Piquant, also, is the little projecting _loggia_ with its mullions, whence old Abbot Bolton--his cipher, “a bolt,” is to be seen--used to look down on the devotions below. In short, there is nothing wanting in this interesting building that can attract. If objection may be taken, it is to the oak-work of the gallery and stalls, which is not bold enough to harmonize with the rest, and the same may be said of what Lamb would have called the rather “pimping” character of the leaded panes over the apse. These should have been bolder and even ruder. Such is this venerable old fane, to which the wholesale restorers and “trouble tombs” should repair to learn how to carry out their duty. [Illustration: ST. ETHELBURGA.] It is a strange effect, the looking down near London Bridge Station into the low-lying graveyard below, out of which rises the venerable old church of St. Saviour’s, Southwark. It is cathedral-like in its proportions, and grim and stark in its flint-built walls. Though well preserved, it has the usual air of solitariness and desolation common to most City churches.[21] It is really a grand, cathedral-like, old place. Inside it is “boxed up” and partitioned off in a curious way enough; but its tombs are full of touching interest. There is a simple stone in the floor inscribed with a name familiar to all, “Philip Massinger, a stranger.” “John Fletcher, died August, 1625,” is on a second stone; and “Edmond Shakespeare, died December, 1607,” says the stone under which the poet’s brother rests. And then we step across the piece of old Roman mosaic in the floor to that part of the church where John Gower’s memory is kept fresh by an imposing monument. A thorough restoration of this old fane is now in progress.