On Good Friday, 15 April 1898, John Kensit a well known agitator, with some of his followers attended the service, and waiting until his turn came to kneel down and kiss the cross.

[1] Of later building works at St Cuthbert's, the most considerable was the Philbeach Hall, erected north of the clergy house to Gough's designs in 1894–96.

Extra land was leased for this purpose from Lord Kensington, and the total cost of the project came to some £6,570 The northern end of the building was largely destroyed by a bomb in 1940 during the Second World War and more simply rebuilt in 1956–57 to designs by J. Harold Gibbons working in partnership with D. R. Humphrys and R. W. Hurst.

No tower was intended, its function being supplied by a slender flèche upon the roof, a double bellcote above the western gable was planned, and twin finials at the east end.

The most unusual feature of Gough's design was a great blank arch in the east wall, furnished externally with niches for statues instead of window lights.

Some rich fittings had been installed by the date of consecration, notably the Caen stone pulpit, designed apparently by Gough and carved by Baron Felix de Sziemanowicz of Kennington (placed in continental fashion almost halfway down the nave, as though to distance it from the altar), some carving outside the Lady Chapel and the sedilia and piscina on the south of the Sanctuary (1888).The sounding board designed by J. Harold Gibbons and made by Pearson, Brown and Company of Manchester was added in 1907.

The seven sacrament font in its baptistery all designed by Gough and carved by Sziemanowicz with panels 'after Müller's pictures at Düsseldorf', (1888), the walls were still plain brick.

Associated with the vigour of St Cuthbert's was a policy of beautification, which proceeded without a pause from 1887 until 1914 and turned an impressive but unoriginal building into a monument to turn-of-the- century Anglo-Catholic taste.

Classes and workshops under professional guidance were arranged in stone- and woodcarving, metal-working and church embroidery, and the guilds then proceeded to their long labours.

H. R. Gough contributed little to the church after 1888, but he did design the rood screen made by Jones and Willis, (1893), with the figure of Christ after that in Capilla Real, Granada Cathedral.

The Latin inscription is from the first chapter of St John's Gospel – Verbum caro factum est et habitavit in nobis – The Word was made flesh and dwelt among us.

The subject is The Worship of the Incarnate Son of God with Incense and Lights, his overwhelming Hispanic design was made in 1899–1900 but had to wait until 1913–14 for funds sufficient for its execution.

Reynolds contributed a fantastic amount of glories to St Cuthbert's: Were painted by Franz Vinck of Antwerp, (1888) The statues over piers are by Gilbert Boulton of Cheltenham.

Many in the clerestory were also destroyed Stands outside east end designed by J. Harold Gibbons and made by Guglielmo Tosi (1919) as a memorial to those lost in the First World War.

Gough added an organ chamber breaking the line of the north aisle roof to house an instrument which extends from crypt level to above the clerestory and is larger and noisier than is strictly necessary by Dove Brothers in 1896–7.