Corneli stele with a small triangular pediment crowned by two lateral apalmette acroteria and a central one with a portrait within clypeus. The portrait depicts the centurion Lucius Cornelius Aquilinus who had the funerary monument erected with a testamentary disposition. In the upper part of the stele there are three portrait busts of the dead: the central female one representing the mother Cassia, the male side ones representing the father Caius and his brother Marcus. Below the inscription that reminds you.

Huntress stretched out in the run, with a hairstyle embellished with a silver half-moon diadem. At its feet a deer and a dog, resting on distinct bases welded to the larger one which has elaborate moldings and on whose forehead we read an inscription (I (ovi) O (ptimo) M (aximo) D (olicheno) T (itus ) Aurelius / Seleucus D (onum) D (edit)). The piece, datable between the 1st and 2nd cent. AD it was reused on a new base or on the same inscribed ex novo, at the beginning of the third century AD, by Titus AureliusSeleucus, of oriental origin.

Sarcophagus with a wedding scene framed by three niches: in the center a young married couple with a putto holding the raised torch, on the right two bearded characters, on the left a handmaid carrying a casket; on the right side the head of Medusa. The sarcophagus was partially worked in Rome, before being finished in Concordia with the faces of the clients; here, however, it remained incomplete.

Transparent light green cup, decorated with a "negative relief" depicting Daniel among the lions. The cup comes from the western part of the city, north of the bridge, where Bertolini claims to have found traces of a burial ground. The theme of the prophet, miraculously saved from the lions' den, is the immediate reference to Christian soteriological and eschatological themes. It is therefore plausible that the cup was used during funeral banquets and commissioned by a wealthy Concordian or by a representative of the local church capable of understanding the high value of the glass masterpiece. The presence of the cup testifies to the cultural vivacity of Iulia Concordia in the 4th century AD, a center of large-scale commercial exchanges.

A female portrait characterized by delicate but firm features, she has a thin mouth, a triangular forehead and a hairstyle decorated with a crown of flowers and fruit. The hair is divided by a central parting into two wavy bands that are gathered at the back in a bun at the nape. The portrait interpreted in the past as Flora or Pomona seems rather to belong to a lady, perhaps of imperial rank, who wanted to be portrayed in the guise of one of these two deities.

Pan's torso represented in the act of playing a musical instrument: a sirinx, carried to the mouth with the right hand. In two small protuberances at the attack of the jaw with the neck, defined by Bertolini as "verrucche" it is perhaps possible to recognize the remains points for producing the copy. The destination of this work was to be domestic as a decorative statuette (Di Filippo Balestrazzi)

Male bust with head turned to the left and face characterized by hair arranged in a cap and short beard.The rendering of the statue constitutes a sort of syncretism of traits typical of the Trajan and Hadrianic age.It is hypothesized that the character depicted is an authoritative Concordian citizen who has chosen to be portrayed with imperial features.

The statuette depicts a man seated on a folding stool holding a musical instrument with his outstretched hands. The figure representing a player, a motif attested in the art of situlae, due to the shape of the elongated bust and the bent legs is comparable to a small bronze found in the sanctuary of Fornace in Altino. According to recent opinions, the hollow support on which the piece rests could be the crowning glory of a piece of furniture or a prestigious piece of furniture, if not perhaps a sign of rank and prestige.

Relief with three male figures advancing in procession to the right, wearing short tunic with cape and calcei without binding at the feet. Two of them hold bundles without axes on their left shoulder and hold a rod in their right hand; the third holds an ax on his left shoulder and holds a sort of stick in his right. The interpretations advanced by scholars differ in terms of the attributes and attitude of the figures: Bertolini first recognizes three lictors, then apparitores; Brusin reads a sacrificial procession with the duoviri. The character and function of the relief are also discussed.

The floor has a geometric decoration consisting of a composition of large and small circles and other motifs. At the center of a large clypeus, limited by a black and white braid, stands a figurative motif. The mosaic presents two, the third has been lost, of the three Graces, which are depicted naked and embraced according to a scheme of Hellenistic ancestry, very common in the Roman world. The artifact, rich in color and chiaroscuro effects, is the only polychrome mosaic.

Burial altar of a family of butchers with a bas-relief representation on one side of the tools of the trade (a ham, a scale with weights and three knives) and on the front face the epigraph with which Galla dedicates the monument to father, mother, brother Severus and the freedman Epaghato.

Statuette depicting Venus undoing her sandal The piece refers to a domestic context, with decorative functions, an expression of parva luxuria.

Central-Gallic sealed earth cup (Type Drag.37) decorated with a band of ovules, below which animals and male figures are represented in rectangular squares. The decorative motifs of the cup are typical of Lezoux potters and the shape of the ovule leads this cup to be attributed to the late ceramist Cinnamus (Bonomi).