The church consists of chancel with attached vestry, nave with clerestory, N and S aisles and N and S porches, and W tower. The late 12thc. tower and the W end of the church were restored in 1886-87 by W. White, as were the 15thc. N and S porches. The original clerestory, which had been dismantled in 1786, was also rebuilt at this time. The vestry was added at the beginning of the 20thc.
The chancel arch, composed of Roman brick, could be 11thc. or 12thc. This was preserved when the chancel was rebuilt in the late 14thc. The 19thc. restoration replaced the wall above the chancel arch with wooden tracery. The angles of the original late 11thc. or early 12thc. church survive. The nave, and the N and S arcades are later 12thc., as is the plain, two order N doorway, The carved font is late 12thc. The church is constructed of flint and ashlar and some Roman brick.
The Domesday Survey does not mention a church at Sandridge. The manor, including Sandridge church was given to St Albans by Egfrid, son of Offa in 796 (VCH, 433, 436), and the Domesday Survey records that Sandridge (10 hides) was held directly by the Abbot of St Albans. St Albans held the manor until the Dissolution.
VCH records that the church was originally a chapel of St Peter, St Albans (VCH, 437) and notes that the Gesta Abbatum Monasterii Sancti Albani (iii, 73) records that the 'Capella de Sandrage' was consecrated by Losinga, Bishop of Norwich (1094-1119). (VCH, 436 [footnote 85]). Losinga also founded churches at Redbourne, Newnham and Norton in Hertfordshire. (Transactions of the East Herts Archaeological Society, 370)
Of three bays with chamfered, stepped plinths and water-holding bases. The shafts are octagonal and the responds half-octagonal. The imposts are hollow-chamfered with a groove along the upright. There are two orders in the arch, each with angle roll.
E respond: Multi-scallop with wedges between the cones and with acanthus-like volutes. Partially cut away to make room for the organ.
Located at the W end of the nave in front of the tower. The font is tub-shaped and decorated with shallow blank arcading, with some variation in the design of bases and capitals. All piera have square plinths, necking below the capitals and a roll on the impost. The font has been completely broken in half (horizontally) and repaired at some point in its history. It is lead-lined and of Totternhoe stone. The supports are modern.
From centre of E face:
Above the arcading is a row of sawtooth around the rim of the font.
|h. of bowl||0.66 m|
|total h. of font||0.96 m|