St Mary

The earliest feature of the church is the late Norman font

it has been suggested that the base of the tower and the square bases of the arcade piers are also Norman but there is no direct evidence for this.

The chancel does, however, have the appearance of being earlier than the nave and aisles from its far more modest proportions and slightly earlier window type - circa early C14.

In 1335 or 6 the patronage of the church was transferred to Bishop Grandisson of Exeter and it is likely that he initiated a major rebuild of the church to lofty proportions with a nave and 2 aisles of comparable dates from the evidence of the arcades.

The south porch was added in circa early C15.

Internally the church was enhanced by wall paintings which appear to date mainly from the circa early C17 although some might be medieval.

The lean-to to the north of the tower incorporates some C14 features but is more likely to be C19 re-using earlier material.

Built in front of it is a small leanto which reuses a C14 ogee-headed stone doorway with a similar narrow one-light window to its right.

The hoodmoulds of the central and western windows incorporate carved stone masks which may have been re-used from the Norman Church.

The western window has been reduced in length for the insertion below of a probably C16 granite 4-centred arched doorway with roll moulding.

The chancel has 2 windows on either side which are 2-light cusped lancets with a quatrefoil above - circa early C14 in style but probably restored.

Between the 2 south windows of the chancel is a probably late C14 stone doorway with pointed arch in rebated chamfered surround and with moulded arched hoodmould.

The single storey south porch is faced with granite ashlar with a 4-centred arched granite doorway which has double hollow and roll moulding, carved spandrels and a heavy hoodmould.

Good interior: The south porch retains its original wagon roof with ribs and principals carved with running leaf motif and decorative carved bosses.

The south doorway is of granite with a round-headed arch, hollow roll and hollow moulding and carved spandrels.

Heavy studded oak door of overlapping planks with moulded edges is probably C17.

The very tall tower arch has moulded piers with high carved capitals and cushion stops.

The windows have chamfered rear arches, which to the north aisle incorporate carved stone masks similar to those on the outside of the window frames.

There are extensive remains of wall paintings to the north and south aisles which are in the process of being restored.

That on the north wall portrays a number of almost life-size figures probably representing the twelve apostles.

The style of the armour and nature of the texts suggests an early C17 date but earlier work could well be incorporated and more may be uncovered.

The ribs are also moulded and at the intersections are large bosses ornately carved in the design of 4 petal flowers : all but 2 of these however are replacements.

The wall-plates are carved and have flat bosses on them.

2 sections of panelling survive from the C15 rood screen which show signs of painting although this is likely to be restored colour.

The late Norman font is of Tintagel stone, square with marks at the corners and each side carved with a star surmounted by a 2-headed dragon.

Three floor memorials survive at the east end of the nave, all with border inscriptions with the dates 1603 and 1635 legible as two but otherwise much worn.

The only old glass that survives is now in the vestry having been moved twice but originating in the south-east window and bearing the arms of the Burnby family who were important landowners in the late medieval times.

The stained glass filling the other windows dates from the late C19 and commemorates members of the Manning family of whom Elizabeth Manning was lady of the manor in the late C19 and a great benefactor of the church.

This church raises interesting questions as to its projected plan in the C14, which, if carried out as was originally apparently intended, would have made it remarkably grand for such a small and remote village.

The further importance of the building lies in the preservation of much medieval structure enhanced by the remarkable survival of a large amount of wall paintings.