Wanting something to read in bed the other evening, and not wanting anything heavy, I chose at random from the pile of books by the bed. My hand alighted on Betjeman’s England, an anthology by Stephen Games of extracts from the scripts of Sir John Betjeman’s TV films about England.

Now I love the Romney Marsh and Dungeness in Kent, and the nearby small town of Rye. So imagine my enjoyment when the book fell open, quite at random, at the following piece about Fairfield Church in the heart of the Romney Marsh.

KENT

FAIRFIELD CHURCH, ROMNEY MARSH
From the Shell series Discovering Britain with John Betjeman
Random Film Productions Ltd
ITV, Spring 1956 (exact date unknown)
Director: Peter Woosnam-Mills

Romney Marsh, on the Sussex border of Kent and close to the sea. Romney Marsh, where the roads wind like streams through pasture and the sky is always three-quarters of the landscape. The sounds I associate with Romney Marsh are the bleating of innumerable sheep and the whistle of the sea wind in old willow trees. The sea has given a colour to this district: it has spotted with silver the oak posts and rails; it gives the grass and the rushes a grey salty look and turns the red bricks and tiles of Fairfield Church a saffron yellow.

For a moment, when you see Fairfield Church there on the skyline, you think it must be a farm or a barn. There’s no road to it – only a footbridge and a path. And in the church, you feel you’re on an island in the marsh.

Inside, it’s like walking underneath an upturned ship. (Those great beams are made of Kentish oak.) The communion rails go round three sides of the altar as they used to in many churches two hundred years ago; and since in those days, just as much as now, people were literate, they hired a local inn-sign painter to paint, in yellowish-gold letters on a black background, the Creed, the Lord’s Prayer and the Ten Commandments.

The church is still kept up and used, though it’s miles from anywhere, and that’s what gives it atmosphere.

Another thing that endears Fairfield Church to me is that it’s been spared electric light and the surgical basins in the roof that go with it. How pleasant those Victorian oil lamps are and how well they fit in with the scene.

Let’s go into one of the high, white box pews. And sitting here in the quiet waste of marsh, islanded by grass in water, let’s think ourselves back two hundred years. The place can’t have looked very different. The parson read the service from that lower desk where the candle is, he climbed to the pulpit to preach, and if you found yourself not attending to the sermon, there was always a text to remind you of where you were and of the reverence due to this loved and lonely house of God.

Fairfield Church: it’s about ten miles from Tenterden in Kent and therefore sixty-three miles south-east of London.

I’ve been to Fairfield a number of times and it is even now just as fascinating and delightful as Betjeman paints it, despite several heavy restorations in the last 200 years. Fairfield really is in the middle of nowhere, and probably always was as there was never anything much by way of village there. There is still no electricity but the church is used, at least sporadically.

For me Fairfield has a further attraction. It is dedicated to my patron saint, Thomas Beckett (Thomas of Canterbury), ca. 1118 to 29 December 1170; murdered at the behest of Henry II and canonised by Pope Alexander III in 1173.

The church, which is tiny, is on a slight rise in the middle of a rather wet sheep field, and when you go into the church you have to remember to shut the door behind you so the sheep don’t follow you. I have been there and found several sheep sheltering in the porch!

Yes, it is one of those idyllic and idiosyncratic English places!

There’s more on the architectural structure of Fairfield church here.

Stephen Games (Ed.), Betjeman’s England (John Murray, London, 2009)