Warm greetings and welcome to the Association of English Cathedrals. Our organisation was established in 1990 to be a support and resource for English Cathedrals. Since that time, the AEC has flourished, working in partnerships across the Church and beyond, and we have grown our voice championing the important role cathedrals play in our communities and our nation every day.

Today, through the work of our staff and committees, our purpose continues to be as a support, a resource and an advocate for our cathedrals.

Here you will find access to downloadable documents covering various aspects of cathedral life including our volunteers, governance, liturgy and music, chapter training, policies, our annual reports and accounts as well as other documents and national studies salient to cathedral life. Scroll down for a full list of our resources. In these challenging times, cathedrals continue to welcome millions of people every year as worshippers, visitors and pilgrims.  Our use of arts projects to magnify our stories attract thousands of visitors, many of them new to our cathedrals, and in times of national celebration and mourning, we are there, ever-present, offering welcome and hope in an uncertain world. All this is upheld by the daily rhythm of prayer. I am delighted to welcome you to our organisation.

Dean Jo Kelly-Moore

Chair

  Simply click the buttons below to find which resource you are looking for.

Following the success of last years "Cathedral Doors" campaign we bring you "Cathedral Ceilings, Always Look Up". Photos and stories of our spectacular cathedrals are supplied by the cathedrals themselves, this campaign features their best photographs of their best ceilings. Scroll down to see and read all about them ... this one is by Gareth Rainsforth. Verger at Chester.

They’ve survived significant religious upheaval, two world wars and the British weather…but these soaring arches, timeless stone, carvings, paintings and intricate detail invite just one thing: “Lift up your eyes.”

#AlwaysLookUp is our summer campaign that invites visitors and worshippers to turn their eyes upwards, lift up their gaze and stay awhile to discover a treasure trove of centuries-old carvings and paintings and an explosion of colour on the ceilings of our cathedrals.

There they can find carved wooden angels playing golden instruments and hundreds of roof bosses depicting figures and images from Bible stories and Medieval history that have inspired generations of churchgoers to glimpse a little piece of heaven from their place on earth.

These are the very best feats of engineering, soaring, spectacular fan vaulting and chancel cloisters, so if you only do one thing this summer, lift up your eyes, always look up ... and see what you might discover.

All the photos and stories are supplied by the Cathedrals themselves,  their best photographs of their best ceilings.

