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The making of offerings was a founding aspect of the relationship between mankind and the gods. Through such an action, worshippers proved their veneration, binding the divinity either to grant a favour to giving thanks to it for having done so. Information regarding the motives that prompted the offerings, on the divinity or on the offeror (not necessarily an individual but also a group or an institution) can easily be obtained from the inscriptions. In their absence, the typology of an object or its specific iconography may constitute a clue.
The objects consecrated to the divinity could take different forms, as clearly illustrated by the documentation in this room. They could come in precious materials, be of considerable artistic value, as large-scale statues or less expensive objects which were frequently manufactured in great numbers of identical copies.
Unlike other objects which were presented as offerings only after their original use (such as weapons seized from enemies or work tools), coroplastic productions are of particular interest because they were objects created specifically for use in the ritual.
Some are typical of extended geographical and cultural areas, such as the anatomical votive objects of Ponte di Nona, which are part of a tradition well rooted in Central Italy in the Middle-Republican Age. Figured terracotta pieces like those of Rossano di Vaglio are conspicuously attested throughout the Greek world (but not limited to it) and presumably offered as part of collective rites.