It is believed that the three busts were commissioned by Santa Maria della Scala to showcase its treasury, in an era when relics had strong religious and political significance. Today, despite being empty, the busts continue to tell the story of a period when art and faith were closely linked. A more in-depth stylistic analysis reveals a certain chronological distance between the three busts, especially between the two male figures and Saint Cristina. Saint Anthony and Saint Stephen, in fact, display very similar facial physiognomy and a related stylistic execution: thin eyelids, an elongated nose and fine lips, but above all the geometric treatment of garments and hairstyles suggests the same hand in the making of the two objects and dates them to the late 14th century and the early years of the 15th century. Saint Cristina, however, with her thick, animated hair and a contemplative gaze turned upward, seems the work of a more modern artist active in a later phase of the 15th century. The enameled quadrilobed plaques that decorate the neckline, on the other hand, appear to be attributable to the end of the 14th century, likely originating from an earlier period and then reassembled here for decorative purposes.