r simplicity of the south side, where the triforium capitals
are less elaborate, and the dog-tooth ornament is omitted from the
outer jambs of the openings.

On the south side, moreover, the arches have corbels, with sculptured
heads, to support their inner mouldings, in place of the full-length
shafts which occur on the responds at the ends, and on all the piers
of the opposite side. These differences, though perhaps partly
referable to the delightful vagaries of Gothic architecture, are
supposed to have a special significance at St. Saviour's, where the
north was the side of the Prior.

[Illustration: _Photo._ _G.P. Heisch._
THE CHOIR AND ALTAR SCREEN.]

The roof is not strictly original, most of it having been rebuilt in
1822-1824, when, however, the old material was worked in again as far
as possible, and the old quadripartite groining adhered to. It may be
noticed that the vaulting is carried out very systematically and
correctly, the only defect being that the wall-ribs die into the
vaulting surfaces, instead of being brought down to the clerestory
sill. The plough-share surfaces (as they are called) are nevertheless
well cut back to concentrate the lateral pressures against the
external buttresses. In the nave the new vaulting has the wall-ribs
properly supported by light shafts in the angles of the clerestory
openings, whilst in the transepts the inner archivolt of the windows
answers the same purpose.

[Illustration: _Photo._ _G.P. Heisch._
THE TRIFORIUM AND CLERESTORY OF THE CHOIR.]

It is highly probable that the choir formerly extended to the western
side of the tower, as indicated by the step between the nave and tower
pavement.

The =Altar-platform=, though raised seven steps above the nave
pavement, gives the altar a rather low elevation as compared with the
lofty Continental altars, whether abroad, or introduced here in recent
years on the Continental example. Herein it exhibits a peculiarity of
the English use, as illustrated in many pre-Reformation churches,
where the occasional deviations from rule can generally be accounted
for by the lofty crypt beneath, as, _e.g._, at Canterbury.[26]

Behind the altar rises the magnificent =Screen=, erected by Bishop Fox
in 1520, which almost fills the eastern end of the choir. This fine
work had been more or less mutilated through the iconoclastic zeal of
ultra-reformers, who deprived it of the sculptured figures in the
niches. It was