The screen is about thirty feet in height, and extends to the main arcades on either side. Three tiers of canopied niches, ten in each tier, divided down the centre by a perpendicular series of three larger niches, all occupied by statues, made up a composition which was at once "a thing of beauty" and an object lesson on the Incarnation. The total number of niches (thirty-three) suggested a mystic reference to the years of our Lord's earthly life, while the image of the Pelican "in her piety," here and there, besides being a reminder of Bishop Fox (whose peculiar device it was), also typified the sacrament of the altar. The original materials of which the screen was built are quoted as "Caen and fire-stone," for which Mr. Wallace substituted stone from Painswick in Gloucestershire, as more easily obtained and agreeing in colour with the old work.[28] Above the altar the first architect had left a vacant panel (square) possibly intending it for the reception of sculpture or mosaic. This space, as well as some of the side panelling, was covered by the Decalogue, etc., before mentioned. The space is now vacant, pending the complete restoration of the screen, and is simply concealed by the dorsal and lateral curtains. The doors on each side will be noticed, with their depressed ogee headings, which indicate that this screen is of somewhat later date than the corresponding one (also by Bishop Fox) at Winchester. Another indication to the same effect has been detected in the grotesque carvings in the spandrels, which are here of a humorous character, whereas at Winchester the minor decorations are entirely sacred, _e.g._, the Annunciation and Visitation.