The limestone slab, part of the funerary monument dedicated to Quinto Servilio, was recovered in 1934 along the road from Venafro (IS) to Teano (CE), at the height of the New Bridge over the Rava stream. In addition to the inscription, there is a box with the portrait of the deceased and the representation of a large face of Gorgon, a common funerary symbol in the Roman world. The monument, which due to the stylistic characteristics of the reliefs can be dated between the end of the Republican age and the early imperial age, is broken on the right; the missing part was to complete the plate symmetrically, with another portrait and a second inscription. In Venafro there are three Roman necropolises, which developed along the main extra-urban roads that led to Naples, Rome and Boiano (CB).

At the beginning of the twentieth century, on the occasion of the construction of a house in the upper part of Venafro (IS), in the locality of Terme di S. Aniello, an archaeological discovery of great importance was made: an environment inside which a group was stacked of sculptures and architectural decorations. The entire complex of materials found is attributable to the Venafro theater. Among them, two large virile statues attract attention. Similar in layout and made in heroic nudity, they feature a draped cloak that encircles the hips and covers one shoulder. Dated between the age of Caligula and that of Claudius (37-54 AD), they were initially identified with Augustus and Tiberius, while more recent studies prefer to recognize two anonymous characters from Venafran. After the discovery, they were taken to the National Archaeological Museum of Naples, where they remained until the opening of the Archaeological Museum of Venafro, to which they were returned in the early nineties.

The statue, dated to the 1st-2nd century AD, probably represented Apollo, god of the Sun and of the arts, a Greek deity later venerated also in the Roman world. It was recovered in Venafro (IS) from the foundations of Palazzo Monachetti, during works that took place following the earthquake that occurred in May 1984. The peculiarity of the sculpture is given by the traces of polychromy present in some points of the surface, proof of how , in ancient times, the statues were decorated with very vivid and bright colors, then gradually canceled by time. The visual perception that we currently have of statues of the classical era does not therefore correspond to that of the ancients: in fact, they were partially painted with bright colors to create a strong visual impact and thus attract the attention of the viewer.

The statue of Venus found in 1958 during the construction of a house along Via Colonia Giulia in Venafro (IS) dates back to the 2nd century AD. It takes up the type of the so-called Landolina, one of the variants of the Hellenistic age of the Venus of Cnidus by the famous Greek sculptor Praxiteles. It is probably a fountain decoration: water must have gushed from the dolphin that flanks it. Already exhibited in the National Museum of Chieti, it was brought back to the city of Venafro in view of the opening of the Archaeological Museum. Certainly the statue stands out for its plastic beauty and the soft rendering of the curves; the particular adherence to the body of the dress and hairstyle gives the impression that the goddess has just completed her ritual bath. The Venus is a symbol of Hellenistic sculpture and still represents one of the major attractions within the Archaeological Museum of Venafro.

The sarcophagus of Magia Marcellina is part of the stone material from the Roman period donated by the Del Prete family to the Italian state during the seventies; until then it had been kept in the Del Prete family villa in Camerelle, in the Pozzilli (IS) area. The sarcophagus is made of limestone and has a tripartite front, with a very simple decoration consisting of two garlands at the ends. A central table, on the other hand, is reserved for registration. It is the only Venafrano text that remembers this family, of Italic origin and widespread in Campania and Sannio. The specimen is very similar, in size and type of decorations, to the sarcophagus inserted in the Fontana Fraterna, in Isernia. Similar to these is a further sarcophagus found in the excavation of the Cathedral of Isernia. The three pieces can perhaps be attributed to the same workshop.

We know quite well the Roman aqueduct of Venafro (IS), which brought water to the city from the sources of the Volturno, with an almost completely underground path about 30 km long. The Edictum Augusti de Aquaeductu venafrano is an inscription of 69 lines divided into 4 titles. It establishes the rules on construction methods, relations with the owners of the land crossed, the distribution of water and the competent magistrates in the event of disputes. The edict was drawn up in the years between 17 and 11 BC. The plaque bearing the text had been used, in the mid-18th century, as building material in a farm; recovered in the following century, it has been kept in Venafro ever since. On the side you can recognize the pockets for housing the metal clamps that were supposed to hold the edict in place, but unfortunately there is no precise information on the structure to which it was part.

