The umbo comes from Tomb 3 of the group of burials belonging to high-ranking Lombards found in Trezzo sull'Adda (Milan) between 1976 and 1978. It constituted the metal reinforcement part in the center of the shield to parry blows and protect the hand of the warrior. Plates in gilded copper adorn the cap with a cross and the border with a series of fantastic animals. The golden studs are decorated with ornamental motifs and were attached to the wooden disc of the shield. The kit also included a cross in gold foil, a spear point, a sword (spatha), a combat knife (scramasax), knives and the seals of the scramasax suspension belt and a buckle of Byzantine tradition.

The jewels were found in Campione d’Italia (Como) during excavations at the church of San Zenone, the funerary chapel of the Longobard family of the Totoni, attested by archival sources between 721 and 810. In 777 an exponent of the family, Totone II, donated all his possessions to the basilica of Sant'Ambrogio in Milan, including his house in Campione and the church of San Zenone, and from this donation derives the particular legal status of the town, still today an Italian enclave on Swiss territory. The owner of these objects was buried at the same time as other family members in one of the family's graves, who probably died following a catastrophe or an epidemic. The earrings are made up of suspension rings richly adorned with rows of garnets and pearls, while the blue glass pendants are placed in cages of gold threads embellished with finely crafted beads and golden elements. The ring is characterized by a bezel enriched with gold globes and containing a blue glass paste.

The crosses, coming from a necropolis found in the last twenty years of the nineteenth century between the municipalities of Fornovo San Giovanni and Caravaggio (Bergamo), were made of molded gold foil and subsequently cut out. The rich ornamental repertoire, consisting mainly of intertwining ribbons and highly stylized animal figures, was imprinted on the sheet with the aid of geometric punches or shapes repeated several times on the golden surface. The elements are arranged on the surface sometimes in a disordered way, presenting inorganic interweaving of ribbons and animalistic details, medallions, eagles and ornamental motifs of the Byzantine tradition. According to the Lombard funerary custom, the crosses were sewn on the veil that covered the high-ranking deceased, buried with the grave goods, and document the conversion to Christianity (Arianism) of the Lombard population. The tombs, which mainly belonged to warriors buried sometimes with their horses, were lined up in rows and mainly returned weapons and parts of military clothing harnesses, but there is no shortage of everyday objects.

The sword handle comes from the outfit of one of the five tombs belonging to high-ranking personalities found near the town of Trezzo sull'Adda (Milan) between 1976 and 1978. The handle is characterized by a double intertwined ring, with probable references to a magical cultic meaning and a knob decorated with interweaving of fantastic animals. The weapon, an object of great value that is compared with examples documented in the European area, characterizes the burials of warriors. The grave goods also consisted of offense and defense weapons, elements of military clothing, a ring, a solid belonging to the Emperor Phocas (602-610), a pair of golden crosses and a buckle, displayed in the same display case.

The gold coin comes from the kit of one of the five tombs belonging to high-ranking Lombard figures found near the town of Trezzo sull'Adda (Milan) between 1976 and 1978. On the right it is decorated with the bust of the emperor Phocas bearing on his head the diadem with a cross while with his right hand he holds a rod which is also crusader. On the reverse, the symbol of victory appears with a rod and globe surmounted by a cross. The Solid was placed in the burial as an offering for the afterlife and signals the economic power held by the deceased in life.

The clasps, which were used to secure the dress, were accidentally found in 1951 in Alcagnano (Vicenza) inside three burials of Alamann women laid with the traditional dress. The triangular and §-shaped decorations are obtained by pouring a mixture of mineral elements called niello into the silver grooves. The Alamanni, a Germanic people related to the Swabians, settled in Germany at the beginning of the third century and from there they descended into the Lombard plain where they suffered a series of military defeats by the Romans that finally forced them to settle along the Po. king of the Franks Clovis manages to subdue them and divide their territories which will be totally absorbed in the Frankish Kingdom in 536. The presence of Alamanni warriors in Italy is attested by archaeological finds, already in the fourth and especially in the fifth century, in the northern regions, at the outlets of the alpine valleys of Lombardy, Trentino and Veneto. In fact, in these places the refugees of this population sought refuge following the defeats inflicted by the Franks.

The cloisonné gold buckle with almandines is one of the most significant works in the museum. It is decorated with a plaque with the heads of birds of prey, a symbol dear to the cults derived from the culture of the nomads of the steppes. It is part of a precious nucleus of jewels which also includes a carnelian with a lion hunting scene from the Roman era and other ornamental elements in gold. The buckle dates back to the time of the migrations in Italy of Odoacer (469/470 AD) and Theodoric (489) who brought with them cultural traditions and goldsmith objects typical of the East Germanic culture. In addition to the economic power and the high lineage of the owner, the jewelry complex documents the encounter between East Germanic and Roman culture.

The seal ring is part of the funerary equipment of a member of the Lombard high aristocracy, buried in a tomb in the necropolis of Trezzo sull’Adda (Milan). Made of gold and decorated with a burin, the ring is adorned with a bearded male face depicting the sovereign or a high dignitary of the Lombard kingdom, delegated to sign documents with a seal. The gesture of the character represented refers to the typical signal of Roman emperors and commanders when they asked for silence to speak to the army. Around the face, there is an inscription bearing the name of the owner and the e title, engraved on the reverse, Rodchis v (ir) il (lustris), that is Rodchis, illustrious man.