The existing church is a fine and stately building, chiefly of the Perpendicular period; the exterior remarkable for the extremely hideous carvings that decorate (if that be quite the word) the dripstones over the windows of the south aisle. Most of them are grotesque faces, but one is of a somewhat mysterious character and appears to be the representation of a little shivering nude human figure, threatened by a huge bird of the pelican type. The interior discloses fine cradle-roofs to nave and aisles, with angel corbels and a deeply undercut frieze of conventionalised vine-leaves. The third pier from the west, in the north aisle, bears tabernacled niches filled with small statues of four bishops, and on that behind the pulpit are figures of an abbot and of St. George and the Dragon. The Egremont and Wyndham chapels are rich in memorials of the Wyndham family, formerly of Orchard Wyndham, close by. An old funeral helmet, painted and gilt, and surmounted with the crest of a lion’s head and fetterlock, hangs in the south chapel, and two others are suspended in the chancel and the north aisle. The Wyndhams, who are represented here so numerously in sepulchral brasses and marble monuments, derived from the Wyndhams of Felbrigg, Norfolk, but originally of Wymondham in that county; John, second son of Sir Thomas Wyndham, having in the reign of Henry VIII. married Elizabeth Sydenham, of Orchard Sydenham, afterwards known as Orchard Wyndham. The Norfolk branch of the family in course of time replaced the “y” in their name by an “i,” but the West of England Wyndhams have generally (by no means always) adhered to the more picturesque fashion of subscribing themselves. The last Wyndham here was George, Lord Egremont, who died in 1845, when the title became extinct and the family property here and at Sampford Brett was sold. The brasses include those of John Wyndham, of Kentsford, and his wife Florence, sister and co-heir of Nicholas Wadham of Merrifield, Somerset. He died in 1572, and she in 1596, many years after the gruesome adventure she experienced in being nearly buried alive. The brasses of this worthy pair, half the size of life and most carefully, if at the same time coarsely, engraved, with a meticulous care for details of armour and costume, face one another on a huge stone slab, set against the wall. A smaller brass represents them and a third figure, intended for Fate, discussing their respective ends, with the following dialogue:— MARITUS. When changeless Fate to death did change my life I prayd it to bee gentle to my wife. VXOR. But shee who hart and hand to thee did wedd Desired nothing more then this thie bedd. FATVM. I brought ye soules that linckt were each in either To rest above ye Bodies here togeither. [Illustration: BENCH-END, SAMPFORD BRETT; SUPPOSED TO ALLUDE TO THE LEGEND OF LADY FLORENCE WYNDHAM.]