[Illustration: _Photo._ _G.P. Heisch._
MARTYRS' WINDOW TO SAUNDERS, FERRAR, AND TAYLOR.]

The seventh of the martyrs is memorialised in the central window on
the south, viz., the Ven. Archdeacon Philpot, the three lights being
filled with pictorial scenes from his trial. He is here commemorated
as having suffered at the same time with the others, though he was
separately tried in the Bishop of London's house, by St. Paul's
Cathedral. The rest were tried in this very chapel, then (and still
occasionally) used as a Consistory Court. There is thus a peculiar
appropriateness in the local commemoration, and especially in the
position of the first window of the series, as it was in that
identical bay that the Royal Commissioners sat in judgement, and
pronounced sentence on the men they regarded as heretics. The lancet
on the eastern side of the "Philpot" window is dedicated to Grace
Pearse, and dated 1845. The other is at present filled with plain
glass awaiting a suitable commemoration. The two triplets between the
martyrs' windows on the east contain memorials to the Rev. W. Curling
(1879) and the Rev. S. Benson (1881), who were co-chaplains at St.
Saviour's.

These windows were contributed by the parishioners, and show some
advance on those to the martyrs in their scriptural subjects as well
as in their general treatment and colouring.

By far the best window is that of three lights on the north side. The
architecture is in the Decorated style with reticulated tracery, as
restored on the ancient model. The glass is modern, by Kempe, in his
best mediaeval manner, in which respect, as well as in subject matter,
the window presents a strong contrast to the earlier ones in its
neighbourhood. The three lights contain figures of King Charles I,
Thomas Becket, and Archbishop Laud, martyrs of another school, perhaps
equally worthy of remembrance, as having suffered for their opinions.

[Illustration: _Photo._ _G.P. Heisch._
WINDOW COMMEMORATING KING CHARLES I, LAUD, AND BECKET.]

On the western wall a granite tablet is to be noticed to the memory of
George Gwilt, the architect who did so much work at the church in his
day, and gave his services gratuitously during the restoration of this
chapel. He died at the age of eighty-one, in the year 1856, and is
buried in the family vault outside the southern wall.

The =Choir Aisles=, architecturally similar, differ very much in their
contents, which are more