Intended to conceal and protect the image of the Madonna della Ghiara, this silk embroidered curtain was donated by Countess Camilla Ruggeri Brami to the Basilica della Ghiara and has been documented in the Treasury of the Basilica since 1672. The composition is made with flat stitch, which allows use a wide range of colors with gradient effects similar to paint. It is a unique specimen and is characterized by the refined representation of a family tree that illustrates the descent of Mary and Jesus Christ from Jesse, father of David.
The manufacture is Emilian, but there is no other news. The date of construction can be hypothesized between the end of the sixteenth century and 1617, the year of the death of the Countess Brami. Similar fabrics were often produced in convents.

The Italian-made cope is decorated with embroideries (in polychrome silk, gold and silver) depicting landscapes with columns, stairways, oriental palaces and trees with pomegranates and bunches of grapes, dominated by baskets filled with flowers.

The views with architectures and trees laden with fruit recall the textile productions linked to Jean Revel, a Lyonnais artist who between 1730 and 1740 implemented a naturalistic renewal of textile design inspired by landscape painting and contemporary genre painting.

In 1569 the painter Lelio Orsi gave the drawing of the Madonna della Ghiara to the devout citizen of Reggio, Luca Pratissoli, who commissioned Giovanni Bianchi (known as il Bertone) to transpose it into fresco on the boundary wall of the Convent of the Servi di Maria. The drawing was then donated by Alfonso Pichi Pratissoli to the Lay Factory of the Ghiara Temple in 1705.
In Orsi's singular iconography, the Child is seated on a pillow while the Virgin sits on a rock and is turned towards her Son in the act of adoring him. The solutions adopted with refined Mannerist language testify to the great mastery of the artist also as a draftsman.

This gilded silver crown , together with another similar one, was donated to the Treasury of the Basilica della Ghiara by the confreres of the Compagnia del Carmelo (as reported by the words “Confratres Carmeli” “Virginem coronant”) in 1596, the day following the first miracle that occurred at the fresco of the Madonna della Ghiara.

The crown-holding angels, in embossed, partially gilded and chiseled silver foil, were instead donated by the Confraternity of San Rocco. The realization of the two offers was however agreed in a single order to the silversmith. The year “MDXCVI” (1596) is engraved on the back.

This precious crown, weighing 1,939 grams, was commissioned by the Community of Reggio Emilia in 1672 to Michele Augusta, a Ferrarese goldsmith working in Reggio Emilia. The crown was donated with the obligation that it remain in perpetuity in the Treasury of the Basilica della Ghiara and be used exclusively as an ornament on the occasion of religious solemnities.

On the reverse of the cross is engraved the inscription: S(enatus) P(opulus) Q(ue) R(egensis) (The Senate and the People of Reggio). The crown was the protagonist of the famous and sumptuous procession that was held on 13 May 1674 in thanksgiving for the protection that the Virgin granted to Reggio Emilia on numerous occasions in that troubled century to the many graces granted. The procession ended with the coronation of the miraculous image of the Madonna.

The foot, knot and cup of this precious chalice are decorated with three Seraphim in high relief interspersed with cartouches and floral motifs.

Some stylistic differences between the decorative motifs on the saucer and those of the foot and the knot suggest the possibility that this chalice is the result of the reassembly of parts from different sources. The ornament with cherubic heads is characteristic of the workshop of Magnavacchi, a craftsman active in Reggio Emilia, and can be attributed to the 17th century.

This precious and elaborate monstrance was made in Modena by the silversmiths Rinaldi, Algeri and Rocca at the behest of the Fabbriceria della Basilica della Ghiara which also paid for it with donations collected after the cholera epidemic of 1854-55.

The foot is decorated with cherub heads and three ovates: the central one shows the dedication and date (1858), while the two lateral ones depict the Blessed Virgin of Ghiara and the Resurrection.

Above the foot is a "knot" decorated with the relief busts of a bishop and two martyrs. On the node rests the stem of the monstrance consisting of an angel who supports the reliquary decorated with fake stones, cherub heads and winged cherubs; above the case is a globe with a cross.

The rigid front part of the silver binding (plate), decorated with vegetable scrolls and applied on a red velvet background, bears an oval medallion in which the transfiguration is represented while in the back plate there is a medallion with a coat of arms of the Franciscan order .
The Franciscan coat of arms can link the building to the observing Franciscan Friars Minor, who were custodians of the Basilica della Ghiara from 1820 to 1866.
The binding currently covers a Roman missal from 1953. The decorative motifs of the "rocailles" type allow the binding to be dated to the first half of the 18th century.

The small painting by Carlo Bononi takes up the iconography of Lelio Orsi of the Madonna in adoration of the child. The painting is of fine workmanship, and the landscape is particularly interesting: the sky is rendered by transparent glazes that allow a glimpse of the underlying preparation. There are numerous works with the same subject created by the artist and recorded in the sources, but only very few have come down to us.

The artist was very active and carried out various interventions in Reggio Emilia: among these, the decoration of the dome of the Gabbi Chapel and of the Arte della Seta in the Basilica della Ghiara, in 1622.