Churches of Kent

No matter where you are in Kent, you will always see a church in any of the 4 main compass directions within 5 miles of your current location. FACT !


These buildings, are usually truly magnificent, but, sadly, unless you are either religious or inquisitive, you'll never see them for what they are. Try to forget the religious overtones, and just have a look at the building itself, the architecture, the stained glass, the setting, the grave head stones. These wonderful places are usually very peaceful, very calming, very pleasing to the eye. Normally churches are open to the public throughout the day, so, pop in, donate a bit of cash, and sit down in wonderment and what you can see.


This section of the site pin points the various locations of the churches with photos and history.

Acol, St Mildred - Awaiting further info

Aldington, St Martin - A large and impressive church in a farmyard setting. There is some eleventh century masonry, although the building was much enlarged in the fourteenth and fifteenth centuries under the personal patronage of successive Archbishops of Canterbury, whose Manor this was. The base of the medieval Rood Screen survives, as does a run of fifteen medieval stalls. Good quality nineteenth and twentieth century glass includes a fine west window by Heaton Butler and Bayne, and an image of the Risen Christ by Frederick Cole. There is a Norman font with a bulgy seventeenth century cover whilst in the south wall of the chancel there is an elaborate three seater sedilia with an ensuite doorway. The tower dates from the sixteenth century and the join in the stonework shows that it was added to an existing building.

Bapchild, St Lawrence - A characterful church with much Norman work but perhaps better known for its medieval wall paintings although I personally feel that the high quality Victorian furnishings are equally worthy of note. The south tower has an ugly red brick blocked opening in its east wall which adds nothing to the exterior appearance, but once past this the church becomes much prettier. Dominating the interior is the Norman north arcade with its square piers and scalloped capitals, whilst in a glass case is a mammoth's tooth found blocked up in the wall. Over the chancel arch is the date 1689 with an orb. This unusual feature commemorates the presentation of a new Vicar by the Crown as opposed to the Bishop of Chichester who had previously been Patron. Next to the Lady Chapel altar is a very fine thirteenth century piscina - much larger than most and unusually built into the arch separating the chapel from the sanctuary. Behind the Lady Chapel altar is a wall painting of the Crucifixion dating from 1300. The fine Victorian work climaxes with the altar designed by E W Pugin (see also Kingsdown Church). Built of stone at a time when these were illegal it shows the symbols of the evangelists. He was also responsible for the simple and angular font. Other artists to have left their mark on the church are stained glass designers. Warrington designed the 1865 window depicting `Suffer Little Children` which is bright to say the least, whilst Alfred Hemming came up with a slightly less powerful `Annunciation` in 1894.

Barfreston, St Nicholas - A one-off church, Barfrestone is the south-east's answer to Herefordshire's Kilpeck, although perhaps with slightly less atmosphere. A complete two cell late Norman church, but so unlike all the others in Kent that one cannot really class it in the same group. Its lower walls are constructed of flint rubble, but its upper courses, and dressed stonework are all of imported Caen stone. This is a display of twelfth century wealth and it has usually been associated with the de Port family from Dover Castle. Kent has no local stone that can take fine carving, so the exuberance of detail here is unrivalled in the county. The south doorway is the most widely reproduced image, but the internal carving is of equal importance. Post-Reformation damage has been reconstructed, in some cases with a degree of artistic licence. The two blank arches to either side of the chancel arch were designed to take side altars - a feature relatively common in Kent, for example at Grain. There is some fine medieval graffiti to be seen on the dressed stonework at lower levels both inside and out. As there is no tower, the church bell is hung from a Yew tree. Nave and chancel only. The following is a link to a picture essay written by Julianna Lee, on the subject of Romanesque sculptures at Barfreston:

Barham, St John the Baptist - A long and light church, best viewed from the south. Like nearby Ickham it is cruciform in plan, with a west rather than central, tower. Sometimes this is the result of a later tower being added, but here it is an early feature indeed, at least the same age (if not earlier) than the body of the church. Lord Kitchener lived in the parish, so his name appears on the War Memorial. At the west end of the south aisle, tucked out of the way, is the memorial to Sir Basil Dixwell (d 1750). There are two twentieth century windows by Martin Travers. The 1925 east window shows Our Lady and Child beneath the typical Travers Baroque Canopy. Under the tower, affixed to the wall, are some Flemish tiles, purchased under the will of John Digge who died in 1375. His memorial brass survives in the Vestry.

