Faith is drawn with a cross and a chalice, and the pair is precise rather than decorative. The cross is the content of what is believed. The chalice is the means by which it is received, the sacrament rather than the argument, and the two together render the tradition's insistence that faith is not the conclusion of a proof. Where the cardinal virtues can be acquired by practice, the theological three are held to be given, and an emblem that showed faith reasoning would misstate the doctrine.
Other attributes attach to her in particular programmes. A lighted candle appears, and a baptismal font, and a scroll or a book for the creed. Giotto's faith at Padua holds a cross staff and a scroll and stands on a broken idol, with the keys hanging at her waist. Ripa's Iconologia of 1593 gives the chalice and the cross as the core.
Faith is also the virtue with the longest continuous combat record, since she opens the Psychomachia: Prudentius sets Fides against the worship of the old gods and lets her strike the first blow of the poem. That placement is deliberate. In a battle poem about the Christian soul, the first thing that has to be settled is whom the soul belongs to.
The atlas draws the cross with the chalice, both as thin outlines, following the house convention that a cross is never rendered as a solid form.