This excellent, state-of-the-art exhibit uses an artful combination of multimedia displays and actual artifacts to provide context for the stones.

You’ll begin by standing in the center of a virtual Stonehenge, witnessing its evolution through 5,000 years—including simulated solstice sunrises and sunsets. Take time to watch the helpful three-minute video, which sets the stage for what you’ll soon see.

Then you’ll head into the exhibits, where prehistoric bones, tools, and pottery shards tell the story of the people who built Stonehenge, how they lived, and why they may have built the stone circle. Find the forensic reconstruction of a Neolithic man, based on a skeleton unearthed in the 1860s. Small models illustrate how Stonehenge developed from a simple circle of short, stubby stones to the stout ring we know today, while a timeline situates Stonehenge historically among the likes of the Egyptian pyramids, Ireland’s Newgrange, and Peru’s Machu Picchu.

A large screen shows the entire archaeological area surrounding Stonehenge (which is just one of many mysterious prehistoric landmarks near here). In 2010, within sight of Stonehenge, archaeologists discovered another 5,000-year-old henge, which they believe once encircled a wooden “twin” of the famous circle. Recent excavations revealed that people had been living on the site since around 3000 BC—about five centuries earlier than anyone had realized.

Then step outside and explore a handful of reconstructed Neolithic huts. These are modeled after the traces of a village discovered just northeast of Stonehenge. Step into the thatched-roof huts and take a nap on a primitive “wicker” bed. Docents demonstrate how people used Neolithic tools—made of wood, flint, and antler. You’ll also see a huge, life-size replica of the rolling wooden sledge thought to have been used to slooooowly roll the stones across Salisbury Plain. While you can’t touch the stones at the site itself, you can touch this one.

• Next, head to the stone circle. To get there, you have two options: Take a 6-minute shuttle bus, which departs every 5-10 minutes from just behind the gift shop (there may be a wait); or walk about 1.5 miles (about 30 minutes) through the fields to the site—take the well-signed path behind the ticket booth, then follow your fellow pilgrims (or ask a staff member for directions).

Along the way, you have the option of stopping at Fargo Plantation, where you can see several burial mounds. (If you choose the shuttle bus, tell the attendant when you get on if you want to disembark here.) After wandering through the burial mounds, you’ll need to walk the rest of the way to the stone circle (about 20 minutes).

As you approach the massive structure, keep left (many will veer right, heading straight for the stones). Find a gap along the knee-high cordon and let the other 21st-century tourists melt away. It’s just you and the druids...

England has hundreds of stone circles, but Stonehenge—which literally means “hanging stones”—is unique. It’s the only one that has horizontal cross-pieces (called lintels) spanning the vertical monoliths, and the only one with stones that have been made smooth and uniform. What you see here is a bit more than half the original structure—the rest was quarried centuries ago for other buildings.

Now walk clockwise around the monument, mentally fleshing out the missing pieces and reerecting the rubble. Knowledgeable guides posted around the site are happy to answer your questions. As you walk, ponder what’s before you.

It’s now believed that Stonehenge, which was built in phases between 3000 and 1500 BC, was originally used as a cremation cemetery. But that’s not the end of the story, as the monument was expanded over the millennia. This was a hugely significant location to prehistoric peoples. There are several hundred burial mounds within a three-mile radius of Stonehenge—some likely belonging to kings or chieftains. (You can see a handful from here: Just look for small, grass-covered lumps in the distant landscape.) Some of the human remains are of people from far away, and others show signs of injuries—evidence that Stonehenge may have been used as a place of medicine or healing.

• Pause when you reach the large, vertical stone that sits apart from the circle close to the path.

Whatever its original purpose, Stonehenge still works as a celestial calendar—and this stone, the “heel stone,” is central to that function. As the sun rises on the summer solstice (on or around June 21), the heel stone lines up with the sun and the altar at the center of the stone circle; it does the same for midwinter sunset. (An arrow at your feet helps explain.)

A study of more than 300 similar circles in Britain found that each was designed to calculate the movement of the sun, moon, and stars (including predicting eclipses), helping early societies know when to plant, harvest, and party. Even in modern times, as the summer solstice sun sets in just the right slot at Stonehenge, pagans boogie.