Barming, St Margaret - An isolated church at the end of a lane above the River Medway. Norman origins are obvious - three windows in the east wall indicate the earliest work. The nave is also early and to this was added the fifteenth century tower with stair turret and needle-like spire. The north aisle was a nineteenth century addition and the chancel was restored by Sir Ninian Comper and represents some of his earliest work. Later generations have, unfortunately, undone much of his original design. The memorable feature of the church is the set of fourteenth century Rhenish carvings showing St Michael, Samson and Our Lord worked into bench ends in the chancel.

Barming Heath, St Andrew - Awaiting Further Info.

Barnehurst, St Martin - Awaiting Further Info.

Bayham, Church - Awaiting Further Info.

Bearsted, Holy Cross - Holy Trinity church stands to the south of the village green at the end of a cul de sac. Its noble tower is crowned with queer sculptures, slightly reminiscent of Alnwick Castle. The exterior has a nicely textured effect, but this leads to an unexpectedly clean interior - the result of much care and attention and recent reordering. Whilst it cannot pretend to be in the top league of Kent churches it offers a fine selection of 19th and 20th century glass and some fine wall tablets. West tower, nave, chancel, north aisle and chapel, south porch.

Beckenham, St George - A fine 1880s Victorian replacement of an earlier church by a local architect, Gibbs Bartleet. The memorials were saved from the medieval building and are scattered throughout the church. Much of the stained glass is mid 20th century including that seen in the photo above, designed by local artist Thomas Freeth. The church still has some of his unexecuted designs and hopes to complete his work posthumously. The clustered piers of the nave and the huge apse at the east end create a large enough feeling even before one realises that the easternmost arches lead into transepts. The blank-arcaded chancel is perhaps slightly over-rich, as by the 1880s the movement to show the greater importance of this part of the building was no longer necessary

Beckenham, St Barnabas - A memorable interior with very unusual stone capitals supporting the brick arcades. Built at about the same time as St George, it has a very different feel - a warmth conveyed by the use of bare brick, and a slightly more reverential treatment of the chancel. This is achieved by the use of Early English as opposed to Decorated architecture, the proportion of window to wall much less. Most of the stained glass is mid twentieth century by Leonard Evetts, although two are by Karl Parsons of 1912 (see also Eastchurch). These represent Our Lady and St Joseph and Zachariah and Elizabeth (carrying an empty nest as she was past child-bearing). The altar is carved with symbols of the Passion. The (later) rood screen and figures are designed at just the correct size to dominate the nave without distracting from the view of the main altar. The church was not completed until 1933

Beckenham, Christ Church - Awaiting Further Info.

Beckenham, St James - Awaiting Further Info.

Beckenham, St Paul - A conventional design for this nineteenth century urban church built in the early Decorate style with the ubiquitous round piers supporting chamfered arcades. The aisles broad to get in as many as possible. Naughty windows throw light into the centre of the church without the need for an expensive clerestory. The large east window slightly out of proportion to the building, but a fine shape letting in just enough light to highlight the difference between the ceiled chancel roof and the bold braces of the nave. Started by local timber merchant Albermarle Cator in 1863 it was rebuilt in its present form ten years later, incorporating some of the original building. The church was severely damaged in the war

Beckenham, Holy Trinity - If you like, a cross between St Barnabas and St George, and about the same date as both. Apsidal chancel but more successful than St George in that it is plain at lower levels to emphasise the importance of the altar. Lighter than St Barnabas by the use of huge Decorated windows. A big difference was in the use of stencilled decoration on the walls of the church, leaving selected areas of brick bare. The church was gutted by fire in 1993 and was remodelled on entirely different lines within the existing walls. The former chancel is now a `Sacred Space` garden.

Bekesbourne, St Peter - A pretty church that suffered at the hands of the nineteenth century restorer when the nave walls were stripped of plaster and the west tower rebuilt. The Norman north doorway is of considerable size - for the Archbishops of Canterbury had a palace here and their wealth is reflected in this structure. The thirteenth century string course in the chancel emphasises the liturgical changes in floor level, and there are two aumbries in the east wall behind the altar. A rather stilted figure of Sir Henry Palmer (d 1611) kneels under an Ionic portal with two Bethersden marble inserts. Another large marble monument commemorates Sir Thomas Pym Hales (d 1773) who is described as having displayed `increased benevolence to Mankind`. There is some surviving thirteenth century glass and a double piscina of the same period.

Belvedere, All Saints - Awaiting Further Info.

Belvedere, St Augustine - Awaiting Further Info.

