The Blessed Virgin Mary

The C15 work comprises large blocks of volcanic ashlar with red sandstone) and Beerstone ashlar is used decoratively on the voussoirs

The west tower and walls of the north aisle are largely intact C15 work.

Good tall west tower of 2 stages has diagonal buttresses with weathered offsets, chamfered plinth, soffit-moulded dripcourses, carved gargoyle water spouts and embattled parapet.

It has carved foliate spandrels and moulded square hood.

The main windows are arched with Perpendicular tracery and have hoodmoulds with labeals carved as the heads of kings, queens, bishops and worthies.

The second gable behind is that of the vestry and it contains a circular window, the cusped tracery, a hoodmould and carved labels.

Back to C15 masonry in the north aisle which has a 3-window front of 3-light windows with Perpendicular tracery and there is another in the west end beyond a diagonal corner buttress.

Interior: the porch has a floor of C19 coloured tiles, naked stone walls and an open barrel-vaulted roof.

It contains a C19 plank door with strap hinges enriched with ornate bifurcated scrolls in the style of the C13.

The north aisle has a restored C15 wagon roof with moulded braces and purlins and some original carved oak bosses (square with simple foliate designs).

Tall C15 tower arch with broad double mouldings on the arch dying into plain responds.

The tower has late C15 moulded beams to the ringing floor and a 4-centred arch doorway to the stair.

The caps have relatively crudely carved foliate capitals with shields on the corners.

It fact the C15 3-bay Beerstone arcade was extended eastward to 4 in 1888 and built with Hamstsone.

The emit end of the aisle still contains a C15 Perpendicular 3-light window now separating the aisle from the organ chamber.

The floor is made up of coloured C19 tiles and includes several C17 and C18 graveslabs.

Encaustic tiles are used increasingly towards the altar.

Most of the furniture is C19 comprising plain oak altar table, oak altar rail with timber standards, Gothic stalls with poppies heads finials on the ends and open arcade timber standards, Gothic stalls with poppy head finials on the ends and open arcade along the fronts, oak drum pulpit, a good oak lectern dated 1890 carved as a Pelican in her piety on a twisted stem enriched with foliage, plain deal benches and wainscothing around nave and aisle.

The tower screen is dated 1923 but across the top is set a section of the front parapet of a good early C17 oak gallery

it is panelled and carved with ornate classical arcades to the panels, strapwork to the muntins above and frieze of guilloche enriched with ascanthus leaves.

C15 Beerstone Perpendicular font

The 1888 windows contain tiny panes of leaded coloured translucent glass.

Monument.

The only notable mural monuments are those in the north aisle and are described working from east to west.

The Porter memorial of circa 1815 is white marble on a shaped grey marble ground.

The inscription, which records the death of Thomas Porter in 1815 and his wife Sarah in 1823, is flanked by pilasters with inlaid black fretwork and with clawed bases over a lower section enriched with carved fronds.

The Bidgod memorial of circa 1813 is white marble on a shaped grey marble ground.

This monument is signed by C. Kendall of Exeter.

Another Bidgood memorial comprises 2 white marble framed plaques with pediment heads sharing the same grey marble ground.

The Tower plaque in memory of his wife Sarah Another Porter monument of circa 1820 is also white on grey marble.

It is surmounted by a sarcophagus above with a wreath of ivy on the side and carved head half hidden with drapery.

A third Porter memorial of circa 1857, has a white marble plaque which records the death of Thomas Porter in 1857, his wife and daughter, set in a Tudor Gothic Beerstone Frame.

He seems to have taken pains to integrate the C15 north aisle and attractive west tower.