The Cathedral
The Metropolitan Cathedral of Christ the King is situated on the high ridge of Mount Pleasant and is visible from most parts of the city. Circular in plan, this iconic building is set on a podium formed by a continuation of the roof of the Lutyens Crypt. Its tapering lantern tower is surmounted by 16 pinnacles, encircled by a lattice-work crown. The main conical roof and drum of the nave support the tower which, unusually in cathedral buildings, relates directly to the primary area of the internal space - the Sanctuary and High Altar. The cathedral is surrounded on all sides by university buildings. Underneath there is a circular car park. In the garden there is a granite sculpture, Still Point by Susanna Heron.
The Cathedral is approached from the South by the monumental flight of steps linking the ground level piazza to the podium and flanked on one side by the Visitor Centre and on the other by Science Park 1 building. Other aproaches are from the East (Mount Pleasant), and the West (opposite the entrance to Liverpool John Moores University Arts Academy Building) by smaller fiights of steps. A fourth set, from the North side, here of flying steps, leads the visitor from Brownlow Hill directly on to the plaza facing the open air altar.
From the North side the glazed Rotunda which gives access to the Crypt from the Cathedral can be seen to the left of the Blessed Sacrament Chapel.
In the centre of the garden to the side of the main staircase, is a marble clad sculpture, Still Point, by artist Susanna Heron. This was dedicated in April 2007.
The four approaches to the Cathedral are flanked by multi-coloured glass steles, standing like sentries guarding the cathedral. The North and West steles were the first to be installed, with those at the South and East stairs added in 2009. These panels were formally dedicated on the feast of Pentecost, 23 May 2010, the feast on which the Cathedral was opened in 1967. These steles are the creations of Raphael Seitz, a German artist.
At the top of the main steps is the façade of the bell tower above the main entrance. High above, a pattern of crosses, by William Mitchell, is carved in deep relief in the portland stone. The large central cross of Christ is flanked by the crosses of the two thieves who were crucified with him. The cross of the repentant thief is studded with tears, whilst the other is left plain.
Above the façade are the four bells dedicated (in descending order of size) to Matthew (4,674kg), Mark (1,321kg), Luke (558kg) and John (47kg). Electrically operated, they are designed either to ring freely in a harmonious chord of A flat, or to be tolled individually. They are rung before and after Solemn Mass on Sundays, and before Evening Prayer, as well as on other occasions and make a fascinating visual and aural experience.
On either side of the entrance are William Mitchell's sliding doors of cold-cast bronze, the panels of which depict the winged emblems of the four evangelists - the man of St Matthew, the lion of St Mark, the ox of St Luke and the eagle of St John. These slide closed at night time to protect the glazed doors. The centre screen can be raised to allow access when there are large numbers in the congregation and for processions. The main porch is high inside, with stairs and a lift to the lower porch and car park on either side.
A low connecting corridor weighs down on the visitor so that on entering the cathedral through the inner doors, the enormous height of the lantern tower becomes enhanced by this experience. Weighing over 2,000 tons, this structure floats above the sanctuary, inwardly and outwardly marking the High Altar - the liturgical and architectural focal point to which the whole of the building is related. The tower frames the masterpiece in stained glass designed by John Piper and realised by Patrick Reyntiens which is one great window (the largest in the world) depicting, in abstract form, the Trinity. The continuous spectrum represents the glory of God, whilst bursts of white light signify the three persons of the Trinity. At night the lantern window is illuminated from within, creating a beacon which shines above the rooftops of the city. A Pathé News reel describes the creation of this enormous masterpiece.
FLOOR PLAN
To enlarge this plan please zoom in on your browser. The combined footprint of the cathedral and the crypt is believed to be the largest of any cathedral in Britain.
THE NAVE, SANCTUARY AND HIGH ALTAR
The circular nave is the fundamental motif of this cathedral's very modern plan. Its purpose is to associate the 2,300 members of the congregation as closely as possible with the celebrant at the table of the Lord, whilst allowing the presiding priest (the Archbishop at major festivals and other occasions who occupies the chair [or cathedra] ) at the presidential chair to be at the heart of the circle.
The remarkable design of the marble floor by David Atkins flows into the sanctuary directly below the lantern tower, which contains the white marble altar and the ambo, from which the Scriptures are read. The bronze crucifix of the High Altar is the work of Dame Elizabeth Frink. Above the altar hangs the baldacchino, symbolically protecting the altar, reminding one of the crown of thorns. This has a secondary acoustical function, as well as making provision for lighting the altar and sanctuary.
Following an ancient tradition of eagle-lecterns, the ambo adapts to Liverpool's maritime setting with the bookrest being framed by two sea eagles of cast and silvered bronze designed by local sculptor Sean Rice, who sadly died before its realisation. It was created by Robin Riley.
