‘Blessed place, blessed church/In which the memory of Thomas flourishes!’ Thus begins the antiphon Felix locus from the passion office of Thomas Becket (d. 1170), written around 1173. Performed annually on the anniversary of his martyrdom, the chant exemplifies the ways in which the Christ Church monks sought to keep Becket’s memory alive at the place of his death through the institution of a liturgy that outlined the parameters of his sanctity. By instituting a framework of devotion at Canterbury, the monks also attempted to ‘re-experience’ Becket’s martyrdom through performance of the liturgy, especially in the newly constructed Trinity chapel, a ‘virtual reliquary’ for the saint’s relics. These hagiographic narratives were expanded in 1220, fifty years after Becket’s death, when Archbishop Stephen Langton (d. 1228) arranged for Becket’s translation from the crypt into the Trinity chapel. This article will explore ways in which Canterbury Cathedral was cast as a permanent memorial to Becket, creating a conversation between chant, architecture, and performance, thereby underlining the cathedral’s importance as the stage of Becket’s martyrdom.

“有福的地方，有福的教堂/托马斯的记忆蓬勃发展！” 这样就开始了对音Felix轨迹摘自托马斯·贝克特（Thomas Becket）（卒于1170年）的激情办公室，写于1173年左右。圣歌每年在his难周年纪念日上演出，体现了基督教会修士们试图通过以下方式保持贝克特在他去世之前的记忆：概述他神圣不可侵犯的礼仪制度。通过在坎特伯雷建立虔诚的框架，僧侣们还试图通过礼拜仪式来“重新体验”贝克特的难，特别是在新建的三位一体教堂中，这是圣物的“虚拟圣物”。当贝克特去世五十年后的1220年，当斯蒂芬·兰顿大主教（卒于1228年）安排贝克特从地窖到三位一体教堂的翻译时，这些叙事学叙事得到了扩展。