St Cyprian's is regarded as one of London's most beautiful church interiors.

Writing a year after its completion T. Francis Bumpus wrote "Mr. Comper's researches into the history of our old English Uses have enabled him ... to produce one of the most beautiful, harmonious and correctly arranged churches that has been built in London for a long time." .
 Peter Anson holds that "It was the opening of St Cyprian's ... that finally established the reputation of the architect... There were no fixed seats only chairs, which during the week were removed, so that most of the polished parquet flooring was left bare.
Nobody had ever seen anything like St Cyprians."
  The practice of removing chairs from the nave, with worshippers bringing one from the stacks at the back if they needed, was continued until the 1950s.

Sir John Betjeman persuaded the proprietor and editor of the Architectural Review to visit in 1938 shortly after Comper's fittings to the East of the church were complete;the owner wrote back 'To our surprise — to our inexpressible surprise — we discovered it was absolutely lovely. ...
indubitably the work of an architect with a remarkable feeling of space and clarity of planning...I confess I was much astonished ... You have scored again, brother.'
  In 1947, Betjeman was still a championing Comper's work and wrote to Sir Arthur Bryant "When in London do make a special journey to Comper's superb church (1899) of St Cyprian's, Baker Street.
It is a red building near Clarence Gate, Regent's Park ... not much outside, but a Norfolk dream of gold and light within.".
 
Architectural journalist Ian Nairn was another advocate for St Cyprian's:'Quiet and reserved outside; but the most joyful church interior in London.
Tall white arcades, clear glass to let the light stream in across the polished wood floor, uncluttered by pews to Comper's lacy gilded rood screen.
Religion singing and dancing ...'.
Elsewhere he described the church as "a sunburst of white and gold and all-embracing love… the moment you go in through the door you know that everything is absolutely right" and further as Comper's 'soaring lark-cry'.

Nikolaus Pevsner generally saw late gothic revivalist architecture as old-fashioned, but praised Comper's work at St Cyrpians, albeit rather grudingly: "If there must be medieval imitation in the twentietheth century, it is here unquestionably done with joy and care."
   Comper was hailed in the mid twentieth century by Peter Hammond, a key advocate of the liturgical movement in architecture (who generally favoured modernist architecture) for his liturgical emphasis on the altar and (secondarily) font, seeing that Comper had "realised that the real questions at issue were theological and liturgical rather than stylistic and aesthetic".

Anthony Symondson wrote that St. Cyprian's established Comper's "primacy as the most influential English church architect of his generation.
A simple red brick exterior gives no impression of the beauty and surprise of the interior.
It is a fusion of controlled austerity and splendour."
St Cyprian's is regarded as one of London's most beautiful church interiors. 
Writing a year after its completion T. Francis Bumpus wrote "Mr. Comper's researches into the history of our old English Uses have enabled him ... to produce one of the most beautiful, harmonious and correctly arranged churches that has been built in London for a long time." .  Peter Anson holds that "It was the opening of St Cyprian's ... that finally established the reputation of the architect... There were no fixed seats only chairs, which during the week were removed, so that most of the polished parquet flooring was left bare. Nobody had ever seen anything like St Cyprians."   The practice of removing chairs from the nave, with worshippers bringing one from the stacks at the back if they needed, was continued until the 1950s.
Sir John Betjeman persuaded the proprietor and editor of the Architectural Review to visit in 1938 shortly after Comper's fittings to the East of the church were complete;the owner wrote back 'To our surprise — to our inexpressible surprise — we discovered it was absolutely lovely. ... indubitably the work of an architect with a remarkable feeling of space and clarity of planning...I confess I was much astonished ... You have scored again, brother.'   In 1947, Betjeman was still a championing Comper's work and wrote to Sir Arthur Bryant "When in London do make a special journey to Comper's superb church (1899) of St Cyprian's, Baker Street. It is a red building near Clarence Gate, Regent's Park ... not much outside, but a Norfolk dream of gold and light within.".  
Architectural journalist Ian Nairn was another advocate for St Cyprian's:'Quiet and reserved outside; but the most joyful church interior in London. Tall white arcades, clear glass to let the light stream in across the polished wood floor, uncluttered by pews to Comper's lacy gilded rood screen. Religion singing and dancing ...'. Elsewhere he described the church as "a sunburst of white and gold and all-embracing love… the moment you go in through the door you know that everything is absolutely right" and further as Comper's 'soaring lark-cry'.
Nikolaus Pevsner generally saw late gothic revivalist architecture as old-fashioned, but praised Comper's work at St Cyrpians, albeit rather grudingly: "If there must be medieval imitation in the twentietheth century, it is here unquestionably done with joy and care."    Comper was hailed in the mid twentieth century by Peter Hammond, a key advocate of the liturgical movement in architecture (who generally favoured modernist architecture) for his liturgical emphasis on the altar and (secondarily) font, seeing that Comper had "realised that the real questions at issue were theological and liturgical rather than stylistic and aesthetic".
Anthony Symondson wrote that St. Cyprian's established Comper's "primacy as the most influential English church architect of his generation. A simple red brick exterior gives no impression of the beauty and surprise of the interior. It is a fusion of controlled austerity and splendour."
St Cyprian's, Clarence Gate