This gilded and polychrome oak reliquary bust, identified today with Saint Aurelia, is the only one that remains of the four that, until the Civil War, were exhibited under the altarpiece of the Transfiguration, in niches with locked doors that were only opened on special days.
In the inventory of 1547, in the section on relics, they are mentioned in the following way: "quattro cabeças de virgenes que dizen santa Marta, santa Benedicta, santa Paula y santa Egidea engastonadas en madera y doradas". The second, Saint Benedicta, is today identified as Saint Aurelia of Strasbourg.
In the "real"which is still preserved in the Sabiote collection of the Ducal Archives of Medinaceli, attests that on 9 June 1521, Francisco de los Cobos, while in Cologne as part of the Emperor's retinue, asked the provincial of the Franciscan order for some of the heads and relics that were venerated in the monastery of San Francisco in Cologne of the eleven thousand virgins who, according to the account in the Golden Legend, accompanied Saint Ursula on her return to Rome and who, on arriving in Cologne in 452, were martyred by the Huns, along with all the Huns, according to the account in the Golden Legend, accompanied St Ursula on her return from Rome, and who, on her arrival in Cologne in 452, were martyred by the Huns, along with all the members of the retinue, for resisting their sexual appetite. The provincial, in view of the devotion shown by the imperial secretary and the fact that he accompanied the request with a brief from Pope Leo X, gave him "...".one head of the Eleven Thousand Virgins and two heads of the Innocent Children".
Subsequently, Cobos sought an architect in Brussels so that "eThe said heads of the Virgin and of the Innocents will be closed and placed in the manner and form in which they are presently found and displayed. ". This document has helped Miguel Ruiz de Arcaute to attribute Brussels authorship to the group of reliquary busts of this type preserved in Spain. The stylistic similarities between these busts and the sculptural work of the Borman workshop, especially in the headdresses and dresses, and their late Gothic language, have led to their attribution to this workshop which, at that time, was run by Jan III Borman and his brother Passchier, who is considered to be the principal author.
The bust represents a richly dressed and crowned woman, whose head has a cover that allows the relic to be seen and is mounted on a base with Gothic moulding that is not the original, but belonged to another of the busts lost in the Civil War, when it suffered significant damage that was restored by Juan Luis Vassallo.