The city has had three cathedrals. The first was St. Mary's, a monastic building, only a few ruins of which remain. The second was St Michael's, a 14th century Gothic church later designated Cathedral, that remains a ruined shell after its bombing during the Second World War. The third is the new St Michael's Cathedral, built after the destruction of the former and a celebration of 20th century architecture.

The Chapter comprises the Dean, three Canons and various other lay and ordained members:

The Revd. Canon Anthony Darby was previously Canon Theologian; however, he has now retired.

The first cathedral in Coventry was St Mary's Priory and Cathedral, which held such status from a date between 1095 and 1102, when Bishop Robert de Limesey moved the Bishop's see from Lichfield to Coventry, until 1539 when it fell victim to King Henry VIII's Dissolution of the Monasteries. Prior to 1095, it had been a small Benedictine monastery (endowed by Earl Leofric and Lady Godiva in 1043), but shortly after this time rebuilding began and by the middle of the 13th century it was a cathedral of 425 feet in length and included many large outbuildings. Leofric was probably buried within the original Saxon church in Coventry. However, records suggest that Godiva was buried at Evesham Abbey, alongside her father confessor, Prior Aefic.

St Michael's church was largely constructed between the late 14th century and early 15th century. It was one of the largest parish churches in England when, in 1918, it was elevated to cathedral status on the creation of Coventry Diocese. This St Michael's Cathedral now stands ruined, bombed almost to destruction during the Coventry Blitz on 14 November 1940 by the German Luftwaffe. Only the tower, spire, the outer wall and the bronze effigy and tomb of its first bishop, Huyshe Wolcott Yeatman-Biggs, survived. The ruins of this older cathedral remain hallowed ground and are listed as Grade A (equivalent to Grade I).

The new St Michael's Cathedral, built next to the remains of the old, was designed by Basil Spence and Arup, built by John Laing and is a Grade I listed building.

The selection of Basil Spence for the work was a result of a competition held in 1950 to find an architect for the new Coventry Cathedral; his design was chosen from over two hundred submitted.

Spence (later knighted for this work) insisted that instead of re-building the old cathedral it should be kept in ruins as a garden of remembrance and that the new cathedral should be built alongside, the two buildings together effectively forming one church. The use of Hollington sandstone for the new Coventry Cathedral provides an element of unity between the buildings.

The foundation stone of the new cathedral was laid by the Queen on 23 March 1956. It was consecrated on 25 May 1962, and Benjamin Britten's War Requiem, composed for the occasion, was premiered in the new cathedral on 30 May to mark its consecration.

Like its German counterpart in Berlin, its modernist design caused much discussion, but on opening to the public it rapidly became a hugely popular symbol of reconciliation in post-war Britain. The unconventional spire (known as a flèche) was lowered onto the flat roof by helicopter. The interior is notable for a large tapestry of Christ, designed by Graham Sutherland, the emotive sculpture of the Mater Dolorosa by John Bridgeman in the East end, and the Baptistry window by John Piper, of abstract design that occupies the full height of the bowed baptistery, which comprises 195 panes, ranging from white to deep colours. The other stained glass windows, by Keith New, are generally regarded as less successful. Also worthy of note is the Great West Window known as the Screen of Saints and Angels, engraved directly onto the screen in expressionist style by John Hutton. (Although referred to as the West Window, this is the 'liturgical west' opposite the altar which is traditionally at the east end. In this cathedral the altar is actually at the north end.)The foundation stone, the ten stone panels inset into the walls of the cathedral called the Tablets of the Word, and the baptismal font were designed and carved by the emigre German letter carver Ralph Beyer.