Cathedral Ceilings - Always Look Up

We're running through these in alphabetical order starting with Birmingham. Birmingham The chancel ceiling at Birmingham Cathedral features an intricate pattern of rosettes in its plasterwork, adorned with stunning gold gilding. This design weaves around six Corinthian pillars – three on either side. The chancel was added to the then-parish church in the late 1800s to accommodate changes to Anglican worship. The Baroque architecture created by Thomas Archer in the early 1700s is seamlessly blended with the later work of J.A. Chatwin, who is well-known and respected for his contributions to the building in the latter half of the 19th century. This intricate detailing survived damage to other parts of the cathedral roof during the Second World War.   Blackburn An iconic shot looking up from the high altar at Blackburn Cathedral.  Even the sun is shining through the Lantern Tower, adorning the Corona, and helping the six-winged seraphim to shimmer!   Bradford - Terrific timbers When you visit Bradford Cathedral, you can’t help but be impressed by the beautiful oak ceiling above the nave. It was put in place in 1724, with the oak timbers coming from nearby Tong Forest. Previous church ceilings and roofs prior to this were probably roofed in thatch or other traditional local materials and there are old church wardens’ records mentioning the roof leaking prior to its renewal in 1724 and referring to repairs. Despite objections from churchwardens in the parish, the vicar went ahead with the new oak-timbered ceiling. The church rate for 1724 was considerably increased to £210, presumably to cover the large costs. In the late 1700s, during the religious revival, galleries were put up over the north and south aisles and later at the west and east ends. The church was plastered and a flat, whitewashed ceiling was put up, thus covering up the beautiful timbered ceiling. The oak ceiling was later uncovered and the walls restored to their original colour from the 1860s. https://youtu.be/MoVBRxf2kZk The striking angels supporting the beams were installed after 1860, as part of the renovation work. Many hold musical instruments mentioned in the Bible, with some holding a scroll or shield. They are carved from stone and were gilded and painted in the 1960s, in order to add colour in the nave to balance the brightness and colour of the newly extended east end of the Cathedral. The two angels near the tower hold shields of royal lords of the manor and patrons of the living, John of Gaunt and Thomas, 2nd Earl of Lancaster.   Bristol - The Lord Mayor’s Chapel: Poyntz Chapel Ceiling Background: The church, on College Green, was originally part of the Hospital of Saint Mark, founded in 1220, it used to be part of the Abbey of St Augustine, known today as Bristol Cathedral. The nave and south aisle were built in the 13^th century in early decorated gothic style. The chancel, south aisle chapel and reredos are the result of rebuilding by Miles Salley, Bishop of Llandaff in about 1500. The Tudor Ceilings: The nave’s roof (below) is early 16^th century and is a fine example of Tudor architecture.   The “Chapel of Jesus” or “Poyntz Chapel” was built in 1523 as a chantry chapel by Sir Robert Poyntz of Iron Acton, Gloucestershire, a noted supporter of King Henry 7^th at the Battle of Bosworth.   The Poyntz Chapel is fan vaulted with an escutcheon showing the arms of Poyntz, Henry VIII and Catherine of Aragon. It is one of only two in the country.   After the dissolution of the monasteries, the chapel, then part of Gaunt’s Hospital, was leased to Sir Edward Carne in 1539. In 1540, it was acquired by Bristol Corporation (now Bristol City Council). Since then, it has been used by a school (1590 – 1767) and by those who couldn’t worship anywhere else (e.g. Huguenots and John Wesley). It's remarkable to think that this building has endured through the most significant religious upheaval in England, and that its relics have survived to this day. Since last year, it has come back into the care of Bristol Cathedral and remains a gem of our city’s hidden history.   Canterbury This photo (below) shows the exquisite vaulting in the Dean’s Chapel   Here we showcase 4 bosses in the ceiling of the Black Prince’s Chantry Chapel/Huguenot Chapel   The final picture shows two photographers capturing images of the Cloister ceiling with folding/bellows cameras.   Carlisle We adore this starry ceiling! The decorative scheme dates from Ewan Christian’s restoration of the Cathedral 1853-6. The style follows the medieval original, but the detailed design and colour (angels and stars) was the work of Owen Jones (1809-1874), one of the great decorative artists of the day. The ceiling was last repainted in 1970. The story of this iconic ceiling is available in the book Heaven's Above, by Jim Palmer, available from the Cathedral or our online shop. The ceiling has inspired many events, school visits and workshops, including the ‘Rest Under The Stars’ project, developed with Prism Arts (a local arts charity), which encouraged visitors to rest on deckchairs (designed by the artists and inspired by the Cathedral), under our starry ceiling, whilst listening to a bespoke soundtrack inspired by the sounds of the city of Carlisle and county of Cumbria.   Chelmsford The Nave ceiling and clerestory were the result of architect John Johnson’s restoration after the collapse of 1800. The ceiling was beautifully coloured and gilded in 1961. In the know guides at the Cathedral often encourage visitors to find the intentional flaw in the design made to symbolise that while God doesn't make mistakes, people do. See if you can spot it below or better still, on your next visit!   Chester Originally constructed at the start of the fourteenth century, Chester Cathedral's beautiful Quire ceiling was hand-painted as part of nineteenth-century restoration work under Sir George Gilbert Scott. The groined oak ceiling depicts the four major and twelve minor Biblical prophets, surrounded by angels. Evensong often takes place in the Quire with this lovely ceiling adding to the beauty of the sung service. Photo taken by the verger at Chester, Gareth Rainsforth.   Chichester On the vaulting near the western end of the Lady Chapel is a ceiling painting by Lambert Barnard (1485-1567). This painting narrowly escaped obliteration during work carried out in the early 19th century - it was protected by the stacked bookcases of the Cathedral library which was housed in the chapel at that time.   Christ Church “Nice chancel fan vaulting” - Jack, Cathedral Communications Office, Christ Church Cathedral.   Note: Understatement of the year nominee.   Coventry The ceiling in the New Cathedral isn’t actually a ceiling – it’s a decorative canopy held only at each end, making the columns throughout the cathedral nave structurally unnecessary. Cathedral architect Sir Basil Spence claimed that the design was partly inspired by an image he had seen of a fly’s eye, which led to press at the time referring to Coventry as the ‘Fly’s Eye Cathedral’. Photo credit : James Morris, Mark Pemberton   Derby The photo (below) features the Baldachin, or canopy over the high Altar. The golden ceiling of the Baldachin was suspended over the altar from 1927. It depicts a dove with the seven gifts of the Spirit radiating from it.   Durham - The Great Kitchen Before the Reformation, Durham Cathedral was home to a community of around 60 monks who needed to be fed each day. The Great Kitchen was built to provide cooking facilities for the monks, their guests and pilgrims. Work began on the Prior’s Kitchen, as it was called then, on 11th November 1366. It replaced an earlier kitchen that was part of the south cloister. John Lewyn (died 1398) was appointed as architect he had previously worked on the cathedral cloister. The Kitchen is square on the outside and octagonal (eight-sided) on the inside. Its most impressive feature is its vaulted ceiling. This was inspired by designs in Spanish and Persian architecture, including the Great Mosque of Cordoba in Spain. Each of the fireplaces around the walls has its own chimney built in, to allow smoke to escape. In the centre of the roof was also a ‘louvre’: a structure with slatted vents in the sides to allow smoke out and light in. Today, it is one of the best surviving examples of a medieval monastic kitchen in Europe. Durham - Monks Dormitory Completed in around 1404, the Monks' Dormitory was originally built as sleeping quarters for the Durham Priory monks. Ellis Harpour was responsible for building the Dormitory’s magnificent wooden roof. The 21 beams supporting it are made from massive oak tree-trunks. It is so well designed that the weight of the roof puts very little pressure on these beams. Very few medieval timber roofs of this scale and quality survive today and Durham’s is probably the best preserved large monastic dormitory in England.   Ely When you walk through the main doors of Ely Cathedral and look up, this is the amazing sight you will see. The magnificent Nave ceiling bears a sequence of 12 paintings, begun in 1860, by a man with the wonderful name of Henry Styleman Le Strange, from Hunstanton in Norfolk. The first six panels from the west door were painted by him, but unfortunately he died before it was completed. The next six panels had to be finished by his friend, Thomas Gambier Parry - can you spot the difference in the panels? On panel no. 6 you will see a clean shaven Isaiah - it's actually the face of Dean Peacock - a close friend of the artist.   Exeter Exeter Cathedral’s 14th century nave and quire ceiling is the longest continuous medieval stone vault in the world. Because the cathedral has no central tower, the vault can run all the way from the west wall of the nave to the east end of the quire, a distance of approximately 96m (315ft).   Photo credit : Emma Solley/Exeter Cathedral   Gloucester When it comes to the ‘wow-factor’, the spectacular vaulted ceiling above Gloucester Cathedral’s Quire doesn’t disappoint - did you know that it is covered in over 400 roof bosses? Bosses are carvings at the points where the ribs come together, and they are highly decorative here. On your next visit, have a look in the mirror just below the High Altar - which gives you a remarkable view of the ceiling’s architecture!   Guildford - The Lady Chapel Consecrated on 1 May 1964, the stunning painted ceiling was based on designs specified by Lady Prudence Maufe, wife of the architect and designer of the Cathedral, Sir Edward Maufe. Prudence was an interior designer and Director at the London store Heals. The Lady Chapel is dedicated to the Blessed Virgin Mary whose monogram is mounted above the entrance surmounted by her traditional five-pointed crown. The Chapel contains the figure of the Madonna and Child, carved in lignum vitae by Douglas Stephen, the then manager of Barclays Bank, Chelsea.   Hereford  The Stanbury Chapel (c 1475) is located in the North Choir Aisle of Hereford Cathedral.   It is a fine example of early Perpendicular architecture, with fan vaulting low enough to allow a clear view of its details and the intricacies of the heraldic carvings nearby.   Originally all would have been brightly coloured. Photo credit : Gordon Taylor and Caroline Potter   Leicester A recently painted firmament above the tomb of King Richard III in Leicester Cathedral. The stars have been replaced by cinquefoils - the logo of the city.   Lichfield Looking back at Lichfield Cathedral’s Nave arcade pillars, you may notice that they seem to bow, just slightly, in fact at their centre they are 14 inches out from the top! Between 1785-1788 the architect, Wyatt, had around 500 tonnes of stonework removed from the central 5 bays of the nave ceiling and replaced with lath and plaster to reduce any further shifting.   Limerick Saint Mary's Cathedral, Limerick was founded in 1168 by the last King of Munster, Donal Mhor O'Brien.  The site itself dates to the foundation of the city in 922, when it was established at the Thingmote for the first Viking settlers. The oak in the ceiling may be traced to nearby Cratloe Woods (adjacent to Shannon Airport).  Oak from the same forest was used in the roof beams in Westminster Hall and the Royal Palace in Amsterdam. Lincoln The vault of St Hugh’s Choir in Lincoln Cathedral is known as the ‘crazy vault’. The 13^th century ceiling was designed by Geoffrey de Noiers, and features asymmetrical ribbing , which is in fact a clever way of distributing weight and pressure on the masonry.   Liverpool The vaulted ceiling of the countries largest Cathedral in Liverpool invites visitors to look up and take in the grand architecture of the building. With a height of 331 feet, Liverpool Cathedral is one of the world’s tallest non-spire church buildings and the fourth tallest structure in Liverpool.   Manchester Visitors to Manchester Cathedral are able to view a host of angels holding 15th century musical instruments lining the ceiling of the Nave. The carved wooden angels with their golden instruments are believed to have been gifted to the Cathedral by Lady Margaret Beaufort, mother of King Henry VII.   Angels on the north side have wind instruments such a trumpet or clarion, bagpipe and a shawm or oboe. Angels on the south side play strings such a lute, hurdy gurdy and Dulcimer.   Newcastle The Arts and Crafts-style ceiling of Café 16 in Newcastle Cathedral’s refectory was designed by the architect W.H. Wood when the Cathedral was extended in 1926.   Today, a team of prison leavers staff the café, led, trained and mentored by the Oswin Project.   The café is supplied with fresh produce from the charity’s bakery in HMP Northumberland, where trained bakers allow prisoners to learn new skills and find a new direction on release.   Newport The nave ceiling in Newport Cathedral. Constructed of wood, it dates from around 1450-60 and is very similar construction to the Newport Ship, being roughly the same length. The ship was found in mud in the banks of the River Usk in June 2002 during construction of the Riverfront Theatre. It is a significant find. The nave dates from 11^th century.   Norwich Hundreds of medieval roof bosses decorate the lofty heights of Norwich Cathedral and its Cloister, and this treasure trove of centuries-old carvings is the biggest collection of its kind in the whole world. The most impressive roof bosses can be found in the Nave, where they tell the stories of the Bible’s New and Old Testaments from Creation to the Last Judgement, meanwhile there are many more in the Cloister, where the famous Green Man bosses can be seen.   