IN REGIONE CAECORUM
REX EST LUSCUS
ET DUO OCULUM EST DEUM
TARO · ROTA · ORAT · TORA · ATOR
MANIFESTO
UNIQUE DIVINATION OBJECT · TAROT MAJOR ARCANA DICE
OBJECT
Esoteric Dice · Major Arcana
MATERIAL
14K Yellow Gold
STONES
Natural Diamonds · Sapphires · Rubies
DIMENSIONS
22 mm
WEIGHT
22,8 g
ORIGIN
Vilnius
With each roll, one Major Arcana is brought into view
as a single card drawn from the deck.
The question belongs to the one who sets it in motion.
The answer belongs to the face revealed.
Formed in gold, engraved in silence, alive with stones and intention.
IRC · XIII · ONE OF ONE
tarot major arcana dice.
where intention takes form.
IRC · XIII · 2025
MANIFESTO IS THE FOUNDING OBJECT OF IN REGIONE CAECORUM
Cast in 14 karat yellow gold, it takes the form of a deltoidal icositetrahedron: a body of twenty-four faces, balanced between geometry, divination, and weight. Across its surface runs the complete sequence of the Tarot Major Arcana. Each figure was drawn for this object alone, then engraved by hand into the gold, not as ornament, but as inscription.
Each face carries a fine brushed surface, giving the hand engraving a distinct presence as it catches the light against the quieter field beneath it.
Certain faces are set with natural stones — white, yellow, and black diamonds, sapphires, and rubies. Each was set by hand. The smallest measures only 0.7 mm, a point of light held within the metal.
Twenty-two Arcana occupy the form, each separate, each bearing its own force. Two further faces complete the structure: white diamond and black diamond, Yes and No. They do not explain the object. They give it its axis.
MANIFESTO weighs 22.8 grams. It is small enough to rest in the hand, dense enough to be felt as a presence. It moves, falls, and comes to rest. One face rises. One sign is given.
MANIFESTO is an original In Regione Caecorum House creation, developed as a singular object in which geometry, engraving, stones, and weight form one complete structure. Other works may come from the same discipline, but this exact configuration belongs to this piece alone and will remain unique.
Quod olim in tenebris occultatum et oblivioni traditum est, viam suam semper inveniet ad lucem;
et quod semel nomen habuit, iterum a memoria hominis revocabitur
.
What was once concealed in darkness and consigned to oblivion will always find its way back to the light; and that which once bore a name shall once again be summoned from the memory of man.
OBJECTS
ONE OF ONE · COMMISSION · PRIVATE COLLECTION
IRC · XVII · ONE OF ONE
RING · ORDA
18 K GOLD · NATURAL PRINCESS CUT and ROUND DIAMONDS · HAND ENGRAVED
IRC · XVII
ORDA
What remains, reigns.
ORDA is built around the square — the first order imposed upon matter. Within it, the four elemental principles are held as one: Earth, Water, Air and Fire. Repeated around the circumference, the square becomes not a symbol placed upon the ring, but its governing structure.
Executed in 18K yellow gold and set with natural diamonds, the ring alternates six raised princess-cut modules with six fields of pavé. Each square retains a flat upper plane, creating a measured rhythm around the full eternity form. The repetition has no privileged beginning or end; order is sustained through continuity.
The idea of the crown is held within the architecture rather than applied as ornament. Its raised planes form a restrained succession of points around the hand - a structure concerned with sovereignty not as display, but as something established enough to endure.
ORDA was developed through a silver prototype before the final commission was realised in gold. The prototype was used to resolve proportion, geometry, setting architecture and the relationship between the raised square modules and the pavé fields.
The work is concerned with what has already taken form: balance, family, friendship, work, prosperity - not simply preserving these things, but allowing them to deepen, mature and remain.
IRC · XI · ONE OF ONE
RING · ANDRAS
18 K GOLD · ROUND and TRILLION CUT BLACK NATURAL DIAMONDS · HAND ENGRAVED
IRC · XI
ANDRAS
ANDRAS is built around the triangle. Four trillion-cut black diamonds are assembled into a single larger triangular composition. Three stones occupy its outer points and physically hold the central diamond within the structure, creating an unusual setting in which geometry is not merely visual — it becomes part of the mechanism of the ring itself.
