Studio-Talk
knowledge of her material shown in the treatment
of intricate relief-work.
The brass cross by Mr. J. Paul Cooper here
illustrated is a recent example of that artist’s eccle-
siastical work in metal. The cross is a little over
4 ft. high, including the base. The central panel
is a chased medallion of the Virgin and Child,
STAGE JEWELLERY USED IN “ATTILA” AT HIS MAJESTY’S
THEATRE DESIGNED BY CHARLES RICKETTS
EXECUTED BY MRS. GWENDOLEN BISHOP
STAGE JEWELLERY USED IN “ATTILA” AT HIS MAJESTY’S
THEATRE DESIGNED BY CHARLES RICKETTS
EXECUTED BY MRS. GWENDOLEN BISHOP
with seven sapphires set in the background. The
four panels on the arms of the cross represent
the instruments of the Passion. At the foot of the
cross proper is the tree of life growing out of a
setting of roses. The knop below is formed by a
serpent turned round crystals in high settings.
The stones on the arms of the cross are cabochon
cut amethysts.
137
knowledge of her material shown in the treatment
of intricate relief-work.
The brass cross by Mr. J. Paul Cooper here
illustrated is a recent example of that artist’s eccle-
siastical work in metal. The cross is a little over
4 ft. high, including the base. The central panel
is a chased medallion of the Virgin and Child,
STAGE JEWELLERY USED IN “ATTILA” AT HIS MAJESTY’S
THEATRE DESIGNED BY CHARLES RICKETTS
EXECUTED BY MRS. GWENDOLEN BISHOP
STAGE JEWELLERY USED IN “ATTILA” AT HIS MAJESTY’S
THEATRE DESIGNED BY CHARLES RICKETTS
EXECUTED BY MRS. GWENDOLEN BISHOP
with seven sapphires set in the background. The
four panels on the arms of the cross represent
the instruments of the Passion. At the foot of the
cross proper is the tree of life growing out of a
setting of roses. The knop below is formed by a
serpent turned round crystals in high settings.
The stones on the arms of the cross are cabochon
cut amethysts.
137