The relief depicts the god Mithras, dressed in a tunic tied at the waist, cloak, breeches and Phrygian hat, in the act of piercing a bull with a dagger, while a dog, a scorpion and a snake pounce on the dying animal. The killing of the bull represents the origin of the universe as well as the allusion to the constellations of Taurus and Scorpio refers to the cyclical renewal of life. The cult had considerable success with the Romans.

The work depicts Artemis advancing with large strides. The goddess is dressed in a long chiton and a cloak that goes down in zigzag folds lines, while on the back it is possible to see the quiver. The face has a stiff "archaic smile" and the hair is worked in curls, surmounted by a diadem.

The head, in plaster, is a cast of the analogous sculpture of the National Archaeological Museum of Naples.

It is a Roman work of archaic inspiration, believed to be a replica of a Greek original in bronze, or an archaizing creation.

This sculpture, which represents Kore - Persephone, is part of a group of Greek statuettes, dated between the end of the fifth and the beginning of the fourth century BC, which constituted the most illustrious pieces of Giovanni Grimani's collection.

The goddess wears a thinly pleated robe and a cloak that falls from the left shoulder to wrap around her hips in soft drapery. The style of the light and elegant drapery has suggested to scholars that the anonymous author of this work was inspired by the art of Phidias. Some details are noteworthy: the small holes visible between the locks of the hair and the earlobes due to the presence of a metal diadem and earrings, now lost; the recomposed fracture on the neck with the original head, however, and the absence of the forearms. The latter had been added, on the occasion of a Renaissance restoration to complete the fragmentary statue, together with a cornucopia from which flowers and fruit emerged. These additions, later removed in the 1920s, arose from an incorrect interpretation of the subject of the work: the female figure of the goddess Persephone was transformed into the Roman goddess of Abundance, perhaps taking inspiration from the images on Roman imperial coins. The misinterpretation has therefore given rise to the name with which, still today, we commonly refer to the statuette.

The head is a Roman replica of a creation by the sculptor Kresilas, active in the mid-fifth century BC and known through the Roman copies called “type Velletri”. In the 16th century the head was restored and integrated with a bust, equipped with armor and on which the head of Medusa stands out, according to the traditional iconography of the goddess Athena.

This work derives its name from the shape, which recalls that of an altar. In reality, it is a base, on which a statue was originally placed, as suggested by the holes on the upper floor, intended to anchor the sculpture. On the front side the figures of two Satyrs and a Maenad are carved: a first Satyr is lying on a rock covered with an animal skin holding a cup of wine; the other Satyr and the Maenad are stretched out towards each other. On the short sides of the Ara Grimani: on the left a Maenad playing the lyre, accompanied by a Satyr dressed only in a fawn or kid skin; on the right a Satyr and a Maenad are caught in the act of kissing. On the other long side of the Ara Grimani: a Satyr is lying on a lion's skin with a cup and the thyrsus, the sacred staff of Dionysus, while a Maenad plays an ancient stringed instrument, the trine, similar to the harp of today. Particularly noteworthy is the decoration of the high plinth and of the crowning on the upper part of the Ara Grimani: they are adorned with a series of frames carved with refined vegetal and geometric motifs. The style of the figures of the Ara Grimani, which are inspired by models of Hellenistic art, and the very elegant decorative motifs of the plinth and of the crown, are part of the typical schemes of the workshops in Rome of the Augustan age.

The bronze statue, found in 1963 in the Venice lagoon, depicts Poseidon, the Greek god of waters and storms that the Romans identified with Neptune. The god is represented at rest, with one leg raised above a dolphin while the right arm rests on the leg and the raised left arm was holding the trident. The Roman work, datable to the 1st century AD, takes up the iconographic scheme of the “Lateran type”, inspired by a 4th century BC model by Lysippos.

This male bust found in Rome in 1505 immediately aroused the interest of lovers of antiquity who identified it with the emperor Vitellius. It is, in reality, the image of a stranger, whose facial features are rendered in a realistic way: thick eyebrows, prominent nose, thin lips, chubby cheeks and double chin. Some technical characteristics such as the shape of the bust, now partially missing, the hair and the incision of the pupils of the eyes, have led scholars to date the work to the Hadrian age, between 120 and 140 AD.