Benenden, St George - What better setting could there be than at the southern end of a village green complete with cricket? The north front of Benenden church broods over its village and one doesn't really recognise just how large it is until one gets inside. Then a majestic and well-cared for building comes to view. Wide and light and all Perpendicular - mostly due to the nineteenth century architect David Brandon who remodelled the medieval building which had in turn been badly damaged in a seventeenth century fire. The reredos is a flamboyant piece of 19th century design, part of a tiled scheme which covers the entire east wall. There is a very good range of stained glass, including several figures of St George to whom the church is dedicated.

Boxley, All Saints - A glorious church, open daily, in the heart of leafy suburbia. Built in Ragstone in 1863 its towering spire with corner finials dominates the surrounding countryside. Gothic, predominantly in the decorated style was chosen, although the fenestration has been much altered to create a darker interior than the Victorians envisaged. The character of the church is now of the present generation following a serious fire in 1989 and recent reordering. Some original fittings survive, but the altars are modern limestone and the church adorned with new lighting, especially notable being the corona over the High Altar. There is some Victorian stained glass but the majority of windows are of British Saints which date from the 1950s and were designed by GER Smith. A few later striking examples are the work of Kent artist Lawrence Lee.

Bicknor, St James - A rare find in the heart of the orchards - with no village to keep it company. Entirely 19th century rebuild, by Bodley, of a medieval church, it uses clunch (local hard chalk) rather than the more usual flint in this part of Kent. A small church it may be, but it is of noble proportions, with a tall narrow chancel and splendid towering reredos. Imagine it by candlelight and you will see it as the Victorians did. It is a building of which they, and we, can be proud. Nave, north and south aisles, chancel, west tower. The church is not normally open.

Bidborough, St Lawrence - Bidborough church stands on a steep knoll overlooking a marvellously green valley. The south doorway is Norman, although it was moved and reset when the church was enlarged in the nineteenth century. The chancel is tastefully furnished - light wooden panelling and a blue carpet. These compliment the start turns - windows designed by Burne Jones form Morris and Co. Beneath the tower hangs a lovely pendulum - suitably inscribed, but one wishes it would stop for just a minute to allow it to be more easily read!

Borden, Ss Peter and Paul - A wonderful Norman tower shows the typical think-set proportions of the period. It is set off well by a good rood loft staircase at the south junction of nave and chancel. Good twelfth-century west door and Norman arch from tower to nave. The chancel was later extended north and south by the addition of the chapels, with the original quoins being clearly visible on the outside of the east wall. The church was heavily restored in the nineteenth century - but its two outstanding features survive. One, a fifteenth-century wall painting of St Christopher opposite the south door, is typically found in churches on main routes of travel. The other feature, a monument to Robert Plot (d. 1671), father of the well-known seventeenth-century historian, is the finest memorial of its date in Kent and shows St Michael slaying the Devil.

Borough Green, The Good Shepherd - An unassuming little church of 1905 built to serve the community that had grown up around the railway station. Distinguished on the outside by an arts and crafts type lych gate and a jaunty little spirelet, the interior has recently been distinguished by a window by the well known artist Nicola Kantorowicz added in 1994.

Boughton Aluph, All Saints - A connoisseur's church built in the thirteenth century by a man called Adulphus to replace a Saxon church. About a hundred years later the church was substantially enlarged under Sir Thomas Aldon, a courtier of Edward III. Stained glass shields of the King and associated Kentish families still survive as part of the fantastic East window where the upper lights actually follow the curve of both the external arch and the arch of the three main lights below. How fine it must have looked when completely glazed in stained glass. The south porch has a rare fireplace - showing that it may have been adapted to cater for pilgrims on their way to the shrine of Becket at Canterbury Cathedral. Of the same date is the fine screen and possibly the floor tiles. In the north transept is a good example of late fifteenth century wall painting. It depicts the Trinity and is set in a series of decorative frames. Regrettably the dove - central to the story as representative of the Holy Spirit - has long disappeared.

Boughton Malherbe, St Nicholas - It is worth persevering to get into this church which is regularly open on set days in the summer. The setting is delightful - in a small farming hamlet with trimmed verges and distant views. The church was heavily handled by the late 1840s restorer (Apsley of Ashford) - but this date alone is very early for this type of work, and shows that the person responsible had a good knowledge of the work of the Camden Society and its principals. The chancel screen is particularly elaborate - it was this part of the building that received most attention. The chancel was extended to provide space for more elaborate ceremonial. The difference in texture of the wall is easily seen. The church also contains the remains of monuments to the Wootton family. Regrettably most of the monuments have been pulled apart or reset but enough survives to show that they were once a very grand collection. I especially like the lovely carved lions form the Countess of Chesterfield's monument. She was a Royalist rewarded by the King after the Restoration. The vestry is now floored with marble from her monument. In the nave is a memorial to Lionel Sharp, Chaplain to Elizabeth I.

