Imagine a piece of jewellery that functions both as an heirloom and as a revelation. This is the world to which Alessio Boschi invites us with the Jubilee ring.
When the Italian jewelry designer put it in my hands earlier this year, I turned it over and over again. While listening to the stories Alessio had woven into them, studying the tiny details.
A miniature cathedral, a spiritual journey and a love letter to humanity. All condensed into an extraordinary work of art.
Like all Alessio's creations, it is a true encyclopaedia of the history of art and craftsmanship. It is always based on a deep belief in love, faith and the human spirit.
Created as a tribute to the Catholic Holy Year, the Jubilee, a period of spiritual renewal celebrated every 25 years. The Jubilee ring is much more than a religious offering.
As Alessio explained the idea to me, I realized that his message is deeply universal. It is about faith in the broadest sense. In art, in craftsmanship, in compassion. But also in the incessant ability of human hands to create beauty that unites rather than divides.
The pilgrim's journey: Seven kingdoms in the palm of your hand.
«The history of the Christian Jubilee dates back to the 1300s. When Pope Boniface VIII proclaimed the first Holy Year,» Alessio told me. As he began to reveal the hidden worlds of the ring. His narrative unfolds around a pilgrim's journey through the seven great basilicas of Rome.
Each of which is represented by a tiny door, or porta sacra, along the stem. Open one and you will discover a tiny relief of the church façade. Carved by a jewellery workshop in St Petersburg, with whom Alessio has been working for a long time.
Behind these doors are also relics of Christian martyrs. Many of them were brought to Rome by St. Helena, mother of Emperor Constantine, creating a tangible link to centuries of devotion and faith.
This journey through time continues as the ring pays tribute to the Italian Renaissance. As it draws inspiration from the great Raphael and Michelangelo. In one of my favorite elements, Alessio included a relief of the church of St. Elias. Dedicated to the patron saint of goldsmiths.
It is a conscious reference to his art. But also a secret handshake to those who dedicate their lives to working with fire and metal to create jewelry like this.
Next to it is a relic made from an 18th century seal. While the tiny carved square at the back of the door carries a message of reconciliation and unity for all people.
A palette of antiquity and a dome of wonder.
The choice of materials is every historian's dream, starting with the bright blue colour. It is Egyptian blue, the world's first synthetic colour. It was created 5,000 years ago and was reportedly rediscovered by Raphael around 1518. He used it in the frescoes of La Farnesina in Rome.
The warm brown tones are rendered in walnut ink from the Miniature School of Isfahan, Persia. It is applied with the steady hand of miniaturist master Arash Groyan. Each shade and each texture forms a continuity within the story. Uniting ancient Egypt, Renaissance Italy and Persia.
Many more details are shown in the ring gallery, such as the coat of arms of Boniface VIII. The first pope to create the Jubilee in 1300, mirroring the papal emblem of Leo XIV.
In addition, there is a miniature copy of the last surviving Vatican key of St. Peter's, dating from 1575. Below the centre, a door opens to reveal the Crux Vaticana.
These decorations, encrusted with precious stones, hide a part of the wall of the main gate of St. Peter's. But also with a miniature of three innocent slaughtered lambs on the back. This symbolises either the sacrifice of Abraham - hence the triad. Or, as Alessio suggests, an interpretation of human sins.
Below the Cathedral of St. Mary the Great, a revolving door depicts on one side the last farewell of Pope Francis. And, on the back side, the greeting of the newly elected Pope Leo XIV.
In the centre is a glittering dome with Paraiba tourmalines and diamonds. Its turquoise glow is reminiscent of the aged lead of the Vatican roof. Lifting it reveals a tiny Bernini baldachin.
The monumental bronze dome crowning the high altar of St Peter's in Rome. Holding the Sfera di Potere, or «Sphere of Power». A globe engraved with symbols from the eight great religions of the world.
Inside this sphere is a cross that opens to reveal Alessio's personal message. «Don't fight for politics or religions, but act with the greatest human value: LOVE».
The words surround a pyramid of ancient Libyan Impactite. It was created by a meteorite impact about 29 million years ago in the Sahara Desert.
Alessio is eternally grateful to the Museum of Heaven and Earth in Bologna. Also to the gemologist Pia Antonietta Artignani and to Romano and Vincenzo Serra for all their help and support in finding the Impactite for cutting.
A hidden world: The dome within the dome.
Just when I thought I had seen it all, Alessio turned the ring once again. So he revealed his last secret. Underneath the composition is a micro mosaic. A miniature of the 16 sections that decorate the interior of St. Peter's dome.
Made with great care by the artist Luigina Rech. It took more than 2,000 mosaics and over 600 hours to complete the design. A view usually only enjoyed by those who gaze in awe into the basilica. In this hidden work of art there is only for whoever wears it - a secret place of beauty and contemplation.
The materials used to make the Jubilee Ring include diamonds, chavorites and Paraiba tourmalines. But also white quartz, Impactite Libyan glass, enamel and Egyptian blue and walnut pigments.
A testimony to love and human creativity.
The Jubilee Ring is a world in itself. Where art meets history, spirituality and craftsmanship. Every tiny door, every ancient pigment, every hidden message speaks to the power of creation as an act of love.
Ultimately, it's a jewel that captures everything I love about this art form. Its ability to bring together history, emotion and human intelligence into a unique, miniature masterpiece.
Source: katerinaperez.com
