Christ the Saviour was designed by Sir George Gilbert Scott in 1852

What one might refer to as a “ragstone Dec potboiler” of the sort that was popping up all over London in the mid nineteenth century, but pulled off with aplomb by Scott. Usual type of a clerestoried nave and lower two-bay chancel all faced in Kentish rag, with aisles embracing all but the sanctuary bay. Big beefy traceried pinnacles, bristling with crockets, miniature gables and grotesques, sit at the ends of the main gables. The sloping gabled buttresses are a nice touch, as if the church is digging its heels into the high street. 

The steeple was never perhaps the best of his works: the tracery of the bell openings is so deep they look like blunt lancets from a commissioner’s church 50 years previous, and the clock faces are parsimoniously tiny. Worse still, the crocketed spires of the corner pinnacles which help transition the square lower stage of the tower to the spire through an octagonal belfry disappeared sometime in the twentieth century. This is a shame, as the perspectival rhyme they originally had with the nave and chancel pinnacles has been lost.

The nave is spacious and welcoming, its pair of arcades having naturalistic foliage capitals such of those of the late thirteenth century at Claypole, Lincolnshire. It is enlivened by angels painted on the spandrels, with late-medieval English style patterning added to the roofs by Bodley in 1906. The east window of 1952 by Hugh Easton is, however, unfortunate.