Boughton under Blean, Ss Peter and Paul  -The name Boughton appears many times in Kent and is usually supposed to have started life as `the settlement near the beeches`. Boughton under Blean therefore is distinguished from others in Kent by being the one near the great forest of Blean. Now a long way from the centre of population it must once have supported a sizeable community. The highlight of the church is a monument to Sir Thomas Hawkins. This was designed by Epiphanius Evesham (see also Lynsted). The family lived at Nash Court and became a centre of recusancy. There are many brasses in the church dating from the fifteenth and sixteenth centuries

Boxley, All Saints - The church lies at the far end of the village green. Visitors who do not first walk around the outside of the church wonder if they are ever going to get in - for they have to walk through two rooms first! From the outside it is not so puzzling; the first room is in fact the nave of the Norman church. Then comes the base of the fifteenth-century tower, built on the site of the Norman chancel. Only after we have gone through this do we come to the church proper - a complete fourteenth-century structure. It is wide, with two aisles, and relatively short. The chancel is well proportioned and has a definite lean to the south indicating medieval building error.

Brabourne, St Mary - St Mary's is a very tall church, more Saxon in its proportions than Norman. The church dates in its present form from the twelfth century, with typical decoration in the form of pilaster buttresses on the outside north wall of the chancel. In the thirteenth century a south aisle was added and the present arch to the tower rebuilt; the remains of the original Norman arch may still be seen. In the chancel is a remarkable survivor - a twelfth-century window with its original glass. It has been reset and restored, but vividly recalls the dusky colours of the period. The pattern is purely geometric, of flowers and semi-circles, and may be compared to the contemporary glass in Canterbury Cathedral. Also in the chancel is one of the two thirteenth-century heart shrines in Kent. This little piece of sculpture consists of a plain shield - originally painted - under decorated and cusped tracery, the whole squeezed between thin pinnacles. It is uncertain whose heart was buried here, but it dates from about 1296 and may be associated with the de Valence family. The other Kent heart shrine is at Leybourne (see separate entry).

Bredgar, St John the Baptist - This is a collegiate church, with much work of the fourteenth and fifteenth centuries. When the college was founded by Robert de Bredgar in 1393 the nave and south aisle were completely rebuilt. It was a case of premature enlargement, for the college was a very small foundation and seems to have used the existing north chapel for its services. In all events, the very cheap form of sedilia in the chancel - a dropped window-sill - shows that very little money was left after the completion of the west tower. This also meant that there was insufficient cash for the west door and instead of introducing a brand new feature, they re-used a Norman doorway! This reinforces the point that one should never date a wall by the architectural features within it. There is a small brass of one of the collegiate priests, Thomas Coly (d. 1518), whilst the house in which he lived survives on the opposite side of the road.

Bredhurst, St Peter - Awaiting Further Info.

Brenchley, All Saints - All Saints is an interesting church standing in a beautifully kept churchyard. The crownpost roof incorporates a canopy of honour over the eastern bay, where it would have emphasised the position of the rood figures. The lower part of the rood screen survives and is dated 1536 - making it (with Lullingstone) one of the last to be built in Kent before the Reformation. The sedilia and piscina survive in the chancel and date from the fourteenth century, even though this part of the church was rebuilt in the nineteenth century. The east window is by Morris and Co., and dates from 1910, whilst the windows to north and south of the sanctuary are also of twentieth century date and are by the well known artist Robert Anning Bell who is not usually associated with stained glass. There is a fine memorial in the north transept to Barbara and Walter Roberts, showing the two figures holding hands. It dates from 1652. One of the bells in the tower carries the inscription, 'Untouched I am a silent thing, But strike me and I sweetly sing.'

