olding a scroll with the appropriate quotation from Psalm
XXXIV, II.

The next three windows commemorate Francis Beaumont (1585-1616), John
Fletcher (1579-1625), and Philip Massinger (1583-1639). The first and
second of these great dramatists, so intimately associated in their
lives and in their writings, could hardly be separated in any
commemoration. They are accordingly here represented, not only in
adjacent windows, but combined by allegorical allusion in the first.
The design portrays David and Jonathan, with an inscription from the
opening verse of Psalm CXXXII (Vulgate): "Ecce quam bonum, et
jucundum: habitare fratres in unum."

[Illustration: _Photo._ _G.P. Heisch._
THE FONT AND THE THIRTEENTH-CENTURY WALL-ARCADE.]

The Scripture parallel was not quite verified in the case of the
poets. Fletcher certainly lies somewhere in St. Saviour's, but no man
knows the exact place of his burial. Beaumont lies in the more famous
Poets' Corner at Westminster. The "Beaumont" window was presented by
Mr. W.H. Francis, in memory of his father. The "Fletcher" window, in
the next bay, came from Mr. T.F. Rider, whose firm were the builders
of the nave. The subject chosen for illustration was suggested by the
dramatist's "Knight of Malta." St. John the Baptist stands in the
lower compartment, as Patron of the Knights of St. John, holding a
standard displaying the suitable word "Concordia." The ceremony of
Investiture, with attendant figures, fills the space above, surmounted
by the poet's head crowned with bay leaves.

The mantle of these great dramatists is acknowledged to have fallen on
Philip Massinger, commemorated in the next window. It was the first of
the series to be inserted, and was unveiled by Sir Walter Besant in
1896.[24] The subject is taken from Massinger's fine play, "The Virgin
Martyr," and represents an angel bearing flowers and fruits of
Paradise from the martyr (St. Dorothea) to a sceptical lawyer who had
asked for the token for his conviction. Below this central compartment
is a figure of St. Dorothea, and above it a medallion portrait of the
dramatist.

Massinger is buried in the church, as certified by an entry in the
"Parochial Monthly Accounts," but the same uncertainty attends his
remains as those of his friend Fletcher. There is a tradition that
they were both interred in one grave, which is not at all unlikely,
but no one knows where it is, their names on the chancel floor being
modern an