The Bells of Saham Toney, Norfolk

During the 14th century, the church grew in size and importance, with new arcades, spacious aisles, and a chancel that reflected the growing confidence of the parish community. The great transformation came in the 15th century, when the magnificent west tower was added. This soaring Perpendicular structure, with its bold buttresses, battlements, pinnacles, and heraldic friezes, would have dominated the surrounding landscape, serving both as a symbol of devotion and a visible marker of local pride. Above its west doorway, carved panels show St George in combat with the dragon, a reminder of the church’s dedication and the medieval fascination with England’s patron saint.

Inside, the church preserves a wealth of medieval craftsmanship. The arcades rest on circular piers with moulded capitals, a style dating to the 13th century. The surviving rood screen, though altered over time, still hints at the grandeur that once separated nave and chancel. A richly carved 15th-century font, inscribed with the date 1632, has long been the vessel of Christian baptism for village families. Equally striking are the carved wooden bench ends, many featuring animals and figures full of character, including a pair of lions with distinct, almost humorous, expressions that have delighted visitors for generations.

The Victorian period brought renewed attention to the church’s upkeep and beauty. In 1864, Reverend W. H. Parker oversaw a major restoration that sought both to repair and to enhance the medieval structure. During this campaign, fine stained glass windows were installed, including a memorable depiction of the Last Supper in the chancel, bringing vibrant colour and biblical storytelling into the sacred space. This work, while typical of the 19th century’s passion for Gothic revival, was carried out with sensitivity, ensuring the church retained its essential medieval character while gaining new life.

In recognition of its exceptional history and architecture, the Church of St George was designated a Grade I listed building in 1960, placing it among the most significant heritage sites in England. Yet it is far more than a monument: it remains a living place of worship and community. Today, it continues to host regular services, celebrations, and local gatherings. Modern amenities such as a vestry, kitchen, and organ have been sympathetically added, allowing the church to serve contemporary needs without compromising its ancient atmosphere.

From its earliest foundations in the 1200s to its proud role in village life today, St George’s Church is a story of continuity, faith, and craftsmanship. Every stone and carving speaks of the people who built, restored, and cherished it across the centuries. To step inside is to walk through the history of Norfolk itself, and to witness how one parish church can embody the enduring spirit of English heritage.

The tower holds a ring of six bells. The treble and fifth were cast in 1936 by Alfred Bowell. The second was cast in 1622 by William & Alice Brend, who also cast the tenor in 1618. The third was cast in 1697 by Charles Newman and the fourth was cast in 1898 by John Warner & Sons. The last major work to the installation was undertaken in 1936 when Alfred Bowell recast the trebl and fifth bells, and rehung all six bells in a new teak frame with new fittings. Slightly behind the 'trend' of other bellhangers of the time, Bowell continued to use plain bearings, when at this time the other foundries has largely converted to ball bearings. The tenor weighs 13 and three quarter hundredweight and is tuned to F.

6 bells, 13¾cwt in F.