The last meritorious work of restoration in St. Saviour’s Church was that of the ancient Altar Screen given in the commencement of the sixteenth century by Richard Fox, Bishop of Winchester; a subscription for which was ultimately united with that commenced for the Lady Chapel. To the latter of these funds the present Bishop of Winchester gave £300, and £100 to the Screen; and other large sums were speedily and liberally contributed. Previously to Mr. Gwilt’s restoration of the choir, the eastern wall of the Church was covered with a composition of wood and plaster, ascribed by tradition to Sir Christopher Wren, though apparently without any authority. Above this Screen appeared the mutilated and inelegant broad window of the sixteenth century, the arch of which was sculptured in relievo, in panels; that in the centre having an angel holding a shield, and those at the side, a pelican feeding her young, the emblem of Christ, and the device of Bishop Fox. There was also a carved facia, on which the pelican was repeated, with the holy lamb and oak leaves, the style of all which entirely disagreed with that of the altar-piece below. On the removal of the modern screen, a series of small tabernacle-niches was discovered on the partition behind, the canopies of which had been cut down to almost a level surface; though they still possessed so much beauty as to cause the restoration of the whole to become a circumstance of the greatest interest. This was completed in the commencement of 1834, by Mr. Robert Wallace, the Architect of the Church, Mr. Firth, the Contractor, and Mr. Purdy, the principal Carver; the contract amounting to only the sum of £700. The ancient material of this Screen was Firestone and the stone of Caen; and the restoration has been executed in stone from Painswick, in Gloucestershire, which agrees well with the former. Wherever it was practicable the original work has been retained, but nearly the whole of the ornamental carvings have been wrought from moulds and replaced in the precise situations of the ancient sculpture whence they were taken. The whole screen is lofty, and the general composition of it is divided into three stories in height and as many partitions in breadth. In the centre of the lowest story is a space for the altar, with three tall tablets and canopies above; and on each side is a door with a depressed pointed arch. On each side of the doorways is a niche rising from the ground, flanked by slender buttresses and covered with a triangular tabernacle of two canopied arches, with the angular point in front. In each niche is a tall pedestal with a richly carved head; and above the doors are short double canopies of a similar style, though rising above those on the sides, and breaking the line of a broad frieze of demi-angels, above which is a narrow line of carved pelicans, holy lambs, and scrolls. These terminate the first story; and the above second and third are composed of a large niche in the centre,