What do Jewish Kabbalah, the staff of Moses, and the Virgin Mary have in common? Although this question may surprise the modern reader, the connection was quite clear to the Scottish Franciscan James Bonaventura Hepburn when, in 1616, he presented Pope Paul V with the five engraved plates that compose the Virga Aurea. In the first plate, Mary, represented according to the iconography of the Immaculate Conception, is surrounded by angels and saints, with Hebrew verses that emphasize her honors, her Old Testament prefigurations, and a pronounced astrological and Jewish symbolism. Lengthy explanations in Latin and Hebrew follow, accompanied by an extraordinarily rich repertory of ancient or imagined alphabets, juxtaposed with divine names, numerical correspondences, and intricate symbolic schemes. At first glance, the work may appear to be either a syncretistic exercise or a display of erudition by the friar in charge of the Oriental Collection of the Vatican Library. Yet, a closer examination of the engraving's corollaries, particularly the references to the pseudoepigraphical work Mechkar ha-sodot attributed to Shimon bar Yochai, reveals a more specific intellectual agenda. The Virga Aurea points to a distinctive phenomenon: the appropriation of the Jewish mystical tradition by the so-called Christian Kabbalists in order to articulate a particular theological discourse on the Virgin Mary. This paper will therefore explore the theme of a "kabbalistic Mariology," a significant moment in the Renaissance humanists' reception of Mary, through Hepburn's work, presenting it as one of the most fruitful and original developments within the broader season of Christian Kabbalah.