The syrinx, or pipe flute, is a wind musical instrument, in which the sound is produced by the vibration of the air blown transversely inside the upper openings of the pipes. The marble specimen exhibited on the first floor of the museum was found in Venafro (IS), in via Carmine; in all probability it was associated with a statue that adorned the garden of some rich Roman domus. This particular type of syringe was made up of several marsh reeds of different lengths tied or glued together and its invention was attributed, in the Greek world, to the god Pan. According to the myth, in fact, Pan, god of the woods and pastures, with a human appearance but with goat legs and horns, fell in love with the young nymph Siringa, a follower of Artemis. Eager to escape the pursuit of the god Pan, Syringe asked the Naiadi nymphs for help who transformed her into a bundle of marsh reeds. The god Pan used the reeds to build a new musical instrument, to which he gave the name of his beloved nymph.

The king, called in Persian shah, later became escac in the Catalan language, hence the modern term chess. Cylindrical in shape, it has larger dimensions than all the other pieces that make up the Venafro (IS) chess set. The front carved part, probably a stylized reference to the throne of the monarch, is characterized by the angular lines that form a sort of trapezoid in the lower part, while the central cavity of the piece was used to fit an insert ending in the upper part with a small sphere.

Formerly called pil by the Persians and then al-fil by the Arabs, this pawn has more modest dimensions than the previous ones and is characterized by a truncated cone shape with a rounded top, which make it resemble a kind of inverted bell. It has two small protuberances in the upper part, a stylized representation of the elephant's tusks, commonly used for war purposes in the East. Over time, in Europe these two protuberances will tend to merge into one, giving the piece its current shape with the typical upper termination reminiscent of a bishop's miter

This olla was found in the early medieval Benedictine monastery of San Vincenzo al Volturno (IS), in a fragmentary state, during excavations conducted by the Suor Orsola Benincasa University of Naples. The vase has a globular body, four ribbon handles and various kinds of raw engravings. The areas delimited by the handles host human figures dressed in probable monastic robes and with a tonsure on their heads; they can therefore be interpreted as monks. Around the figures there are several five-pointed stars and the letters A and R of still unknown meaning. The function of the olla is not certain. As it does not show signs of soot, its use as a kitchen utensil is excluded. Preliminarily, it can be hypothesized that it was used as an electoral box to establish monastic offices; in fact, together with the olla, fragments of ceramic with engraved letters were found inside, probably used as "electoral cards".

In the Persian language this piece was called Mask-i-Aparzen, or "the tent of command", in which the king's advisor was to direct the battle, which then became the abbreviated term farzen / farsin and then firzan / vizier in Arabic (councilor /Prime Minister). Only after the arrival of the game in Europe did it become the dominion / queen we know today. Always cylindrical in shape like the king, it differs for its slightly smaller dimensions and for the curvilinear section of the lower part of the frontal carving. Furthermore, a small flat-headed wedge was inserted into the central cavity, now lost.

This pawn represented the war chariot in ancient times, called in Persian rokh (literally "camel with a tower equipped with archers") and in Arabic rukh, from which the now obsolete Italian term rocco derives, which later became the modern tower. It is characterized by a more flattened rounded shape, almost elliptical, compared to the other pieces, and by the classic upper termination with double cusp and hollow in the shape of the letter "V" in the central part, reminiscent of the typical (and later) battlements dovetail of medieval construction.

The ancient piyada, which symbolized the infantry weapon, has a bell shape, has smaller dimensions than all the other chess pieces and has no particular signs or characterizations; the five pedestrians of the series of Venafro (IS) have partially different sizes

This piece was called in Persian asp and in Arabic al-faras (knight), and is, in shape and size, extremely similar to the standard bearer, from which, however, it differs for the presence, in the upper part, of a single protrusion of sub-triangular aspect, which can also resemble a small shield, stylized representation of the horse's head. On the opposite side a slight protuberance is visible, which probably symbolizes the mane of the animal.

Venafro chess represents one of the oldest examples of this game in Europe. In 1932, on the occasion of works carried out near the Cathedral of Venafro (IS), some objects made in a stag box, identified as chess pieces, were recovered. The pieces, attributed to the "Islamic" type, are a testimony of the Arab presence in Venafrum, occupied between the 9th and 10th centuries by the troops of the Emir of Bari. This strategy game, probably born in India, was one of the main moments of leisure in the Middle Ages, introduced in Europe thanks to the mediation of the Arabs. The most important piece was the king, flanked by other figures: horses, bishops, towers and finally pedestrians, who represented the infantry. Only later was the figure of the lady or queen introduced, present in the venafrana series, of which a total of 19 pieces survive.