Midway between the heel stone and the circle is a large stone lying in the grass. It once stood upright, one of multiple stones that marked the entrance to the circle—but in the 1800s, Victorians mistook its horizontal state for an altar, assumed sacrifices were made here, and gave it the misleading nickname the “slaughter stone.”

• Continue circling the stones, navigating your way between tourists posing for all sorts of photographs.

Some believe that Stonehenge is built at the precise point where six “ley lines” intersect. Ley lines are theoretical lines of magnetic or spiritual power that crisscross the globe—and belief in their power has gone in and out of fashion over time. They are thought to have been very important to prehistoric peoples but were largely ignored until the early 20th century, when the English writer Alfred Watkins popularized them (to the scorn of serious scientists). More recently, the concept has been embraced by the New Age movement. Without realizing it, you follow these ley lines all the time: Many of England’s modern highways follow prehistoric paths, and most churches are built over prehistoric monuments—placed where ley lines intersect. If you’re a skeptic, ask one of the guides at Stonehenge to explain the mystique of this paranormal tradition.

• Take a moment when you’re on the far side of the circle opposite the heel stone.

From here, you can easily see the two types of stone that Stonehenge’s builders used. The tall, stout monoliths and lintels are sandstone blocks called sarsen stones. Most of the monoliths weigh about 25 tons (the largest is 45 tons), and the lintels are about 7 tons apiece. These sarsen stones were brought from “only” 20 miles away. Scientists have chemically matched the shorter stones in the middle—called bluestones—to outcrops on the south coast of Wales...240 miles away (close if you’re taking a train, but far if you’re packing a megalith). Imagine the logistical puzzle of floating six-ton stones across Wales’ Severn Estuary and up the River Avon, then rolling them on logs about 20 miles to this position. It would be an impressive feat, even in our era of skyscrapers.

Why didn’t the builders of Stonehenge use what seem like perfectly adequate stones nearby? This, like many other questions about Stonehenge, remains shrouded in mystery. Think again about the ley lines. Ponder the fact that many experts accept none of the explanations of how these giant stones were transported. Then imagine congregations gathering here 5,000 years ago, raising thought levels, creating a powerful life force transmitted along the ley lines. Maybe a particular kind of stone was essential for maximum energy transmission. Maybe the stones were levitated here. Maybe psychics really do create powerful vibes. Maybe not. It’s as unbelievable as electricity used to be.

• Make your way through the next part of the path, which is often crowded because it’s the closest you can get to the stones. Stop before the path starts to angle back toward the buses.

Notice that one stone (facing the shuttle bus stop) is severely blemished at the base. It looks like someone has pulled back the monolith to reveal a concrete skeleton. This was a clumsy repair job to reinforce a stone that was in danger of toppling over. Many of the standing stones are now secured with (hidden) concrete that goes deep, deep into the ground.

For centuries, people were allowed to walk right up to the monoliths—and visitors took all sorts of liberties with them. Some took wedding photos, others rented hammers to chip off souvenirs, and even architect Christopher Wren—who grew up not far from here—chiseled his name into a stone. You’ll notice the back of another stone is missing the same thin layer of protective lichen that covers the others. The lichen—and some of the stone itself—was sandblasted off to remove graffiti. The repairs were intentionally done in a different color, so as not to appear like the original stone...and to remind visitors why Stonehenge is now roped off.

For centuries, Salisbury has been known for its lively markets. And today, the big “Charter Market” still fills the vast Market Place each Tuesday and Saturday. This all-purpose market has everything from butchers, fishmongers, and spices to hardware, clothes, and shoes. A little “food court” of international stands is in the center. While fun to browse, this is decidedly not a tourist-oriented market—but it’s great for the age-old tradition of people-watching. Along the square is a handy row of bars and coffee shops with outdoor tables.

Additional markets sprout up every other Wednesday (farmers), Fridays (special themes), and the occasional “Car Boot Sundays”—fun for garage-sale-style bargain hunting. For the latest, see salisburycitycouncil.gov.uk.

