This chapter focuses on the large transparent orb resting on the lap of the central female figure. In exploring the suggestions made by Hartlaub, and later by Grabski, I suggest that Titian's Allegory of Marriage depicts a contemporary ritual of crystal gazing. I historicize some of the salient natural philosophical, magic/theological, medical, and political aspects that formed a backdrop for such divinatory tools and the rituals in which they were used. In particular, I explore the magical qualities of rock crystal and similar divinatory tools in scrying, and the imbrications between such rituals and pregnancy. I suggest that the Allegory imbricates a ritual of scrying with a particular conception of the power – and limits – of a visual representation.