The Museum of the Forum houses the foundations of the columns of the porticos that surrounded the great square, around which were the public buildings of the foral complex (Curia, Temple and Basilica). Under the foundations, is the great sewer, which was built to evacuate the waters not only from the Forum, but also from the central sector of the city, dedicated to buildings of a public nature, such as the Theater or the Baths.

It is an impressive pavement from the 2nd century measuring 8.30 x 5.90 meters discovered in 1989 during some works around the Central Market. It is part of a large Roman house that was located next to the walls. It is the most luxurious mosaic that could be extracted during the excavation. It preserves a flowery-style decoration that was also used in the Italian peninsula. In the open spaces, various musical instruments are represented, such as cymbals, rhytons, flutes and eardrums, and containers such as craters and pitchers. All of them are elements related to the courtships of the God Bacchus.

Lead pipe for the distribution of drinking water. It is a sheet of lead that, after being folded around a wooden core, has preserved an ovoid-circular section void. In its upper part, it preserves the union of both sides of the plate, sealed in a recognizable way by means of a linear bath of liquid lead. It has an incised inscription with capital letters that make up the numbering CCCLXXX (380). It forms part of a 25-meter long drinking water pipeline, recovered in the archaeological excavation of the Plaza de la Seo in 1988-1989.

Statue fragment representing a dressed male figure. The exhibited piece is made up of two blocks of marble that fit together at the height of the hips. The male wears an inner tunic and an outer cloak. The short tunic is hardly visible to the naked eye, but it is visible above his left knee, slightly advanced. Above her, the cloak covers her body from the shoulders to below the knees and is fastened at the height of the right shoulder by means of a circular fibula, being collected with numerous folds on her left arm. The figure represents a young adolescent helping in the ceremonies of worship and sacrifices who is identified with the generic name of camillus.

It is a well-crafted piece, which imitates the original center-Italic shape quite faithfully, and even reproduces in detail the two oblique grooves that flank the moldboard. The edge forms an almost right angle with the outside of the wall at its beginning, to bend and lean more at its final end. Due to its dimensions, the mortar corresponds to a mortarium cubitale. The background, not preserved, would be horizontal. On the edge it has received a stamp with the maker's mark.

Antefix isolated from its umbrium, to which it was attached by its upper part. It represents a theatrical mask that shows a masculine face with very large and marked features. The onkos (the actors' hairstyle, which concentrates a large part of the hair raised on the forehead) is made up of several parallel ringlets on the forehead and others that fall staggered on both sides of the face to the height of the chin. Some strands of the ringlets are embellished with inset beads. The face is oval although tending to rounded. It has prominent cheekbones, the nose is large and somewhat widened at its base, and the chin is prominent. The eyes are large, framed by brow ridges, and perforated eyelids and irises. The mouth, slightly open, appears as a horizontal groove without lips.

Elongated piece of solid wood that has a thinned and prominent end that ends in a round point and a body with a circular section that progressively decreases its thickness until the opposite end, which is finished off with a flat and blunt surface.

The styles, stilettos or punches are instruments intended to write or draw marks on wax tablets or soft materials. The pointed part is intended to trace the signs or letters on the wax, while the opposite flat part serves to crush the wax and erase the lines made, once again leaving the surface ready for a new writing with a different message.

Reproduction of an articulated doll from Roman times. It is made of terracotta and the five parts that make it up (head + trunk, two upper extremities and two lower extremities) have been molded independently by hand. The arms and legs are attached to the trunk by means of cotton strings threaded into holes made in the soft clay, which allows the articulation of its members.

She is dressed in a black chiton (two-piece tunic sewn on the sides and joined on the shoulders with safety pins or buttons), over which she wears a light blue stole. Her face is oval and her features have been detailed by incision and excision on fresh clay. She has her hair combed symmetrically and collected in a bun.

Jug with a half-round spout on the edge of the mouth and a patent careening in the lower third of the piece. It has three molded ribbon handles that start from the neck and die in the hull. The upper part of the belly shows applied plastic decoration of phallic motifs arranged vertically with the glans up.

Three phalluses remain in the front and the remains of another in the back, although it seems likely that there were more decorating the entire perimeter. These phallic motifs are apotropaic (protection) and fertility elements. There are several examples of Roman jugs with phallic decoration similar to this piece, although the number of handles they have varies (four, two or one), the type of spout (cylindrical or open) and/or the arrangement of the decoration.

Glass ointment with a globular or spherical body with a concave base, a long cylindrical neck and a flared edge and a smooth profile. The neck presents a slight deviation from its vertical axis. Carefully made, it is translucent and has a bluish-green hue.

The discovery of blown glass for making containers in the middle of the 1st century BC in Syria led to the appearance of numerous containers made with this technique. Their use as containers for perfumes and essences sometimes made it necessary to extend the neck of the container in order to dose the substances. Also called balsamaries, they are quite common pieces in the Roman world and their shapes, color and quality have evolved; the globular typology of these pieces appears around the time of Tiberius and Claudius, with the section of the belly being oval (narrower towards the neck, pear-shaped).

Scrolled skylight with double spout and handle with triangular appendage decorated with mold relief. Central feeding hole and disk decorated with radial gallons marked with concentric moldings, three in the frame and two around the hole. The paste is refined in light/yellowish tones and brown slip.

Roman epigraphic inscription on an alabaster slab. Only a part is preserved, about a third of the total. The slab used as a support for the writing is rough, not polished, so the surface on which the letters have been engraved is rough and their reading is complex. The semantic field is framed by a deep furrow that delimits it. The text has no interpuncture, the letters are capital letters (3.5 to 4.5 cm high), irregular and roughly made, and the words are not segmented into different lines.

The text is engraved with a deep groove, possibly with a square or semicircular chisel or punch. Words that are readable and parsed are scarce. The metric analysis indicates that it is a Carmina Latina Epigraphica, a poetry written in 14 lines, with dactylic metrics: a rhythmic modality of ancient poetry that is based on repeating sequences that combine long and short syllables. The function of this inscription is imprecise; it could have had a funerary character, perhaps an epitaph or a reminder linked to a monumental building context.

Corinthian capital with vegetal decoration of acanthus leaves divided into two crowns topped by an upper floor in which the start of the volutes can be sensed, practically lost due to the deterioration of the piece. Each acanthus leaf stalk consists of a wide axial vein, two trilobed leaflets on each side, and an upper central slightly turned outwards. The base of the capital is completely flat.

The decoration is carefully and well made, creating effects of chiaroscuro and volume through the alabaster trepanning. Resting on the astragalus, he must have completed a monolithic column that would have been part of a forum building from the time of Tiberius in Caesaraugusta and, taking into account the place where it was found, it is possible that it belonged to the building complex in the southern sector of the city. large public square.

Dish base made in Italic terra sigillata, it belongs to a type of small dishes with a thin and low foot. The paste of the piece appears very well refined, intense pink in color and hard. On the outside of the bottom it has an incised graphite after firing, whose reading is RVFIO, made with irregular (9 x 4 mm) and rough scripts.

The graphite seems to be an onomastic reference addressed to the holder of the plate. Its reading offers two translations: if Rufio is considered as a dative of the nomen Rufius, it is translated "for Rufio", thus expressing the addressee to whom said piece is addressed; but if Rufio is considered as a nominative of the cognomen Rufio, something that tends to be more frequent in this type of graffiti, the translation would be "Rufion". This seems to be the most appropriate option, considering -o as a long vowel belonging to a third declension noun.