The investigation was aimed at defining the compositional and structural characteristics of a group of monochrome blue faiences recovered in Pompeii to assess provenance on the basis of their technological features. Different complementary analytical techniques were used: Scanning Electron Microscopy (SEM) to investigate the morphological aspects of the samples and in particular of the interfaces, micro-Raman Spectroscopy and XRPD to identify crystalline phases and Laser Ablation Inductively Coupled Plasma Mass Spectrometry (LA-ICP-MS) to assess the elemental composition due to its sensitivity to a wide range of elements and the adequate lateral resolution. Statistical data treatment of the elemental concentrations of both the ceramic bodies and the glazes allowed us to classify the objects into compositional groups and to verify the previously established archaeological hypothesis suggesting an Egyptian provenance for faience of Pompeii.

Fibulae from the archaeological site of Egnatia were examined with the aim of identifying types of alloys, the processes employed for their manufacturing, and outlining the corrosion products. The results obtained, by identifying the raw materials and the technological solutions used allowed us to provide convincing answers to most of the archaeological questions and confirmed the integration of Egnatia in a complex commercial network. In addition, investigations focused on the study of corrosion products, with a view to the planning of more suitable restoration and preservation strategies.

Abstract Glazed pottery with ‘‘negative decoration’’ samples, dating back to the twelfth to thirteenth century AD and coming from three sites along the Adriatic coast, Siponto, Egnatia and Trani (Southern Italy) were characterized from physical–chemical, mineralogical and morphological points of view. Optical microscopy, scanning electron microscopy with energy dispersive X-ray spectroscopy, inductively coupled plasma-mass spectroscopy, X-ray diffraction and micro-Raman spectroscopy investigations were carried out on ceramic bodies, pigments and glazes of the fragments. We aimed to outline the technological features, define the nature of decorations and coatings—glazes and engobes—and look for clues to hypothesize provenance. Results obtained show clear differences in raw materials and production technology between the impressed ceramic of Islamic tradition and the incised one of Byzantine tradition. Regarding the latter, evidences of a non-local origin can be found in the compositional diversity of raw materials used for the ceramic bodies of fragments decorated with spiral and pseudo-kufic motifs, which stressed the use of clays so far not recorded in Apulia. At the same time, at least in the case of Siponto, the compositional similarity of both ceramic bodies and materials used under the glaze for impressed ceramic and painted polychrome ceramics (RMR and protomaiolica), more likely local production, could suggest that both were produced in the same workshops.

The paper aims to discuss the archaeometric characterization of 69 potsherds, from a rock shelter located along wadi Takarkori, and 26 sediments sampled along the Wadi Tanezzuft and the Wadi Takarkori itself. The site contains a rich archaeological record spanning five millennia (from around 8900 to 4200 uncal. years BP) from Late Acacus hunter-gatherers to Late Pastoral herders. The purpose of the analytical project is to study the technological changes in the chaîne opératoire of pottery production, from raw material procurement to the finished product, which deals with the ecology of ceramic production in Tadrart Acacus and with the comparison with other archaeometric researches carried out in the area. Geologically, this region is composed of Palaeozoic sedimentary rocks (sandstone and shale) while the intrusive formation of the Tassili massif outcrops at ca. 50 Km south-westward the site. Petrological (MO, SEM/EDS), mineralogical (XRPD) and chemical (XRF) data distinguished three main fabrics (Q, QC and QF) with different prevailing clastic constituents. The Q and QC fabrics present a common petrofacies. Fabric Q is characterized by monocrystalline quartz and rare polycrystalline quartz. Elongated vegetal inclusions are common in fabric Q. In fabric QC both polycrystalline quartz and vegetal inclusions are less frequent than in fabric Q and calcareous aggregates, cementing iron oxides and quartz grains, are present. Both fabrics mirror the Paleozoic quartzarenitic substrate of the Tadrart Acacus Mountains. The raw materials may results from a common fluviatile sediment, with a greater or smaller aeolian component, and can be interpreted in terms of sedimentary facies in a wadi/swamp transition environment. The calcareous aggregates of fabric QC comes from calcareous mud, whose authigenic precipitation in former closed lakes and ponds, found in sub-tropical region is widely attested. The QF fabric is characterised by angular or sub-angular grains of quartz, potassium and plagioclase feldspars, along with biotite and hornblende. QF fabric suggests the circulation of pottery from areas closer to the intrusive formation of Tassili Massif. The archaeometric results will be discussed with reference to regional environmental changes, local cultural dynamics, settlement systems, and mobility strategies.

