The precincts are entered through the superbly ornate early sixteenth-century Christ Church Gate, where Burgate and St Margaret’s Street meet. This junction, the city’s medieval core, is known as the Butter Market, where religious relics were once sold to pilgrims hoping to prevent an eternity in damnation. Once through the gatehouse, you can enjoy one of the best views of the cathedral, foreshortened and crowned with soaring towers and pinnacles.
In the magnificent interior, look for the tomb of Henry IV and his wife, Joan of Navarre, and for the gilded effigy of Edward III’s son, the Black Prince, all of them in the Trinity Chapel behind the main altar. Also here, until demolished in 1538, was the shrine of Thomas à Becket; the actual spot where he died, known as “The Martyrdom”, is marked in the northwest transept by the Altar of the Sword’s Point, where a jagged sculpture of the assassins’ weapons is suspended on the wall. Steps from here descend to the low, Romanesque arches of the crypt, one of the few remaining relics of the Norman cathedral and considered the finest such structure in the country, with some amazingly well-preserved carvings on the capitals of the columns. Back upstairs, look out for the vivid medieval stained glass, notably in the Trinity Chapel, where the life and miraculous works of Thomas à Becket are depicted. Look out too for an animal-skin-clad Adam delving in the west window and Jonah and the whale in the Corona (the eastern end of the cathedral, beyond the Trinity Chapel). The thirteenth-century white marble St Augustine’s Chair, on which all archbishops of Canterbury are enthroned, is located in the choir at the top of the steps beyond the high altar.
On the cathedral’s north flank are the fan-vaulted colonnades of the Great Cloister, from where you enter the Chapter House, with its intricate web of fourteenth-century tracery supporting the roof and a wall of stained glass.