original crucifix was moved to this altar in 1912, with a new crucifix of a different design replacing it. Wilson designed and built a new pulpit, again in a variety of marbles, in 1906. Six red marble columns stand on a base of black marble and support a large block of green Irish marble, similar in colour to that of the baldacchino's marble canopy. At the same time, a large organ gallery was built at the south end of the church to house the organ and up to 150 choristers and orchestra members; and in 1908, a large octagonal font, again in green marble, is located in a recess on the south-eastern side of the church. Wilson's association with St Bartholomew's ended in 1911, when Arthur Cocks left (having converted to Roman Catholicism) and his successor, the Revd Henry Ross, brought his own ideas in. Few of these were carried out, partly because of the disruption caused by World War I, although the mosaics above the altar were completed in 1912. The aborted plans included a second attempt at completing the north end, which was still unfinished; a subsequent third attempt failed to proceed because of a lack of funding, with the re-tiling of the roof being the priority at that time (1930). "Tallest church" claims Many sources claim that St Bartholomew's is the "tallest church in England", "the British Isles", or a variation on this. This requires some clarification; many churches are taller when their spires or steeples are included, and even the tallest church – St Walburge's Church in Preston, Lancashire, whose spire reaches – is exceeded in height by four English cathedrals. However, St Bartholomew's lacks any form of steeple or tower, and the quoted height of is therefore the height to the apex of the roof — with the gilt cross adding a further 9 feet. If towers, steeples and spires are excluded, therefore, the "tallest church" claim has greater merit. Similarly, when cathedrals are excluded and only parish churches considered, the nave is the largest in Britain. Nevertheless, comparative measurements are difficult to obtain. Reaction to the building The stark and unusual design and the relatively opulent interior caused considerable controversy at first, especially among more reactionary Anglicans mistrustful of the Anglo-Catholic nature of Wagner and, by extension, his church. Musgrave (1981) notes that a letter written to the Brighton Herald in 1874, by a