History Of Brighton And Environs - Online Book

From The Earliest Known Period To The Present Time.

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architecture is of that order usually denominated Gothic, or the ancient English. The external is flint, and very evidently the work of different periods. It consists of a nave, two side aisles, a chancel, in which is a rood loft, and a chantrey, or chapel, and a tower opening into the west end of the nave. The tower, porch, and buttresses at the east end of the church appear to be of later work­manship than some other parts. The chantrey, or chapel, which has been added to the original church by some pious person, is of the time of Henry VII. or Henry VIII. The architecture of it is different from every other part of the church, and is of inferior taste and workmanship, and of a much later date. The interior, before it was disfigured and encumbered with galleries, was plain, but yet handsome, having four equilateral pointed arches on each side of the nave, and octagonal columns with plain moulded capitals and bases. At the east end of the nave is a large arch opening into the chancel, and at the west end is a similar one opening into the tower. The large eastern window in the chancel, under which formerly stood the high altar, appears to be of the time of Henry II., and is a very beautiful structure, the mullions rising to the spring of the arch and then forming a rose. In this part there are a few remains of painted glass. Under the rood loft is a very beautiful screen executed in a different style to every other part of the church, the arches being formed from four centres, usually denominated the « Tudor Arch,' and, ac­cording to the fashion of that age, was decorated with painting and gilding." In the church-yard leading to the porch is the shaft of a very ancient stone cross, which there can be no doubt was dismantled at or soon after the Re­formation, and as regards the curious font the Church con­tains, it belonged it is thought to the Saxons some time pre­vious to the Norman conquest. It is of a circular form, and has excited much observation among antiquarians. The sculpture upon it is in four sections. The first represents
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