d counting for nothing.

The series of windows could only be appropriately concluded by one
great name, "the protagonist on the great arena of modern poetry, and
the glory of the human intellect" (De Quincey).

The Shakespeare window was presented by Sir Frederick Wigan, Bart., in
memory of his brother-in-law, Arthur Cecil Blunt. It is a triplet, and
displays in its central light an allegorical figure of "Poetry,"
supported by Shakespeare and Spenser in the lights on either hand.
Above the Muse the sacred Dove is hovering, symbolical of the divine
inspiration which we may presume guided the poets in their work, and
at the base is a quotation from Wisdom, viii, 4 (Vulgate): "Doctrix
disciplinae Dei, et electrix operum illius."

The faces of Edmund Shakespeare[25] and A.C. Blunt are introduced in
the quatrefoils of the heading, the former as buried in the church,
the latter the gentleman commemorated by the donor.

William Shakespeare is known to have lived near the old Bear Garden
and his own theatre, "The Globe," in Southwark, where his brother
Edmund also lived while trying his fortune on the stage. The immortal
name has, therefore, a direct association with St. Saviour's Church
and parish, entitling it to the special memorial.

The =Choir= was erected by Peter de Rupibus in the early part of the
thirteenth century. In its more mature and elaborate work it shows a
considerable advance on the simplest form of Early English, though the
apparently low elevation, and massiveness of the piers and lower
arcading, are obviously not free from Norman influences. It is divided
into five bays by alternate circular and octagonal piers, the dwarfed
appearance of which is relieved by triple vaulting shafts on the north
and south sides, and single shafts to support the arch mouldings. The
central shafts are not of Purbeck, as in the nave, and they are not
banded, except where crossed by the abacus moulding of the capitals
and the triforium string-course. The piers have all plain capitals and
well cut base mouldings. The triforium arcade, like that in the nave,
consists of four arched openings in each bay, and, unlike the
clerestory, has no continuous passage along the choir wall. Each bay,
however, has an opening at the back into the space between the vault
and roof of the aisle.

While both sides of the choir are alike in their main features, there
is an interesting difference in detail, especially to be noticed in
the greate