Norfolk would not be Norfolk without a church tower on the horizon or round a corner up a lane. We cannot spare a single Norfolk church. When a church has been pulled down the country seems empty or is like a necklace with a jewel missing

Entry to the tower is through a carved 15th century door from the vestry. There is a steep climb of well- trodden stairs to the top and some ancient graffiti on the walls. Only one bell remains in the bell tower 

The huge plain west window is one of the finest features in the church with beautiful carvings around the upper panels of glass. Below the patterned upper glass are wide glass panels in a repeat pattern of the other plain glass windows in the Nave. The glass in the top section of the window is inlaid  with  small fragments of medieval coloured glass  that  form various decorative shapes

The gallery has an inscription dated 1848, making it one of the last to be erected in Norfolk. It has a stained and panelled front to a raked platform, balanced on just two thin cast iron columns

The plain windows either side of the nave and in the chancel are enormous with decorations around them that depict the transition of the building style from decorated, with its style of wide windows and naturalistic carvings, to the perpendicular style with elaborate tracery

The large east window in the chancel depicts a Victorian scene of the crucifixion with Jerusalem in the background. The window was erected in 1855 in memory of the wife of then vicar

A mixture of human sculptures, grotesques, and animals in the form of corbels as well as carvings and wall decorations. The figures include  Charles I , Henry II, Elizabeth I, a pair of unhappy looking medieval boys  an angel, a falling figure, a frightening beast, and  a variation on the Green Man

The church contains good examples of 13th and 14th century wall paintings, including the haunting face of St Bartholomew, the stooped body of St. Christopher , dated c. 1360, and the unusual survival of St Andrew carrying his cross also dated c. 1360 which is on the south wall. A slightly later painting of St. Christopher is at the side of the north door. Much coloured decoration remains to be uncovered some, like the red paint on the pillars, probably post-medieval.  The two wall paintings of St Christopher are of differing quality. On the south aisle  using  finer paint and more skillfully executed in the late c. 14th.  In the centre St Christopher is flanked on the left by St Bartholomew who is thought to be holding a stick

The church contains a number of carved 15th century bench ends, including an engaging dog with a goose in its mouth, there are several very fine 15th century box pews. On one of the pews the original date 1590 has been beautifully carved

The font is typical of the 14th century,  quite plain eight sided. The font has a ‘witches’ hat’ cover, probably from the 19th century

The rood screen, a partition between the chancel and the nave,  is 14th century. The lower panels are painted in red and green with some gold tracery. Immediately over the screen there are fine wooden carvings which reach across the entry to the chancel  

The three-deck pulpit with associated desk is late 15th century and  has panelled desks and shelves, possibly associated with the box pew of c. 1590 in the south aisle, and a big square eighteenth-century tester canopy above it

It is believed the squint would ohave been in an external wall that was subsequently bricked up pe. This was an  opening, usually oblique, cut through a wall or a pier in the chancel of a church to enable the congregation in transepts or chapels, from which the altar would not otherwise be visible, to witness the elevation of the host during mass.

It is believed the squint would originally have been in an external wall that was subsequently bricked up 

The crypt is under the chancel and has a magnificent medieval door leading down stone steps to the room below. The crypt is thought originally to have been used as a charnel house to store bones.  

In the 19th century prisoners were lodged in the crypt on their way to the Assizes in Norwich. It has been suggested that the crypt may date from the Saxon church which is believed to have stood where the chancel stands to-day

The chancel was built over a ten-year period from  c. 1370. The altar at the back of the chancel is a plain wooden table and stands in front of a reredos - a large altarpiece - which depicts the Lord's Prayer and the Ten Commandments written on large wooden boards. The painted canvas Decalogue text on the reredos is probably c.1850

At the entrance to the church , under a cloth, is believed to have been one of the original 'Lord's Tables'. It is made of plain wood and dates to around the early Stuart period.  

There are two piscinas, a shallow basin used for washing the communion vessels, in the church

The Piscina in the chancel is very finely decorated. It is set as a perpendicular triple sedi-lia-cum-piscina with cusped and crocketted ogee arches and fleurons on quatrefoil sup-ports with panel traceried spandrels with an embattled top course  

On the south side of the Nave there is a small corner area which was possibly a separate chapel. It contains a 13th century piscina 

The Tavener brass was in the floor of the nave but only the cross and inscription remains, It marks the grave of John Taverner who died in 1548. His son Richard Taverner (1505-1570) was born in Brisley and translated the Bible into English

The famous Attowe Brass in the chancel dates from 1531, the eve of the Reformation, and  depicts Priest John Athorne. It is one of the last of its kind in England. Athorne is depicted wearing mass vestments and holding an ornate chalice with the host rising from it

The George II Coat of Arms dated 1753 over the south door is signed at the bottom by G Betler and F. Frohawk. It was cleaned and repaired in 1854