[2] Dating from the 12th century, they were hidden from view until uncovered in 1866 and now "provide a rare and memorable impression of a medieval painted interior".

[3] The simple two-cell stone building, with its original medieval whitewashed exterior, has seen little alteration and also has an ancient bell.

[2][8] Despite its omission from the Domesday survey, the present building is often considered to be 11th-century;[2][4][5][9][10][11] all sources agree that it was complete by 1125 at the latest.

[6][9][11] An anchorite — apparently a woman called Myliana — was housed in a stone cell attached to the church from about 1250.

Minimal population growth over the centuries meant that enlargement was not needed; and the parishes tended to be poor, with little to spend on rebuilding or new architectural designs.

[2] At the same time, the frescoes were revealed again: first in 1862, when a section of whitewash was removed and one painting was found (although the work damaged it), and later in 1866, when the rest were uncovered.

[4][10] Philip Mainwaring Johnston undertook some restoration of the frescoes around 1900 and wrote a study of them in the Sussex Archaeological Collections in 1901.

The walls, 2+3⁄4 feet (0.84 m) thick, are of coarse sandstone rubble masonry and flint with much re-use of Roman stonework and tiles.

[6] A shingle-covered belfry stands on the east gable of the nave, and a porch protrudes from the north side.

[2][17] Certain other features suggest Saxon influence, including the square east end of the chancel and the substantial, blocky quoins.

[12] Overall, though, the building is low, broad and sturdy—a "vigorous, down-to-earth and practical work" which was characteristic of Norman builders.

[4][16] In addition to the link with the supposed "Lewes Group" of artists, the wall paintings can be dated on historical and stylistic grounds to the early 12th century.

[26] There are four main themes to the wall paintings: Adam and Eve, the Life of Christ, Judgement and Apocalypse (including Hell scenes), and the Labours of the Months.

[4] There were originally explanatory inscriptions in the borders above the scenes, but only a fragment of these survives on the east wall of the nave.

[1] Running along the upper part of the east, south and north nave walls are depictions of episodes from the infancy of Christ.

[7] A group of four Hell scenes (the Torments of the Damned) cover the entire west wall of the nave.

[29] The figures are "violent and elongated [...] as distorted as a Russian ikon, and Ian Nairn noted the "diagrammatic sketching in of belly and buttocks[, which] is brilliant".

[5][7] Representations of the Elders and Apostles cover the upper parts of the north and south walls of the chancel.

Christ in Majesty originally would have appeared on the east wall, but the figure has been destroyed by the later insertion of a window.

The River Arun, the southern edge of Pulborough and field boundaries mark its outer limits.