An extensive and valuable collection of silver objects is kept in the parish treasury and in the church itself, chronologically ranging from the 16th to the 20th centuries, responding to the varied typology demanded by their different liturgical functions and ceremonial uses, as well as those associated with the trousseau of certain devotional images.

For example, the two sets of baroque candlesticks can be highlighted, one from the 17th century belongingto the church of La Magdalena, and the other from the 18th century coming from the Convent of San Pablo. There are more than a dozen chalices, the oldest being Mannerist, from the last third of the 16thcentury, and the most recent, neo-Baroque additions from the 20th century. There are also several ciboria, the most beautiful of which are those of rococo aesthetics, embossed in the second half of the 18th century. Of the various ostensories, one of them, in neoclassical style, is used for great solemnities and stands out for its notable proportions, having been carved in the 19th century. From the end of the 17th century, there has been an incense burner, the core of which is a seashell decorated with a perforated silver plate and its base is adorned with angels and acanthus, which is surprising for the originality of itsdesign and workmanship.

Additionally, the sets of crowns, bursts, sceptres, and crescent moons of the Virgins of the Protection and the Rosary are truly remarkable pieces from the 18th century. The silver-plated pedestals of Our Lady of the Protection and the Immaculate Conception of the Tabernacle are in the rococo style of the late 18th century. The diadem and the knob of the titular saint, the Magdalene, were carved at the beginning of the 18th century.

The two silver lamps that burn in the sacramental chapel date from the first half of the 17th century. Above the altarpiece's bench, there is a superb tabernacle carved at the end of the 18th century by Blas Amat. However, from an artistic point of view, the most outstanding work of this splendid collection of silverware is the tower monstrance that the Sacramental Brotherhood owns, which is used in the Holy Thursday Monument and for the procession that takes place on the morning of the liturgical feast of Corpus Christi. Its complex and lengthy construction process began in 1678 by the silversmith Diego de León and was continued by Cristóbal Sánchez de la Rosa and Juan Laureano de Pina, who completed it in 1692, although the base was added between 1770 and 1772 by Blat Amat and Tomás de Pedrajas. The three superimposed and decreasing bodies that form this processional monstrance correspond to the fullness of the Baroque style, including Solomonic columns among its supports. The iconography includes the Immaculate Conception in the first section, the monstrance in the second, the apocalyptic lamb on the book of the seven seals in the third, and the image of the victorious Faith at the top of the upper temple. The theological and dogmatic interpretation of the monstrance is enriched by the figures of the four evangelists, the fathers of the Latin Church, angels with young men, scenes from the Passion of Christ, and various allegorical emblems.