Though the quest may not be followed here, it would be interesting to
try and trace the cause of this desire to add chapels to mediæval
buildings. It had during the thirteenth century already become a clear
indication of that gradual movement affecting the arrangement of
churches which originated in the introduction of new doctrinal ideas.
The particular set of ideas which caused such additions as these had
now become a part of the common property of popular thought,
imagination, and reverent superstition. The earlier designers and
builders had not been taught to consider these features essential to
the complete equipment of a church planned in accordance with
primitive usages; they were a simple example of the influence which
doctrine exercised upon the history of art and the scope of
archaeological inquiry.

The course of history that has been followed has led us through the
maze of some events which served to produce the cathedral that stands
among us now. The later centuries will not require as much attention,
since they afford but little material, comparatively, with which we
need delay; for the industry expended upon the fabric since this time
has produced little change in the general appearance of the building.
With the approach of the fourteenth century we meet a period when the
peculiarities of the work of the thirteenth century had become merged
in transitional forms, and from this application of ever-developing
ideas to accepted working principles came the well-known character
which English architecture displayed during that time. It was native
by parentage and birth; it represented the life which prevailed in the
ideas which were then the common currency. By it the ideals of thought
and imagination were expressed, until, later, they were represented in
other forms of art. At Chichester an early indication of the changed