The altars and reredoses were designed by Boulton of Cheltenham.
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There seem to be no remains of wooden reredoses of the fourteenth century, though there are a number of examples in stone.
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Considerably more remarkable than the altar paintings are the reredoses or retables of carved and gilded wood into which the paintings were inserted.
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The authors of the Buildings of England series were impressed by the furnishings of the church, in particular the reredoses by Farmer and Brindley, the chancel screens, the organ case and the bench ends. All the stained glass is by Burlison and Grylls.
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Reredos of the backchoir. Image of Santa María de la Mayor. Entering through the main façade, the first thing that surprises us about the temple is the monumental set of Baroque style of which the backchoir consists. Until the 17th century three reredoses were attached to its wall.
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Also removed to Galmpton were the broken remains of two 15th- century alabaster reredoses depicting scenes from the life of Christ. Before this time, the stoup has been removed to Salcombe parish church. The other fittings were sold. The late medieval screen was removed to Bowringsleigh House in West Alvington.
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The altars and the reredoses behind them have a polished finish that contrasts with the rather dull finish of the statues. Across the front of the altar platform is an altar rail that is also executed in marble. The bronze gates in the center are a later addition. Stained glass windows line the nave walls.
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Huggins supplied stone quarried from his own land at Hadlow Grange. Fellowes Prynne studied architecture in Canada and later worked with George Edmund Street. He was responsible for St Wilfrid's Church at Bognor Regis and the fittings (especially reredoses) of many other churches in Sussex. There is uncertainty over how extensive his work at St Mark's Church was, and whether it can be considered a mere remodelling or a complete reconstruction.
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Other notable folk-art decorations include five reredoses and a small sculpture of St. James the Great. A small room called el pocitoPocito is the Academic spelling; posito and pozito are also used. (the little well) contains a round pit, the source of "holy dirt" (tierra bendita) that is believed to have healing powers. An adjacent Prayer Room displays many ex-votos as well as photographs, discarded crutches, and other testimonials of those purportedly healed.
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Along the sides of the aisles are two and three-light windows under flat heads; the clerestory windows have two lights under pointed heads. The east window has five lights. Inside the church is an open wooden roof, a wooden pulpit, a marble font, and reredoses behind the main altar and the altar in a side chapel. The two-manual pipe organ was made in 1898 by J. J. Binns of Leeds.
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He painted in the Baroque style and was strongly influenced from the art scene of Naples. Zahra's works include many religious paintings, including altarpieces or other large paintings for churches, vault murals and devotional paintings for private commissions. He is also responsible for a number of portraits, drawings for reredoses, some furniture in churches and works in marble. He probably began to paint at a young age, and he likely trained at Gio Nicola Buhagiar's workshop in the 1730s.
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Together, Almquist and Jewitt developed a house style of subtle colours (becoming richer in later years) and delicate drawing which defined Shrigley and Hunt until well into the 20th century. Jewitt designed many windows for locations in the Home Counties, the East Midlands, Yorkshire, and above all the north-west of England, and there are scattered examples elsewhere. There are also examples of painted tiles, murals, reredoses and patternwork by him, and on at least one occasion he restored medieval wall-paintings.
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Troisi also designed a number of reredoses at the Franciscan Conventual church in Rabat between 1710 and 1722, and collaborated with the sculptor Pietro Paolo Zahra and the Fabri brothers on a number of altar reconstructions in the same church along with the parish churches of Balzan and Żebbuġ. Troisi also designed the reredos of the main altar of the Carmelite church in Mdina and that of the choir altar of the old church of St Mary in Birkirkara. He designed choir stalls in the churches of Lija and Żebbuġ. In the latter, he also designed the choir altar and a monstrance for a relic of the arm of St Philip.
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There are two magnificently-carved reredoses by Deacon, one in the Lady Chapel (1913) and one in the sanctuary (1909). The Lady Chapel reredos features a Madonna and Child with the inscription "Magnificat anima mea Dominum, et exsultavit spiritus meus in Deum" from the Magnificat The Lady Chapel Altar has three carved panels featuring a pelican feeding her chicks with her own blood, a Lamb holding a Shepherd's staff with the inscription "Ecce Agnus Dei" and another carved panel depicting an Eagle in flight. Around the base of the Altar is carved the Inscription "I believe in the Communion of Saints" a quotation from the Nicene Creed. Permission was given by a Faculty dated 16 June 1913 to remove the tapestry hangings behind the communion table in the Lady chapel and erect in lieu a reredos of oak with the cost to be defrayed by Helen Catherine Tidswell of Northgate House, the reredos being intended to complete the memorial to her late husband Richard Thomas Tidswell.Faculty dated 16 June 1913 The Faculty also provided for a canopy of carved oak for the font as a memorial of the late mother of Jane Wright of 22 Chichester Street.
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