The canopied memorial to Bishop Durnford (1), [30] under which is a recumbent effigy, forms part of the screen between S. Clement's chapel and the south aisle of the nave. It was designed by Mr. Garner. There are several tablets in the nave and aisles by Flaxman. The best are those to the memory of Captain Cromwell's wife and daughter (2), in S. Clement's chapel, and one on the north side of the nave, in the chapel of the Four Virgins, as a memorial of Collins (3), the poet, who was a native of Chichester. The two recumbent figures under the arch leading into this same chapel are said to be those of Richard Fitz-Alan, Earl of Arundel, and his wife (4). It was restored by Richardson. Fitz-Alan was beheaded in 1397. Some say that these two figures were removed from the chapel of the monastery of the Grey Friars at the time of the Reformation, and were placed in their present position in 1843, having been found embedded in the stonework of the chapel wall close by. The base upon which the figures rest is modern. The earl is represented in full armour. At his feet is a lion, and at his head, under the helmet, is a coronet and a lion's head. At the countess's feet is a dog, and her head rests upon two pillows. [30] The figures in parenthesis refer to the numbers on the plan at the end. The most beautiful monument now remaining in the church is that which is said to represent Maud, Countess of Arundel (1270) (5). The modelling of the whole figure and the long flowing lines of her robes are worthy of careful study. The whole pose and the disposition of the two angels at the head arranging the pillows, with the two dogs upon which her feet rest, have been finely conceived and well executed. The hands are clasped over the breast, with the forearms bent upwards slightly towards the face. On each of the long sides of the base supporting the figure are six elongated quatrefoil panels, containing in all six female figures and six shields. Between the quatrefoils are winged heads of ten angelic figures. The blazoning of the shields is entirely gone, and the brilliant colouring that once covered the entire monument is only to be traced in a few places. The outer robe still shows some signs of the rich blue with which it used to be covered. The face of the figure appears to be badly mutilated, but the damage to the features has been done principally by an endeavour to preserve them. A thick coat of plaster had been placed over the face to protect it from injury, perhaps in the seventeenth century or earlier, and this was never completely removed. It had become gradually polished like the material of the figure itself, and so it remains, with a cut across it to represent a mouth. The remains of the real face are still hidden beneath. [Illustration: THE SACRISTY (SEE P. 90). _S.B. Bolas & Co. photo_.]