Peterborough The painted wood ceiling in the nave was completed around 1240. The 12th century designers of this space certainly knew how to create the ‘wow factor’. This is certainly an unforgettable space and it is the only one of its kind in Britain and one of only four in Europe. Although the ceiling has been repainted or restored twice, it still follows the original design. From earliest times, the nave of a cathedral or church has been a public space where business and community life are conducted. It is no different today, and the Nave has been the venue not only for the congregation worshipping on a Sunday, but also for awards ceremonies, formal dinners, concerts, lectures and product launches.   Portsmouth Below, the roof of the St Thomas Chapel, the most ancient part of this cathedral was built in 1180 as one of the first chapels dedicated to Thomas Becket after his martyrdom. Daily worship has taken place here every since.   The west end of the Nave of Portsmouth Cathedral (below) was completed in 1991 and then the addition of these stupendous en chamade trumpets in 2017. Named Trompette de Maris or Trumpets of The Sea, they are one of the many aspects of Portsmouth's iconic building that lead to its designation as Cathedral of The Sea. Prayers are held daily for those who navigate the waters nearby, for all The Royal Navy and Merchant Navy as well as those who work in fishing, container ships and ferries.   Ripon When George Gilbert Scott restored the ceiling of the quire at Ripon in the 1860s, he incorporated 13 of the earlier ceiling bosses.  It is thought that most of these may well be medieval in origin, dating possibly from as early as the 1180s or as late as the 1480s.  Only one is known to be from the 1860s. Some of the features are enigmatic, but three clearly represent bishops giving a blessing  All the bosses are gilded, and some of the figures are as much as 5 feet in height. Most dramatic of all is the expulsion of Adam and Eve from the Garden of Eden, a garden with a magnificent gateway.   Rochester - Green Men These carved wooden Green Men can be found in the Cathedral crossing near the Organ. They were created in the 1840s and were repainted in 1992. Green Men are believed to originally be a pagan fertility symbol but were adopted by the Medieval church. It is believed they represent God’s creation and Christ’s resurrection. Rochester - Crypt ceiling paintings If you look carefully at the ceiling in the Crypt of Rochester Cathedral you can discover traces of paintings dating back to the 1290s. In Medieval times Rochester Cathedral would have been covered in paintings and colour. They have discovered traces of paint all over the Cathedral.   Salisbury Salisbury Cathedral is a great example of Early English Gothic architecture. Its ceilings are testimony to this and have many Early Gothic features. The spectacular ceilings of the Chapter House, which houses the Magna Carta, are particularly significant and reveal traces of paintings which are imitations of originals from the 1200s. The Chapter House is home to one of only four surviving original Magna Carta documents from 1215, and is visited by people from all over the world. When visitors first enter the Chapter House, they arrive at a vestibule with a vault (also known as an arched ceiling). Foliage has been painted on the vault and can be seen at the points where the arches meet. The foliage is incredibly detailed, though some of its colour has been lost. In the main Chapter House, there are more traces of foliage painted on the ceiling. Colourful foliage surrounded by dark red is painted where the webs of the vault meet. Some of the medieval colour has been retained although a lot of this has been done through restoration. These beautiful decorations remain incredible features of the Cathedral’s Chapter House.   Sheffield Old St George’s Chapel is located in an area of the cathedral which formed part of the 1930s Sir Charles Nicholson extension. World War II broke out and these plans were curtailed. OSGC was originally intended to be the Regimental Chapel of the York and Lancaster Regiment and in the 1960s it was decided to dedicated the unfinished chancel to the York and Lancaster Regiment instead. The ceiling of Old St George’s Chapel is decorated with white and red roses of the York and Lancaster Regiment. The Regiment was formed in 1758 and disbanded in 1968; the 12^th Battalion of the Regiment, the Sheffield City Battalion, was established in 1914 and included the ‘Sheffield Pals’. The battalion served at the Battle of the Somme, where many of its members lost their lives on the first day, 1 July 1916. On June 10 1944, the Hallamshire Battalion of the York and Lancaster Regiment landed on Sword Beach, Normandy, and fought German infantry and Panzer tank divisions at Fortenay on 25 June. Hanging from the ceiling in (new) St George’s Chapel are the regimental colours of the York and Lancaster Regiment. These are all seen battle including dating back to the American War of Independence.   Southwark When you enter the Nave you are greeted soaring arches, a dramatic ceiling, and timeless stone. However, it is actually a nineteenth century reconstruction, designed by Sir Arthur Bloomfield and completed in 1897. What you see today replaced an elaborate fifteenth century wooden ceiling which had decayed, leaving much of the Nave roofless for over 50 years.   Southwell Minster Southwell Minster’s Chapter House ceiling dates back to the 13^th century and is the only stone-vaulted Chapter House ceiling in the country without a supporting central column – what incredible skill and precision from the architects and stonemasons of the time! Southwell Minster’s Chapter House is also home to ‘The Leaves of Southwell’, voted the UK’s #1 Cathedral Treasure last year! Photo credit : Andy Marshall @fotofacade. St Albans - Presbytery ceiling Abbot John of Wheathampstead redecorated the presbytery ceiling. Originally having been a painted design of foliage, he had it emblazoned with numerous representations of an Eagle and Lamb, symbols of the two saints he saw as his patrons: John the Evangelist and John the Baptist. As is sometimes told to visitors on tours, if you can read the symbols then you will see the ceiling repeats one word over and over again "John, John, John....." St Albans - Tower Ceiling There was an occasion recently when there was cause for a big old bell to be winched up. A brave photographer lay on the floor underneath taking a picture of the bell from below as it was ascending, when suddenly the winch slipped a few inches and it felt like the whole building shuddered. It was reported that whilst the photographer turned whiter than a sheet.   St Davids The painted ceiling of the tower lantern at St Davids Cathedral. The tower has had several rebuilds since the 12^th century.  The original tower collapsed in 1220 although it survived an earthquake in 1247. Structurally shaky from this event, it still managed to carry the weight of an additional upper storey added  in the 16^th century and the destruction wrought on it by Parliamentarian dragoons in 1648, when the troops made a large breach in the south face of the tower to remove at least one of the bells. The Tower was in a fragile state at the time of George Gilbert Scott’s extensive restoration in the 1860s which included, in his own words, “little short of the reconstruction of its two western piers”. Scott also raised the ceiling up one tier of the tower. This brought in the light from the lantern windows and enabled this striking ceiling to be seen much more clearly. The painted ceiling dates from this restoration, and displays a wealth of coats of arms of previous bishops of St Davids alongside an approximation of the medieval decoration.   St Edmundsbury – Vaulted Ceiling The ceilings of St Edmundsbury Cathedral are a burst of colour. The crowning glory of these is the Cathedral tower’s vaulted ceiling, which was added in 2010. The design drew upon the vaulted ceiling at King’s College, Cambridge, which was designed by John Wastell, who also helped construct the sixteenth-century portions of St Edmundsbury Cathedral. The gold ‘trees’ on the ceiling are one of the characteristic signatures which Wastell used on many of his works. The colours are inspired by those used in the Bury Bible, a giant illustrated Bible written by Master Hugo at Bury St Edmunds Abbey between 1121 and 1148. The vaulted ceiling was designed by Henry Freeland and constructed by Taylor Made Joinery, a local firm, who applied modern technology to a medieval architectural problem, carrying out a ‘cloud survey’ to measure the inside of the tower. This consisted of collecting 29 million digital reference points with which to produce a 3D model and took just one day to carry out. Each and every one of the 3,000 pieces of frame, panels, centrepiece, mouldings and tracery were put together to ensure that they fitted perfectly before being dismantled and brought to the Cathedral. The ceiling was hoisted up in sections and put together like a giant jigsaw before being painted by decorators Hare and Humphries. One of the painters had been an apprentice working on the Cathedral extension in the 1960’s and had painted one of the nature-themed ceilings over 40 years previously. The gilding used 9,000 sheets of 25 carat gold leaf. The Rev’d Canon Matthew Vernon, the Canon Pastor and Sub-Dean at St Edmundsbury Cathedral, highlighted a multi-faith tradition of putting deliberate mistakes in art, following the premise that ‘only God is perfect’. With this suggestion made, the vaulted ceiling has a deliberate (but hard to spot) painting mistake! Photo credit : Tom Soper   St Paul’s Looking up at the inside of the most famous dome in the UK! When St Paul’s Cathedral was first completed in 1710, the dome interior was left undecorated. Between 1716 and 1719, artist Sir James Thornhill painted murals of the life of St Paul in 'grisaille', meaning entirely in shades of grey to create the illusion of sculpture when viewed from below. Today, the ceiling murals can be viewed from the ground, or from the Whispering Gallery some 30m (or 257 steps!) above the Cathedral floor, with the added benefit of a beautiful new lighting scheme. Photo credit : Graham Lacdao (On Instagram, @glacdao).   Truro The central tower of Truro Cathedral (as you stand in the middle of the cathedral and look up).   North aisle of Truro Cathedral.   North transept from above.   View of the central tower from the 70ft level   The cathedral ceilings were built alongside the rest of the cathedral between 1880 and 1910. The central tower was finished in 1901 (the same year Queen Victoria died). The architect overseeing the project was John Loughborough Pearson. He initially worked as a restorer for churches and designed many restorations for cathedrals around the UK. However, Truro Cathedral was a unique proposition for him as it was the designing of an entirely new cathedral. Unfortunately, he died suddenly in 1897 and was never able to see the project through to completion. However, his son, Frank, took over the project and saw it through. The ceilings are made of Bath Stone.   Wakefield - Wakefield Cathedral quire. The bright painted ceiling is a Victorian restoration, but the gilded bosses are original medieval.       Wells - Star vault — Lady Chapel of Wells Cathedral A figure of Christ in Majesty sits at heart of this striking design which radiates star-like about the chapel. The linking bosses have fine foliate designs of vine, acanthus, oak and rose. Although the vault would certainly have been painted in medieval times, what can be seen now is the work of Thomas Willement (1786–1871), who restored the east window in the mid-nineteenth century. It is said Willement offered to paint the vault free of charge because of unbelievably prompt payment by the Dean and Chapter for his work on the window! Five designs were put forward, of which the largest was selected. All the designs are preserved in the cathedral archives.   Westminster Abbey Westminster Abbey's Lady Chapel was built by Henry VII and consecrated in 1516, some six years after his death.   It's a glorious example of late medieval architecture, and was described by 16th century historian John Leland as 'the wonder of the world'.   The spectacular fan-vaulted ceiling is decorated with carved pendants and Tudor emblems including the rose and the portcullis.   The chapel is the final resting place of fifteen kings and queens, including Henry VII, Elizabeth I, Mary I and Mary Queen of Scots.   Winchester - Guardian Angel Chapel Ceiling The paintings on the ceiling were a collaborative effort over many years with 8 large and 12 small roundels of angels originally, with paintings of stars and flowers and leaves added approximately 40 years later. These paintings were last restored in the 1950s This chapel is named after the paintings of angels in the vaulting which were executed in 1240.   Winchester - Lady Chapel Ceiling The vaulting dates from the early 1500s and was restored to is original colouring in 1994-5. The large boss at the eastern end is “God the Father” and at the Western end “The Assumption of the Virgin Mary” Within the ceiling there are Coats of arms of 4 bishops including: Cardinal Beaufort, William of Waynflete, Peter Courtenay and Thomas Langton.   Winchester - The Nave ceiling The decorated curved ceiling was completed in the early 15^th century with decorative bosses and carved pieces of stone placed where the ribs intersect.   Winchester - Roof bosses Over a thousand bosses can be seen today in the vaulting of the Cathedral and some weigh over a ton.   Worcester The 12^th century Chapter House of Worcester Cathedral is thought to be the first round Chapter House in the world. Its circular structure & beamed ceiling can leave you feeling dizzy! Rumour has it the ceiling once featured a series of paintings, lost since the 15th century! But did you know the ceiling hasn’t always looked like this? It holds a fascinating secret, that will have you looking up at it in a whole different light. The famous ghost story writer Montague Rhodes James OM FBA - an English medievalist scholar and author who served as provost of King's College, Cambridge, and of Eton College as well as Vice-Chancellor of the University of Cambridge - produced a document showing