Brenzett, St Eanswith - One of the few churches in the county dedicated to a local saint: St Eanswyth came from Folkestone in the seventh century (see separate entry). The church is Norman with thirteenth- and fourteenth-century additions. The south wall of the chancel contains some of the fine herringbone masonry so typical of early Norman work in Kent. Like most churches on Romney Marsh there is an abundance of clear glass at Brenzett, allowing a greater appreciation of the superb tracery of the decorated style windows, especially that in the south nave wall. When the little spire was built in the fourteenth century a wooden frame had to be erected at the west end to support it, and enormous buttresses had to be built outside. The church was somewhat over-restored in the nineteenth century when the east window by Lavers, Barraud and Westlake was installed. The north chapel contains a good monument in alabaster to Sir John Fagge who died in 1639. Father and son lie side by side, one propped on his elbow, the other with his hand on his chest. Their armorial bearings on the front of the tomb chest add a welcome splash of red and white.

Bridge, St Peter - Awaiting Further Info.

Broadstairs, Holy Trinity - Awaiting Further Info.

Bromley, St Andrew - Awaiting Further Info.

Bromley, St John the Evangelist - Awaiting Further Info.

Brompton, Holy Trinity - Awaiting Further Info.

Brook, St Mary - Since its re-ordering in 1986 Brook church has shown the visitor what a church interior might have looked like in the twelfth century. The chancel is empty except for the medieval stone altar, discovered a few years ago in the churchyard, and now set on two ragstone pillars. The church is large, for throughout the medieval period it belonged to Christ Church, Canterbury. There is much Norman work to be seen, including the three-stage west tower which contains a purpose-built chapel or `westwerk`. The church has a comprehensive series of thirteenth-century wall paintings, overlain by some fourteenth- and seventeenth-century murals, although the early paintings are not as well preserved as in some other churches. In the north wall of the chancel is a small almond-shaped hagioscope to the exterior. It may have connected to an anchorite's cell, but is more likely to have been associated with the exposition of a relic on the high altar. It is certainly not a low side window as the tower bell would have been used for this purpose.

Brookland, St Augustine - A long low church with the most famous spire in Kent. This three-stage 'candle-snuffer' erection which stand son the ground instead of on a tower is the result of several enlargements of a thirteenth-century bell cage and its subsequent weatherproofing with cedar shingles. It contains a peal of six bells, the oldest of which is mid-fifteenth century in date. The spire is surmounted by a winged dragon weathervane, dating from 1797. The monster has a prominent forked tongue. The reason for the bells being hung in a cage rather than a tower is shown inside the church where the pillars of the nave have sunk into the soft ground and splayed out to north and south. The tie-beams of the roof came away from the walls and have had to be lengthened by the addition of new timber supports. The outstanding Norman font in cast lead has been fully described in Part 1. To the south of the church is a headstone incorporating the only 'Harmer Plaque' in Kent - a terracotta panel made in East Sussex where they are a common feature.

Broomfield, St Margaret - Standing on quite a hill overlooking a verdant valley, St Margaret’s is a Norman church with later alterations. The blocked Norman window may be seen on the north wall. The chancel is nineteenth century, replacing a classical one which in turn replaced a thirteenth century structure – and is remarkably long. The west tower is fifteenth century. Inside two blocked arches look as though they led into transeptual chapels but the northernmost would have cut through the Norman window, and as there is no evidence outside one suspects that the south chapel (the capital of which survives) did exist and that the northern arch was built to match it inside but in fact never led anywhere. The church was restored in 1880 and a north window commemorates the fact. It contains the fine arms of the Wykeham Martin family – including the eponymous bird. The eat window with grapes of many colours is slightly earlier and is rather fun. The font is Victorian and, amazingly for a church that has electricity, the organ is still hand-pumped! Outside is a `Holy Well` which is dressed each year. If only this church were visited by the thousands who pile into Leeds Castle just over the hill!

Buckland, St Andrew - Awaiting Further Info.

Burham, St Mary Old Church - This is the old church of St Mary, standing on the banks of the River Medway at one of its early crossing points. On the opposite bank stands Snodland, whose church has a similar tower and the suggestion that these buildings were used as shelters by medieval pilgrims is probably correct. The church was abandoned in the late nineteenth century when a replacement church was built to the designs of E W Stephens in the village centre. This was subsequently demolished in the 1980s, but the old church was not brought back into use. Maintained on a shoestring for decades, by the 1950s the old church was almost derelict. Then it was saved by the Friends of Friendless Churches and eventually vested in The Churches Conservation Trust. Its walls tell of early thirteenth century aisles long demolished, whilst the clear glass windows shed much light into this simple and peaceful building. Keyholder nearby West tower, nave and chancel in one, south porch.

Burham, St Mary (new) - Awaiting Further Info.

