The "Phase 2" brought some nice news, such as the reopening of the museums, including the Scuderie del Quirinale in Rome, where until 30 August the exhibition celebrating the 500th anniversary of the death of Raffaello Sanzio, which took place on April 6, 1520 .

If the Mona Lisa did wear jewels, Alessio Boschi would be attracted only by them, and not by the smile on which so much has been discussed and written for five centuries. His eye as a designer, always looking for unusual creative ideas, often and willingly draws on the infinite historical, artistic and architectural heritage of Italian culture. So, what better mentor could guide us in interpreting the jewels painted by Raffaello Sanzio in his works? Hereafter we can find his interpretation of La Muta (Portrait of a Young Woman), La Velata (The Woman with the Veil) and the Portrait of Maddalena Strozzi.

«Let's start with the Portrait of Maddalena Strozzi. Here I can notice the extraordinary modernity with which she’s wearing rings, in particular the one on the index finger of her left hand, but above all the one in the middle of the first phalanx of the right ring finger, a trend that has come back recently. The protagonist is the large pendant in burnished gold with a geometric shape, with two square stones inscribed in a circle. These are the typical shapes of the Renaissance, which somewhat resemble the monumental fountains of Rome. The baroque pearl, of considerable size, certainly natural and of Middle Eastern origin, not only makes us understand the wealth of the Strozzi family, but also how much Florence was the hub of commerce and arts, first of all the goldsmith’s one, which had its fulcrum in the school by Verrocchio, who later also became a great master of painting for young artists including Leonardo and Michelangelo. Another avant-garde touch, the simple silk cord used as a support for the pendant, which almost seems to recall some ethnic or Asian traditions belonging to much more recent times. Such detail can also be noticed in La Muta, but in the version of a modular cord, which somewhat resembles those that were used in the East for large jade pendants; the ring, also worn here on the index finger, in the manufacture evokes the American wedding bands, David Yurman’s style, so to speak. In La Velata, the choker, probably made of amber, seems to be inspired by a jewel of ancient style, from the Roman era, which in its own way anticipates the nineteenth-century style of the cultured and "archaeological" jewelry of the Castellani family. Last but not least, a delightful headband adorned with a pearl matched to what looks like a ruby coming out from the veil. A barely visible detail, but reveals meticulous attention to overall harmony".



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