1. That the Worcester Cathedral Chapter House once had a series of paintings on its ceiling, lost since the fifteenth century, and
2. that Eton College has illustrations known collectively as the Eton Roundels, that seem to have been copied from those paintings.

There are nine which represent the presentation of Jesus, the baptism of Jesus, Jesus carrying his cross, Jesus’ crucifixion, Jesus’ resurrection, Jesus’ descent into Hell, Ascension into Heaven, unveiling the Synagogue and Jesus and the Church.  Canon James Wilson, himself a scholar and a Worcester Cathedral librarian, was a contemporary of MRJ and he published his own detailed study of the Eton Roundels. He acquired a handpainted drawing of one of them. The Nativity illustration as copied and coloured is shown below: More recent research on the Chapter House paintings, as recorded in the Worcester Jerome manuscript and illustrated by the Eton Roundels, makes very significant claims for them in the history of medieval religious art arguing that they are in some ways unique in Europe[v]. The building of the Chapter House was a later part of the Cathedral reconstruction that had been started by Saint Wulfstan in 1084. The tenth subject ‘Jesus and the Church’ may show the first depiction of the Coronation of the Virgin Mary in European art, and could even refer to the marriage of King Henry III to Matilda of Scotland. The extravagance of these claims may deserve yet another Blog on the subject of the lost paintings! Next time you visit take a minute to look up and imagine the magnificence of the lost paintings – and ponder who painted them, and how?   York Minster The Chapter House of York Minster has stood as a meeting place for the Chapter for over 750 years. The ceiling itself with its bright central boss and intricate paintings is a beautiful sight that captures the imagination of all our visitors. However, there is much more to it than first meets the eye. Most vaulted ceilings of this size would require a central support column to distribute the immense weight of the roof, however the builders at York Minster devised an ingenious way to spread the load throughout the beams above, resulting in a true marvel of medieval engineering. The mechanism behind the incredible ceiling can be viewed on a behind-the-scenes tour, where visitors gain an appreciation for the true complexity of our beautiful chapter house. Huge thanks to all the cathedrals who provided these brilliant photos and the stories of their ceilings.  Take a look back at our earlier campaign 'Cathedral Doors - Look In', there are some fascinating stories and pictures there too. Also our Cathedral Treasures Campaign is packed with great photos and stories - take a look here.                        

