12 Best Sights in Salisbury, The South

Salisbury is dominated by the towering cathedral, a soaring hymn in stone. It is unique among cathedrals in that it was conceived and built as a whole in the amazingly short span of 38 years (1220–58). The spire, added in 1320, is the tallest in England and a miraculous feat of medieval engineering—even though the point, 404 feet above the ground, is 2½ feet off vertical. The excellent model of the cathedral in the north nave aisle, directly in front of you as you enter, shows the building about 20 years into construction, and makes clear the ambition of Salisbury's medieval builders. For all their sophistication, the height and immense weight of the great spire have always posed structural problems. In the late 17th century, Sir Christopher Wren was summoned from London to strengthen the spire, and in the mid-19th century Sir George Gilbert Scott, the leading Victorian Gothicist who designed the Houses of Parliament, undertook a major program of restoration. He also initiated a clearing out of the interior and removed some less-than-sympathetic 18th-century alterations, returning a more authentically Gothic feel. The spartan interior is enlivened by the remarkable lancet windows and sculpted tombs of crusaders and other medieval notables. Next to the cathedral model in the north aisle is a medieval clock—probably the oldest working mechanism in Europe, if not the world—made in 1386 (there are late-morning demonstrations). 

The cloisters are the largest in England, and the octagonal Chapter House contains a marvelous 13th-century frieze showing scenes from the Old Testament. Here you can also see one of the four original copies of the Magna Carta, the charter of rights the English barons forced King John to accept in 1215; it was sent here for safekeeping in the 13th century.

There are bookable tours of the Tower (332 steps up) and the Library (which dates from 1445 and has more than 10,000 books, some 800 years old), as well as free tours of the floor monuments, the stained glass windows, and the Stonemasonry Works, where you can view stone carvers at work. For a peaceful break, the café in the cloister serves freshly baked cakes and pastries, plus hot lunches.

This is considered to be one of the loveliest stately homes in England and, along with its grounds, a fine example of the English Palladian style. The seat of the earls of Pembroke since Tudor times, the south wing of the current building was rebuilt in the early 17th century by Isaac de Caus, with input from Inigo Jones, Ben Jonson's stage designer and the architect of London's Banqueting House. It was completed by James Webb, again with input from Jones, Webb's uncle-by-marriage, after the south wing was ravaged by fire in 1647. Most noteworthy are the seven state rooms in the south wing, among them the Single Cube Room (built as a perfect 30-foot cube) and one of the most extravagantly beautiful rooms in the history of interior decoration, the aptly named Double Cube Room. The name refers to its proportions (60 feet long by 30 feet wide and 30 feet high), evidence of Jones's classically inspired belief that beauty in architecture derives from harmony and balance. The room's headliner is the van Dyck portrait of the Pembroke family. Elsewhere at Wilton House, the art collection includes several other Old Master paintings, including works by Rembrandt and members of the Brueghel family. Another exhibition is devoted to Cecil Beaton's photo portraits of 20th-century notables and the current Lord Pembroke's collection of classic cars. Also of note are the 22 acres of lovely grounds, which have sweeping lawns dotted with towering oaks; the gardens; and the Palladian bridge crossing the small River Nadder, designed by the ninth earl after the Rialto Bridge in Venice. Some public rooms may be closed on some open days (check website), and there are one-hour guides tours Monday through Wednesday.

Eighty acres of rolling lawns and splendid period architecture provide one of Britain's finest settings for a cathedral, the largest cathedral close in the country. Laid out in 1220, it is bordered by 21 historic buildings and contains three museums: the Mompesson House, the Salisbury Museum, and the Rifles Museum, which is devoted to the county's infantry regiments.

One of four castellated gateways originally built between 1327 and 1342 using stones taken from the original settlement at Old Sarum, this is the north passage through the wall that surrounds the Cathedral Close. The mullioned windows over the archway mark the site of a small lock-up jail to which anyone who committed offenses within the Close was taken.

For a classic view of Salisbury, head to Long Bridge and Town Path. From the main street, walk west to Mill Road, which leads you across the Queen Elizabeth Gardens. Cross the bridge and continue on Town Path through the water meadows, from which you can see the vista that inspired John Constable's 1831 Salisbury Cathedral from the Meadows, one of Britain's most iconic paintings, now on view in London's Tate Britain.

The Charter Market, one of southern England's most popular markets, fills this square on Tuesday and Saturday. Permission to hold an annual fair here was granted in 1221, and that right is still exercised for three days every October, when the Charter Fair takes place. A narrow side street links Poultry Cross to Market Place.

A perfect example of Queen Anne architecture, this family home built in 1701 sits on the north side of Cathedral Close. It's notable for magnificent plasterwork, an exceptional carved oak staircase, fine period furniture, and a superb collection of 18th-century drinking glasses. Tea and refreshments are served in a walled garden. Admission is by pre-booked tour only.

This 15th-century building with some 13th-century features became England's first paper mill in the early 16th century and is now a hotel and atmospheric pub. It makes a pleasant destination for a 20-minute walk along Town Path southwest of the town center.

Massive earthwork ramparts on a bare sweep of Wiltshire countryside are all that remain of this impressive Iron Age hill fort, which was successively taken over by Romans, Saxons, and Normans. You can still see the ruins of a castle built by William the Conqueror in 1070 within the earthworks. The site was still fortified in Tudor times, though the population had mostly decamped in the 13th century to New Sarum, or Salisbury. Clamber over the huge banks to take in the far-reaching views to Salisbury Cathedral.

One of Salisbury's best-known landmarks, the hexagonal Poultry Cross is the last remaining of the four original medieval market crosses that gave shelter to market traders (other crosses indicated the dairy, wool, and livestock markets). A cross on the site was first mentioned in 1307, though the current structure dates from the late 15th century. The canopy and flying buttresses were added in 1852.

Opposite the cathedral's west front, this excellent museum of regional history is in the King's House, parts of which date to the 15th century (James I stayed here in 1610 and 1613). The history of the area from prehistoric times through the Norman Conquest is explored in the Wessex gallery, which houses some of Britain's most important archaeological finds and also has Stonehenge-related exhibits that provide helpful background information for a visit to the megaliths. Also on view are collections of local costumes dating back 250 years, outstanding British ceramics, and Turner watercolors, all dwarfed by the 12-foot Salisbury Giant, a 13-century pageant figure, and his companion hobbyhorse, Hob Nob. A cozy café is in one of the oldest sections of the building.

Dating back to 1226 and initially built as a chapel for the workmen who would go on to construct the cathedral, this still-active church contains a rare medieval Doom painting (a term for paintings in medieval churches of Judgment Day), a fresco that is considered to be the best preserved of the few such works left in Britain; it's also the largest. Created around 1470 and covering the chancel arch, the scenes of heaven and hell served to instill the fear of damnation into the congregation. Restored in 2019, it's best seen on a spring or summer evening when the light through the west window illuminates the details.