Follow the straight road east of Rye for a mile or so across the flatlands and you come to the last village in Sussex, more a part of the so-called ‘Fifth continent’ of the world, Romney Marsh (from The Ingoldsby Legends’).
East
Guldeford is the only marshland church in Sussex; East Guldeford level is
technically part of Walland Marsh, not Romney Marsh, but the flat, wind-swept
terrain is similar. The marsh appeared after the Western Rother was
diverted westwards to Rye in a storm in 1287. Before the 15th century,
the area was mostly salt marshes, and had a thriving salt manufacturing
industry, by drying shallow sea water pools. This is the origin of the farm opposite, named 'Salts Farm'.
The
marsh was then in the parish of Playden, but by the later C15 there was a
sizeable settlement and in 1499 Sir Richard Guldeford (c1455-1506) received a
faculty to build a church, consecrated in 1505.
This
cluster of cottages, a farm or two and a barn-like church is the embryonic
‘brother’ of a city, for Guildford in Surrey and this hamlet share a common
bond in Sir Richard Guldeford. His family took their name originally from
Guildford and he it was who gave the church to East Guldeford (pronounced
Gilford, just to add to the confusion).
Sir Richard also built the sea wall that protects the parish today and drained the area to transform it from a sea-washed marsh to fine farming land. His work here done, he set off on a pilgrimage to the Holy Land.
The de Guildford/ de Guilford/ Guldeford family ancestry can be traced back in south Kent at least as far as Thomas de Guilford who was born in 1246. Sir Richard Guldeford was born c1450 in Cranbrook, Kent, and was a courtier to Henry VII. He became High Sheriff of Kent, Knight of the Garter, and Master of the Ordinance.
A
stone carving of the family arms is mounted on the north wall of St Mary’s.
Although
there are some houses around the church, the main centre of the parish is
now at Camber.
St. Mary’s church.
The
church was built of brick in 1505 and underwent a careful restoration in the
mid 1970s, which retained all its character and charm.
Arthur Beckett, in The Wonderful Weald, recounts the tale of the clergyman, a stranger to the district, who undertook the service at the church one Sunday morning. Before the service began the parish clerk asked him if he would mind praiching’ in the reading desk, “for my old hen has made her nest in the pulpit, and, as she is sitting, I shouldn’t like to have her disturbed.”
The church has a very unusual twin roof design with the bell cote balanced between the two roofs.The inside is a simple hall with a plastered ceiling and a coarse brick floor.
Much restoration was carried out in Victorian times.
There is an unusual frieze of seraphim and musical instruments. Everything appears to date from around 1900. They were intended as part of a larger scheme, which was stopped by the then vicar. No artist is known, though the colouring is delicate and they are of some quality, as well as having been well conserved. However, the level of drawing suggests a talented amateur who was well versed in contemporary artistic trends. There would have been no shortage of such people among the many artists in the Rye area.
the wall paintings at the top of the east wall and around the north and south return sections of the church, depict angels with musical instruments and are thought to date from c1900. Below the paintings are two of four corbels which are contemporary with construction of the church.
the
font which is much older than the church, dates from the late 12th century. The
square bowl is of Purbeck marble and is carved with arcading and rosettes. The
supporting brickwork is modern, possibly surrounding an older
central pedestal. There were formerly corner shafts, perhaps damaged along
with the original central support.
There
are three painted boards on the west wall. one is the Apostles Creed, the
others being the Lord’s Prayer, and the Ten Commandments.
Above the stone carving of the Guldeford coat-of-arms is a poorly preserved early C16 heraldry.
Royal Arms: (Over west doorway) Painted panel, George IV.
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