Outside the South wall of the Nave, several consecration crosses, agreeing in character with Marshall's time, (c. 1200) are carved at intervals. These harmonizing with the great South-eastern Transition doorway into the aisle, possibly indicate that this part of the building was re-cast then. To the same period we may safely ascribe the small quasi-Transepts of the Choir, with their very plain two-light lancet windows above, and their heavily weathered buttresses below. These last are continued - indicating still Marshall's hand - round the North of the Choir, and the Lady Chapel; and reappear in the North Porch, and again in the Consistory Court (or St. Edmund's Chapel) at the N.W. of the Nave. A two-light lancet window also survives at the top of the North Porch stairs.

We gather hence, as it should seem, that large additions were made at the Transition period. By Marshall's time, of course, the Transition to Early English had begun; and hence we have at Chichester, and once, no doubt, had here also, pointed vaulting, as well as other Gothic characteristics above named: only in an early stage. In Chichester Cathedral we cannot but observe the great plainness, even to sternness, of the Norman work. Not a zig-zag or a billet-moulding relieves the plain semi-circular arches; no sprays of foliage, no dragons with their tails in their mouths, play round the heavy cushion capitals. What ornament there is, was added at the Transition period; viz., the nook-shafts of Purbeck marble, and the flowered capitals of the vaulting-shafts.

But we must not take leave of our Norman-Transition Cathedral without fuller examination of Bishop Marshall's work. Hoker tells us (p. 113) that "he finished the building of his Church, according to the Plat and Foundation which his predecessors had laid." But, as has been already indicated, he must really have done much more than this: greatly enlarging, eastward, upon that plan. The remains of work of his date, as above described, shew that he added, first, behind the Norman Choir, four more bays, with aisles and retro-choir, doing away with the apse. Exactly such an addition was made a little later (1237), to the extent of six bays, at Ely: and also, at this very period (1199)i at Chichester, to the extent of two bays, still remaining; and traces of the apse were still visible there until lately. Such additions were the habit of the period.(12)

Another very important addition made to the Church at this period was the Lady Chapel.(13) Not, however, as we see it now - that is the work of a later hand, at least internally - but of the same dimensions as now, and occupying, probably, the site of Leofric's Cathedral, or rather of his choir: as will be shown hereafter. What the style of that first Lady Chapel was, the buttresses and corbel-tables remain to show: while internally, we have still remaining two pointed arches with solid piers, - totally different from any others in the Cathedral, - dividing the Lady Chapel from the side chapels. Though their mouldings have been altered to bring them into conformity with a later style, the solidity of these piers, and their quatrefoil plan, betray their real date. The side windows of this earlier Chapel were probably triplets of lancets: the east window of seven lancets. We gather this from the corresponding features of the Lady Chapel at Ottery St. Mary; which was in the 13th century, - and, though entirely rebuilt in the 15th, continues still to be, - a half-size copy of our then Cathedral.(14)

To Marshal], then, or his immediate predecessors, we owe, apparently. -

1. Additions to the Nave consisting of the North Porch, St. Edmund's Chapel, and the South East Doorway; the introduction of pointed arches into the Transeptal Towers, with partial demolition of the partition between them and the Nave; larger Transept windows; Chapels of St. John and St. Paul.

2. The four eastern arches of the Choir, (now transformed into Decorated); its aisles, with the ambulatory or retro-choir; The Transeptal Choir Chapels; the pointed vaulting of the whole in a plain manner. There were two-light lancet windows, probably, below, and triplets in the clerestory.

3. The earlier Lady, Gabriel, and Magdalene Chapels; all now transformed into Decorated work.

We are now in a position to trace and discriminate the Norman and Transition work in the ground plan: tinted respectively blue and yellow. And two points are important to be observed in the Cathedral then completed: first, that it was comparatively very plain; and secondly, that it was not in one uniform style throughout, but in two styles or stages. For it was probably by these considerations that subsequent Bishops were moved to design and carry out the transformation of it into what we now see: - viz., a structure, which for combination of architectural beauty with uniformity of style, has not its equal, certainly, in England; nor, perhaps in the world.

Marshall lies buried just beyond the old apsidal termination of the Choir: on the north side (probably) of the then altar.