the removal of the Arundel Screen, revealing huge cracks in the crossing piers. Work was still under way in February 1861, when the central tower telescoped into the crossing, damaging the adjoining bays of the choir, transepts and nave. It was reconstructed, six feet higher but otherwise in replica, by Sir Gilbert Scott and William Slater. Scott gave his son Gilbert the task of identifying and labeling every carved or moulded stone found amongst the debris, intending to reuse or copy them. A photograph, signed J Russell, Chichester, 1861, shows a pile of carved stones sorted from the debris (see VI Lost Sculpture, above). The new crossing was completed in 1866, and the rebuilding of the NW tower in 1901 completed the building as it stands today.

VIII Comments/Opinions

Geological Analysis:

Conflicting information is available about the stone(s) used in the cathedral. Zarnecki was advised by the Geological Survey in 1953 that the outer facing of the choir is a calcareous sandstone from Merstham in Surrey, while the inner facing is Caen stone. The same source persuaded him that the Chichester Reliefs were Purbeck (limestone rather than marble; 'tufaceous shell-brash, Lower Purbeck formation'). More recent sources dispute this, asserting that the reliefs are of Caen stone, and they do seem to be of a fine-grained, cream-coloured limestone. Tatton Brown claims that the cathedral was entirely built of Quarr stone, with Caen being introduced for the first time for later 12thc. repairs. Most of the original building, including most of the carved work, does seem to be of very shelly Quarr stone, but some of the choir gallery capitals seem to be of Caen rather than Quarr stone. A few corbels appear to be of Sussex marble.The building and its sculpture should, clearly, be submitted to closer geological analysis.

Fragments collected 1861:

These include one piece of considerable interest, a rectangular relief of a dragon, which resembled late Anglo-Saxon frieze carvings. This is not necessarily a remnant of the church of St Peter which existed on the site in 1075, although it is tempting to think so. Similar sculptures occur on early 12thc. Norman churches, eg: the N Transept of Graville-Ste-Honorine.

S Doorway of SW Tower:

Parallels include a collection of loose voussoirs in Bosham church (qv).

Chichester Reliefs:

Until 1953, the Chichester Reliefs had been variously dated, eg:c.1000-1050 (Arthur Gardner),c.1080 (David Talbot Rice), 1090-1140 (TSR Boase) and first half of 12thc. (Kendrick). In 1953, George Zarnecki argued for a date ofc.1125-1150, and that has been widely accepted ever since.

More significantly, Zarnecki plausibly suggested that the reliefs were discovered in their original position, 'just above the stalls of the choir', and more specifically on the SE and NE crossing piers. Zarnecki noticed pale rectangular patches of ashlar on the S face of the NE crossing pier, and on the N face of the SE pier, in post-collapse photographs ofc.1861, and calculated that these were approximately the same dimensions as the reliefs. The additional relief fragments now in the Cathedral Library would have belonged to the upper part of a lower tier of scenes which would have been largely destroyed when the choir stalls were installed in the 14thc.. There were therefore two screens, one between the SE and SW piers, and another between the NE and NW piers. There was probably a third, extending the liturgical choir to the first bay of the nave. In a plausible reconstruction drawing, Zarnecki depicted a screen with eight panels arranged in four superimposed pairs, with two on each pier and two on either side of an entrance in the centre of the screen. The only parallels for this putative Romanesque screen are Durham and Ely.

The 13 fragments found with the Chichester Reliefs probably come from two separate scenes. Ten are from a relief with the same format as the Bethany and Lazarus scenes, possibly another scene from the story of Lazarus. Three are on much narrower stones, and are carved on both sides; they would have occupied a different position, where they could have been viewed from both sides.

The technique, of carving one scene on several courses of masonry blocks is paralleled elsewhere in English Romanesque sculpture (eg: 'The Deluge' on the Lincoln Cathedral frieze; the 'Crucifixion' at Barking), including the geometric spandrel carving of the gallery openings in the Chichester Cathedral nave bays 5-8, and the W gable. Zarnecki states that there are no Anglo-Saxon examples of this method of relief carving, and it must have been introduced by the Normans.

Iconographically, the Raising of Lazarus departs from the traditional means of representing the scene, with Lazarus emerging from a sarcophagus rather than a cave (cf: Winchester Psalter). This has been cited to rule out the possibility of a late Anglo-Saxon or early Romanesque date, although the earliest known example of this iconography is the Hildesheim Column (first half 11thc.).

Stylistic parallels are diverse. The expressive faces and crimped hairstyles recall Roman theatrical masks. The compositions and figures style are often compared with scenes in the Winchester and St Albans Psalters but, as ever, it is difficult to draw convincing parallels between sculptures and manuscript illustrations. The closest sculptural analogy is a relief at Toller Fratrum in Dorset depicting Mary Magdalen wiping the feet of Christ. It resembles the Chichester Reliefs both stylistically and iconographically, but it has never actually been suggested that this sculpture arrived at Toller Fratrum after the Chichester screens were dismantled in the 14thc., or after they were uncovered in 1829, possibilities which should be investigated. Another similar fragment is a head of Christ from Old Sarum, reused as building material in Salisbury Cathedral, and thought to have come from a coursed relief. Other parallels are drawn with foreign sculptures (esp. German art). The Chichester Relief style is, above all, dramatic, and George Zarnecki has pointed out that one of the few surviving spiritual dramas of the 12thc. is Hilarius's 'Raising of Lazarus'.

As it is generally thought that the entire cathedral was complete by 1123, the most likely date for the screen would appear to bec.1125-35. Zarnecki has cited the St Albans Psalter and German ivories ofc.1130 as the closest stylistic parallels and argued, unlike some earlier scholars, that the reliefs were of English workmanship. The acanthus border is also paralleled at Lincoln

Corbels:

The Chichester corbels are usually compared with those of the Bosham W tower. The Bosham corbel table is also arcuated, but the arches do not have roll mouldings. As at Chichester, there are gaps between the arched blocks (to receive rafter ends?) but these are filled with flint rather than ashlar. Furthermore, the Bosham corbels do not exactly fit underneath the arches, but between them. Differences in installation do not prove that the corbels were carved by different teams of masons, but despite the recurrence of popular motifs, such as double heads, clasped rolls and animal heads, and a certain 'crudeness' in the carving style, it is impossible to declare the two ensembles the products of a single workshop. The repertoire of motifs at Bosham is very restricted, and does not include the more unusual motifs which appeared at Chichester. It seems most likely that the Bosham corbel table was inspired by those of the new cathedral, but was not necessarily by the same masons.

The Chichester corbels have also been compared with those of Boxgrove Priory, again probably because of the recurrence of motifs from the standard repertoire of Romanesque corbels. The Boxgrove corbel tables are constructed quite differently from Chichester, with long chamfered slabs supported at wide intervals by small carved corbels. The history of the priory indicates that the earliest, those of the transepts, date from the second quarter of the 12thc. The Chichester corbel tables were probably devised in the last quarter of the 11thc., and would have been largely completed and installed by the time Boxgrove was begun. Again, evidence is not strong enough to allow the suggestion that the same masons worked on both sites.

Lady Chapel: This has close parallels with Boxgrove.

IX Bibliography