screen, the smaller figures including famous kings, bishops, women, and a representation of Izaak Walton. [3] The charter of William Rufus which gave permission for S. Giles' Fair still exists, and may be found, with a commentary by Dean Kitchin, in the "Winchester Cathedral Records." The Fair was granted for three days (August 31, September 1 and 2) on the "eastern hill," known as S. Giles' Hill. The object of the Fair "was evidently," says Dean Kitchin, "to help the Bishop in completing his great Norman Church.... Parts of the proceeds of the Fair were at a later time assigned to Hyde Abbey, to S. Swithun's Priory, and to the Hospital of S. Mary Magdalen." Above the altar it is said that there was once "a table of images of silver and gilt garnished with stones." These images are conjectured to have represented Christ and his disciples, possibly at the Last Supper; but no traces remain of them. From 1782 till 1899 West's picture, "The Raising of Lazarus," now in the South Transept, hung here. The place is now more happily occupied by a representation of the Incarnation. [Illustration: THE NORTH TRANSEPT. From Britton's "Winchester."] The most recent feature of the screen is the great central figure of Christ Crucified, the gift of Canon Valpy and the work of Messrs Farmer and Brindley. The final restoration of the screen by the filling of the space left vacant for three centuries was commemorated by a solemn dedication service, held at the Cathedral on March 24, 1899. On the reredos as a whole, one authority has said that "no description could do justice to the beauty and effect of the whole work." But another has declared that "a huge screen of this uncompromising squareness of outline is a flagrantly artless device which in previous periods (to the latter half of the fifteenth century) would have been impossible." Milner again describes its "exquisite workmanship" as being "as magnificent as this or any other nation can exhibit." Doctors most certainly differ here.