The pluteus broken into three parts and mutilated, presents in the upper band a double series of knotted circles formed by a two-wicker ribbon; on both sides a stylized tree. The central area is decorated with a large circle formed by a ribbon, inside which a square is inscribed, also outlined by a ribbon which then creates a further circle that houses an eight-petal flower and central button. From both circles open four lilies, each oriented towards the corners of the square.

The cubic-shaped capital is decorated on all sides with pairs of doves with crossed tails; between the doves a palmette is inserted within a heart-shaped frame; on the upper edge runs an acanthus - palmette frame. This example is linked to a typology long practiced in the Byzantine sphere and is attributable to a Venetian production.

The four faces of the cube capital, show in the center a large and complex eight-petal flower surmounted by a motif consisting of a central trefoil leaf, two double-headed ribbons with curled ends on both sides and finally by two stems that they end with heart-shaped leaves bent downwards. A large festoon ending in volutes at the ends and formed by a bisolcato ribbon encloses this complex decoration. Of Venetian production, this type of capital finds comparisons in the mid-Byzantine sphere and must be linked to that production both for the decorative solutions and for the drill treatment of the petals and scrolls and eyelets, particularly favored in the Byzantine sphere between the 10th and 11th centuries.

The tile is surrounded by a laurel wreath motif, with groups of three repeated leaves. The central space is occupied by a tree whose central trunk ends in a double motif of calyx leaves and in two large polylobate lateral leaves. Two branches on each side start from the trunk, each ending in three large oblong and furrowed leaves and in two clusters. Two pairs of birds eat the fruit.

Produced in the Venetian area, the tile comes from the island of Burano and was donated to the Museum in 1883.

Panel depicting the Virgin enthroned with the blessing Child. It was part of the altar frontal (the so-called "golden altarpiece") of the Basilica of Santa Maria Assunta in Torcello, originally composed of forty-two panels, of which only thirteen remain.

The altarpiece is the work of a 13th century Venetian workshop; the central plaque with the Madonna is the highest quality hand of the shop manager. The tiles are in very thin silver plate, worked with the embossed technique from the reverse and burin finished in various parts.

The mosaic fragment depicts an angel's head; the face has large eyes with black pupils, long eyebrows, a hooked nose, a small, closed mouth. The curly hair falls on the shoulders, while a large diadem with a central gem surrounds the head above the forehead. It comes from the Basilica of Torcello and was part of the mosaic of the Ascension which depicted Christ in a clypeus supported by angels. The work, from the second half of the 12th century, is of Veneto-Byzantine production.

The work, carved in high relief in gilded and painted wood, represents Santa Fosca lying down, with her head resting on a pillow, with her eyes closed and her arms folded. The sculpture constituted the lid of the marble sarcophagus of the saint, located in the homonymous church in Torcello. It is due to a Venetian-Tuscan workshop and dates back to between 1440 and 1460.

The altarpiece, carved in high relief in painted and gilded wood, depicts the Lamentation over the dead Christ: in the foreground the Virgin is seated in the act of holding the reclining body of Christ on her knees, whose right arm descends to the ground. On the left, St. John the Evangelist and Mary Magdalene support Christ's head; on the right appears San Giuseppe d'Arimatea with the characteristic turban. The high relief is attributed to Paolo Campsa, an Istrian sculptor active in Venice between the 15th and 16th centuries, author of altars in the church of Santa Maria Assunta in Torcello, and is dated between 1505 and 1514.

The canvas of the Adoration of the Magi, painted in oil, was originally divided into two compartments and once adorned the exterior of the organ doors of the church of Sant'Antonio di Torcello. The internal doors instead carried an Annunciation and the parapet of monochromes with biblical scenes, also exhibited in the museum. The decorative cycle of the organ of Sant'Antonio can be attributed to the workshop of Paolo Veronese and was made in the last quarter of the sixteenth century.

The gilded and polychrome wooden sculpture represents the Madonna sitting on a small bench with her hands joined in the act of adoring the Child, unfortunately lost, who was originally on her knees. The presence of circular holes on the head, with very short hair, presupposes the use of a crown. The work is close for the setting of the figure to the Veronese sculpture between the end of the fifteenth and the beginning of the sixteenth century.

The wellhead is obtained from a Roman honorary base datable between the 1st and 2nd centuries, reused in the early Middle Ages when a circular hole was opened and one side was carved with two facing and rampant griffins on a pillar with phytomorphic decorations. The scene is dominated by a horizontal band, severely damaged, in which a tree with two birds can be read in the center and two quadrupeds facing outwards on the sides that seem to hold a leaf in their mouth. On the opposite side the Roman inscription remains, while on the contiguous ones the coeval decoration consisting of a flower with a central button and an amphora has been preserved. It comes from Altino.

The stoup, carved in Pentelic marble, has a "bulbar" body with an upper circular opening and a cylindrical base. A large wavy branch with ivy leaves winds around the raised lip. Below, a Greek inscription in capital letters runs along the entire circumference. Below is a cross whose side arms hang the Greek letters Alpha and Omega. At the ends of the arms there are other letters and monograms. Below the cross a lion's head with a hole, very damaged.

The piece stands out for the high quality of the decoration and is probably the work of a workshop in Constantinople and datable to the 6th century; this typology of artifact is connected to the oriental rite of blessing of the waters whose exaltation is confirmed by the long Greek inscription taken from the Bible (Isaiah XII, 3 and Psalms, XXVIII, 3).

The elegant ivory artefact of Sicilian-Arab production crowned the pastoral staff of the bishop of Torcello Bono Balbi. The hedgehog consists of a single piece with no applications that ends with a snake head from whose gaping jaws a cross rises. The stem that determines the volute of the hedgehog is faceted and along it residual decorations are arranged in the form of small floral elements and dotted bands.

The object, found in 1893 in the burial of bishop Bono in the Basilica of Torcello, dates back to between 1181 and 1215, the year in which the prelate was deposed.

Small quadrangular tile decorated with a hare on the smooth background and slightly convex towards the edges. The animal is represented in the act of eating a leaf composed of three sloping lobes. The motif is free, not inscribed in the branch. This type of brick decoration finds comparisons with Venetian pieces and with others from the Ravenna and Pomposa areas. The piece is of Venetian production from the 11th century.

The seal from the mid-7th century, made of cast lead, bears the dedicatory inscription THEOTOKE BOETHEI (Mother of God helps) on the front and the name ANASTASIO PATRIKIOS on the back. It was found in a tomb in Eraclea in 1882. It is probably the seal of an official representative in Eraclea of the Byzantine Exarch stationed in Ravenna.

The red monochrome painting depicts the Transit of the Virgin and is part of a decorative cycle that originally adorned the parapet of the organ of the church of Sant'Antonio di Torcello. The cycle includes four other monochromes (two yellow and two red) exhibited in the museum. The decorative cycle of the organ of Sant'Antonio can be attributed to the workshop of Paolo Veronese and was made in the last quarter of the sixteenth century.

The bronze fibula is decorated with a cross with heart-shaped arms, filled with blue, red and green glass paste, tangents to a clypeus, to which an eagle is inserted. Figures of batrachians are inserted in the resulting spaces of the cross. It is attributable to Carolingian-Ottonian production of the 10th century.

Fragment of a plate with a Renaissance engraved ceramic bowl with a rabbit running to the right and two trees in the background. Machined on the lathe, Venetian production of the sixteenth century.