The exquisite Irby Helmet ("Sallet"), described as a popular form of head armour, is a fine and rare example of 15th century work of North Italian  origin (probably Milanese) in the style of knight headgear. 

The skull is beaten out of a single piece of steel, the whole decorated with strips of gilt copper, and the original surfaces would  have been coloured blue. The brass enrichments were added in the 17th century, when it is believed that the helmet was reserved primarily for use at family funerals, possibly worn by family members. 

This unique oil painting by Miss Henrietta Dering Curtois, (an active member of the Forum Club London, and notable lecturer and artist), commissioned and presented to St. Mary's in 1907, was painted in the Pre-Raphaelite style, with 'children of Whaplode' forming the supporting figures of Christ.

It is unusual in two aspects; Firstly, it is a pictorial combination of zinc metal and canvas, and secondly, it depicts members of the community of Whaplode at the time of the painting, with the central angel's face being modelled on that of her mother.

The coffin lid is exceptionally fine work, with detailed and elaborate high-relief carving. Stylistically, the cross slab probably dates to the later part of the 13th century. The cross head is of the 'bracelet derivative' style, which first appears circa. 1200. The foliated motif of the cross may allude to the medieval concept of the cross as 'The Tree of Life' referring to Jesus' death and resurrection. (Courtesy of Dr. Aleksandra McClain- York University, 2006). 

We believe this coffin lid to be sufficiently unique as to challenge anyone, who regards themselves to be an expert on carved stone coffin lids, to find an example within any Churches, Monasteries or Cathedrals that has been expertly performed and lasted over seven hundred years.

From within the 15th century oak 'Hammerbeam' roof can be seen the few remaining intricate carvings, that appeared within the brace supports, and on the terminals of the hammerbeams. Traditionally, the terminals would have displayed 'flying angels', however, in St. Mary's, they appear as religious 'artisans' or 'Knights', holding what appear to be shields, displaying tools (hammer/  reversed). However, the third one has no shield, but holds what resembles a measuring tool of some description, not unlike a 'spherical triangle' used in medieval times.

This painting would have been commissioned in 1773, quite likely by  the Governors of Uppingham School, who. upon the death of the prior benefice of St. Mary's, Robert Johnson (Archdeacon of Leicester) in 1625, had gained the rights of the Chancel.

Uppingham School having been founded by Robert Johnson in 1584, had gained a Royal Charter from Queen Elizabeth I in 1594, and therefore, following the death of the Archdeacon, the 'ownership' of St. Mary's chancel formally passed to them. Ultimately, 'ownership' was ceded back to the Crown in 1909.

It was from the early to mid-17th century that some of the charitable bequests associated with the church were organised. Sadly, following years of deterioration, whilst they hung over the North Porch for many centuries, there are now only three remaining of the 'Charity Boards' created.  In 2006, the Boards were taken down, treated, conserved, and restored by the Department of  Conservation & Restoration, Lincoln University, and now reside within three illuminated glass frames, above the North Porch.