If you had a day or two of free advice from an expert on an issue your cathedral faces, what would you ask them? The Cathedral and Major Church Projects Support Panel offers cathedrals free advice and consultancy from its 60 or so volunteer experts. It aims to help cathedrals at the early stages of projects.  Since its launch in 2017 it has dealt with over 130 requests from cathedrals. Panel expertise includes architecture, conservation, fundraising, heritage interpretation, grant applications, project management, strategic planning, visitor engagement and many more areas. It’s run by the Association of English Cathedrals and funded by the Church Commissioners. Contact Cathedrals Coordinator Anne Locke for more information or to make a request. She will aim to link you up with a suitable expert or team of experts for an initial discussion, possibly followed by a site visit – travel expenses are paid by the project. [email protected] or 07908 472082. Read more about how the panel works: CMCPSP: What to Expect

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This page contains information primarily for Cathedral Cycle Champions. What is a Cathedral Cycle Champion? A briefing paper for champions setting out their suggested role (to be updated; this was produced before the launch of the route in 2021). If you need to contact the Cycle Champions at other cathedrals, please contact Anne Locke. You can also join the CCR WhatsApp group, which is a good way of exchanging queries and ideas. Champions' Checklist

• Cathedral website - does it have information for those visiting by bike? Does it have your details or someone they can contact?
• Stamps or stickers - are these readily available to visiting cyclists from the gift shop, cafe or welcome desk? Can vergers or clergy locate them if cyclists turn up for services outside normal visiting times?
• Pilgrim Passports - can these be easily located and purchased?
• Awareness - are the cathedral staff, volunteers and clergy all aware of the Cathedrals Cycle Route (CCR)?
• Champions - has your cathedral appointed a Cathedral Cycle Champion?
• Drinking water, bike pump - can these be made available?
• Promotion - can you help promote the CCR, e.g. by developing local circular routes using parts of it?
• Bike racks - are bike parking facilities available? (see www.parkthatbike.info)

Cycling UK insurance: as an affiliated organisation the CCR is covered by Cycling UK’s Organisers’ Liability cover for up to £10 million.  The policy will cover cathedral staff, ride leaders, event organisers and other volunteers organising or taking part in cycle events against any claims made against them as a result of their negligence. Read more here. Route changes: please send any comments and proposed improvements to the route to Shaun, ideally as a GPX file (but any sort of annotated map will help). Logos: you can download the CCR logos here. Prayers for CCR cyclists: some prayers can be found here Cyclists may visit at any time, and Cathedral Cycle Champions are encouraged to develop activities around the cycle routes at times to suit their cathedral and community. In 2021 and 2022 the routes were launched and tested with relay rides taking a baton around all 42 Church of England cathedrals. For 2023 cycling activities will be organised locally, some focusing on Cycling Uk's Bike Week, Monday 5 to Sunday 11 June. Sign-up sheet: Peterborough Cathedral has kindly supplied this example of a sign-up sheet you can adapt for the participants in cycling events you may be organising. Cycling risk assessments: Only cathedrals organising rides themselves need to carry out risk assessments.  If your cathedral isn't organising a ride then you don't need to risk-assess the activities of riders using the route. If you are organising a ride and need to do a cycling-related risk assessment, this is one used by the Durham Redstarts cycling group when they visited Newcastle Cathedral, based on the British Cycling one. Cycling UK has guidance here along with a simple editable pdf you can download. NB: these risk assessments should be adapted for the circumstances. For if a section of route hasn't been ridden in advance as the purpose of the ride is to check it out, this itself can be listed as a risk, with the mitigation being keeping group sizes small and warning riders in advance that the route hasn’t been checked. Example of a cycle ride disclaimer (as used on the relay rides): Every rider registered on Eventbrite  was sent this message, which you may find useful to adapt for your own events: Please find below a short disclaimer. Cathedrals may request you to sign and agree to this or a similar disclaimer. The Cathedral teams will try to make the event as safe as is reasonably practicable. However, cycling cannot be risk free and has some potential dangers. Every rider must be responsible for their own safety and judge whether they and their equipment are fit to take part. Disclaimer I understand and agree that I participate in the Cycle Relay event entirely at my own risk, that I must rely on my own ability in dealing with all hazards and that I must ride in a manner which is safe for myself and all others. I understand that the event is held wholly or in part on public or private property or the public highway, that I participate therein at my own risk and that no liability whatsoever shall attach to the property owner or anyone devolving an interest in the property. I am aware that when riding in an event the function of the lead cyclist is only to indicate direction and that I must decide if the movement is safe. I agree that no liability whatsoever shall be attached to the promoting club (The CCR), meeting sponsor(s), AEC, associated cathedral or any official or member of the promoting club in respect of any injury, loss or damage suffered by me in or by reason of the relay event, however caused whether by negligence or otherwise. Finally, we would just like to stress that this event is a ‘trailblazing’ event designed to explore and refine the Cathedral Cycle Route. As a result some routes may potentially encounter unexpected obstacles or hazards. The CCR relay is not a race and the teams along with individual cyclists are encouraged to travel at a leisurely and safe pace for all. We suggest that where cathedrals are organising groups of riders they ask them to sign this or a similar disclaimer before they depart, to ensure you have a record of their agreement and to cover anyone who may not have received the Eventbrite message. There are some useful tips on road safety on the British Cycling site here.  

If you are interested in finding out more about the Cathedrals Cycle Route as a cyclist you can look at the routes on the Cycling UK website or Komoot These routes are based on a clockwise direction, but the gpx files can be reversed via most route viewers. A Pilgrim Passport might be just what you need to accompany you on your ride and help you record your visits to cathedrals. You can also join the CCR Strava club and record your rides here. To make contact with a cathedral you plan to visit, look in the ‘visit’ section of their website. You can find links to the cathedral websites here. If you'd like some prayers as you cycle the route, here are some. The Independent Hostels Guide is recommending the CCR to its readers and has published a short online guide covering member hostels that are either on the route or close enough to reach via a short cycle. Independent Hostels UK ( IHUK ) is UK’s network of independently owned bunkhouses and hostels. With over 350 members it is the largest hostel network in the United Kingdom. The British Pilgrimage Trust has more maps and resources here. If you are planning to ride the whole route, good luck and please let us know: Shaun Cutler (originator of the route) Anne Locke (coordinator of contacts with cathedrals) Join us on Twitter and Facebook: @cathedralscycle #cathedralscycleroute https://twitter.com/CathedralsCycle and Facebook https://www.facebook.com/groups/368370248009190

Many of us see life as a journey enriched by special people and special places. For hundreds of years, cathedrals have been such places, filled with astonishing beauty, fascinating history, and glorious music, drawing pilgrims of all ages in search of peace, healing and joy. We invite you to use this passport for your own adventure of discovery, following in the footsteps of many thousands of pilgrims who have come to these places over the centuries to learn, to think about their lives, and ask for God’s help and guidance. How to use this passport: Visit a cathedral and ask at the welcome desk or in the shop for a stamp or sticker for your passport. You can use the checklist and pages of the passport to note the names and dates of places you visit, and your experience. You can also use the passport to record your visits to other cathedrals, churches, abbeys, and places of pilgrimage in the British Isles. Many of these places will offer tours, trails and special events for you to enjoy. Copies of the Passport are available from cathedral shops or can be bought online here  

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The AEC's communications lead is Jane Bower.  Jane works part-time and can be contacted by email or phone (07885 142079).

