This oil painting by an unknown artist of the interior of Canterbury Cathedral shows the Quire as it appeared in 1663. Due to the artists’ attention to detail when representing the architecture, it is evident that the Cathedral’s interior has barely changed since the 17th century. The painting captures the sense of depth and scale of the building, the stone vault is 18 metres or 59 feet high. The inclusion of the diminutive figures in the centre highlights the heights of the vaulted ceilings. The detailed ornamentation and gothic arches create a realistic sense of the space. The artist also chose to offer a perspective that many would never be able to experience in real life, as the viewer experiences the scene suspended in mid-air.

This oil painting depicts a part of Canterbury that no longer exists, unlike the other paintings in this collection which feature landmarks which have remained relatively unchanged since they were painted. The Ridingate, previously called Radingate, or Rider’s Gate, was on the Roman military road that connected Dover and Canterbury (the modern day A2). The gate which was between Watling Street and Old Dover Road was taken down in 1782, and in 1791 it was replaced by a gothic brick arch. H. W. Hayman painted this scene over 100 years after this structure existed, subsequently one can assume that it was painted using much earlier sketches of the original gate and not from life.

Alfred Stannard was an English landscape artist. This painting Canterbury, Kent, from the Stour Meadows observes Canterbury from afar, from the banks of the River Stour. This view and style of scene was very popular in paintings of the 19th and early 20th century. The Romantic influence of John Constable is apparent in the expressive and somewhat ominous sky. Despite the initial focus on the natural landscape with large expressive twisting trees with the cows and figures in the foreground, one is pulled towards the background, to the distinctly man-made objects of Canterbury Cathedral and the Westgate as they stand out against the horizon.

This oil painting of Canterbury Cathedral from across the River Kingsmead is by British landscape painter, wood-engraver, and etch, Alfred Dawson. The scene is barely lit by sunlight and the muted pastel colour palette makes the painting feel still and timeless. The imposing silhouette of the Cathedral contrasts the colour-tinged clouds with the faint ghost of the Cathedral windows illuminating it from within. Unlike Stannard’s, Dawson’s painting is a more Romantic depiction of the Cathedral, with a focus on light and atmosphere. There is a dream-like quality to the hazy Cathedral emerging from the sunlight, as if a Gothic castle, standing alone surrounded by nature. The reflection of light in the river adds to this otherworldly atmosphere.

The Baedeker Blitz was a series of attacks by the Luftwaffe on English cities during World War II. It was named after a series of German tourist books called Baedekers, which included detailed maps of sites of interest or historical significance in Britain. The Germans used this guide to find targets for a series of revenge bombings which focused on locations of cultural significance rather than military value. In June 1942, businesses, homes and schools were destroyed as chandelier flares were dropped to light up the whole city and incendiaries showered on the Cathedral. Miraculously, it was saved from the fire raging through the city due to a small group of fire watchers on the roof who would pick up and extinguish the incendiary bombs.

This highly detailed oil painting depicts a particularly memorable building in Canterbury, Number 44-45 High Street – which is now Caffe Nero, as it would have appeared in the 1960’s. It is referred to as Queen Elizabeth’s Guest Chamber and is now a Grade II listed building. The site was established in 1200 and was occupied by the Crown Inn from the 15th to 18th centuries.

In 1899, the first floor was separated from the ground floor shops, which allowed the development of the first floor into a single large room, which has been known since 1904 as “Queen Elizabeth’s Guest Chamber” – a probable reference to the three days Queen Elizabeth 1st is said to have spent there for her 40th birthday in 1573.