Heritage tiles are the professional roofer's choice for the highest quality clay roof tiles. We pride ourselves in manufacturing, stocking, and delivering the very finest in prestige clay roof tiles.
Heritage Tiles have several tile ranges that satisfy every architectural requirement. Vintage and historic properties right up to modern new builds are covered by the diverse range of clay roof tiles that we stock.
So, whether you are in the building trade, or simply wish to choose your own tiles, Heritage Tiles have the right product for your specific requirements.
Clayhall Medium Blend - Carefully crafted to replicate all the features of handmade the Clayhall hand crafted range of tiles offers an excellent alternative when budget restrictions are a concern, but without compromising quality or durability.
Clayhall Dark Blend - Quality and durability in a budget clay roof tile. The Clayhall dark blend is sure to turn heads.
Clayhall Red Blend - A beautiful rustic clay roof tile. The Clayhall red blend is a firm favourite with our customers.
Clayhall Hamlet Mix - The Clayhall Hamlet mix is a gorgeous light and sandy looking clay roof tile that is a perennial favourite in the building trade.
Clayhall Birchwood Mix - The Clayhall Birchwood mix offers a gorgeous blend of lighter and darker shades in this diverse clay roof tile. If you are concerned that your roof tiles could look monotonous, the Clayhall Birchwood mix is the clay roof tile to choose.
The Conservation range of roof tiles are available in a range of distinctive colours, created by using a very fine sand, The Conservation Weathered; A natural warm tone, achieving an instant mellow and settled look and The Conservation Red; perfect for vertical tiling especially suited for villages and hamlets with olde world vernacular charm.
Manufactured using high quality clay, achieving high strength and durability properties, giving homeowners and contractors peace of mind for many years to come. The conservation range comes with a complete set of associated fittings, including Hog Back Ridge, Half Round Ridge, Bonnet Hips, Valley tiles and External Angles.
The Conservation range of clay roof tiles comes in the following variations:
Plain clay roofing tiles laid to a double lap have been used for roof covering in England since before the Norman Conquest and tiles dating back to Roman Times have been discovered under excavation. From the outset clay plain tiles were made incorporating fixing features.
The Classic range of plain tiles is one of the finest ranges of clay tiles.
We source only the best raw materials for our craftsman to create beautifully handmade clay tiles of the highest quality and durability.
There are many fittings that are available from us a Heritage Tiles to complete your build to perfection. We stock and supply the following:
Provide help for our bats with our range of bat friendly roof tiles.
Did you know that all UK bats and their roosts are protected by law? The Wildlife and Countryside Act introduced in 1981, gave legal protection to all bat species and their roosts in England.
Distinct species of bats prefer differing places to roost. The two most usually found species of bat in the UK are the Pipistrelle and Brown Long-Eared Bat. Pipistrelle prefer confined spaces such as under tiles on roofs and hanging spaces. The Brown Long-Eared Bat prefer roof timbers and ridges inside lofts. Heritage Clay Tiles can provide purpose made access points within your roof tiles or ridge tiles. The Bat Tile Set can form part of a mitigation package required by law for existing roosts or as potential access where a roost had not previously been present.
Getting the right blend for your roofing project can feel daunting, but with our blend generator you can mix and match various blends of tiles to achieve the perfect blend.
Click here to make use of our online tool to choose your own unique blend.
Because our strict quality control provides a consistent tile size you can mix assorted styles and colours of tiles to make your roof unique to you. Please use the tool below to experiment with various blends.
Adjust the sliders to set the ingredients for your desired blend then click on the update mix button.
Alternatively click on any blend or tile to display it.
Whatever type of clay roof tile you want, Heritage Tiles will be able to help.
Peg tiles retain their popularity due to the simplicity with which they have been made and fired and for aesthetic reasons which result in subtle variations which are not repeated by modern manufacturing methods.
The peg tile came about after the departure of the Romans from Britain, who favoured the more contoured and interlocking clay roof tile mechanism. We adopted the thatched roof for some time, until major fires that devastated large areas forced authorities to adopt the more fire resistant clay roof tile once again.
The peg clay roof tiles are made from clay prepared in the mass from which a piece is cut by hand and pressed into a simple flat rectangular piece with two holes.
Peg tiles are normally provided with two holes at the head of the tile, one on either side of the vertical centre-line of the tile where the joint of the upper two tiles occurs when laid. These holes are formed by simply poking through the tile with a suitable slightly tapered device in such a way as to avoid splitting the softer clay before it has been fired.
The peg holes in these clay roof tiles should be roughly rectangular; the holes would be approximately 8mm wide although variations to 15mm wide are not unusual. The shape and size can vary slightly, often from region to region, but overall, the size is standard as this was decided by King Edward IV in 1477.
The tapered device facilitates withdrawal from the clay when the hole is made. The tapered hole is provided to allow a wooden peg to suitably wedge into position. A roughly prepared wooden peg has been found to be more secure in a rectangular hole. Today however, aluminium pegs are generally used instead of wooden pegs.
Historically, each locality where peg clay roof tiles have been made to a traditional method, they will have their own size of tile, probably determined by the type of clay used and the incidence of loss due to firing. These clay roof tiles were often made at local brick and tile yards that made good use of the clay that had been sourced locally.
Suffolk is often praised for its tranquillity, but that word only tells part of the story. What makes the county distinctive is not simply that it feels restful, but that it has been shaped by centuries of trade, devotion, farming, art, erosion, and legend. It is a place where prosperous medieval towns sit inland behind a coast that has never stopped changing, and where stories of saints, strange creatures and unexplained events survive alongside some of England's best-known historic sites. This Suffolk entry should therefore do more than list settlements or transport links. It should recognise the county as a living landscape with a powerful local identity; one formed by both material history and the stories people continue to talk about it.