Filled with church miscellanea, this Gothic space—short and squat, but still airy and light-filled—boasts an unusual feature: a fully restored “Doom Painting” (illustration of the Last Judgment, c. 1475, over the choir). While these are commonplace in Continental churches, England’s were whitewashed and forgotten during the Reformation. But St. Thomas’s—long hidden behind the painted wooden coat of arms of Queen Elizabeth I, which is now displayed over the red door on the right—was uncovered and restored in the late 19th century. Examine the exquisite, Flemish-style details: Angels pull the dead from their graves (on the left) to stand before the judgment of Jesus (at the top), and some unfortunate souls are sent to the jaws of hell (on the right)—past the Prince of Darkness, whose toe crosses the edge of the Gothic arch.

Cost and Hours: Free, Mon-Sat 9:00-17:00, Sun from 12:00, just west of Market Place on St. Thomas’s Square.

This magnificent cathedral is visible for miles around because of its huge spire (the tallest in England at 404 feet). The surrounding enormous grassy field (called a “close”) makes the Gothic masterpiece look even larger. What’s more impressive is that all this was built 800 years ago in a mere 38 years. When the old hill town of Sarum was moved down to the valley, its cathedral had to be replaced in a hurry. So, in 1220, the townspeople began building, and in 1258 their sparkling-new cathedral was ready for ribbon-cutting. Since the structure was built in just a few decades, its style is uniform, rather than the centuries-long patchwork common in cathedrals of the time. The cathedral also displays a remarkably well-preserved original copy of the Magna Carta (in the Chapter House).

Cost and Hours: £13, cheaper online in advance, Mon-Sat 9:30-17:00, Sun 12:30-16:00, last entry one hour before closing, can be closed for special events. This working cathedral opens early for services: Be respectful if you arrive when one is in session.

Information: +44 1722 555 150, salisburycathedral.org.uk.

Tours: Free one-hour guided tours of the cathedral nave are offered every hour or so, when enough people assemble. The helpful guides also offer short (15-minute) introductory talks on request. Additional themed tours are available throughout the week (see the website).

Tower Tours: Imagine building a cathedral on this scale before the invention of cranes, bulldozers, or modern scaffolding. An excellent tower tour (1.5-2 hours) helps visitors understand how it was done. You’ll climb in between the stone arches and the roof to inspect the vaulting and trussing, see a medieval winch that was used in the construction, and finish with the 332-step climb up the narrow tower for a sweeping view of the Wiltshire countryside. Because only 10 people are allowed on each tour, it’s essential to reserve online a few days ahead—or even longer on summer weekends (£22 if booked online in advance, includes cathedral and Chapter House; schedule varies but generally Mon-Sat hourly 10:15-14:15, Sun at 12:45 and 13:45, fewer tour times Oct-March; no kids under 7; salisburycathedral.org.uk).

Evensong: Salisbury’s daily choral evensong (Mon-Sat at 17:30, Sun at 16:30, about 45 minutes) is just as beautiful as the one in Wells Cathedral. Arrive up to 15 minutes early and enter through the north door. Spectators can sit in the nave or ask to be seated in the wood-carved seats of the choir (if so, plan to stay for the duration—getting up is a disturbance).

Eating: The cathedral has two fine eating options: a glassed-in cafeteria and an outdoor café with prime views (see “Eating in Salisbury,” later).

Visiting the Cathedral: You’ll need to show your ticket twice—here at the entrance, and again to enter the Chapter House (see later). Volunteer guides posted strategically throughout the church stand ready to answer your questions.

Entering the church, you’ll instantly feel the architectural harmony. Head to the center of the nave and look down toward the altar. Notice how the stone columns march identically down the aisle—like a thick, gray forest of tree trunks. The arches overhead soar to grand heights, helping churchgoers appreciate the vast and amazing heavens. Now imagine the interior surfaces painted in red, blue, green, and gold, as they would have been prior to the whitewashing of the English Reformation.

At the back-left corner of the nave (opposite the entrance), a model shows how this cathedral was built so quickly in the 13th century. Next to it is the “oldest working clock in existence,” dating from the 14th century (the hourly bell has been removed, so as not to interrupt worship services). On the wall by the clock is a bell from the decommissioned ship HMS Salisbury. Look closely inside the bell to see the engraved names of crew members’ children who were baptized on the ship.

Wander down the aisle past monuments, knights’ tombs, and gravestones set into the floor. About halfway down the nave, you’ll see (and hear) the gurgling 1 Salisbury Font—a modern, oxidized-bronze baptismal font dedicated in 2008 to honor the cathedral’s 750th birthday. While it looks like a modern sculpture, it’s also used for baptisms.

