ithin the church, there are many interesting memorial tablets, pictures and statues -not least among these things, an unpainted stone statue of Our Lady and Child, at the entrance to the Lady Chapel, and, just inside the west door, a water colour by A. Ernest Monk ( after Prosser) of Holy Trinity in 1860.

The large hook, far above the font, once held in place a towering wooden cover some thirteen feet high, like a gothic spire.
The roof of the nave is attractively coloured and patterned, and is gently lit by the clerestory. (Note, incidentally, the variations in the tracery of the clerestory windows.)

At one time, some of the pillars and most of the walls were decorated. In particular, the walls of the aisles were adorned with Joseph.A. pippet's Stations of the cross. (Many guide books of Winchester have made special mention of these Stations.) However, they were painted on dry plaster in the 1880's and deteriorated fairly rapidly over the succeeding years until, in the early 1970's they were over painted along with most of the wall paintings. Pippet's work was replaced by a good modern set of framed Stations.
The north and south aisles and their respective east-end chapels of Our Lady and the Sacred Heart  are behind arcades of seven pointed arches. The stained glass is by Messrs. Clayton and Bell, and was installed in the late 1860s. It comprises a series of Old Testament themes on the north side (beginning with the Expulsion from the Garden of Eden, at the west end) and a series of New Testament themes on the south side (including the Parable of the Good Samaritan, in the Sacred heart Chapel, and the Parable of the Publican and Sinner, at the west end of the south wall).
The glass contains much delicate detail; and the colouring is of outstanding quality. There is nothing garish and crude, so often the problem with glass later in the century.

uring the 1880s the chancel screen (surmounted by a cross only), the pulpit and the choir screens were erected. The figures, added a few years later, are well-carved, without any hint of sentimentality. Indeed, Our Lady and St John are strikingly resigned in attitude. But in the figure of Christ, the artist achieves a carving of great strength and character. And the quality of the rest of the carving is generally very fine, from the golden angels reading from holy books to the lavish ornamentations on both sides of the choir and sanctuary screens. This work includes many well executed Christians symbols, mostly of fruit, flowers and foliage--the pomegranate (the sign of the church and of resurrection), the acorn (the sign of faith and endeavour), and the thistle ( the sign of earthly sorrow and sin), etc. The Agnus Dei (the sign of Christ, the sacrificial Lamb of God) on the south of the sanctuary is most ably done.

The aisle screen at the entrance to the chapels are more recent. The wood is somewhat lighter and less red, and generally these screens are more delicately constructed. The ornamentations are larger than those on the choir screens and are less deeply carved. The face of Satan appears on the left hand of the north screen and on the right hand of the south screen. A devil's mask (traditionally associated with dark corners, in mediaeval times) represents the ugly consequences of the rejection of God and the glorification of self.

The Lady Chapel was re-ordered late in the 1940s by Ninian Comper using red hangings and frontal. This concept has recently been restored. (Red id the liturgical colour for the Holy Spirit; appropriate, as it was the Holy Spirit which 'overshadowed the Holy Virgin at the time of the Annunciation.) The reredos is a splendid Nativity in the rather quaint perspective with the Agnus Dei and the pelican, both emblems of sacrifice, in the medallions on either side. The candlesticks and candelabra are also by Comper. In the alcove, formerly a doorway, rests the statue of Our Lady of Walsingham and on the pillar opposite hangs a fine oil of the Madonna and child. The east window and is of interest: beneath the crucifix, the risen Christ makes himself known to his fellow-travellers at supper, following the walk to Emmaus. The ornate hanging lamp, and the live flame beside the aumbry, instruct us that the Lady Chapel is also the Chapel of the Blessed Sacrament.

he roof-cladding of the two chapels is beautifully decorated in bordered oblongs containing various motifs and devices, most obvious of which is the Iota-Eta-Sigma (HIS)  - The first three letters of the Greek, Jesus. But the roofs of the chancel and the sanctuary are finer. Sadly, much of the work is barely visible to the naked eye.

The painting of Christ in Majesty, far above the high altar, escaped the over painting of the 1970s, though further down the east wall the paintings of Moses and Elias were obliterated. However, both are gradually re-appearing through the blue paint. The sanctuary was panelled in the 1930s but more recently has the vine been picked out in gold. The altar is much earlier and features, behind the dark tracery of its front, the instruments of the passion, in gold and red. The holiness of this part of the church is emphasized by the combined effect of the large Alpha and Omega, the six brass candlesticks against panels of fine brocade, the standard candlesticks with their bell-like bases (originally in St. Thomas's), and the three hand-beaten sanctuary lamps.

A 'positive' organ of 1888 by Thomas Casson was in use while the large two-manual digital-computer organ was being built by Copeman Hart in 1988. The Copeman Hart produces a fine, pipelike quality of sound. There are eight speaker-cabinets on the choir screens and two at ground level in front of the chapel screens. Together, the ten cabinets house sixty-six speakers.

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