Abstract
The end of the twelfth and the beginning of the thirteenth century marked a major turning point in the history of the monastery of Christ Church, Canterbury. The destruction of the choir of Christ Church by fire in 1174 was seized by the community as an opportunity to create a complex and unified iconographic programme in the windows of the rebuilt church. At the same time, the rapid canonisation of Thomas Becket after his murder in 1170 and the growing success of the Canterbury pilgrimage triggered a reorganization of the liturgy of the cathedral. This study compares the iconography of the typological and hagiographical windows of the choir of the cathedral with the liturgical texts, revealing that these two media were used by the monastic community to create and broadcast a corporate identity rooted in the cathedral past, and wich enhanced the religious and political roles played by Canterbury in the context of the redefinition of the relations between Church and King
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