When you reach the transept, stand at the foot of the altar and gaze up at the four main columns surrounding you. Notice how they curve slightly on their way up. These posts were supposed to support a more modest bell tower, but when a heavy tower was added 100 years later, the columns bent under the enormous weight, causing the tower to lean sideways. Reinforcements were installed: internal flying buttresses, which you can see angling through openings in the mezzanine; and steel supports (hidden), which ensure the spire remains the tallest in England. However, the tower still tilts about two-and-a-half feet.

Step up to the choir, with its finely carved seats. This area hosts an evensong late each afternoon (well worth attending—see details, earlier).

Head behind the choir to the left and dip into the 2 Morning Chapel. (It may be closed, but you can still peek through the gates.) At the back of this chapel, find the spinning glass prism engraved with images of Salisbury—donated to the church in memory of a soldier who died at the D-Day landing at Normandy.

The oldest part of the church is at the apse (far end), where construction began in 1220: the 3 Trinity Chapel. The giant, modern stained-glass window ponders the theme “prisoners of conscience” in many shades of blue.

Continue circling around the choir until you’re back at the transept. Turn left and exit (you can always reenter the church—just show your ticket), following “Magna Carta” signs around to the medieval 4 Chapter House—so called because it’s where the daily Bible verse, or chapter, was read. (You’ll need to show your ticket again.) These spaces often served as gathering places for conducting church or town business. Enter the little freestanding tent for a look at the best preserved of the four original copies of the Magna Carta. This “Great Charter” is as important to the English as the Constitution is to Americans. Dating from 1215, the Magna Carta settled a dispute between England’s King John and some powerful barons by guaranteeing that the monarch was not above the law. To this day, lawyers and political scientists admire this very early example of “checks and balances”—a major victory in the centuries-long tug-of-war between monarchs and nobles. Notice the smudge marks on the glass case, where historians have bumped their noses squinting at the minuscule script. You can read the English translation printed on the back of the tent.

The enormous green surrounding the cathedral is the largest in England, and one of the loveliest. It’s cradled in the elbow of the River Avon and ringed by row houses, cottages, and grand mansions. The church owns the houses on the green and rents them to lucky people with holy connections. A former prime minister, Edward Heath, lived on the green, not because of his political influence, but because he was once the church organist.

This green space is an excellent place for a romantic picnic or just gazing thoughtfully at the church’s leaning spire. Although you may be tempted to linger until it’s late, don’t—this is still private church property...and the heavy medieval gates of the close shut at about 22:00.

A few houses are open to the public, such as the overpriced Mompesson House, Arundells, and the medieval Wardrobe. The most interesting is...

Occupying the building across from the cathedral entrance, this eclectic collection was heralded by American expat travel writer Bill Bryson as one of England’s best. While that’s a stretch, the artifact-heavy museum does offer a good look at the history of Salisbury and the surrounding area.

Cost and Hours: £10.90, daily 10:00-17:00, 65 The Close, +44 1722 332 151, salisburymuseum.org.uk.

Visiting the Museum: The museum’s highlights occupy two ground-floor galleries. The Wessex Gallery (to the left as you enter) is filled with informative, interactive exhibits covering this area’s rich prehistory—from Neanderthal ax heads to Iron Age cremation urns. Check out the ancient Roman mosaic floor and details on the excavation of Stonehenge, which began as early as 1620—back when it was believed to be Roman rather than druid.

The Salisbury Gallery covers the transition from Old Sarum to New Sarum and the growth of Salisbury as a city. You’ll find fragments from the original Old Sarum Cathedral, WWII memorabilia, and the 12-foot wooden Salisbury Giant, which—along with his mule companion, Hob-Nob—was paraded through the city for special events.

Nearby: Just across the river from the Cathedral Close are the Salisbury Watermeadows. This vast system of man-made channels and ditches was designed to facilitate irrigation in the 17th century. Today, the meadows are laced with peaceful walking paths that offer good views of the cathedral. (From the close, head up High Street to Crane Street, turn left, and walk about 5 minutes until you reach the Queen Elizabeth II Gardens on your left. Head through the gardens; the meadows begin over the footbridge, just across the river.)