The triangular construction carries a quiet reference to the ritual geometry of the Lemegeton, where form, boundary and proportion hold significance beyond ornament. The reference is not reproduced literally; it is absorbed into the architecture of the object.
Executed in 18K yellow gold, the central composition is held within a sharply defined frame, while lines of round black diamonds extend along the split shoulders of the ring. Hand engraving gives precision to the setting and reinforces the contrast between polished gold, dark stone and cut surface.
ANDRAS is therefore structured through a single governing form: four separate stones becoming one triangle, held through tension, proportion and precision.
IRC · III · COMMISSION
RING · TRANSCENDUM
14 K GOLD · 96 NATURAL DIAMONDS · HAND ENGRAVED
IRC · III
TRANSCENDUM
The design of TRANSCENDUM originates with Gerardi Setting School in Rome. Realised by In Regione Caecorum in gold and diamonds, the ring begins from an unadorned gold blank — a simple, uninterrupted form from which its entire surface architecture is developed by hand.
Every stone position is established individually. The gold is drilled, cut and engraved by hand, gradually transforming the plain surface into a disciplined structure of diamonds, edges and bright-cut detail. The setting is not applied to a pre-formed decorative pattern; it emerges through successive intervention into the metal itself. The handwork remains fully visible in the finished surface: each cut, edge and setting forms part of the final architecture.
Within In Regione Caecorum, this execution is titled TRANSCENDUM. The name refers to passage from one state into another. Here, that idea is held quite literally in the making of the ring: a restrained gold form is progressively altered through cutting, engraving and setting until its original surface has become something entirely different.
Light completes this transformation. It moves between diamond and engraved gold, revealing the depth and rhythm created by the hand-cut structure. TRANSCENDUM is therefore concerned not only with the finished form, but with the act of becoming — material carried from one state into the next through precision, repetition and work.
IRC · IV · ONE OF ONE
RING · ALTIORA
14 K GOLD · NATURAL SAPPHIRES, DIAMONDS · HAND ENGRAVED
IRC · IV
ALTIORA
ALTIORA was created around the natural variation of sapphire colour. Rather than selecting a single tone, the ring brings together sapphires across a broad spectrum, allowing differences in hue, saturation and intensity to remain visible within one continuous composition.
The stones are arranged as a shifting mosaic rather than a strict repeating sequence. White and black diamonds are introduced at selected points to interrupt the rhythm of colour, creating pauses and contrasts that prevent the pattern from becoming predictable.
Executed in 14K yellow gold, the ring combines colour with a hand-cut setting architecture developed directly into the metal. The result is deliberately irregular in rhythm while remaining controlled in structure — each stone retaining its individual character within the whole.
IRC · VI · COMMISSION
RINGS · OPUS IV
18 K GOLD · NATURAL DIAMONDS, RUBIES · HAND ENGRAVED
IRC · VI
OPUS IV
Nigredo · Albedo · Citrinitas · Rubedo
OPUS IV was developed as a four-stage ring cycle for a single wearer. Each ring corresponds to one alchemical transformation stage - Nigredo, Albedo, Citrinitas and Rubedo - and was delivered sequentially over time, allowing the work to unfold as a progression rather than as a single object completed at once.
The four rings share the classical eternity form, with each stage distinguished through its choice of stones and setting technique. NIGREDO is set with natural black diamonds in a castle setting. ALBEDO follows in natural white diamonds, CITRINITAS in natural yellow diamonds, and RUBEDO in rubies. The latter three are executed in individual variations of the traditional fishtail setting, where hand-cut and engraved gold forms an integral part of the surface.
The contrast between the setting techniques gives each ring its own character within the cycle. NIGREDO has a more defined, geometric structure, while the fishtail variations introduce different relationships between stone, engraved metal and reflected light. In RUBEDO, the hand engraving becomes especially prominent, completing the sequence in red.
A new ring was delivered approximately every three months. The intervals formed part of the original concept, allowing each alchemical stage to be received individually before the next was introduced. The complete work therefore developed over the course of a year, with the passage of time becoming part of its structure.
OPUS IV brings the four stages of the alchemical process into a familiar jewellery form. Black, white, yellow and red mark successive states of transformation, while the circular form of the eternity ring remains constant throughout.