Here at the Association of English Cathedrals, we’re committed to respecting your privacy. This Privacy & Cookies Notice explains when and why we collect personal information about visitors to our website, how we use their information and what we do to protect it. We may update this page from time to time so would encourage you to check it occasionally to ensure that you’re happy with any changes. By using our website, you’re agreeing to be bound by this Privacy & Cookies Notice. Any questions regarding our Privacy & Cookies Notice and approach to protecting your rights as a website user should be sent by email to [email protected].

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We obtain information about you when you use our website, submit your details through our contact form or join our forum as a member.

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The information we collect might include your name, email address, telephone number, IP address and information about what website pages are accessed and when. When our members request access to our private forum, we will collect your name and email address and provide you with a unique login to access and use the forum.

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Review of this Privacy & Cookies Notice

We keep this Privacy & Cookies Notice under regular review. It was last updated on 23 November 2018.

Cathedral and Major Churches Projects Support Panel The Association of English Cathedrals would like to hear from those with an interest in cathedrals and major churches and the time and relevant specialist skills and experience to serve as volunteer expert members on the Cathedral and Major Churches Projects Support Panel, a partnership between the AEC and the Association of Major Churches. Serving on the Support Panel will offer a unique opportunity to help cathedrals and major churches resolve their challenges by assisting with scoping out projects and identifying project elements, pointing out potential problem areas and recommending how to overcome them, sharing wisdom, experience and contacts, giving advice and support to cathedral staff, and advising on the need for specialist advice and input when appropriate. The role of a Panel member is voluntary but reasonable expenses will be paid. The Benefact Trust and Church Commissioners have provided funding for the project. Expressions of interest are invited from competent and experienced specialists with skills and experience that could assist cathedrals to devise realistic projects. More information is available here. The Panel’s terms of reference are available here. To express interest please send a CV and covering letter (no more than two sides of A4) indicating your relevant area of expertise and experience. All submissions should be emailed as PDF or Word documents to Anne Locke, the Panel Coordinator. Expressions of interest are welcome at any point, as we continue to build the Panel’s numbers and range of expertise.   Job vacancies The AEC has no vacancies at the moment. Details of opportunities at cathedrals and within the Church of England are advertised on cathedral websites and on the Church of England website.

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Churches of other denominations also have cathedrals.  The largest group of cathedrals which are not part of the Church of England are Roman Catholic cathedrals.  Information about these cathedrals, together with information about the dioceses they serve, can be found on the website of the Catholic Church in England and Wales Bishops' Conference - available here.

An introduction to Cathedral Governance

The AEC’s Introduction to Cathedral Governance training sessions are primarily for those without previous cathedral experience – new members of cathedral Chapters, lay and ordained, newly appointed administrators/COO/CFOs, new residentiary canons and deans. The course may also be relevant for Chairs of advisory bodies, Senior Non-executive Members, Chairs of Nomination Committees and Chairs and newly appointed members of any governance committee of Chapter. The sessions are designed to complement each cathedral’s own induction process and include reflection upon the legal and financial responsibilities of Chapters as charity trustees, the relationship of Chapter to the rest of the cathedral, fabric and property matters and the role of cathedrals as centres of worship and mission. The speakers are drawn from different cathedrals – both ordained and lay – and from the CFCE and NCIs. In addition to presentations, time is allowed for discussion and Q&A. Booking is open for the 2025 sessions: Thursday 6 March 2025 - The Chapter House, Bristol Cathedral Saturday 7 June 2025 – Visitor Centre, Manchester Cathedral Thursday 25 September 2025 – The Garry Weston Library, Southwark Cathedral Saturday 22 November 2025 – St Martins House, Leicester Cathedral All the 2025 sessions will begin at 10.30am and end by 4.30pm. Each will cost £77 pp, which includes a buffet lunch. The programme has been developed and refined over a number of years and delegates who attended recent sessions provided the following comments in their feedback: I think it was a very well structured session, with a good balance between discussion and presentation. … I thought the day was excellent, I learnt a lot and was glad of the opportunity to meet others from different cathedrals. Thank you for running it! All sessions were very interesting - the two most engaging speakers I thought were the Finance session and the Care of Buildings session, but all speakers were good. All topics relevant. Bearing in mind the huge range of experience levels around the room, the pitch was about right. From a personal viewpoint, I would have benefitted more from attending 18 months ago when I joined Chapter I also met some wonderful people which of course is the 'hidden' benefit from such events. The training programme is co-ordinated by a project board, chaired by The Very Revd Simon Cowling, Dean of Wakefield. Bookings should be made to the AEC Administration Officer: Susan Chapman, email [email protected]  Telephone : 07930 690273 Download the Training Booking Form here.  

The United Nations Educational, Scientific and Cultural Organization (UNESCO) defines heritage as ‘our legacy from the past, what we live with today, and what we pass on to future generations’. It sees both our cultural and natural heritage as irreplaceable sources of life and inspiration. Places as unique and diverse as the wilds of East Africa’s Serengeti, the Pyramids of Egypt, the Great Barrier Reef in Australia and the Baroque cathedrals of Latin America make up our world’s heritage. World Heritage sites belong to all the peoples of the world, irrespective of the territory on which they are located. UNESCO seeks to encourage the identification, protection and preservation of cultural and natural heritage around the world considered to be of outstanding value to humanity. This is embodied in an international treaty, the ‘Convention concerning the Protection of the World Cultural and Natural Heritage’, adopted by UNESCO in 1972. UNESCO's World Heritage mission is to:

• encourage countries to sign the World Heritage Convention and to ensure the protection of their natural and cultural heritage;
• encourage States Parties to the Convention to nominate sites within their national territory for inclusion on the World Heritage List;
• encourage States Parties to establish management plans and set up reporting systems on the state of conservation of their World Heritage sites;
• help States Parties safeguard World Heritage properties by providing technical assistance and professional training;
• provide emergency assistance for World Heritage sites in immediate danger;
• support States Parties' public awareness-building activities for World Heritage conservation;
• encourage participation of the local population in the preservation of their cultural and natural heritage;
• encourage international cooperation in the conservation of our world's cultural and natural heritage.

