efeat of his patron, Edwin, at
the battle of Hatfield the saint fled from Northumbria into Kent
(_circa_ 633), where he acted as Bishop of Rochester till his death in
644. The connection of St. Saviour's with the See of Rochester, though
quite modern and now severed, is fittingly indicated by this memorial.
This extreme bay of the aisle constitutes the Baptistery, and the
scene chosen for illustration from the life of St. Paulinus represents
him in the act of baptizing a large number of people in a river.[23]

The =Font= stands below this window in its proper place near the
entrance. There was a time in the history of the English Church when
the symbolism of position was thought of less account than the
administration of the initial Sacrament "in the presence of all the
congregation" (_see_ the Rubric of 1549, repeated in Elizabeth's
Prayer Book), an object supposed to be defeated where the Baptistery
was at the west end, and enclosed, as was frequently the case. The
font was consequently removed in many churches towards the east, and
at St. Saviour's a special pew was provided near to it for the
sponsors. It was known as the "Christening Pew," but has long since
gone the way of the other incongruous wooden fittings. The new font,
in the old position, was presented by Mrs. Barrow in memory of her
husband, and designed by Mr. G.F. Bodley. It is made of Verde di Prato
marble, octagonal in shape, and rests upon a circular base surrounded
by detached pillars, all of the same material. The faces of the
octagon are concave, and without decoration, except that towards the
east, which displays a star in a sunk gilded panel.

=Dramatic Windows.=--The chief feature of this aisle is the fine
series of windows representative of the drama in the Golden Age of
Queen Elizabeth. The first of the series is devoted to Edward Alleyn
(1566-1626), who was "bred a stage player," and lived near the group
of theatres in Southwark, but is perhaps better known as the founder
of the splendid College of "God's Gift" at Dulwich.

The window was presented by the governor, old scholars, and friends of
the College, and was unveiled by the Duke of Connaught on 22nd June,
1898. Alleyn himself is represented as the central figure, reading the
charter of his foundation in the College Chapel, attended by Bacon,
Inigo Jones, and other contemporaries. The upper part of the window
contains Alleyn's portrait, and the lowest compartment a figure of
Charity h