Sarah Tibbits
Monstrances
Reliquary of Mary Magdalene
14th and 15th century; Gilded copper, gilded silver, rock crystal, verre églomisé, and a tooth (possibly human)
This reliquary originally belonged to the Franciscan order. It is noted as being somber, particularly in the color palette chosen for the the verre églomisé glass painting technique, even if the overall effect of the piece is rich. The tooth encased inside supposedly belonged to Mary Magdalene, though there appears to be some debate as to whether it is even human¹. The official seal is not visible.
This reliquary relies primarily on the decorative aspects of metalwork. The combination of architectural and natural aspects brings together images of the church with the prosperous implications of plants and growth. The effect, rendered in precious metals, is to conjure a sense of good fortune. Four small figures stand in the arches to either side of the relic; two angels and two saints, though identifying features are difficult to make out in the images provided. At least one saint is male, though the angels are more ambiguous in gender. Given the waistband placement on their robes, they may be intended to be female.
The relic itself, encased in rock crystal, is positioned to be visible. The shape of the crystal is somewhat egglike, as if the relic might ‘hatch’ out of its casing at any moment. Above, a glass disk has more clear iconic depictions of the life of Christ. Painted on the inside of the glass to protect the paint, one side shows the birth of Jesus in the manger, while the other portrays his death. The crucifixion does not shy away from the violence of the scene, with blood pouring from Christ’s hands, feet, and side. Below, two figures mourn and pray; presumably mother Mary and Mary Magdalene. Though it comes close, the blood bends around their haloes, never touching them.
Much like the reliquary of Mary Magdalene, this monstrance is primarily composed of metalwork. Its ostentatious design includes architectural elements alongside dozens of small figurines. Small sections of enamel bring color to the gilded design, as well as enamelled ‘gems’ along the frame of the centerpiece. The base depicts four of the Evangelists and two female saints holding palm leaves, while the shaft is composed of twelve small female saints². They are difficult to make out in pictures, and, given their size, likely lack distinguishing characteristics.
1472 / 1474; Silver, partly enameled (translucent blue, green, garnet red enamel) and gilded.
This reliquary, commissioned for the monastery of Santa Marta in Venice, supposedly held Martha’s hand². Certainly, the center chamber would have been large enough to hold a human hand, though the Louvre classifies this reliquary as a monstrance. Traditionally, monstrances held the eucharist rather than relics, though monstrances as reliquaries do exist. The size of the center chamber may have been based on a standard for holding the sacraments rather than being made more specifically for a hand. The relic no longer appears to be inside the chamber.
The knop holds saints in architectural niches. These include Saint Margaret, as well as four more female figures and one Franciscan friar. Around the sides of the relic chamber stand four female saints, one of whom is Saint Barbara. The scene just above the chamber is the Pietà, or pity, a common image that depicts the dead Christ held in his mother’s lap. A figure of God sits at the very top of the reliquary². The figures on the monstrance are predominantly female, making it an interesting study. Although one figure holds a lance, and despite the quality of the images, none of the women appear to be shown in their martyrdom.
Reliquary of the Hand of Saint Martha
Findings:
Here, the gendered differences are negligible, at least in terms of objects attributed to specific saints. The monstrance to the (left/right) has no identifiable relation to a saint, in no small part because it is completely aniconic. Though made around the same time as both other monstrances, it is much less detailed and focuses entirely on the conjunction of architectural and natural elements. Although these themes appear in the other reliquaries, the two above also have figures represented.
The gendered difference appears when we examine painted glass or tiny statues. A disk at the top of the monstrance containing Mother Mary’s tooth harbors a small painting of the crucifixion. Here, Mary is present, but, as noted before, remains untouched by the blood pouring from Christ’s wounds. The object’s aversion to displaying her physical suffering, such as going through childbirth as a teen, hints at the idea that a woman’s role in hardship was that of emotional difficulty. Despite the fact that her tooth is on display within the monstrance, the iconography distances itself from anything corporal. It prefers to focus on her weeping at her son’s death. On the other side of the disk, she is shown in the manger cradling the baby Jesus with no indication of discomfort.
Reliquary, Monstrance
The monstrance of Saint Martha’s hand is phenomenal in its opulence, but also notable for the sheer amount of female figures depicted. Many remain unnamed, but the volume of them is surprising. Most female saints, particularly after the first century, were killed for their faith and thus sainted afterward. Many were beheaded, though almost all were threatened with a worse fate before divine intervention got in the way. Even so, torture was not uncommon. That none of these figures are portrayed in pain or in death speaks to the avoidance of equating women with physicality. Despite the fact that Martha’s hand would have been on full display, none of the female figures are represented close to death in any capacity. Instead, they shine gold, almost lively.
15th century; Copper-gilt, silver-gilt, glass³
References:
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“Reliquary of Mary Magdalene,” The MET Museum, accessed May 10, 2026, https://www.metmuseum.org/art/collection/search/464469.
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“Reliquaire de la main de sainte Marthe ayant appartenu au monastère de Santa Marta à Venise,” The Louvre Collections, accessed May 10, 2026, https://collections.louvre.fr/en/ark:/53355/cl010098725.
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“Reliquary, Monstrance,” The MET Museum, accessed May 10, 2026, https://www.metmuseum.org/art/collection/search/464473.