Vessel intended to mix water and wine for banquets, this crater is defined as "columned" because the wide flat rim ends at the sides in two handles supported by thin columns resting behind the deep body of the vase. The decoration is divided into two bands: the upper one presents on one side battle scenes between warriors armed with spears and shields and on the other four knights; in the lower band runs a frieze of animals with alternating panthers, ibex and deer.

Hydria, used to draw and carry water, is an example of the later stages of Greek figurative pottery. The decoration presents a “gynoecium” scene with three female figures in peplum holding fringed scarves, mirrors, a perfume vase and a wicker basket in their hands.

The small vase has a flattened body and a small ring foot and is decorated with bands and parallel lines arranged horizontally on the body and short dashes on the shoulders. It belongs to the later phase of the Mycenaean culture.

Mirror of late Etruscan production in fragmentary bronze and missing the handle. On the inner disc is engraved Lasa, a winged female genius. The nude figure wears a diadem, a ring necklace and earrings with pendants; the left hand carries an alabastron, container for perfumes and cosmetics.

The Thymiaterion, a censer, has a hemisphere-shaped cup equipped with two perforated sockets for the insertion of a chain to hang it or a lid. It is adorned with a line of pearls and ovules and a dotted decoration with plant motifs, animal figurines. The object, of Etruscan production, is linked to the funerary burial ritual.

The small solid cast bronze represents, in a stylized way, a warrior on horseback. This typology, originally armed with a spear and shield, is one of the most common subjects in Paleovenetian sanctuaries and this specimen, due to its typological and technical-formal affinities, is probably produced in the Paduan area.

The fragmentary bronze at the feet reproduces a syringe player in a frontal position, shirtless, with a flared skirt girded at the waist by a double cord and decorated with lozenge motifs and a close-fitting cap. The figurine is one of the first expressions of paleo-Venetian votive plastic, peculiar to this cultural sphere and therefore unrelated to the small Greek, Etruscan and Italic bronzes.

The cup with a high recessed neck and two handles, is decorated in the lower portion with motifs of plaques, rosettes, daisies and the letters that make up the signature CLEME (N) S. The cup typology was widespread in northern Italy.

The female head has a protruding veil, the hair divided into swollen locks that frame the face and form two large curls that cover the ears; the face has full shapes and elongated eyes with raised eyelids and an indication of the pupil. These objects of Middle Italic production were destined to be offered as a gift in the sanctuaries of central and southern Italy of Greek tradition; in these areas terracotta was preferred, while bronze was used in Etruscan, Umbrian and Venetian places of worship.

Work of a Greek sculptural workshop of the early Hellenistic period, the veiled and bearded head presumably represents the god Kronos, son of Uranus and Gaea. The face is striking for its intense mature expression and pathetic features. The piece was possibly part of a representation of the enthroned god.

The sculpture depicts a child with a half-open mouth and eyes wide open in the expression typical of infantile faces in the moment before crying. It is a fairly faithful replica of a famous statue, known in literature as "boy with a duck" which depicted a seated child pressing his hand on a duck's neck. The Torcello specimen is part of the insular or microsian copy tradition between the end of the 2nd and 1st centuries BC

In the jasper a very articulated and complex scene of sacrifice is engraved, composed of five characters, three to the left of a circular altar with a statue of divinity and intent on leading a ram, and two to the right of the altar. This subject is not at all common in the Roman glyptic repertoire and the few examples of comparison place this example in a series of the proto-imperial age in the second half of the 1st century BC and suggest the production of a workshop in Aquileia

The engraved stone depicts, on the different chromatic layers of the gem, a warrior with beard and helmet with crest and dressed in armor. The soldier places his knee on the ground in the foreground and holds in his right arm the large rounded shield with a gorgoneion in the center. It is a pattern which, with variations, is used to represent the wounded hero. The material used for this work of the Republican age is a chalcedony-agate cut "with a magic eye" probably to enhance the protective value of the stone which, in addition to being a seal, was also to serve as an amulet.

The jasper engraving portrays a horse with the bridle around the neck depicted in profile to the left with the foreleg in the background raised and a palm branch in front of the mouth. The presence of the palm indicates that it is a victorious horse at the circus games. It is a very common subject in Roman glyptic, the Torcello specimen was probably engraved in a workshop in Aquileia.

The multi-layered sardonic cameo portrays a female bust facing left surrounded with an ivy crown that identifies the character as Bacchante, a follower of the god Dionysus. It is a very common subject in ancient production, but this example is an imitation creation of the early nineteenth century.

The horizontally arranged carnelian bears a simple hunting scene: a deer with its upper legs raised in the run is chased by a dog; on the left a small tree. It can be seen that the engraver employed small globules to represent the leaves of the tree, the hooves of the hoof and the ends of the dog's paws. The subject is attested in the Roman period repertoire and this specimen is probably of Aquileian production.

The rectangular stele with a pediment of the pseudo-aedicula type is divided into niches with two superimposed registers. The upper register houses the busts of the two spouses, both dressed in tunic and cloak, and is characterized by the shell valve in the background, a presence perhaps connected to the cult of Venus as a funerary and celestial god. The busts of two children are sculpted in the lower register. The specimen lacks the lower right corner and part of the lions that decorated the corners of the tympanum and the crowning of the vertex.

The pseudo-aedicule type stele has side pillars with plant decoration and houses in the niche the two spouses portrayed in the traditional act of shaking their right hand to symbolize the conjugal union, as well as the scroll, official marriage document, in the hand left of man. On the plinth there is the dedicatory inscription “To the daughter Tattia Procula, daughter of Spurius, to the son-in-law Publio Valerio Servolo, freedman of Publius”.

Lucerne with handle in the shape of a crescent moon and two volutes that symmetrically flank the pointed beak; on the disc inside two concentric circles a seated player is depicted.