The moveable choir stalls and the organ console are situated behind the bishop's chair. The Walker organ, with its four manual and pedal divisions, 108 stops and 4,565 pipes is mounted on a platform above the entrance to the Blessed Sacrament chapel, forming a dramatic backdrop to the sanctuary. The two tall slim grey columns at the front of the choir house the loudspeakers for the state of the art public address system.
THE CHAPELS
Around the perimeter of the nave are several chapels, described clockwise from the entrance.
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The CHAPEL OF RECONCILIATION, incorporating rooms for confession and counselling, is adorned with a low relief sculpture by Stephen Foster.
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 The CHILDREN'S CHAPEL
houses a stone-finished sculpture also by Foster, depicting Christ surrounded by children. Suffer not the little children to come unto me.
The horizontal windows have been likened to the Oranges and Lemons nursery song.
The woven hanging by Jill Hutchinson depicts the Sea of Galilee.
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In the small AMNESTY CHAPEL in the West porch a candle wrapped with barbed wire burns perpetually as a reminder of prisoners of conscience. The candlestick was designed by Lutyens for his unfinished project and a small wooden sculpture of Christ before Pilate by Peter Ball is a poignant symbol of persecution.
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The CHAPEL OF ST JOSEPH, between the West porch and the Lady Chapel, is lined with vertical pine boarding into which a number of scenes have been carved directly by Stephen Foster. In the centre, a simple black slate tomb is the resting place of Derek Worlock, CH, the seventh Archbishop of Liverpool.
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Softly coloured rose-tinted windows allow a warm light to enter the LADY CHAPEL with its ceramic sculpture of the Madonna and Child by Robert Brumby. The crucifix is by Elizabeth Frink and the candlesticks by David Mellor.
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The WEST APSE to the right contains a powerful sculpture by Sean Rice of Abraham, a common ancestor to Jews and Arabs and a symbol of all who believe in the one God. The Patriarch is about to sacrifice a ram rather than his only son Isaac.
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On the main axis, the BLESSED SACRAMENT CHAPEL, the largest of the peripheral chapels, contains the tabernacle by Ceri Richards in which the Sacrament
is reserved. Richly ornamented in gilt metal, glass and enamels, the centre door symbolises the glory of God, depicted by the heavens and constellations, with the side doors showing the chalice and host. The great triangular windows and the reredos, also by Richards, are together with the tabernacle part of a triptych of colours.
The bronze figure of the Risen Christ is by Liverpool born sculptor Arthur Dooley.
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The EAST APSE was adapted in 2009 to form a link between Cathedral and Crypt and the pair of doors lead to a glazed link and Rotunda which houses both a circular stair and lift.
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The smallest and only fully enclosed space is that of the CHAPEL OF ST COLUMBA. Lit by small square windows by David Atkins, it is a place for silent prayer. The canopy above the altar reminds us of Columba's journeys by boat and this, the altar and ambo are the designs of Richard O'Mahoney. The hanging panels were designed by Sr Anthony Wilson.
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 The striking Pentecost mosaic by Georg-Mayer Marton dominates the CHAPEL OF UNITY. Originally made for the Church of the Holy Ghost in North Liverpool, now demolished, it was resited in 1988 by Robin Riley.
The subtle coloured glass of the slit windows either side of the mosaic can only be appreciated when the sun is in the optimum positions to light them early in the morning.
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The CHAPEL OF REMEMBRANCE contains the volumes of the Golden Book of Remembrance for the names of benefactors and their friends. The embroidered panel was made in the Cathedral Art Studio and inspired by Cardinal Newman's Dream of Gerontius and designed by Sr Anthony Wilson.
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Further round, past the East porch is the CHAPEL OF THE HOLY OILS where the vessels containing the oils blessed in the Cathedral at the Mass of Chrism each year are housed. The panel of embroidery was designed by Robin McGhie.
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Finally the circular BAPTISTERY with its bronze gates by David Atkins, and presented by the City of Liverpool, has the white marble font as its centrepiece. The Paschal Candlestick was designed by Robin McGhie and the two wooden sculptures, entitled Prophet and Angel are by Ernst Blensdorf.
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THE STATIONS OF THE CROSS
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Mounted between the peripheral spaces these unusual and thought-provoking sculptures are by Liverpool artist Sean Rice and depict traditional scenes from Christ's journey to Calvary. Cast by the lost wax process in manganese bronze, they were the gift of Archbishop Worlock to his cathedral.
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THE WALL HANGINGS
On some of the spaces above the chapels, there are a number of wall hangings which were made in the Art Studio by our expert volunteer needlewomen.
They were designed by Sr Anthony WIlson.
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