Church Of Holy Trinity

This parish church has a 12th-century base to its west tower with some 13th-century work. The Hare chapel dates from 1591 to 1624. The nave and chancel were virtually rebuilt by architect Raphael Brandon during restoration in 1848 to 1850, when a chancel aisle was added. The building is constructed of carstone and brick with flint and ashlar dressings.

The three-stage tower features heavy diagonal west buttresses of brick built in 1589. The first and second stages have renewed 12th-century lancets on the north and south sides, and one 2-light Decorated window faces west from the 19th century. A clock face on the north side dates to 1870. The top stage was built in 1501 to 1503 and contains 2-light Perpendicular belfry windows beneath a crenellated parapet.

A steeply pitched gabled north porch stands to the west, with one renewed 12th-century lancet beside it. The nave windows are all 2-light in various Decorated styles. The lean-to chancel south aisle has similar windows. The east window has a spherical triangle design with the triangles filled by Kentish tracery and contains 3 lights.

The Hare chapel abuts the north chancel. Built of brick and rising to full height, it is divided into 2 bays by 3 stepped buttresses. It has 3-light Perpendicular windows with panel tracery. The east window includes a transom. An arched west door beneath an inscription plaque bearing the Hare arms and the date 1624 provides access. A moulded string course runs below the crenellated north parapet, and the structure has a gabled roof. Despite its late date, the entire Hare chapel is entirely Gothic in feeling.

The interior features a semi-circular flat Norman tower arch with responds. Tower lancets have deep interior splays. The nave has a scissor-braced and panelled roof. A 20th-century font and cover stand within, along with a 20th-century screen. An excellent carved and painted Royal Arms over the south door, made for Charles II, decorates the space.

The chancel roof matches the nave. Two bench ends in the chancel date to the 15th century: on the north, a hare grips the arms of the Hare family; on the south, a hind supports the arms of Bishop Hind (now mutilated). The chancel contains 13th-century stepped sedilia with arches on colonnettes, continuous with a double piscina and an arched light into the vestry; these were recreated in character during the 1850 restoration.

A vestry is partitioned from the organ by a fragment of late 17th-century panelling featuring a strapwork top rail and palmettes to a door hung on H hinges. The Hare chapel opens to the north chapel through a wide arch and door.

The Hare chapel interior has a steeply pitched arch-braced roof with moulded butt purlins, collar and ridge pieces. Arched braces drop to corbels that also support wall posts.

The monuments within the Hare chapel are of national importance. Mary Hare, by M. Daniell in 1801, is a wall monument in white marble showing a neo-classical figure of the deceased leaning on an urn against a grey ground. Sarah Hare's monument dates to 1744 and features a coloured wax effigy, half figure, in contemporary dress within a cupboard that closes completely. The cupboard has fluted Ionic clasping pilasters leading to an inscription plate and pediment.

Sir Thomas Hare's monument of 1693 consists of a sarcophagus with a gadrooned cornice supporting a reclining white marble effigy dressed in Roman armour. Two cherubs under the cornice bear the coat of arms. Above this, a wall monument to Hugo Hare of 1619 comprises a black marble tablet with inscription flanked by modified Doric pilasters standing on an apron containing a cherub and 2 console brackets. The cornice supports 2 obelisks and a central achievement.

An unidentified wall monument of 1597 has a black marble inscription tablet with painted strapwork border flanked by free-standing Corinthian columns. Console brackets support the columns and flank an inscribed black marble predella. A scrolled apron sits below, and a moulded cornice supports 2 obelisks and a central achievement.

The monument to Susannah Hare of 1741, by Peter Scheemakers, is in white and grey marble. An altar pedestal bearing an inscription supports an effigy of Susannah semi-reclining in loose draperies. Fluted Corinthian pilasters lead to an architrave below which 2 cherubs in high relief emerge from clouds. An open pediment broken forward contains the achievement, with 2 urns standing behind.

The pedestal monument to Sir Randulph Hare of 1623 is constructed of alabaster and marble. The tomb chest is divided into 2 bays by pilasters containing coats of arms within strapwork surrounds. A canopy stands on unfluted Corinthian columns with a coffered ceiling, the coffers painted with roses. The cornice is studded with roses and heavily moulded. Two obelisks flank an elaborate strapwork achievement on a scrolled plinth. Beneath the canopy is a central black inscribed tablet with a painted strapwork border depicting fruit, hourglasses, helmets, and non-figurative designs of the highest quality.