But the great change that was destined to alter the whole character of the nave was the addition of chapels. In our parish churches it is common enough to find that pious and wealthy parishioners have been allowed to tack family chapels on to the aisles or nave. In Dorchester Priory Church there is a south aisle running the whole length of the church, made up of nothing but a series of chantry-chapels. This was common enough, too, in the French cathedrals—_e.g._, Paris and Amiens. But the naves of the English cathedrals were not as a rule tampered with in this way. At Chichester, however, there were built, one after another, four sets of chapels—of St. George and St. Clement on the south of the south aisle, and of St. Thomas, St. Anne, and St. Edmund on the north of the north aisle. The windows should be studied in the above order; they form quite an excellent object-lesson of the evolution of bar-tracery from plate-tracery, itself a derivative from such designs as that of the east window of the south transept chapel. When the chapels were completed, the Norman aisle-walls were pierced, and arches were inserted where Norman windows had been; and the Lancet buttresses, which had been added when the nave-vault was erected, now found themselves inside the church, buttressing piers instead of walls. The new windows on the south side were built so high that the vaulting of the chapels had to be tilted up to allow room for their heads; externally they were originally crowned with gables, the weatherings of which may be seen outside. In St. Thomas’ chapel is a charming example of a simple thirteenth-century reredos. [Illustration: PRESBYTERY.] The addition of these outer aisles makes Chichester unique among the English cathedrals, though it may be paralleled in Elgin cathedral and many a parish church. Artistically, the contrast of the gloomy and heavy Norman nave with the lightness and brightness of the chapels behind is most delightful; the nave looks infinitely larger and more spacious than it is; it is never all seen at a glance like the empty nave of York, and is full of changing vistas and delightful perspectives. Accidentally, the thirteenth-century builders had hit on a new source of picturesqueness. V. LATE GEOMETRICAL.—Between 1288 and 1304 the Lady chapel was lengthened by two bays, and the end bay of the former chapel was re-vaulted. So that what we see is a Norman chapel transmogrified into a Transitional one, and that once more altered and extended. The new work was done just when people had tired of conventional foliage, and hurried into naturalism. The capitals are another object-lesson in Gothic foliation. The window-tracery, with long-lobed trefoils, occurs also in the beautiful chapel of the mediæval hospital, which should by all means be visited.