The head probably comes from the area of the Sforzesco Castle, formerly known as the Castle of "Porta Giovia" due to the probable presence of a temple dedicated to the father of the gods. The marble face most likely belonged to a majestic cult statue in which the king of the gods was depicted seated on a throne, according to the model created by Phidias for the temple of Zeus in Olympia; this prototype became widespread in the ancient world and probably taken up by Briasside (second half of the 4th century BC) for the mammoth statue of Serapis, of which the best known copy is the so-called "Zeus of Otricoli" in the Vatican Museums. The nose, the mustache on the sides of the mouth and the beard on the chin are restored.

The pavement fragment was recovered during the investigations carried out around the middle of the last century near Corso Europa, an area formerly occupied by the grandiose complex of public baths erected by the will of Emperor Maximian Herculean in the eastern sector of the city. The findings of the last two centuries have brought to light sections of the wall foundations, floor, sculptural and architectural fragments, and guaranteed a planimetric reconstruction of the building derived directly from the models developed in the Rome of the 1st century AD, which then spread widely in most of the lands. dell'Impero: an annular path developed over several rooms arranged symmetrically around a central axis, through rooms for bathrooms, changing rooms, saunas and hot vapors, as well as a large courtyard used as a gym. The entire floor surface was decorated with a pattern of continuous intertwined black meanders on a white background, with two-tone braids in the resulting spaces within a rectangular field on a black background; in the corner areas were four panels with double frame and pelte, with busts of the personifications of the seasons in garlanded roundels (the one of spring is preserved in the Ambrosiana Library). The mosaic probably belonged to an unheated room in the spa complex, perhaps an apodyterium (changing room) measuring approximately 30 x 15 m. The petrographic analyzes have made it possible to trace the lithic materials used for the mosaic tiles to limestone from the Brescia and Veronese area, exploited in the city - in general in various Lombard, Piedmontese and Emilian territorial sectors - since the Augustan age (remember the pavement of the forum composed of white limestone slabs from Valpolicella, now visible in the basement of the Ambrosiana Library).

The cup is part of the precious "treasure of Lovere", found in a tomb in Lovere near Bergamo in 1907 and probably to be dated to the third century AD. The treasure includes silver tableware (a casserole, a plate, an undecorated hemispherical cup and a spoon, which has been lost) which formed, with the exception of the casserole, probably for ritual or votive use, a typical canteen service of a family of high economic level. The cup, in silver, is embossed and has a central round engraved. The beautiful external frieze takes up a marshy landscape with marine animals, fishing tools, shells, waders around the central circle that encloses a fisherman, sitting on an arched pier with a basket next to it. The motifs belong to the figurative repertoire of the late Hellenistic tradition, particularly appreciated in decorative art. The silver tableware, which is one of the luxury products through which the aristocracy of the time flaunted its wealth, testifies to the high artistic quality achieved by the workers of the time.

The three floors, discovered during some building works in via Circo 1 as early as 1877 (but torn, restored and reassembled only in 1967), were to decorate three rooms of a rich residential complex dating back to the second half of the 2nd century AD; the domus was part of an urban sector characterized by numerous and luxurious houses, built towards the end of the 1st century BC. and then continuously renovated until the III-IV century AD, when they will be partially demolished to make room for the imposing architectural bulk of the Maximian imperial palace. The current arrangement of the mosaics reflects the original one, although the position of the passages between the different rooms is hypothetical. Floor A has a geometric structure based on a central disc pattern, with limited polychromy.

Floor B is characterized by a border made up of a series of lozenges flanked by peltas, and a field based on a framework of squares and octagons, which can be internally broken down into an octagon, four small squares and four elongated hexagons. The central square is rendered with a checkerboard pattern.

Found in 1825 in Milan, near via Circo, the altar was probably used for private use, as suggested by the subjects depicted which are typical of larari (small temples placed in private homes) and should be interpreted as a message of good luck, according to a symbolic language. widespread in the Augustan age. The altar on side A depicts the goddess Tellus (Earth) or Ceres, with ears of wheat, a symbol of fertility and abundance; below, in black marble, there is a head of Dionysus / Bacchus. Side B depicts Fortuna-Abundantia (Abundance), with cornucopia and rudder resting on a wheel, symbols of the upheavals of fate Side C reproduces the image of Hercules standing leaning on the club, with the leontè and a cup in his hand side D presents a winged, naked Victory, with a palm branch in the left hand and a vegetable crown in the right, in the typical gesture of the victor's coronation. The good quality of the painting and the educated subjects reflects the refinement and culture of the client of the monument, perhaps the owner of one of the domus that, between the 1st and 3rd centuries AD, characterize the western district of Mediolanum. The altar, part of the furnishings of a domus or a collegium (seat of a guild of artisans or traders), is one of the very rare examples of Roman painting in Milan, consisting mostly of small wall fragments of private residences.

A splendid product of luxury craftsmanship from the 4th century AD, the Diatreta Trivulzio, known by the name of the collector who brought it to Milan in the 18th century, is the only intact example of this particular class of glass, whose manufacturing method is still debated. The glass bowl in green, hazelnut and blue color is decorated with a net made up of four rows of tangent circles marked by a cross motif at the points of contact. Below the rim runs the inscription "Bibe vivas multis annis": "Drink, may you live many years". The inscription, similar to others that appear on this class of glass, seems to suggest a use as a vessel for wine. Given the rarity and value, however, it is likely that it is a prestigious object, reserved for the imperial court environment and perhaps intended solely for display but not used.

The plate, in gilded and embossed silver, is one of the best-known examples of late-imperial silverware (4th century AD). It presents a complex figurative scene, of cosmological and philosophical-religious value: the triumph of the goddess Cybele and her companion Attis on a chariot drawn by lions, attended by the deities and personifications of time, sky and terrestrial nature. The cult of the Phrygian goddess Cybele was introduced in Rome in 205 BC. to protect the city; was particularly venerated in the Roman world starting from the 1st century AD, it acquired great importance for the pagan elite in the 4th century and the emperor Julian the Apostate, at the end of the 4th century AD, the period to which the work is dated, he tried in vain to oppose the cult of the Goddess to the now dominant Christianity. A curiosity: the patera of Parabiago is a large silver plate with a diameter of about 39 cm and a thickness of about 5.1 cm. Found in Parabiago, a town 23 km from Milan, in 1907 and recovered in 1931 by the Archaeological Superintendence of Lombardy, it weighs 3.5 kg.

It came to light by chance in 1827 in the area of the grandiose baths built by the emperor Maximian Herculean at the end of the third century AD. in an area corresponding to the current Corso Europa-Largo Corsia dei Servi, the torso is what remains of a colossal marble statue depicting Heracles at rest, leaning on the club, after the conquest of the apples of the Hesperides. Dated to the end of the 2nd century, the statue certainly decorated the baths built in the 3rd century or, more likely, only enlarged by Maximian. The fig leaf is a nineteenth-century addition.

The marble portrait represents a character of mature age, with an intense gaze and a pensive expression. The head was originally inserted in a large statue depicting a prominent figure of the late 3rd century AD, probably an emperor. Traditionally the portrait, datable to around 300 AD, is identified with Massimiano Erculeo (286-308 AD), the emperor who transformed Milan into a great capital by choosing it as the seat of his court.