While the Roman period tombs' above-ground structures have undergone reconstruction, their subterranean chambers remain largely intact within an archaeological park. The Via Latina Catacomb, dating to the 4th century CE, features interconnected burial chambers adorned with an extensive fresco program blending Christian and pagan iconography. Notable biblical scenes include Noah’s Flood, the Crossing of the Red Sea, and the Resurrection of Lazarus, alongside depictions of Hercules, reflecting a fusion of classical mythology and Christian eschatology. The uniform artistic style suggests the work of a single workshop, emphasizing themes of salvation and the afterlife.

circa 100-200 CE

Barberini Tomb
The Barberini tomb (Sepolcro Barberini) is among the most notable tombs in the archaeological park. Its current name comes from the former lanowners and is not representative of ancient affiliation. The Barberini Tomb features two upper levels above a subterranean burial chamber and is built using the characteristic red and yellow bricks common in Roman architecture of the mid-2nd century CE. Among its notable discoveries is the Barberini Sarcophagus, adorned with reliefs depicting the legend of Protesilaus and Laodamia, which is now housed in the Vatican Museum. By the 8th century CE, the tomb had been repurposed as a barn, leading to the partial destruction of its roof.

circa 100-200 CE

Valerii Tomb
The tomb of the Valerii (Sepolcro dei Valeri) is an impressive two-story brick structure that dates back to the second half of the 2nd century CE. Some of the original Roman period bricks from this tomb bear the date of 159 CE. Despite its name, there is no historical evidence linking it to the Valerii family, and its true occupants remain unknown. The above-ground section, which has been almost entirely reconstructed, is particularly notable for its architectural design, featuring a prominent portico supported by two sturdy columns at the front. This entrance leads into a spacious area open to the sky, creating a central courtyard-like space that allows natural light to filter into the structure. From this open area, two symmetrically arranged staircases descend into the subterranean burial chambers. These underground rooms were originally adorned with lavish marble slabs, reflecting the wealth and status of those interred within. The tomb’s design, with its combination of monumental brickwork and opulent interior decoration, is characteristic of elite Roman funerary architecture from this period.

circa 100-200 CE

Pancratti Tomb
The only surviving portion of the Tomb of the Pancratii (Sepolcro dei Pancrazi) is its underground chamber, as the original surface structure has been lost beneath a modern building. The tomb derives its name from an inscription referencing the funerary collegium of the Pancratii, which is carved into a large marble sarcophagus that remains in its original location. In addition to this in situ sarcophagus, seven others were discovered within the tomb, though they have since been relocated to the Vatican Museum. Dating to the reign of emperor Hadrian (117–138 CE), the tomb preserves remarkable examples of Roman stucco work and fresco painting. The decorative program of the underground vault is particularly noteworthy, featuring well-preserved frescoes, including a dynamic depiction of Jupiter soaring through the sky with his eagle and a representation of the mythological Judgement of Paris. These artistic elements provide valuable insight into the funerary practices and aesthetic preferences of the period.

circa 100-200 CE

Columbarium Tomb

circa 100-200 CE

Brick Tomb

circa 100-200 CE

Baccelli Tomb
At the terminus of the archaeological park, situated on the right side of the Via Latina in a slightly recessed and elevated position relative to the road's ground level, stands the facade of a monumental tomb commonly referred to as the Baccelli Tomb. This designation originates from Guido Baccelli, the Minister of Public Education in the early 20th century CE, who oversaw the preservation of the entire archaeological site. Although the structure remained largely intact for many centuries and was repurposed as a church during the 16th century CE, it eventually suffered a catastrophic collapse. As a result, only the northwest facade remains standing today.

The tomb originally consisted of two levels, incorporating an underground hypogeum or crypt chamber that was connected to the upper level via an internal system of ramps. The subterranean section, currently inaccessible, comprises two rooms, beneath which burials were arranged in a systematic manner—two parallel rows stacked in three layers of deposition. The upper chamber was architecturally refined, featuring walls adorned with niches and arcosolia, which were further embellished with sophisticated trabeations and pediments. Despite its current state of significant deterioration, the structural and decorative elegance of the surviving facade remains evident, particularly in the refined clay moldings.

The entrance, centrally located at the base of the remaining facade, is surmounted by a modern marble plaque commemorating Minister Baccelli. This entrance is symmetrically flanked by two smaller openings framed by finely crafted terracotta moldings. Although the original trabeation of the tympanum has been lost, surviving fragments reveal a meticulous architectural composition, distinguished by a rhythmic sequence of moldings executed in red and yellow brick.

The external appearance of the Baccelli Tomb, reconstructed through the historical drawings of Pirro Ligorio and corroborated by early photographic documentation preceding its collapse, closely resembled that of the Barberini Tomb. This suggests a stylistic continuity in the funerary architecture of the Via Latina, reflecting broader trends in Roman sepulchral design during the second century CE.