The United Kingdom is a signatory to the World Heritage Convention, and UNESCO has designated 29 sites in the United Kingdom as World Heritage Sites. Of these, 18 are in England and include Canterbury and Durham Cathedrals and Westminster Abbey. The Canterbury World Heritage Site includes St Martin's Church, which is the oldest church in England, the ruined St Augustine's Abbey, which was also founded during the early stages of the introduction of Christianity to the Anglo-Saxons, and Canterbury Cathedral, a stunning Romanesque and Gothic building which is the Mother Church not just of the Church of England but the worldwide Anglican Communion. The Durham World Heritage Site includes Durham Cathedral, which is the ‘largest and finest’ example of Norman architecture in England and whose vaulting was part of the advent of Gothic architecture, and Durham Castle, a Norman building which was once the residence of the Durham prince-bishops and is now the home of University College, Durham University. The Cathedral houses relics of St Cuthbert and Bede. The Westminster World Heritage Site includes the Palace of Westminster, Westminster Abbey and Saint Margaret's Church. These buildings have been the centre of the administration of England since the 11th century, and later of the United Kingdom. The Palace of Westminster, home to the Houses of Parliament, is an example of Gothic Revival architecture but its origins are far older and Westminster Hall, part of the Palace complex, was built in 1097. Since the coronation of William the Conqueror, all English and British monarchs have been crowned at Westminster Abbey. St Margaret's Church, adjacent to the Abbey, is the Palace's parish church. In addition, Salisbury and Lincoln both have their Magna Cartas and Hereford has its Mappa Mundi on the UNESCO Memory of the World Register.

The cathedral, as the seat of the bishop, is the mother Church of a diocese, the area under the bishop’s supervision.  Each cathedral has an importanct role in providing a focus for the life and work of the Church of England in the diocese. Many diocesan services and events, such as ordinations, confirmations and services to mark major festivals, are held at the cathedral and members of churches within the diocese come to the cathedral to attend such services and to gather together.

The name ‘cathedral’ is derived from the Latin word ‘cathedra’ which means ‘chair’. A church which contains the official chair, seat or throne of a bishop is called a cathedral. When a new bishop takes up his or her duties, he or she is enthroned during a service in the cathedral church. The relationship between bishops and their cathedrals is a close one. The Cathedrals Measure 2021 states that ‘The bishop continues to have the principal seat and dignity in the cathedral’.  The bishop, after consultation with the Chapter and subject to any provision in the Statutes of the cathedral, may officiate in the cathedral and use it in his or her work of teaching and mission, for ordinations and synods and for other diocesan occasions and purposes. The bishop may commission a review of such aspects of the cathedral’s financial affairs, governance, management, operations or mission as the bishop considers necessary or appropriate.  Any such review, and anyone appointed to conduct a review of behalf of the bishop, must have due regard to any guidance issued by the Church Commissioners. The diocesan bishop is Visitor to his or her cathedral. The role of Visitor, in English law, is to oversee an autonomous ecclesiastical or charitable institution and, if necessary, to intervene in its internal affairs. As Visitor, the bishop hears and determines questions about the Constitution and Statutes. He or she may also hold a Visitation of the cathedral when he or she considers it desirable or necessary to do so, or when requested by the Council or the Chapter. A Visitation gives the bishop the opportunity to enquire into cathedral affairs and, as a result, may give directions to the Chapter or to cathedral staff which he or she considers will better enable observance of the Constitution and Statutes. The bishop meets the Chapter at least once a year.  Bishops and Chapters often consult each other and seek advice.

Cathedrals welcome support, both financial and through volunteering. For more information about how to support individual cathedrals, please visit their websites (see the Cathedrals page). Cathedrals are also supported by their Friends organisations. These can be contacted through cathedral websites. The English Cathedrals Fund (charity no. 1148698) exists to support the conservation, repair and development of cathedrals of the Church of England, the contents of such cathedrals, and their precincts. Its trustees are also members of the Cathedrals Fabric Commission for England and use their extensive knowledge of cathedrals and their buildings in order to focus funds where they are most needed. All cathedrals are able to apply for grants for major fabric repairs from this fund which administered by the Cathedral and Church Buildings Division of the Archbishops’ Council, part of the Church of England. To make a donation, please click on this link, or to discuss ways of supporting cathedrals please contact Becky Clark, Director, Cathedral and Church Buildings Division (020 7898 1887).

Cathedrals welcome support, both financial and through volunteering. For more information about how to support individual cathedrals, please visit their websites (see the Cathedrals page). Cathedrals are also supported by their Friends organisations. These can be contacted through cathedral websites.

We’ll get on to it right away. In the meantime why not take a look at some gorgeous photos of our cathedrals in our 366 Gallery.

Since 2021, cathedrals have been governed in accordance with the Cathedrals Measure passed that year. The Measure states the purpose of cathedrals and specifies that they are to be governed by the Chapter. Until the Cathedrals Measure 1999, there were two types of cathedrals, Dean and Chapter Cathedrals and Parish Church Cathedrals. That Measure removed this distinction and all cathedrals are constituted in the same way. Cathedrals are governed by their Chapters as the trustee body of the cathedral. Chapters are formed of both clergy and lay people who together have the general control and management of the administration of the Chapter and are, accordingly, the charity trustees of the Chapter for the purposes of the Charities Act 2011.  The composition of the Chapter varies from cathedral to cathedral but the Dean and all Residentiary Canons are members, as are a number of other people whose numbers and methods of appointment are specified in a cathedral’s governing documents, known as its Constitution and Statutes. The Chapter is chaired by the Dean. All cathedrals also have a College of Canons which consists of the Dean and Residentiary Canons, suffragan bishops, archdeacons and honorary and lay canons. The College meets to consider cathedral affairs. It also has the task of electing a new bishop in accordance with the Appointment of Bishops Act 1533. Cathedrals as charities Cathedrals are ecclesiastical corporations.  Corporations are Common Law entities which exist independent of their members. As such they:

• exist in perpetuity;
• can act as if they were a person so can, for example, sue or be sued in their corporate name;
• can buy and sell lands and hold them for the benefit of the members of the corporation and their successors;
• have a common seal which is used to confirm their actions;
• can make by-laws or statutes for the regulation of their own affairs; and
• because of the need to supervise corporate acts, have a Visitor.

Cathedrals are corporations aggregate established for spiritual purposes. All cathedrals are registered charities.  Prior to the Cathedrals Measure 2021 cathedrals were excluded from registration but they are now registered and regulated by both the Charity Commission and the Church Commissioners.  

Each cathedral is responsible for its own finances.  Cathedrals are independent from the central institutions of the Church of England and from dioceses. Cathedrals raise the funds necessary for them to fulfil their role as places of worship and mission (involving maintaining their buildings, supporting those in liturgical roles, clergy, musicians and lay staff, and enabling the cathedral buildings to be open to all every day of the year) from a variety of sources.  These include:

• congregational giving,
• legacies,
• income from visitors,
• sums generated by trading activities,
• income from investments and property (for those cathedrals with such assets),
• monies donated in response to appeals and fundraising activity, and
• grants from the Church Commissioners.  The Church Commissioners pay the stipends of three clergy at each cathedral and pay grants for employment costs of lay staff to cathedrals depending on need – those cathedrals with the lowest income from other sources receive most.  Royal Peculiars do not receive any grant funding from the Church Commissioners.

Cathedrals benefit from the Listed Places of Worship Grant Scheme run by the Government, which gives cathedrals an amount equivalent to the irrecoverable VAT paid on repairs and approved alterations to the cathedral church.

For further information on any cathedral please visit the Cathedrals page. To get in contact with the Association directly please fill out the form below or call us on 07860 921419. Click here for Media and marketing enquiries

The Report and Accounts for the Association of English Cathedrals can be downloaded from the Resources Downloads section of this website

More information about the Church of England can be found on the Church of England website Information relevant to the care of cathedrals and church buildings can be found on the ChurchCare website  

The Cathedrals Measure 2021 and the Care of Cathedrals Measure 2011 are the two principal pieces of legislation which govern cathedrals.

