An opulent mid-19th century Baroque cruciform altar reliquary monstrance of solid sterling silver housing relics from the wood from the True Cross of Jesus Christ. The relics are displayed in a  round glass-fronted cavity located in the center of the monstrance. On the back, under a protective lid, the cavity is secured by a seal of red wax with a perfectly preserved imprint of a coat of arms of Fr. Antonio Ligi-Bussi (†1862), the Titular Archbishop of Iconium (1851-1862) and from 1852, the Consultor of the Congregation for Indulgences and the Holy Relics. The reliquary is hallmarked by a French silver purity standard of 950/1000 and the maker's mark for a Paris silversmith Hippolyte Puche,  active between 1847 and 1858. Suitable for public veneration.

An oblong rectangular silver box standing on ball feet with glass panes on the front, back, and top, and four small finials on top corners. The reliquary is housing a substantial and historically important ex ossibus (of the bone) relics of St. Denis of Paris. The relics consist of an intact ulna forearm bone and a smaller skull (?) bone enclosed in a separate silver theca. The relics are identified in Latin on a manuscript cedula label affixed inside of a theca as S. Dyonisii E.M. (St. Denis, Bishop and Martyr). The reliquary is enclosed by a cord of red silk secured by a seal of red Spanish wax with an inprint of a coat of arms of an unidentified Roman Catholic Bishop.

A documented reliquary with an important ex ossibus relic of Pope Saint Gregory VII, one of the greatest of the Roman pontiffs and one of the most remarkable men of all times. The ex ossibus (of the bone) first-class relic consisting of an intact right femur (thigh) bone resting on a red-colored velvet covered pillow decorated with gilt silver thread ribbons affixed with small nails to a rectangular burgundy-colored velvet covered wooden plank. The saint is identified on the relic itself in black ink as “S. Gregorius VII” and further on a typeset paper cedula label in French language as GREGOIRE VII. The relic is secured by a seal of red Spanish wax with an imprint of a coat of arms of a French town of Saint-Martin du Tertre. A French-language handwritten certification document secured by the analogous seal and affixed to the bottom side of the plank attests to the authenticity of the relic and provides its provenance as follows:

(Translated from French)

“I, the undersigned, parish priest of Saint Joseph Church, attest ... of the diocese of Sens, attest to this holy relic of Our Father Gregory VII, who joined our Lord in the year of grace 1085. I attest to its authenticity and of having sealed it with Our seal, prepared at Saint Martin du Tertre on May 11, 1881. Jaubert “ The relic and the reliquary are in generally good condition showing signs of normal aging and some moth damage to the velvet covering the plank."

A large ca. 18th century cruciform altar reliquary monstrance of gilt wood housing relics from the wood from the True Cross of Jesus Christ. The relics are displayed in a  glass-fronted  cavity located in the center of the monstrance where they are affixed in a cruciform shape to the background of red silk. On the back, under a protective lid, the cavity is secured by a seal of red wax with a perfectly preserved imprint of a coat of arms of an unidentified Roman Catholic Bishop.  Suitable for public veneration.

Christ Pantocrator refers to a specific depiction of Christ. The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantocrator is a compound word formed from the Greek words for "all" and the noun "strength" (κρατος). This is often understood in terms of potential power; i.e., ability to do anything, omnipotence. The iconic image of Christ Pantocrator was one of the first images of Christ developed in the Early Christian Church and remains a central icon of the Eastern Orthodox Church. In the half-length image, Christ holds the Gospels in his left hand and makes the gesture of blessing with his right. The Gospels are opened on Matthew 11:28 “Come unto me, all ye that labor and are heavy laden, and I will give you rest.”

Our Lady of Kazan is a holy icon of the highest stature within the Russian Orthodox Church and considered a palladium of Russia for centuries, until its theft and likely destruction in 1904. The icon represents the Virgin Mary as the protector and patroness of the city of Kazan. It is a close-up variant of the Hodegetria (Directress) style, it is noted mainly for the Child standing, with the Virgin chest-length. The Kazan icons are traditionally small, following the original. The Kazan icon was very popular in Russia, especially as a wedding gift, and many copies were made in the design of the original. Two major Kazan Cathedrals, in Moscow and St. Petersburg, are consecrated to Our Lady of Kazan, as are numerous churches throughout the land. Her feast days are July 21 and November 4.

The miraculous icon of the Seeker of the Lost Mother of God (sometimes known as the Seeker of the Perished) became known in Russia in the 18th century and is attributed to its rescue from damnation of a monk in Asia Minor. The name of the icon refers not only to those who are dying, but to those whose souls are in danger of spiritual death. The Queen of Heaven sends down help and support for all: “Seek us who are perishing, O Most Holy Virgin, chasten us not according to our sins, but as you are merciful in your love for mankind, have pity, deliver us from hell, sickness and necessity, and save us” (Troparion, Tone 4)

The Protection (Pokrov) of the Most Holy Mother of God is one of the most beloved Feast days on the Orthodox calendar commemorated on October 1 celebrating the appearance of the Virgin Mary in Constantinople in the 10th century at the time when the people in the city were threatened by the Barbarian invasion. Saint Andrew, the Holy Fool with his disciple Saint Epiphanius, and a group of people, saw the Mother of God, Saint John the Baptist, and several other Saints and Angels during a vigil in the Church of Blachernae, nearby the city gates. The Mother of God approached the center of the church, knelt down and remained in prayer for a long time with her face drowned in tears. Then she took her veil off and spread it over the people as a sign of protection. After the appearance of the Mother of God, the danger was averted and the city was spared from bloodshed and suffering. On the icon, the Theotokos is depicted standing on a cloud in aureola of the Divine light holding her veil surrounded by apostles, saints, and two angels behind her. Below are Saint Romanos the Melodist, surrounded by Saint Emperor Leo VI, Saint Empress Zoë, Saint Epiphanius and Saint Andrew the Fool.

In the center, the icon is depicting the greatest feast of the Eastern Orthodox Church – the Resurrection of Jesus, called Pascha (the Anastasis or Easter), surrouned by the other Twelve Great Orthodox Feasts:

1. The Nativity of the Most Holy Mother of God
2. The Presentation of the Theotokos at the Temple
3. The Annunciation
4. The Nativity of Christ/Christmas
5. The Baptism of Christ - Theophany, also called Epiphany
6. The Transfiguration of Christ
7. The Exaltation of the Holy Cross
8. The Dormition of the Most Holy Mother of God
9. The Old Testament Trinity
10. The Ascension of Christ
11. The Entry into Jerusalem
12. The Presentation of Jesus at the Temple

Our Lady of Iveron is the Eastern Orthodox icon of the Virgin Mary which, according to the Sacred Tradition, was painted by Luke the Evangelist. The icon is referred to as "Wonderworking" meaning that numerous miracles have been attributed to the intercession of the Theotokos by persons praying before it. The original of this image is found in the Georgian Iveron monastery on Mount Athos in Greece, where it is believed to have been since the year 999.