This book uses Canterbury Cathedral as a vehicle for tracing the work of the Gothic Revival movement by plotting the history of the building as an exemplar of the Gothic style from its re-creation following the disastrous fire of 1174. The work of rebuilding the cathedral in the new Gothic style is carefully described and then what subsequently transpired via alteration, changes in liturgical behaviour, the Reformation, ideological iconoclasm, exigencies of the weather and neglect. Instances are given of the rescue of the Gothic heritage by sometimes desperate measures. What could have been near terminal decline was averted by the Whig government's decision to create the Ecclesiastical Commission in 1836 and to allow the endowment of cathedrals. In 1841 the chapter established its own workforce even though there was no fabric fund. It is stated (p 35) that:

Willis might be said to be the father of the academic discipline of architectural history and his interest sparked wide-ranging discussion of the Gothic style. This interest, taken up by such luminaries as Horace Walpole and William Beckford, led to the creation of new Gothic-inspired buildings such as Walpole's spectacular Strawberry Hill and Beckford's fantastic extravaganza of Fonthill Abbey. The book conducts a brief review of how Romanticism and the Gothic Revival were mutually responsible for a new fashion in design, printing and literature, as well as in architecture. It shows how Gothic became a national style, perhaps even an obsession, which culminated in the rebuilding of the Houses of Parliament in the grand Gothic style.

A whole chapter is devoted to the recovery of Saint Augustine's Abbey and the people who brought that about. It had been severely neglected, quarried and used for other purposes; by making use of the existing remains, however, and incorporating them into what was to become Saint Augustine's College, created in the Gothic Revival style, it was restored and protected. The authors believe this achievement to have been as important as the work on the cathedral, with important consequences, as it gave impetus to its architect's career. Thus William Butterfield undertook projects in the Gothic Revival style across southern England. Canterbury also featured in the career of George Gilbert Scott, founder of an architectural dynasty and a leader in the Gothic Revival and the ‘Victorianisation’ of many medieval churches – the restoration of the ideal of the Gothic style practised at the time.

The authors return to the cathedral with a description of the work of Dean Alford, who, from 1852, was responsible for much building and restoration work as well as being a developer of the cathedral's musical side. He undertook the task of beautifying the cathedral but also installed the gas lighting which gave rise to pollution and caused damage.

The final chapter of the book considers how the Gothic Revival style, much influenced by Canterbury, was exported to the colonies, especially as clergymen involved with St Augustine's College were to become bishops in Australia, New Zealand and Canada. A brief history is given of the development of the Anglican Church in those colonies and analysis of some of the Gothic-style buildings which were erected to serve it.

The authors of this book may be considered the doyens of Canterbury history. Both are Oxford-educated and have played a central role in the establishment of Kent Archaeology, Lawrence being one of the founders and for a long time an office holder, latterly leading the Friends’ organisation. In the 2012 New Year's Honours he received an MBE for services to archaeology and local history. Marjorie was Kent Archaeology's education officer for many years, as befits a former history teacher. She is also the author of a number of books about the history of Canterbury. For their work in developing interest in local history they received civic awards from the City of Canterbury. Both have also been made Fellows of the Historical Association.

The authors say they have explored ‘a neglected century of Canterbury's history’. They have provided a very readable introduction to this particular aspect of architectural history, with particular reference to Canterbury. The book is written for the general reader rather than being an academic study. The subject matter, whilst always focused on the Gothic Revival, is wide ranging and provides a solid general foundation to the subject. This reviewer, despite his general abhorrence of Victorian restoration of medieval churches and potential bias against the whole Gothic Revival in that aspect of its work, nonetheless found this book to be interesting and eminently accessible. The book is well illustrated in both colour and black and white and the illustrations chosen are pertinent to the text and have their own intrinsic interest – for example, a reproduction of an engraving of the first Anglican missionary in Australia or the Rowlandson cartoon of ‘Dr Syntax’.