[2]" The fortuitous discovery in 1820 of the vascular heritage present in the subsoil triggered a real treasure hunt and all Ruvo was turned upside down not so much with the interest of setting up a museum or obtaining historically useful information, but with the intention of selling the precious pieces in order to have a personal advantage.

In addition to the looting of the ancient necropolis and the market built around the antiques, some noble Houses from Ruvo, such as Caputi, Fenicia, Jatta, Lojodice and others, set up private museums.

[6] But Giovannino, being still too young, was taken over by his mother Giulia who, after her husband also died, decided to ask the Royal Government to leave the Jatta collection in Ruvo to be exhibited in a building used as a residence and museum.

[10] Mainly there are terracotta vases with geometric decorations and dating back to the Peucetian age of the seventh and sixth centuries BC.

[13] The showcases arranged all around contain a great variety of finds ranging from amphorae and vases of ever smaller dimensions to objects of funeral and daily use.

[13] In the third room, containing over four hundred pieces,[14] the white marble bust of Giovanni Jatta junior stands out, who founded the Museum.

[15] A third crater of Lycurgus shows three scenes: the garden of the Hesperides on the front facade; a sacrifice to Apollo on the rear; Heracles against the bull and a Dionysian rite on the neck of the vase.

[14] A large number of rhyta, glasses in the shape of human or animal heads are kept in the display cases, including some Atticans and some Iapygians.

[15] There is also a pelike representing the meeting between Paris and Helen mediated by Venus, a kantharos with the figure of a bearded old man and an askos.

[18] Other vases kept are of the black-figure type and therefore belonging to the first phase of Atticans ceramics, such as the oinochoe representing Heracles against the lion Nermeo and Theseus chasing the Minotaur.

[18] The Museum and the city of Ruvo itself owe their fame to this vase considered one of the most important Atticans ceramic masterpieces due to the artistic innovations present such as the coloristic and perspective researches of the 5th century BC.

[18] On the vase is painted the episode narrated by Apollonius of Rhodes in the Argonautiche regarding the killing of Talos by Medea, supported dying by the arms of Castor and Pollux.