Egeria, a late fourth century Christian pilgrim to Jerusalem, describes a dramatic ritual on the morning of Good Friday. This text is remarkable on several counts: it is written by a female, it has an early date (soon after Constantine’s initiatives in establishing Christian pilgrimage) and it provides a wonderfully detailed description of the areas visited in Jerusalem during Holy Week. She and the other pilgrims venerate the wood of the cross, the inscription over Jesus’s head, the horn used to anoint the kings of Israel, and the ring of Solomon. Throughout her account, Egeria stresses the importance of pilgrims being assured of the truth of their faith by encountering physical landscapes and tangible objects. Theatrical studies in dramaturgy and stagecraft affirm the role which props play in helping actors activate memory and achieve a rich performance. This chapter examines the network of symbols in these artifacts using ritual studies, theatre analysis and space and place theory, demonstrating how these objects were used as props in a complex ritual drama, which offered material, sensory and embodied experiences for religious pilgrims.