of Arthur Wagner's father, Henry Michell Wagner. The use of Portland stone on the latter added to the expense; the use of bricks for St Bartholomew's helped to reduce it, as did the abandonment of the revised plan's intention to build 11½ bays. (Only nine were constructed.) Additionally, the northern face of the church was never properly completed, and proposals for additional features such as transepts and a spire mentioned in contemporary publications were never carried out. Interior Openness and a relative lack of division into smaller sections characterises the interior, giving an impression of vast space which is enhanced by the uninterrupted height: the church is effectively one large hall. Each side wall has several tall arches underneath which side-chapels are located, but these are well integrated with the nave. Above this is a shallow triforium, and above this, immediately below the roof line, is the clerestory with its tall pointed windows. The interior walls are mostly made up of unadorned brickwork identical to that of the exterior. However, built into the northern end wall, above the altar, is a substantial cross, 30 feet high and built from Sussex chalk; and a set of carved wood and stone Stations of the Cross brought from Bruges in 1881 are located on the walls of the side-chapels. Also, the walls above the altar support a range of mosaics by F. Hamilton Jackson, a follower of the Arts and Crafts movement. The High altar and sanctuary themselves are highly decorative, and are among a range of new features introduced under the stewardship of the Revd Arthur W. C. Cocks, who became vicar of St Bartholomomew's in 1895. Architect and designer Henry Wilson, who was the first editor of the Architectural Review magazine when it was founded in 1896 and who was also involved in the Arts and Crafts movement, was responsible for the work undertaken at this time, having been appointed in 1895 upon the death of Edmund Scott. The sanctuary is dominated by a 45-foot baldacchino in red and green marble, with a new altar below housing a silver tabernacle and a white marble shelf with a large crucifix and six candlesticks. In 1908 this was flanked by a pair of white marble columns bearing two further candles. One of the side chapels contains a Lady altar designed in intricate repoussé silver on copper by Wilson in 1902. The High altar's