Burmarsh, All Saints - The south doorway is Burmarsh's claim to fame. It is good late twelfth-century carving with a roll moulded arch surmounted by triple chevrons and billets. In the centre of the billets is a large carved human head - of a man who, from his expression, is suffering from toothache! The doorway is in its original position, although in Tudor times a new smaller doorway was inserted within the same frame, just below the capitals of the original. Another Norman feature to be seen is the window in the north chancel wall, its head cut from a single piece of stone. There is a pretty twentieth-century chancel screen and paintings on the chancel ceiling executed by a former rector. The Royal Arms are those of George III and are signed as the work of J. Marten whose work may also be seen at Staplehurst and Hinxhill. Two mass dials survive on the SW buttress of the tower which dates from the fourteenth century

Capel le Ferne, St Radigund - Awaiting Further Info.

Capel le Ferne, St Mary - Standing in a windswept setting at the confluence of many footpaths, St Mary's church was long ago abandoned in favour of a modern church more centrally located to the straggling village outside Folkestone. The church is of Norman origins, but its present character dates from the late thirteenth/early fourteenth century. Its outstanding feature is a triple-arched chancel screen with an arched opening above in which once stood the Rood. This was not the rood screen in itself, for the capitals of the triple arcade cut to take the more conventional wooden screen. It has recently been argued that a western window originally threw light onto the rood figures prior to the construction of the present tower. To the north of the screen is a fine window, higher than others in the church, which may well have served the same purpose following the addition of the tower in the fourteenth century. For a small church, St Mary's contains two very good nineteenth century stained glass windows, and a notable mural tablet with military insignia. The church is in the care of The Churches Conservation Trust. Keyholder nearby.

Chalk, St Mary - A rather incongruous porch slaps up to the fifteenth-century west tower that acts as a landmark on the former A2 London-Dover road. The church is Norman in origin, but much rebuilt. In the twelfth century a north aisle was added and the arcade from the nave shows the typical simple pointed arches that were cut through the existing wall. A hundred years later a south aisle was built, but this was demolished in 1759. The circular pillars that supported this arcade, as opposed to the rectangular piers opposite, may be clearly seen both inside and out and add much to the character of the church. The east window is a group of three thirteenth century lancets, although they are much restored. In the south wall of the chancel is a good example of a thirteenth-century low side window, whilst in the north chapel are two tomb recesses of fourteenth-century date. On the wall of the north aisle are two lead plates that formed part of an earlier tower roof. These show the outlines of footprints. At the west end of the church, and partly under the tower is a gallery erected in 1992 in response to increased church attendance. Charles Dickens (who lived in nearby Higham) worshipped in this church and would raise his hat to the jolly monk whose carving may still be seen over the west doorway!

Challock, St Cosmos and St Damian - One of the most isolated churches in Kent, situated on a lane that was closed to through traffic following the emparkation of Eastwell in the sixteenth century. The church is built of flint rubble and displays an interesting inset flint cross (one of three in Kent) on the west face of the tower. There is little stained glass as the church was severely damaged in the Second World War, but it is a direct result of that damage that has produced the wall paintings for which the church is now famous. When it was rebuilt two art students painted a series of murals in the north chapel to show stories from the lives of the patron saints, Cosmas and Damian. The figures are dumpy and stylised and altogether great fun! At the same time the chancel walls were painted by John Ward RA with scenes from the Life of Christ. These are more naturalistic and include portraits of local people in modern costume. One other furnishing of note survives - a prickett beam in the north chapel which was built in the fourteenth century to take votive candles, and a veil to hide the altar from view during Lent.

Charing, Ss Peter and Paul - A large church beautifully positioned next to the remains of the medieval Archbishop's Palace just off the High Street. The west tower was built in the late fifteenth century. During its construction the body of the church was destroyed in an accidental fire - started by a man shooting at pigeons on the roof. The replacement roofs are clearly dated on the tie-beams as 1592 and 1620. A fine early seventeenth-century pulpit and nice collection of eighteenth-century tablets add much to the character of the building. The south nave window is a very strange shape, basically square, with four lights of equal height surmounted by a net of elaborate triangles, quatrefoils and, unusually, an octofoil! It is of fourteenth-century date.

Charing Heath, Holy Trinity - Awaiting Further Info.

Chart Sutton, St Michael - Awaiting Further Info.

Chartham, St Mary - Awaiting Further Info.

Chatham, St Mary - Awaiting Further Info.

Chatham, St John - Awaiting Further Info.

Romney Churches