The portrait of Vitellio was donated to the Venetian State by Domenico Grimani with the will of 1523 and was exhibited in the Doge's Palace together with other sculptures in a room which then took the name of "Sala delle Teste". This prestigious location contributed to the fortune of the work, allowing numerous artists to study it and draw inspiration from it: sketches and drawings by Tintoretto and Jacopo Palma il Giovane, for example, confirm the intense study of which it was the subject; paintings that resume its appearance, attributing it to characters with different names, prove its extraordinary fame. In this regard, see the Banquet in the house of Levi, painted by Paolo Veronese in 1573 for the refectory of the convent of SS. Giovanni e Paolo in Venice, today in the Gallerie dell'Accademia. Finally, there is news of numerous reproductions of the bust of Vitellius from the Grimani Collection made in different eras and different materials, such as the bronze copy, belonging to the collection of Giacomo Contarini, another important patrician scholar in Renaissance Venice, exhibited in the Museum in the same room.

The two reliefs represent a pair of cherubs holding Saturn's sickle and scepter. Originally they were part of a decorative cycle that included pairs of cherubs, dressed in a single fluttering cloak, carrying the insignia of the twelve gods next to their respective empty thrones, in an interior rendered with few architectural background elements. It is a remarkable example of Roman art from the Julio-Claudian age (27 BC - 68 AD), protagonist in Venice of a particular story of reuse and collecting. Coming from the church of San Vitale in Ravenna, the two reliefs are already present in Venice in the first half of the fourteenth century. In 1335 a collector from Treviso, Oliviero Forzetta, wrote in a note that he wished to purchase these plates with cherubs for his art collection: this is the first evidence we know of a collection of ancient sculptures in the Veneto region. The cherubs were then, again reported to Venice in 1532 by Marin Sanudo, who saw them inserted into the wall of a building near Piazza San Marco. Fifty years later, Francesco Sansovino in his guide to Venice of 1581 recorded the presence of the plates with the cherubs inside the church of Santa Maria dei Miracoli, where they remained until 1811. In that year, the plates were transported to the "Public Statuary" for the interest of the sculptor Antonio Canova and Jacopo Morelli, librarian of the Marciana Library, on which the museum depended.

The two reliefs represent a pair of cherubs holding Saturn's sickle and scepter. Originally they were part of a decorative cycle that included pairs of cherubs, dressed in a single fluttering cloak, carrying the insignia of the twelve gods next to their respective empty thrones, in an interior rendered with few architectural background elements. It is a remarkable example of Roman art from the Julio-Claudian age (27 BC - 68 AD), protagonist in Venice of a particular story of reuse and collecting. Coming from the church of San Vitale in Ravenna, the two reliefs are already present in Venice in the first half of the fourteenth century. In 1335 a collector from Treviso, Oliviero Forzetta, wrote in a note that he wished to purchase these plates with cherubs for his art collection: this is the first evidence we know of a collection of ancient sculptures in the Veneto region. The cherubs were then, again reported to Venice in 1532 by Marin Sanudo, who saw them inserted into the wall of a building near Piazza San Marco. Fifty years later, Francesco Sansovino in his guide to Venice of 1581 recorded the presence of the plates with the cherubs inside the church of Santa Maria dei Miracoli, where they remained until 1811. In that year, the plates were transported to the "Public Statuary" for the interest of the sculptor Antonio Canova and Jacopo Morelli, librarian of the Marciana Library, on which the museum depended.

The relief, coming from Rome, constituted the covering of a niche.
The narration is divided into four moments: a woman on a cart pulled by two oxen led by two children; the same woman raises two torches in front of a temple while her children are on the ground, apparently asleep; the two children with a female figure, standing on a horse-drawn cart; the two children embracing the woman in the first two scenes.

This representation has been interpreted as the myth of Cleobis and Biton, told by the historian Herodotus: the two young men, sons of the priestess of Hera, Cidippe, helped their mother to reach the temple by dragging her chariot. The mother asked Hera to reward her children with the greatest prize that could be given to a mortal, so the young fell into sleep and died: death, in fact, was considered preferable to life. Here the myth has been adapted to the identity of the people to whom the tomb belonged: perhaps two brothers, who died as children, to whom the mother dedicated the monument.

The statue without inscriptions represents the deceased in a crouched position with his arms crossed on his knees and the ritual beard on his chin. It takes up the typical model of the cube statue that came into use with a funerary function in the Middle Kingdom.

Fragment of an Assyrian relief with theories of warriors on two horizontal registers. On the upper one we see two armed infantrymen, one of whom raises the severed head of an enemy, behind a chariot that probably carries war spoils; while the lower one shows two riders at a gallop. The fragment is dated to the age of Sennacherib and was donated by the archaeologist Sir Austen Henry Layard.