|THE NAVE||THE CHANCEL|
Of the furnishings,
the font is traditionally said to have been given by
Princess Gundreda, youngest daughter of William the Conqueror (and, according
to the story, lady of the Manor of Noke) and to have survived the fire which
demolished the church it was originally meant for; its lead basin is marked
The pulpit is Jacobean and in the wall above it is an iron hour-glass stand, no doubt originally used to assist in giving sermons of appropriate length.
The organ, with its painted pipes, is now electrically pumped, but the original handle and mouse can still be seen and is in working order. The lowest pedal note is slightly sharpened by the alteration made to the pipe when the organ was put into the church. It would not fit under a beam and was cut and re-soldered at a right angle.
Small niches, of probable 14th or 15th century date are inset on either side of the chancel arch. The southern niche contains a statue of the Virgin and Child.
The glass in the west window, depicting entwined poppies, was commissioned to commemorate the fiftieth anniversary of the end of World War II. The glass was designed and created by Sharon Campbell. The inscription beneath reads:
This window was set in place to commemorate the fiftieth anniversary of the ending of the Second World War and in honour of those who served in it.
LOOK UP, AND BY THE GREEN OF THE SPRING SWEAR YOU'LL NEVER FORGET: SIGFRIED SASSOON
|The brass in the chancel depicts Joan, wife of Henry
Bradshaw, with her two husbands and eight children, and the effigy nearby was
originally part of a fair raised altar tomb of her grandson,
Benedict Winchcombe (d.1623): both monuments originally lay in a small chapel
on the north side of the church, which was demolished in the middle of the 18th
Opposite is a memorial to John Carlyle, Rector of Noke from 1840 to 1863.
The stained glass in the restored (Victorian) east window, (below) depicting the Crucifixion and Resurrection, is dedicated to the memory of John and Elizabeth Thorp, 1884.
Recent additions include the frontals for the Holy Table - most recently, a fine cloth which displays the doe, the traditional symbol of our patron saint, St. Giles. Behind the doe the Cross opens out onto a vision of the countryside. A series of new kneelers have also been embroidered to commemorate the Millennium.