To understand Suffolk, it helps to think in terms of connections. For centuries, the county was tied to wider networks through agriculture, wool, ports, and religion. Medieval Suffolk became wealthy through the cloth trade, and its so-called wool towns still preserve the architectural confidence that trade created. Lavenham remains one of the clearest examples, its timber-framed houses and grand church recalling the fortunes of merchants who once shaped national commerce from a rural county. Long Melford and Sudbury similarly reveal how prosperity travelled into built form. Churches grew larger, market spaces became more impressive, and domestic buildings took on details that signalled pride as much as practicality.
Yet Suffolk's story is not only inland and mercantile. The coast has always had its own force. Ports rose and declined, fishing communities adapted, marshland and estuaries created natural boundaries, and the sea repeatedly altered what people could build, keep, or remember. Dunwich is the most dramatic example, once a significant medieval town and port, later reduced by storms and coastal erosion until much of it disappeared into the North Sea. The idea of a lost town beneath the waves gives Suffolk one of its most haunting historical images. Elsewhere, places such as Felixstowe and Lowestoft represent Suffolk's practical relationship with the sea through trade, transport, and fishing, while Aldeburgh and Southwold show how seaside identity can merge with culture, leisure, and architecture. Suffolk's coast is therefore not one thing. It is working, scenic, exposed, and deeply storied all at once.
Bury St Edmunds is among Suffolk's most complete visitor destinations because it joins history, green space, and town-centre life so effectively. The abbey ruins and cathedral create an immediate sense of significance, but the town also remains lively and usable rather than merely ceremonial. Ipswich offers a different but equally important dimension. As one of the country's oldest towns, it carries layers of settlement and trade that are still visible in its street pattern and waterfront. Sudbury adds artistic importance as the birthplace of Thomas Gainsborough, while East Bergholt and nearby Flatford connect the county to the work of John Constable and the wider landscape of Constable Country. These associations matter because Suffolk is not only a county of preserved buildings; it is also a county repeatedly interpreted through art.
Elsewhere, Suffolk's appeal comes from places that feel small in scale but unusually vivid in character. Thorpeness, with its deliberately whimsical identity and boating mere, shows one side of the county's coastal imagination. Walberswick has long attracted walkers, artists, and birdwatchers, while Minsmere offers internationally recognised wildlife habitat and a sense of open, elemental landscape. Framlingham stands out for its castle and market-town setting, and Bungay combines independent local character with one of Suffolk's best-known legends. Villages such as Kersey, Cavendish and Woolpit present another Suffolk strength: they embody the county's rural image without reducing it to cliche. Their greens, fords, lanes, and historic buildings feel rooted in local continuity rather than staged for effect.
Suffolk's folklore is unusually varied because it ranges from saints' legends to uncanny village tales and modern mysteries. One of the county's oldest enduring stories is that of Saint Edmund, the East Anglian king killed by Viking invaders in the ninth century. According to legend, when his severed head was lost in the woods, it was guarded or revealed by a wolf. The story adds mythic force to the history of Bury St Edmunds and helps explain why the town's identity still feels larger than its size. Woolpit contributes another famous tale through the green children, mysterious figures said to have emerged speaking an unknown language and bearing green skin. Whether interpreted as allegory, misunderstood migration, or folklore pure and simple, the story remains one of medieval England's strangest narratives.
Suffolk also has room for the more dramatic and the more elusive. The dragon of Bures St Mary survives in local legend as a reminder that even the quietest landscapes can produce monstrous stories. Bungay's link with Black Shuck gives the county a darker folkloric edge, particularly when storms roll in and church towers loom against the sky. Then there is Rendlesham Forest, where reported lights and unexplained events in 1980 gave the county one of Britain's most discussed modern mysteries. What is striking is not whether each story can be explained to everyone's satisfaction, but how naturally these tales fit the Suffolk setting. The county's spaces, from woodland to marsh to village lane, seem built for stories that blur the line between history, memory, and imagination.
Suffolk has one of the most recognisable regional landscapes in England, known for open skies, gentle terrain and a coast that mixes beach, heath, marsh, and estuary. It is regularly associated with creative life, not only because of its visual beauty but because of the quality of light that artists and photographers often notice here. The county includes important nature reserves, historic houses, ruined abbeys, military sites, and archaeological landmarks, giving it unusual breadth for visitors with different interests. It is also a county of contrasts: deeply rural yet connected, peaceful yet full of story, and proud of local traditions while remaining close to London and the wider east of England. Even its food culture reflects this range, from coastal fish and oysters to produce from farms and market gardens inland.
Suffolk works especially well as a destination because it is not defined by one single attraction or one single type of place. Its strength lies in the combination of historic towns, atmospheric coast, rich folklore, artistic associations, and enduring rural character. One journey can take in abbey remains, a lost medieval port, a village legend, a castle skyline, and a world-famous archaeological site. That variety gives Suffolk resilience as a destination. It is the kind of county that rewards repeat visits and closer attention because each place opens onto another layer of story. Distinctive but approachable, historic yet alive, Suffolk remains one of England's most compelling counties to explore and describe.
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Traditional Roof Tiles in Suffolk
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If you would like to know more or are interested in a quote we would be happy to help. Phone us on 01634 471 344, email us at sales@heritagetiles.co.uk and we will be in touch as soon as possible.
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