A Royal Peculiar is a church that belongs directly to the monarch and not to any diocese, and does not come under the jurisdiction of a bishop. The concept originated in Anglo-Saxon times and developed as a result of the relationship between the Norman and Plantagenet Kings and the English Church. Henry VIII retained Royal Peculiars following the Reformation; the Ecclesiastical Licences Act of 1533, as confirmed by the Act of Supremacy of 1559, transferred to the Sovereign the jurisdiction which had previously been exercised by the Pope. There are a number of Royal Peculiars of which Westminster Abbey (the Collegiate Church of St Peter, Westminster) and St George’s Chapel, Windsor (the Queen’s Free Chapel of St George in Windsor Castle) are the best known. Others include the Chapels Royal at Hampton Court and St James Palace, the Queen’s Chapel of the Savoy, the Chapels of St Peter ad Vincula and St John the Evangelist in the Tower of London and the Royal Foundation of St Katharine. The Ecclesiastical Household is administered in the Lord Chamberlain’s Office at Buckingham Palace.

This will link to the liturgy and music group listing.

What is a cathedral? What is the difference between a church and a cathedral? And what is the meaning and definition of cathedral.  (More of your cathedral related Frequently Asked Questions here). A cathedral is the seat of the bishop and a centre of worship and mission. The primary purpose of a cathedral is to be a place of Christian worship but it is also often the oldest building in continuous use in its surrounding area and of significance to the heritage, culture and community life of the area it serves.

• Cathedrals are the mother churches of their dioceses and act as focal points for services and celebrations for those worshipping in churches throughout the diocese.
• 38 out of 42 cathedrals are Grade I listed. Cathedrals are the oldest buildings in continuous use in their environments. They are complicated both archaeologically and architecturally. They are unique and priceless heritage assets.
• Cathedrals are open 365 days a year. They are open in times of national crisis and celebration and act as focal points in their communities. They provide unthreatening spiritual spaces for people.

• Cathedrals are often the largest buildings available for public use for some distance and act as venues for concerts, lectures, degree ceremonies and other such events.
• The cathedrals of England make a significant contribution to the life of the nation. Their social and economic impact was shown in research conducted in 2014. This showed that cathedrals were responsible for direct visitor-related spend of £125 million and for a total spend of £220 million, significant economic outcomes for the surrounding areas.
• Cathedrals offer facilities for visits by schools. Most cathedrals employ education officers who work within national curriculum guidelines to provide tours, trails and workshops which supplement classroom learning. The topics covered relate to religious education and history but also to a wide variety of other subjects – cathedrals are immensely rich learning resources.
• Cathedrals also offer opportunities for adult learning, providing guided tours for groups and openings to develop skills through volunteering. Very significant numbers of volunteers assist in keeping cathedrals open for the public to enjoy.
• Cathedrals are the main sustainers of the English Choral tradition, running choirs involving adults and children, both boys and girls. The English Choral tradition is a unique part of English culture but one which has suffered decline in recent years as choirs in parish churches have become less common. Cathedrals maintain the tradition and produce music of very high standard week in, week out. For those participating, cathedral music is a unique educational experience; singing as part of a professional team develops many transferable skills. The majority of cathedrals now have girls’ choirs as well as the more traditional boys’ choirs.
• Cathedral workshops employ a large proportion of the nation’s craftsmen with conservation skills, including stonemasons, carpenters, and stained glass specialists. Cathedrals have a very significant role in ensuring the continuity of conservation skills and in educating new craftsmen. Cathedrals work with both English Heritage and the National Skills Council to ensure that there are training opportunities for those interested in careers in conservation.

Now you know what a cathedral is, why not find out about each of them in our Cathedral A - Z by clicking here >

   

There are many networks within cathedrals which facilitate contact between those working in similar roles.  These networks are independent of the Association of English Cathedrals.

The Cathedrals' Liturgy and Music Group (CLAM) is part of the Association of English Cathedrals, looking after matters relating to liturgy and music.  In view of the AEC's new policy of appointing working groups to address issues as and when they arise, it has been decided to suspend the work of CLAM for the foreseeable future.

The Ecclesiastical Insurance Group website contains information and advice which is of interest to cathedrals. Spiritual Capital: The Present and Future of English Cathedrals - the report produced by the Grubb Institute and Theos is available to download from the Theos website. Information on how to apply for grants under the Listed Places of Worship Grant Scheme has been updated to reflect the latest changes to the Scheme.  

Sarah King has been the Executive Director (formerly AEC Co-ordinator) since 2005.  She is also the Company Secretary.  Sarah was the Administrator at Southwark Cathedral from 1996 to 2005, a time which saw considerable change as the Cathedral undertook a Millennium building project and responded to the growth in activity on Bankside and the South Bank of the Thames more generally. Prior to that, Sarah worked for Lloyd’s of London, Thomas Cook, in banking operations for HSBC, and as a management consultant for Deloitte Haskins and Sells, the firm with which she qualified as a Chartered Accountant in 1983.

The AEC’s Executive Committee has 12 members.  Nine are elected by the member cathedrals, of which no fewer than four must be deans and no fewer than four must be other Chapter members, whether lay or ordained.  At least three members have to come from each of the Northern and Southern Provinces.  There are three ex-officio members, the Chair of the Deans’ Conference and the Chair and another member of the Executive Committee of the Cathedrals’ Administration and Finance Association.

This section of the website contains information relevant to cathedrals, including downloadable documents and links to other websites.

The Association of English Cathedrals: a support, resource, and advocate.

We are here to support our cathedrals to bring the richness of the Gospel and its relevance to all.

The Association of English Cathedrals (AEC) was formed in 1990 as an unincorporated association to represent the interests of English Anglican Cathedrals in negotiations with English Heritage about a Cathedrals Grant Scheme. Over the years, its role has expanded and now is a collaborative network and resource for all Church of England cathedrals.

It exists to help raise the profile, and resource their mission and ministry potential.

It  seeks to support our cathedrals by networking, storytelling, reflection, advocacy, training and research, so they can witness to the constancy of God’s love for all creation in Jesus Christ and offer a perspective on the world we inhabit.

How does the AEC achieve this? Through the work of the AEC Executive, its staff, and our special project groups, the AEC:

• Ensures its work is informed by ongoing conversation, research and routes to include all voices.
• Where appropriate, represents cathedrals to government, other key stakeholders and the public. 
• Where appropriate, shapes and represents cathedrals to the governance structures of the Church of England.
• Gathers and shares good practice and inspiration, encourages and enables joint working when mutually beneficial.
• Offers knowledge and skills, especially for those serving our cathedrals, provides a forum for listening, exploring ideas and learning together.
• Promotes the profile and impact of cathedrals to dioceses, the Church of England and to wider society.

This enables Cathedrals to serve the communities of their dioceses effectively, and offer the welcome of God’s love for all as centres for worship and mission, and as the seat of the bishop, Its members are the 42 Anglican cathedrals; St George’s Chapel, Windsor, Westminster Abbey, Cathedral Isle of Man and St Davids Cathedral are associate members. You can download our latest AEC brochure here. The AEC’s activities are overseen by a Board of Directors and Trustees (known as the Executive Committee) elected by the members. The Executive meets on four occasions each year. The AEC has a number of staff, all of whom work part-time: an Executive Director, an Administrator, and two Coordinators for the Cathedral and Major Church Projects Support Panel, as well as two part-time communications consultants.