Four stages. One cycle.
IRC · XV · BESPOKE COMMISSION
EARRINGS · MĀMŌNĀ
18 K WHITE GOLD · 2 x 1.8 CT NATURAL DIAMONDS
IRC · XV
MĀMŌNĀ
Value is not what we own, but how we hold.
MĀMŌNĀ is built around material presence. Its name derives from Mammon, a figure associated with wealth and attachment to the material world. Within In Regione Caecorum, the reference is approached through the relationship between material value and awareness — not as a rejection of matter, but as a question of how matter is held.
The earrings are made in 18K white gold and set with two matched natural diamonds of 1.80 carats each. Each diamond is held in a four-prong basket developed specifically for this commission.
The lower part of each setting is formed by a flat metal plane beneath the diamond. This surface is finished to a mirror polish, creating a highly reflective field inside the basket. The same level of finish continues through the interior construction, making the setting as considered from below as it is from the front.
MĀMŌNĀ was developed in 3D CAD, followed by CNC wax milling, casting, setting and successive stages of hand finishing. The geometry of the basket, the open sides, the prong placement and the flat reflective base were developed as one continuous structure.
The work brings together substantial material value and a restrained form: two natural diamonds, white gold and a structure designed to hold them with clarity.
IRC · IX · BESPOKE COMMISSION
RING · SEA YOU
18K WHITE GOLD · NATURAL SAPPHIRES · NATURAL DIAMONDS
IRC · IX
SEA YOU
Two currents held in one movement.
SEA YOU was created for someone whose life has remained closely connected to the sea — someone who lives beside it, returns to it, and knows it as part of home.
The two rings were designed together around the structure of a wave. One line is set with natural blue sapphires, carrying the colour and depth of the water; the other with white diamonds, following it like the bright edge of foam. Their curves rise and fall in relation to one another, so that the wave is formed through the relationship between the two bands.
Executed in 18K white gold, each ring can be worn independently, but they were drawn as a pair from the beginning. When worn together, the sapphire and diamond lines meet, separate and cross, recreating the shifting boundary between water and foam.
The name holds a more personal origin. SEA YOU grew from a shared connection to the same coast: two people born by the sea, now living far from one another, with the sea remaining a place of return. The title carries the sound of see you within sea you - a quiet promise that distance ends again at the shore.
The sea is not illustrated. It is built into the relationship between the two forms.
IRC · V · COMMISSION
RING · PHENEX
18 K GOLD · NATURAL DIAMONDS · HAND ENGRAVED
IRC · V
PHENEX
PHENEX is a deliberately restrained ring in 18K yellow gold, created on a small scale so that its character is revealed gradually rather than through volume. Diamonds alternate with hand-cut gold in a fine, continuous rhythm, giving the surface a precise but almost textile-like quality.
The setting is a unique variation of the traditional fishtail, reduced and reshaped to suit the narrow proportions of the ring. The engraved gold becomes as important as the stones themselves, creating a sequence of points, recesses and reflected light around the circumference.
The name PHENEX preserves a private point of origin in the history of the piece. Its meaning is intentionally left within the object, rather than made part of its public narrative.
PHENEX is quiet by design — a small object whose detail becomes visible only at close distance.
THE ATELIER
PRECISION AS RITUAL
IN REGIONE CAECORUM is an independent atelier dedicated to symbolic fine and high jewellery, where jewellery is approached as an object of power, not decoration alone.
Each work moves through a continuous practice - stone selection, digital construction, goldsmithing, micro-setting and hand engraving. The same hand follows the object through each stage, keeping idea, material and final surface within one language.
Shaped by training in Vilnius and Rome, the atelier works through singular commissions and limited objects, guided by European craft traditions, architectural restraint and technical precision.
IN REGIONE CAECORUM · CODEX
IN REGIONE CAECORUM, REX EST LUSCUS
ET DUO OCULUM EST DEUM
In the land of the blind, the one-eyed man is king -
and the two-eyed man is god.
The ancient proverb ends with the one-eyed king. The continuation came later, received verbatim in Latin during a private channeling. It remains exactly as received.
ACQUISITION
BY CORRESPONDENCE
For an existing object, a commission, or any questions about the work, please feel welcome to get in touch. Acquisitions and commissions take place through written exchange.