Ultimately, the Penkos designed and created 150 wholly unique crosses for Conclave with Christl’s input, employing methods from wax casting to hand-engraving with homemade bulino chisels identical to those used by Renaissance artisans. Named characters received the pieces richest in symbolism, which were delivered to the actors with notes explaining their theological importance.
To cite one example, Riccardo points to the crucifix worn by the mysterious Cardinal Benitez, played by Carlos Diehz. As a reflection of his ascetic faith, Benitez wears a silver-plated representation of a wooden cross, lashed with ropes recalling Christ’s Passion and tendrils of ivy symbolizing hope. On the opposite end of the spectrum is the gold-plated cross worn by Sergio Castellitto’s arch-conservative Cardinal Tedesco, whose curvilinear ends evoke classical Venetian art and five red agate stones stand in for the domes of St. Mark’s Basilica, bringing the church’s history and tradition to mind.
“In each cross there was a hidden symbol. Because the uniform of the cardinals was the same, the crosses were able to tell something about the story of the cardinal,” Riccardo says.
Edoardo Argenio
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Edoardo Argenio
The film’s political tug-of-war was also reflected in the crosses’ materials, with the liberal cardinals donning unadorned, silver-plated crucifixes and the more conservative characters wearing gold-plated pieces with stones—a divide that Riccardo has witnessed in his own work for the church.
“We have a Church nowadays that is more modest, that doesn’t ask for stones or gold, and that likes very simple crosses. I think the one that Cardinal Lawrence wears in the movie is a perfect reflection of the Church today,” he says, referencing the plainer, linear cross worn by Ralph Fiennes’s character, which the actor personally selected from three proposed designs.
For obvious reasons, the vast majority of the jewelry was made for men. The exception was Isabella Rossellini’s steely Sister Agnes, whose small but compact silver-plated cross depicting the crucifixion on one side and the monogram of the Vatican’s Santa Marta residence (where the film is set) hinted at the character’s strong-willed personality.
Each male character’s cross was accompanied by a matching pair of cufflinks (save for Benitez, whose lack of bling was in keeping with the character). The links referred directly to the design of each character’s crucifix—Tedesco’s, for instance, were marked by the same semiprecious stones and plated in gold, while Lawrence’s were simple silver circles.
Edoardo Argenio
The production also ordered 150 gold-plated rings, which were more uniform owing to the tradition of popes granting the same design to the cardinals they appoint. In the universe of Conclave, this meant two distinct styles of heavy cardinals’ rings, one depicting Christ on the cross and the other the Chi Ro monogram made by superimposing the Greek capitals P and X, meaning “Christ.” But when it came to Benitez, who is made a cardinal in secret before the film begins, the Penkos could be more creative—they designed him a solid silver ring shaped like an open Gospel and engraved with an anchor and a fish, signifying stability and Christ’s disciples, respectively.
While the Penkos had previously made jewelry for productions at Florence’s La Pergola opera house, Conclave was their first foray into film. It will not be their last, as the workshop has already been engaged by another production. While Riccardo is mute on the details, it sounds like it will be set beyond the Holy See’s walls.
“Something completely different,” he says. “No cardinals this time.”
