The head, ornament of a Canopic vase, is the only wooden example of Etruscan sculpture that has survived. It is an authentic artefact, as confirmed by the radiometric analysis C14, donated to the Archaeological Museum of Milan in 1987 by a private collector. The canopic jars were so called by nineteenth-century scholars for their resemblance to Egyptian funerary vessels, closed by animal or human head lids and containing the organs of the dead. However, this type of ossuary was usual only for the Etruscans of the Chiusina area who, still in the VII-VI century BC. they had not abandoned the funerary habit of cremation, thus distinguishing themselves from the Etruscans of Cerveteri and Tarquinia, more inclined to inundation in large chamber and mound tombs. The head of the Archaeological Museum of Milan is probably female, as both the long braid hairstyle and the holes in the lobes seem to indicate, a trace of the existence of earrings. Originally it had to be equipped with irises and pupils made of bone, ivory or glass paste, and be covered with a gold leaf, of which traces remain on the face. Although neither the origin nor the context is known, it is likely that it surmounted a vase containing the ashes of an important person and that it was part of the equipment of a princely tomb.

The mirror has an engraved decoration in which three male characters can be recognized, one of which is naked with a chlamys tied around the neck and two with only the legs encircled by the cloak, identified as the Cabiri, ancient cult deities who in Etruria progressively overlapped the Dioscuri .

The object, belonging to the collection of Amilcare Ancona, an Italian collector and archaeologist (1839-1890), is among the first to be included in the Etruscan collections of the Archaeological Museum of Milan.It probably came from Tarquinia where, in the late Hellenistic period, a production of sarcophagi in both stone and clay is attested. The latter was cheaper but gave the object less artistic dignity, precisely due to the mold processing with a serial process that left less room for stylistic detail. The lid exhibited at the Archaeological Museum of Milan depicts a sad and astonished young woman dressed in a high girded peplum, with the veiled head of a cloak that goes down to her shoulders; the hair is rendered through deep grooves in the clay, while the eyes have the iris indicated by a button. The woman, lying on the left side of a banquet bed, is not portrayed in her physiognomic veracity, but is depicted as a participant in her own funeral banquet, an otherworldly banquet.

This is the front of a funeral urn, decorated in relief. The scene depicted shows the culminating moment of the recognition of Paris; the latter, having arrived in Troy as a simple shepherd to participate in competitions on the occasion of funeral games, chased by his brothers over whom he had excelled, takes refuge at the altar of Zeus, where his father Priam recognizes him.

The black-figure krater with touches in white and purple, has lions and boars on the lip, on the palmette handle plate. On one side there is a quadriga, probably for a wedding procession; on the chariot you can recognize a bearded male figure in the act of holding the reins and, at his side, a female figure, almost completely covered by the first. On the sides there is a procession, made up of a lyre player, perhaps Apollo, and a bearded man with a stick who could be identified with Hermes; finally a female character, perhaps Artemis, with her hair gathered in a vegetable wreath. On the opposite side you can see two warriors marching to the left in the center, and on the sides two pairs of spectators in profile.

It is probably the most notable piece of the funeral equipment found in the Necropolis of the Banditaccia, and has a double representation: inside, within a motif of floral and chess meanders, an athlete, naked and with his head surrounded by a purple bandage, leans with the right hand to a rod; at its feet are two haltères (weights); in the field runs the inscription in purple red: HO PAIS KALOS (the boy is handsome). In the external frieze, on the other hand, in the open space of a gymnasium marked by the presence of a Doric column and a tree, a scene of dokimasìa, that is, the recruitment of young knights in the presence of citizens cloaked with sticks.