The article is devoted to the analysis of the representation of the crucifixion in ancient art. Although ancient historians, philosophers, and writers tell a lot about this execution, only a few images correspond
to our rich literary tradition. These are 1) a fresco from the Arieti Tomb, or, as it is sometimes called, the Tomb
of Magistrates, in Rome (3rd–1st centuries BC); 2) a graffito from Puteoli (early 2nd century AD); 3) and the
Alexamenos graffito (the end of the 2nd — the beginning of the 3rd century AD), found during excavations on
the Palatine Hill in Rome. The author also examines some artifacts, the authenticity of which in our time is
considered questionable. These are a seal-cylinder with Orpheus hanging on a cross and a bone amulet with
the image of a crucified ass-headed figure. The rarity of these representations is possibly due to the fact that the
Romans from the very beginning considered this ritual barbaric and applicable only to slaves and non-citizens.
This topic could not be used to promote imperial ideology or maintain Roman identity. This explains the nature
of the majority of the surviving monuments: either graffiti with offensive overtones, or magic gems.