The Christ figure was produced by hammering and chasing pieces of silver sheet – the repoussé technique. Shown in x-radiographs, soldering was used to assemble the sections, which include the top of the head, front and back of the torso, upper arms, lower forearms, hands, loin cloth, legs, feet and each individual toe. The column and the bodies and bases of the angels were first sculpted in wax, and then cast in metal.

The reliquary base (deck and engraved panel) and cross were assembled from sheets of metal and soldered together. The style of soldering is identical on the cross and base where short lengths of solder were cut and fairly evenly positioned along the joins creating a distinctive pattern that can be seen under the base.

To secure the figures to the base, wire loops on the bottom of the figures fit through slots in the base and are held mechanically by removable pins. The dice and champlevé enamel plaques are held by rivets. After all the individual silver elements were made, the display surfaces were mercury gilded, a chemical process that leaves a thin layer of gold on the surface. The shiny areas have been burnished to create the reflective surface.

Qualitative analysis using an ArtTAX x-ray fluorescence spectrometer shows that the silver alloys contain traces of lead and gold, as would be expected in medieval silver. The wire loops contain more copper, which is not surprising as more strength was needed to anchor the figures. Some zinc was found in the silver solder, helping to lower its melting point.