Numerous architectural elements in stone, which have come to light over time along the northern limit of the Roman city, lead us to hypothesize the existence, in that area, of a monumental building for public use. An example of such finds is the large marble capital, with a double crown of acanthus leaves and pairs of lions at the four corners at the Palazzo di Rodolfo Casagrande, the capital was then vertically sawn in half and used to decorate the facade of the building. Only in the nineteenth century was it removed and donated to the Civic Museum.

The mosaic technique was mostly reserved for the flooring of the most important or representative spaces of the domus. Most of the mosaics found in Cremona have a geometric pattern, sometimes enriched with plant elements. Exceptions are the scene of the killing of the Minotaur in the domus del Labirinto, the busts of the Seasons in the mosaic in via Cadolini and, as regards the Domus del Ninfeo, the marshy scene with ducks and aquatic plants and the one with a meander containing panels with leaves, flowers and birds that was the floor of one of the bedrooms (cubiculum).

In the section on the necropolis numerous bone fragments with refined figurative decorations are exhibited: Bacchic processions, cupids with cornucopias, panthers, a head of Hercules, winged female figures, a dancing maenad. These fragments belonged to the decoration of some beds dating back to the end of the 1st century BC used for the deposition of the dead and then burned at the funeral pyre according to the rite then in use. The elements were found, with evident signs of the combustion suffered and therefore blackened and fragmentary, during excavations carried out during the 60s of the last century in the area behind the apses of the church of San Lorenzo, where in Roman times there was a necropolis . The figured decoration in engraved bone covered the legs of the beds, the external sides of the frame and the sides placed on the part of the head and feet (called fulcra) with scenes of mythological inspiration, which in some cases have complex eschatological meanings connected to the hopes for the afterlife. The custom of placing the deceased on a precious bed decorated with engraved ivory plates is very ancient but was particularly widespread in the Hellenistic period and then became widely established in Rome and in the Roman world, where the precious ivory was increasingly replaced by bone. . For the understanding of the structure and decoration, the discovery of some specimens from burial tombs was fundamental, which are recovered in a much better state of conservation than those placed in cremation tombs, burned at the funeral pyre.

With part of the fragments recovered from the archaeological excavations of Piazza Marconi, one of the niches that made up the nymphaeum was rebuilt. The Nymphaeum was a luxurious garden furniture, very fashionable in the homes of the richest population in the period between the 1st century BC and the 1st century AD. , constituted the housing of statues. The structure found in Cremona is decorated with a very varied mosaic covering , where we see the use of stones, shells, pieces of colored glass and a particular pigment called Egyptian blue. The decorative motifs evoke the atmosphere of the garden and the theme of water: together with geometric elements we observe ivy spirals, garlands of leaves and fruits and a large shell valve. The suggestion of the natural environment is emphasized by the “fake cave” decoration of part of the structure.