The finest of the many wall monuments in the church are undoubtedly those of Richard and Margaret Paine of East Twyford and Sir John Franklyn on the left and right respectively of the High Altar. 

That of the Paines is a large and elaborate example of the work of the late 16^th century Master Mason Cornelius Cure, who came to England from Holland in 1541. In 1596 he was appointed Master Mason to the Crown and was commissioned to carve the monument to Mary Queen of Scots in Westminster Abbey - a much larger structure than at St.Mary's but of exactly similar style.

 The Paines' monument shows the two figures kneeling under arches on either side of a prayer desk. The fact that the lady is to the right indicates that she died first. Down each side are very delicately carved panels of strapwork - swags of fruit and flowers (representing the Resurrection) tied together with tasselled cords. There is elaborate scroll work below, with pomegranates, rosettes, and decorative plants and leaves, a typical example of the highly carved and brightly coloured monuments of the time. 

In contrast to this - showing how the spread of Classical influences was going on in the 17^th century - is the other monument, that of Sir John Franklyn who died in 1647. It is superbly elegant and classically cool in black and white marble, and is a work of great importance since few other examples of the work of Sir John Colt are to be found. John Colt's uncle - Maximilian Colt - was the Carver to the Crown at the same time as Cure was Master Mason.

 John Colt was given the other great commission of that time - the tomb of Queen Elizabeth I. It is a strange fact that the name of John Colt was not known until as recently as 1935, when the petition he sent to King Charles asking to be given his uncle's position was discovered and printed.

 The monument rests on lion head brackets - one of Colt's trade marks. The unusual pediment is typical too, as are the allegorical details to right and left. The hand above the skull represents the opening of the Book of Life. The base of the memorial with its acanthus scrolls and the shell are pure 18^th century rococo - years ahead of their time.

 The other monuments in the church are not so spectacular, although they are very pleasant indications both of the way in which life was going on outside the Church and also of the way in which fashions changed. Those in the Sanctuary, to various Roberts, Barnes and Franklyns, are of an unusually dark alabaster, which leads us to assume that, although they are anonymous, they all came from the same studio. There is a lovely monument to the Jackson family which is often overlooked, tucked away as it is to one side of the Gallery at the West End of the Church.

 A complete list, and the inscriptions are as follows: