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Holy Communion 

Matins and Sermon 
Holy Communion 
Evensong and Sermon 
Evensong and Sermon 




Holy Communion 


Holy Communion (Sung) and Sermon 
Evensong and Sermon 

Evensong and Sermon 


Holy Communion 


Holy Communion 

Sung Eucharist 

Blessed are they that dwell 
in Thy house: they will be 
always praising Thee. 




24th impression - completing 760,000 

All profits derived from the sale of this Handbook will be 
devoted to the maintenance of the Cathedral and its services 


FRIEND, as you enter this House of God, remember that 
you are one of a great company of pilgrims, who for 
thirteen centuries have come to Canterbury from all lands 
and have worshipped God in this Holy Place. 

I was glad when they said unto me: 
We will go into the house of the Lord. 

Remember the Saints and the Archbishops of old, 
Augustine, Dunstan, Alphege, Anselm, Thomas, and all 
the holy men and women who have here served God in 
their generation. 

O God, our fathers have told us: What 
thou hast done in their time of old. 

Remember the Master Builders and Priors, and remember 
also the craftsmen of succeeding ages who raised this House 
to the glory of God. 

Except the Lord build the house: 
Their labour is but lost that build 1t. 


The earliest church of which history speaks is linked with: 
St. Augustine. Bede, the historian, writing about 730, 
tells us that when AUGUSTINE, sent from Rome by Pope 
Gregory (597), came to this royal city, he “‘ recovered ’’, 
with the help of Ethelbert, King of Kent, a church built 
during the Roman occupation of Britain. Its foundations 
may be beneath the present nave; a pavement of Roman 
brick was found in 1737 when a grave was dug in the 
fourth bay from the west. 

It is not known to what uses the “‘ recovered ”’ church. 
had been put during upwards of two centuries since the 
Romans departed. The former dedication had passed from 
living memory.. About 602 Augustine dedicated his. 
cathedral, re-constructed, if perhaps enfolding some older 
building, ‘‘ in the Name of Saint Saviour Jesus Christ, our 
God and Lord ”’. 

In the eighth century, adjacent to the “‘ great church ”’ 
on the south-east, Archbishop CuTHBERT (740-758) built. 
a second church, of St. John Baptist, for the burial place 
of himself and his successors. Archbishop Opo (942-959): 
renewed the cathedral roof, rotten from age, and heightened. 
the walls. The ancient House suffered much in the Danish 
invasion of the city (1011). It was not destroyed but. 
‘‘ profaned and despoiled ”’. | 

In 1067 a fire caused through carelessness ruined. 
Canterbury. The Cathedral and Baptistry, monastic 
buildings, and priceless documents were burned. Eadmer, 
the Singer or Precentor (d. 1124) recorded some features: 
of Augustine’s Church, which as a boy in the cloister 
school, he saw demolished. 

He describes two altars in the eastern presbytery, raised 
up on steps over the crypt; the Singers’ choir; the people's 
place in the nave; towers in the centre to north and south; 
under the southern tower the chief entrance, with a porch. 
where a court of justice was held; another altar with the 
Archbishop’s chair, made of large stones and cement, 
standing behind it, close to the west wall. 




When Lanrranc, Abbot of Caen, became Archbishop in 
1070, finding his Cathedral Church ‘‘ reduced almost to 
nothing by fire and ruin ’’, he set about “‘ to erect a more 
noble one’’.. The new church, completed in seven years, 
preserved many characteristics of the old. The present 
nave and west transepts keep the lines of Lanfranc’s 
church and certain portions of his actual building may be 
seen in the north-west transept and the crypt. Priors 
ERNULF and CONRAD, in the days of his successor, ST. 
ANSELM, replaced Lanfranc’s choir by a longer, wider and 
much finer building. The Norman crypt beneath it, with 
its rounded arches and groined vaulting supported by 
slender columns and sturdy piers, is still undisturbed, but 
in 1174 Conrad’s glorious choir (only forty-four years old), 
perished by fire. In face of this disaster the monks 
summoned to their aid a French architect of renown, 
WILLIAM OF SENS. After examining the scored and scaling 
-columns he decided that the choir must be rebuilt. The 
monks were overwhelmed by the threatened destruction of 
‘the place where daily, almost hourly, they had ‘‘ watched 
to God ’’, and for a while William hesitated to pronounce 
his verdict. He quietly set about the needful preparations 
-and at length the existing choir was begun. In many ways 
the plans were determined by an earlier tragedy which 
indeed influenced the whole future history of the Cathedral. 
“On December 29th, 1170, Archbishop Thomas Becket had 
been murdered in St. Benedict’s Chapel in the north-west 
transept, now called the Martyrdom. He was buried in 
a small chapel eastward of the crypt, and within six months 
‘began the influx of pilgrims to visit his wonder-working 
To William of Sens, as Gervase the monkish historian 
relates in careful detail, we owe the choir arcades and the 
‘vaulting as far as the east end of the eastern transepts; 
his work is marked by a transition in style from the round 
‘to the pointed arch. The needful stone was brought 
-oversea from Caen, the barges being unloaded at Fordwich 
by means of “‘ ingenious machines’’ invented by William 



After three years’ labour, while he prepared to turn the 
great vault over the eastern crossing, the master-builder 
fell from the scaffolding some fifty feet to the ground and 
was obliged to relinquish his unfinished task and return to 
France. To his successor, WILLIAM THE ENGLISHMAN, 
“small in body, but in workmanship of many kinds, acute 
and honest’’, it fell to reconstruct the eastern crypt, 
hallowed by the Martyr’s tomb, and the glorious chapel 
above it, where for the future Archbishop Becket’s body 
was to rest in a jewelled shrine. English William worked 
in part from French William’s plans, in part at the dictates 
of his own genius. 

The Norman nave escaped the flames, but gradully fell 
into a ruinous condition; towards the close of the fourteenth 
century Archbishop SIMON OF SupDBURY, and after his death 
on Tower Hill, Prior CHILLENDEN, remodelled it in the new 
Perpendicular style after the plans of HENRY YEVELE, 
Master Mason of Edward III: the north-west tower alone 
of Lanfranc’s work remained till 1832. 

The fifteenth century saw the re-building of St. Michael’s 
Chapel in the south-west transept, and lastly of the Lady 
Chapel in the north-west transept. 


Descriptive notices are placed at various points in the Cathedral, which 
should be read to supplement the information here given. 

You will do well to begin your tour of the Cathedral at 
the South-West Entrance, going eastward along the nave. 


On either side are seven piers; from the capitals of their 
clustered shafts spring the ribs of the “ lierne ’’ roof-vault- 
ing. Some have thought the aisles too narrow for their 
height, but the vistas framed by lofty piers are of incom- 
parable beauty, and the windows, filling the entire width 
between the buttresses, flood the great space with light. 
Where the vaulting ribs interlace are bosses carved into 
shields, bearing the arms of kings, churchmen and states- 


men; among them in the nave, the arms of Edward the 
Confessor and the Black Prince; in the south-west transept, 
of King Henry V and Thomas Mowbray, Duke of Norfolk; . 
in the north-west, of King Edward IV, and Warwick the 


The stained glass in the tracery of the west window, 
together with the figures of the kings, belongs to the 15th 
century, the figures in the lower tiers, brought here from 
the choir, clerestory, are late twelfth or early thirteenth 


The tombs of Archbishops Isit1p and WHITTLESEY and 
many ledger-stones of the Priors were removed when the 
floor was repaved in 1787. Notice in the north aisle the 
recumbent effigies of Archbishop BENson (d. 1896) and 
Archbishop SUMNER (d. 1862); a tablet to the memory of 
ORLANDO GiBBoNS (d. 1625), Organist of the Chapel Royal, 
musician and composer; the recumbent figure of SIR JOHN 
Boys (d. 1612), founder of Jesus Hospital, and a monu- 
ment to SIR JAMES Hates — which depicts a burial at sea 

In the south aisle are memorials of WILLIAM GRANT 
BrRouGHTON (1788-1855), educated at the King’s School, 
first 4nd only Bishop of Australasia, Bishop of Sydney, 
1817; of his schoolfellow and colleague, SIR GEORGE GIPPS 
(1791-1847), Governor of New South Wales; and of the 
famous airman, Major Epwarp Mannock, V.C., D.S.Q., 
M.C., who perished in aerial combat July 18th, 1918. 

The aisle under the north-west tower, close to Archbishop 
Benson’s tomb, was, in 1930, furnished as the CHAPEL OF 
St, AUGUSTINE, in memory of Dr. A. J. Mason, some 
time Master of Pembroke College, Cambridge, and a Canon 
of this Cathedral for 33 years. 


The Font (1639), the gift of John Warner, Bishop of 
Rochester, a former Canon, was torn down by the 
Puritans, the fragments were preserved and re-erected after 
the restoration by WILLIAM SOMNER, Canterbury's 

The PuLpit was erected in 1898 as a memorial to Dean 

The nave in monastic times was the people’s church: 
their altar stood on the central platform above the lowest 
flight of steps under the great Rood. 

Turning now to the left, descend the steps into the north- 
west transept, called the martyrdom. 


Here, on Tuesday, December 29th, 1170, in the late after- 
noon, Archbishop Becket, St. THomAS OF CANTERBURY, 
met his death at the hands of four knights of Henry II, 
Fitzurse, de Moreville, de Tracy and le Bret. The martyr- 
dom thus suffered led to a long series of pilgrimages to the 
Cathedral lasting over 360 years. It is therefore a place 
full of memories, and calls us to silence and recollection. 
A stair-turret in the N.W. corner is in part Laniranc’s 
work, and some of the original skirting stones remain under 
Dr. Chapman’s monument, where the “Altar of the 
Sword’s Point ’’ formerly stood. Notice the great NoRTH 
Winpow, once completely filled with richly-coloured glass 
destroyed in 1642 by the Puritan fanatic, Richard Culmer, 
known as ‘‘ Blue Dick’’. In the remaining portion 
Edward IV (who gave the window) and his Queen with 
their children, are represented kneeling in prayer. Notice 
also the beautiful tomb of JoHN PeckHAm, Archbishop and 
Franciscan Friar (d. 1292), with the trefoil canopy; the 
figure in bog oak may be only the core of the original 
effigy. Against the same wall lies Archbishop WaARHAM 

‘Eastward, through the carved screen, you enter THE 
Lapy CHAPEL, completed in 1455 by Prior Goldstone the 
first. There is delicate fan-tracery on the roof; the carvings 
of angels and leaf-trails on the walls were cut away to 
make room for stall-work, now vanished. This chapel is 
set apart for private prayer. 


Return through the Martyrdom, up the stairway specially 

‘made for the monks to avoid the throng of pilgrims and 

‘pass along the north aisle. 


Here, in the Norman wall-arcading, are remains of work 
which escaped the fire, partly transformed to the newer 
style (Transitional). The arches overhead are richly 
moulded and adorned with zigzag carving, the work of 
William of Sens. 

The Winpows in this aisle well illustrate the mediaeval 
manner of presenting the Bible story for those unable to 
‘read it for themselves. The medallions form part of a 
series of twelve illustrating our Lord’s life and teaching. 
which once adorned the aisle. The Visit of the Magi, the 
Marriage Feast at Cana, and the Parable of the Sower are 
noteworthy panels. In a recess the STORY OF ST. EUSTACE 
was frescoed, probably in the fifteenth century; his vision 
of a stag bearing the Crucified between its antlers, and a 
brazen bull, the instrument of his martyrdom, can still 
be distinguished. A reconstruction of the fresco, in a 
series of four paintings by Professor E. W. Tristram, hangs 
-opposite, on Eastry’s screen. 


‘Here look up at the arcading, effective but ill-spaced, which 
decorates the wall; the Norman clerestory windows now 
form a triforium; the new clerestory was added by French 
William. Archbishop Tair’s monument stands at the 
northern end. The two apsidal chapels are dedicated to St. 

Martin and St. Stephen. The former was furnished, under . 

the direction of Sir Herbert Baker, as a memorial to the 
late Lord Milner, whose services are commemorated on the 
north and south walls. Here is a mediaeval painting of 
the Saxon QUEEN EpivA, a benefactress of the Cathedral; 
her name scratched on the left-hand wall indicates her 
“burial place; on the right another rough inscription, 


el ee 

LANFRANCUS, is the humble memorial of a great Arch- 
bishop. St. Stephen’s Chapel is the resting-place of Cosmo 
Gordon, Lorp LancG oF LamsBetu, Archbishop of Canter- 
bury 1928 to 1942. Here the round bases of the columns 
are believed to mark the point at which William the 
Englishman took up the work of construction. 

Pass on now eastward along the aisle. The Bible-desk 
in the left hand recess may have held a chained Bible in 
days before printed books were abundant. 

THE CHAPEL OF ST. ANDREW, on the left, survived the 
fire, and its Norman workmanship, save for an early 
vaulted roof, has been little changed. 

Ascend the steps into St. Thomas’s chapel. 



Here every stone and monument is rich with memories of 
a storied past. The place of honour was once held by THE 
SHRINE OF ST. THOMAS, which stood in the centre (now an 
empty space), the focus of all Canterbury Pilgrimages, for 
over 300 years. A marble table, with arches on each side, 
carried an oak chest shaped like an ark, strongly bound 
with iron. ‘The timber-work was covered with golden 
plates, embossed with golden wires, pearls and precious 
stones. The painted wooden cover which usually con- 
cealed it, was drawn up, at a signal from the guide (a 

‘monk), by pulleys from the roof. The surrounding pave- 

ment is worn into ridges by the constant traffic of the 
pilgrims who once knelt there in thousands. The shrine 
was dismantled, and the jewels carried to Henry VIII’s 
Treasury, in September, 1538. 

On the sguth side of the chapel is the tomb with resplen- 
dent gilded effigy of Ep>warp THE BLACK PRINCE (d. 1376), 
victor of Crecy (1346). Accoutrements such as he wore 
in tournament hang above on a beam, and near at hand 
is Professor Tristram’s reconstruction of the painting of 
the Trinity beneath the canopy. Next to the Prince lies 
Archbishop CourTENAyY (d. 1396), opponent of Wicliffe and 
the Lollards; and, under a plastered mound, ODET DE 


leader. In the south aisle is the tomb of HuBERT WALTER 
(d. 1205), Archbishop, Statesman and Crusader. Opposite 
to the Black Prince on the north is the alabaster figure 
of his nephew, Henry IV, by whose side rests his second 
wife, JOAN OF NAVARRE. The adjacent chapel, dedicated 
to Edward the Confessor, was his chantry: it was refur- 
nished in 1931 for private devotion. Professor Tristram 
has reconstructed the paintings of the murder of Becket 
and the Coronation of the Virgin at the head and foot of 
the royal tomb. Next to the King kneels NicHoras 
Wootton (d. 1567), first Dean of Canterbury after the 
Reformation. Across the aisle is the portrait effigy of 
RANDALL THomAS, Lorp Davipson oF LAMBETH, Arch- 
bishop of Canterbury, 1903 to 1928, whose grave is in the 
cloister garth. | 


The easternmost chapel, the principal apse of the 
Cathedral, is named THE CORONA or BECKET’S CROWN. 
Pilgrims were shown here a jewelled reliquary, shaped like 
a man’s head, supposed to contain part of the Saint’s ton- 
sure. Here now stands St. AuGUSTINE’S CHAIR of Pet- 
worth marble, designed like a Roman judicial seat. Unlike 
‘CCONRAD’S CHAIR “‘ made out of a single stone’’, which 
probably perished in the fire of 1174, this is constructed 
in three sections and was completed about 1205. Every 
Archbishop of Canterbury uses it at his enthronement, 
and, also, every ten years, at the service of welcome to 
the Bishops of the Anglican Communion attending the 
Lambeth Conference. Till the nineteenth century it stood 
where the high altar is now. 

CARDINAL PoLe’s tomb (d. 1558) is against the north 
wall; on the south the kneeling figure of Archbishop 
FREDERICK TEMPLE (d. 1902) is framed in a monument of 
Cornish marble. 

The thirteenth century STAINED GLass in the Chapel of 
St. Thomas, possibly French in origin, portrays the 
miracles of St. Thomas, especially those wrought at his 
tomb in the crypt. 


The second window from the east on the north side 
contains, in the top-most medallion, a contemporary 
representation of the Shrine. Above the flight of steps on 
the south side, worn by pilgrims’ feet, observe a small 
CHAMBER, commonly called a Watching Chamber, which 
was actually set apart for the making of the Sacramental 

Pass next along the south aisle. 


ST. ANSELM’S CHAPEL on the left belongs to Prior Ernulf’s 
building and survived the fire. Much work of Norman 
craftsmen remains here. The fresco on the north wall of 
the apse, representing St. Paul at Malta shaking the viper 
from his hand into the fire, the large Decorated window 
and the tomb of Archbishop MEepuHam (d. 1333) forming 
an entrance screen, are noteworthy. 

Proceeding along the aisle westward, the SoUTH CHOIR 
TRANSEPT, which presents similar architectural features to 
the north, was formerly used as a chapel by the King’s 
School. The apsidal chapels are dedicated to St. JOHN 
THE EVANGELIST and St. GREGORY. Here stood in use as 
an organ case part of the throne given by Archbishop 
TENISON (1695-1716), finely carved by Grinling Gibbons. 
It was much damaged in the air raid of June, 1942. In 
the clerestories of both transepts are examples of the earliest 
stained-glass in the Cathedral, representing Our Lord’s 

Two nameless effigies beneath the windows in this aisle 
may represent the famous Prior, HENRY oF Eastry (d. 
1331) to the east, and Archbishop WALTER REYNOLDS (d. 
1327) to the west. A doorway in the south wall leads to 
All Saints’ Chapel over St. Michael’s Chapel. 


The flight of steps descending to the SourH-WEsT TRANSEPT 
preserves an earlier arrangement than that on the north 
side, where changes were made to facilitate the monks’ 
passage. ‘ 


The SourH Winpow in this transept is filled with 
magnificent stained-glass; the large single figures of 
ancestors of Our Lord, typical of late twelfth century 
workmanship, came from the clerestory windows of the 
choir and transepts, where, in the nineteenth century, 
modern copies were inserted. These early figures are 
surrounded by heraldic panes of fifteenth century work. 
On the west side is a modern window by Whall. 

The CHAPEL oF St, MICHAEL was completed in 1439. 
The original Norman apsidal chapel was then rebuilt, on 
a larger scale, with a rectangular east end, to accommodate 
the tomb of MARGARET Hottanp (d. 1439) daughter of the 
Earl of Kent, and her two husbands, John, Earl of 
Somerset, and Thomas, Duke of Clarence, who had first 
been interred “‘ near the shrine of St. Thomas on the north 
side ’’. At this time the coffin of Archbishop STEPHEN 
Lancton (d. 1228) buried before the altar in the older 
chapel, was placed above ground, under the altar, with the 
foot thrusting out through the eastern wall. For Kentish 
men this is-now the Buffs’ Chapel, and it contains many 
memorials of that fighting regiment as well as of earlier 
detenders of England. The effigies of Colonel PrupE and 
the Canterbury family of THorNHURST are fine examples 
of seventeenth century monumental design. 


Return now to the central stairway; look upwards into the 
interior of BELL Harry Tower, and at the tie-bands with 
their network of stone, inserted by Prior Goldstone II to 
strengthen the tower-piers; they bear his initials and three 
gold stones with the motto Non Nobis, Domine. Examine 
also the fine western face of the CHorR SCREEN, dating from 
the fifteenth century. In the niches are six crowned | 
figures, identified as HENRY V, RicHarp II, and ETHeEt- 
BERT, holding his church, north of the entrance; EpwArp 
THE CONFESSOR, Henry IV and Henry VI, to the south. 
Thirteen small niches encircling the doorway once con- 
tained figures of CHRIST and the Twelve APOSTLES, 
destroyed by the Puritans. Pass through the screen into 
the choir. 







Notice first the splendour of the architecture. The arcades 
rest on great columns, alternately circular and octagonal, 
the work of William of Sens; their capitals, elaborately 
foliated, may have been carved by his hand. Slender 
shafts of Purbeck, tied with marble bands against the 
stouter piers, are used with great effect. The eye is carried 
upwards to the triforium and clerestory, and to the over- 
arching roof where carved bosses mark the intersection of 
the stone groins. The arcades towards the east are skil- 
fully drawn together to form a “‘ canted ’’ or slanting bay. 
By this device it was possible to leave untouched the 
Norman chapels of St. Anselm and St. Andrew, spared by 
the flames. 

Around the choir is a SCREEN of stone-work erected by 
Henry of Eastry during his long priorate of forty-six years 
(1285-1331). It was once hung with tapestries, sold under 
the Commonwealth and still preserved at Aix-en-Provence. 
The presbytery should be seen on a weekday, when the 
seats are removed and its stateliness revealed; certain slabs 
of ‘“ veined marble of a delicate brown colour ”’ are believed 
to be the original pavement of Conrad’s choir. Lead is 
found in the joints, the effect of the fire of 1174, which 
melted the lead of the roof, causing it to stream between 
the paving stones. 

Tombs of the Archbishops stand around the presbytery. 
Archbishop CHICHELE’S (d. 1443) on the north, contem- 
porary with Henry V, is richly coloured; near it Archbishop 
BourRCHIER’S (d. 1486) was built at a great height to avoid 
intercepting the light falling from the north aisle on the 
altar, which formerly stood on a lower level of the steps. 
On the south are the tombs of Archbishop SIMON OF SuD- 
puRY (d. 1381), Archbishop STRATFORD (d. 1348), and 
Cardinal-Archbishop JOHN Kempe (d. 1454), a man of Kent 
and founder of Wye College; the last has triple canopies 
of carved wood. 

The SHRINE OF ST. ALPHEGE once stood on the north side 
_ of the high altar; opposite was the SHRINE OF ST. DUNSTAN. 
The beautiful diaper-patterning was close to it and formed 
part of the sedilia. 



The ARCHBISHOP’S THRONE was erected in 1840. The 
Canons’ Return-Stalls (1663-77) against the western screen 
are ornamented with rich seventeenth century carving. 

This choir, hallowed by the prayer and praises of many 
generations, was the centre of the life of the monastery: 
here the daily offices are still said and the Sacrifice of Praise 
is offered in the Name of Christ. 

Here too may the pilgrim of to-day make his petition, 
having especially in remembrance the safe keeping of the 
great House amid the perils of war. 


O Lord, Who by the prayers and hands of Thy 
servants hast raised high in so fair sanctity this House 
of Thy Doctrine and Service; We humbly beseech 
Thee to build and bind Thy people, one and all, into 
one spiritual, fitly-framed Temple; and so_ to 
manifest Thyself in this Thy Sanctuary, that Thou 
Who workest all Thy Will in the sons of Thy 
Adoption mayest continually be praised in the joy 
of Thine Heritage, through Jesus Christ our Lord. 


The Norman Crypt, unrivalled in magnitude and beauty, 
in Lanfranc’s time extended only to the third bay from the 
west end. It was lengthened by Prior Ernulf (1096-1197) 
under Archbishop Anselm, and dedicated to the Virgin 
Mary. During the next half-century the sculpture of the 
capitals was gradually completed. The west wall, with its 
short return walls at the sides, is mainly Lanfranc’s work. 
On its face may be detected the three curves of his com- 
paratively low vaulting, indicating that this central portion 
of his crypt was divided by two rows of columns into three 
alleys running eastwards. The ashlar facing above the 
curves is the work of Ernulf, who raised the height of his 
new crypt. : 


had been deserted since 1538, was repaired in accordance 
with the wishes of Archbishop Lord Davidson by some of 
his friends, and is now once again used for the Worship of 
God. Stone screens were first set up between the Norman 
pillars probably in the time of the Black Prince, who 
directed that he should be buried ten paces from the altar: 
an empty grave-space exists which might have sheltered 
his coffin while his monument was preparing. The large 
ledger-stone from which the brass had been torn covered 
the grave of Cardinal-Archbishop Morton (d. 1500), whose 
monument and effigy stand close by. 

(d. 1404) shows the attire of a lady of the fourteenth 
century; the monument, of Lapy TryveT (d. 1433), in 
the south-east transept, the dress of the fifteenth. 

THE CHAPEL OF THE Ho Ly INNOCENTS (north side) 1s, 
except as regards the East Window, entirely of Norman 
construction and has two very finely ornamented pillars of 
the period. 

The EASTERN CrypPt is the work of William the English- 
man and highly original in design. Formerly a small 
rectangular chapel stood here, in which the tomb of St. 
Thomas was made, on a site between the two central 
Purbeck shafts; there Henry II knelt to receive penance 
for his share in the murder, and hither came the first of 
the pilgrims. During William’s re-building, wooden 
screens were placed round the tomb, and the pilgrimages © 
went on uninterruptedly. 

Notice the curious drawings on the west wall 
(‘‘ graffiti’’), representing Christ the Teacher, surrounded 
by emblems of the Four Evangelists. An obliterated paint- 
ing of a mitred figure on one of the pillars has left traces 
popularly known as ‘‘ Becket’s Ghost ’’. Of more interest 
was the discovery in 1888 under the paving west of the 
original tomb, of a box of bones which many scholars 
identify with those of Thomas Becket, taken from the 
Shrine and hidden here after its destruction in 1538. 

In the south transept are the CHANTRIES OF THE BLACK 
PRINCE. The Norman work was encased in the Decorated 
Style, with elaborate lierne vaulting, in 1363. The two 
altars, served by two chaplains, were endowed as a con- 


dition of the Pope’s sanctioning the Prince’s marriage with 
his cousin Joan, the Countess of Kent. The roof-bosses 
deserve study; they include one or more supposed portraits 
of the Lady Joan. A French service held here every 
Sunday afternoon kept alive the memory of Huguenot 
and Walloon refugees who came to Canterbury, chiefly in 
the reign of Elizabeth, and received permission to worship 
in Ernulf’s Crypt. 


The Cloister has stood upon its present site since the earliest 
days of the Monastery; the present structure dates for the 
most part from the 15th century. The shields of contribu- 
tors to the cost of its erection enrich the vaulting with an 
unique display of heraldry. The arms of King George VI, 
Queen Elizabeth and their two daughters, with those of 
Mary, the Queen-mother, added in the north alley, to com- 
memorate the Royal visit in 1946. Here the monks passed 
much time pursuing their studies, writing and illuminating 
their manuscripts. They paced the alleys for exercise 
and assembled there to go in procession to the Cathedral. 
The benches in the south alley may bear traces of games 
played by the novices in their recreation time. The grave 
of “‘ Dick SHEPPARD ’’, Vicar of St. Martin’s-in-the-Field 
and Dean of Canterbury, is in the Cloister Garth and 
stained glass to his memory fills a bay of the west alley. 


In the Chapter House the brethren met daily before High 
Mass to conduct the business of the house and to arrange 
the affairs of their common life. The present building has 
Norman walls to north and south. The arcading of tre- 
foiled arches was added by Prior Eastry about 1304; the 
wooden waggon-vaulted roof, with its gilded ribs, by Prior 
Chillenden in 1405-6. The canopied seat at the east end 
is the Prior’s seat; the other officials were placed on either 
side of him; the brethren sat on the stone benches along 
the walls. Here St. Thomas preached at the Christmas- 
tide before his martyrdom, and it was the Sermon-house of 
Puritan times. ‘ 



The Cathedral has welcomed you to every part of itself 
without’charge or fee. If you are grateful, put an offering 
into one of the boxes provided for the purpose.