Architectural Features
The rest is a rebuild of 1870-1, done at the expense of Louisa, Lady Rolle, with Benjamin Ferrey the architect, Henry Burridge the builder, and carvings by Harry Hems of Exeter.
Roof of red tiles including fishscale bands.
The 2-stage tower has a very low pyramidal spire surmounted by a brass weather cock and fenced by a parapet carved with blind quatrefoil panels.
A gargoyle waterspout projects from each corner.
Here however the side walls have a coved eaves cornice carved with acanthus leaves and the east window is flanked by half engaged columns with stiff leaf capitals.
Both porches have open common rafter roofs and have chequer-pattern floors of red and black tiles.
Each aisle has an open 4-bay roof of arch-braced trusses with foliage carved in the spandrels.
The arch braces rest on large Beerstone corbels carved as human heads under soffit- moulded caps.
The chancel has a 5-bay boarded wagon roof with moulded ribs and carved (possibly oak) bosses.
This truss also springs from vaulting shafts which comprises marble shafts resting on large corbels carved as angels.
marble shafts with beerstone stiff leaf capitals, moulded bases on pedestals enriched with balls of coloured marble, and supported on large corbels carved as angels (one holding flowers, the other playing a lute).
moulded beerstone arches with hodmoulds springing from corbels carved as various foliages.
The piers are marble and circular in section with Beerstone caps carved with stiff leaf decoration and occasionally with human heads.
Nave and aisle floors are a chequer pattern of red and block tiles.
The chancel floor contains patterns of encaustic tiles, more densely employed in the sanctuary which is raised by marble steps.
Each corner of the sanctuary contains a Riddel post, a tall turned timber post surmounted by a gilded angel, put there in 1921.
Brass candle holders here now converted to electric lights.
Chancel also contains a wrought iron and brass corona lucis also now converted to electric light.
Ornate Beerstone pulpit with marble enrichment.
Carved stiff leaf cornice and natural leaf around base.
It has stone steps with a brass handrail with twisted balusters.
Brass lectern with twisted stem and scrolled enrichment.
octagonal bowl, its sides containing quatrefoil panels alternately containing 4-leaf motifs and shields, carved foliage around the base, stem has trefoil-headed panels and moulded base.
The flat oak cover is probably C17.
Memorials.
The tower also contains rectangular black marble mural plaques, 1 in memory of Richard Crossing with his arms, another in memory of William Simmons , and a third in memory of Henry Austin A C16 Beerstone graveslab is fixed to the wall in the south aisle
its black letter inscription records the death of Mr John Courtenay in 1593.
The chancel contains a marble plaque erected in 1905 in memory of the two members of the Venn family who were rectors in the C17.
Other small late C19 and early C20 marble or brass plaques.
Below the west window a brass plaque records the 'restoration' of the church at the expense of Lady Rolle.
Alongside to the left several brass plates are fixed to the wall.
The oldest and most ornate are 2 dated 1641, one in memory of Richard Duke, the other in memory of Sarah Duke.
A display box on top contains one of the C15 oak bosses removed in 1870 and a couple of old prints showing the Church before it was rebuilt.
Both east and west windows contain stained glass, the former by Warden Hughes, was given by the Hon.Mark Rolle.
Even the tower, the only survival from the earlier church, was massively restored and shows only little evidence of its C11 origins.
The best feature in the church is the Duke altar tomb of 1589.