From the theater of Caesarea comes this fragment of a statue consisting of a hand holding a female theatrical mask with a diadem. The mask has a closed mouth, very large and hollow eyes, marked eyebrows, hair with central parting. The diadem suggests it was used to impersonate a deity or a heroine. The detail of the closed mouth is very interesting because it suggests a "silent" mask, used during pantomimes, whose actor was not supposed to speak but express himself only through gestures and dance, accompanied by the choir, the citarists and the flute players. . It is possible that it is the statue of a Muse, perhaps Polyhymnia, protector of pantomimes. From late sources we know that the city of Caesarea was known for the diffusion of these artists in the region.

Excavations at the theater of Caesarea have returned a headless statue, standing on the left leg, flanked by a small pillar. The peplum, hooked on the shoulder, falls back in large folds; the lower edge is raised by the movement of the forearm. On her feet she wears simple sandals. On the left side it has a deep hole that was connected to another hole visible in the folds of the back; it is possible that the statue has been modified to insert it into a water feature. The statuary type, although inspired by Greek models of the fifth century. BC, it spreads as a re-elaboration in Rome, rapidly in the provinces; often this type of statues was placed in nymphaeums or fountains, a reason that authorizes her to be identified as a nymph. The presence of this type in Caesarea underlines how the city was, in the second century. A.D., fully updated on urban models of sculptural furniture.

In the excavations of the hyposcenium of the Caesarea theater, several oil lamps were found, including large ones, probably used to illuminate the hyposcenium or the stage during performances. This specimen is of the volute type, with a figured disc on which a young female figure with a pleated short-sleeved dress and cloak is represented within a series of four grooves, standing on a drawn line. The young girl raises her mantle with her left hand, while her right arm is held at her side. The torso is leaning forward and the face looks down towards the mantle.

During the archaeological excavations of A. Frova in Caesarea (1950), an epigraph was found that named Pontius Pilate, prefect of Judea, the only direct reference and not from literary sources (Gospels, Tacitus, Philo) of the person known for the trial of Jesus. This is an inscription of considerable importance, contemporary and official, direct testimony of the acts of Pontius Pilate which is indicated with the title of praefectus Iudaeae "Pontius Pilate prefect of Judea [dedicated / restored and dedicated] the Tiberium [for the sailors / for the inhabitants of Caesarea] ”. The dedication refers to the construction of a public building in honor of Emperor Tiberius (14-37 AD) which is still unknown to archaeologists today. Excluding that it was a temple, one could think of a porticoed square, probably in the vicinity of the theater, where the stone was reused in the fourth century. A.D.

A statue was found in the area of the minor aqueduct of Caesarea; it is the representation of a fisherman sitting on a rock, on which, in relief, ten different species of fish can be distinguished, mostly arranged in pairs. The fish seem to approach the central point, where the line was probably depicted. The representation of the seated fisherman was much appreciated in the Hellenistic and Roman periods, when it became a way to portray the humblest social classes in a realistic way. In the imperial age, it must probably be related to the desire to recreate a “bucolic subject”, suitable as a decorative element for fountains and basins.

The precious golden jewels (VI-VII century AD) were discovered during the excavations conducted by the Italian Mission in 1962 in a tower of the Byzantine fortifications of Caesarea (Israel). The treasure includes a gold and lapis lazuli necklace, two pairs of earrings, four pendants, two golden crosses. While the necklace is part of the Roman goldsmith tradition, the two crosses are the most prominent elements for the production technique, the preciousness, the Christian cultural context. In particular, a cross is engraved in Greek with the words life / light (John, VIII), with letters arranged to form a cross. The phrase refers to the relationship between cross / life, light / faith, characteristic of early Christianity.