Shards of medieval glazed pottery with negative decoration, usually called graffita, coming from three different archaeological sites in Apulia werw examined by OM, SEM, EDS, ICP-MS. The results obtained, based on similarities/differences of raw materials and technological features, allowed to enclose objects in two groups, reflecting the shared tendencies in taste in the medieval era across the Mediterranean area (11 th - 13 th centuries: Islamic style and Bizantine-style

A group of enamelled and gilded glass objects, coming from Melfi Castle (PZ - Italy) from an area dated to the period between the end of the 12th and the last quarter of the 13th century, offered the opportunity to closely investigate this technology with the aim of understanding the raw materials and the procedures employed to realize the objects and their precious decorations. Optical microscopy, scanning electron microscopy coupled with energy dispersive X-ray spectroscopy, Raman spectroscopy, laser ablation-inductively coupled plasma-mass spectrometry and X-Ray photoelectron spectroscopy were used to observe and analyze the glass, the enamels, the gildings and their mutual relations. The bulk of the objects resulted a soda-lime glass, while the enamels are lead-based 'soft' enamels or soda-lime glass; the palette of pigments employed to obtain their colours included iron III oxide and minium for red, lazurite and/or cobalt for blue, lead-tin-antimony pyrochlore solid solution oxide (yellow) plus cobalt for green, manganese oxides for black and calcium phosphate for white. Results obtained for gilding, in particular stratigraphy and morphology, suggest the use of the so called 'liquid gold'.

Late Apulian red figured pottery [1] from Egnatia (Fasano, Brindisi, ITALY) was studied in order to widen the view on this ceramic class in Southern Italy. Inductively Coupled Plasma Mass Spectroscopy (ICP-MS) provided the samples elemental composition that allowed to make provenance hypotheses. Optical Microscopy (OM) and Scanning Electron Microscopy (SEM) with Energy Dispersive Spectrometry (EDS), supplied information about the minero-petrographic features of the objectsto better understand their production technology. The set of results highlighted the contemporary presence in the Apulian land in the late 4th century b.C. of both local and imported finds and showed the existence of two different kinds of local production, the "classic" Attic and a peculiar one, characterized by the application of an engobe layer before the black gloss. Our previous studies resulted in the discovery that an engobe layer, with similar chemical and minero-petrographic characteristics, was found in finds from another site in central Apulia (Monte Sannace). So the discovery of red engobe on fragments from Egnatia, proves that its use was not an isolated occurrence, but was quite common in the production of red figured in Apulia during the Late period, appearing as a peculiar technological mark of Apulian potters.

The present study focuses on the assessment of the effects of different activation methods on carbonate-rich clays, to understand the mineralogical differences originated and to exploit such information to industry for traditional and innovative applications, especially as a precursor for alkali activated binders. Illite carbonate-rich clay samples were subjected to thermal activation in ox/red atmosphere between 400 and 900 °C, mechanical activation (grinding for 5, 10 and 15 min) and to a combination of such treatments. Mineralogical and textural changes in the activated samples were evaluated through X-ray powder diffraction, Fourier transform infrared spectroscopy and thermal techniques. The activated samples with the highest content of amorphous phase underwent leaching tests in a 3 M NaOH solution by means of inductively coupled plasma-mass spectrometry. The application of the three processing routines, yielded three types of activated clays with different leaching modes of Si, Al, K and Ca: (1) high energy grinding preferentially delaminates clay minerals and reduces the grain size of calcite. K leaching reaches the highest values; (2) thermal heating at 800 °C increases relatively the Si/Al solubility ratio, but the absolute concentrations of these elements are equal or lower than those obtained from ground clays. The relatively higher leaching of Ca is influenced by the formation of non-stoichiometric and poorly crystalline Ca-silicates and -aluminosilicates; (3) high energy grinding combined with heating treatment yields an extended amorphisation, mainly at the expense of clay minerals, with the highest leaching of Si and Al, and the lowest of Ca. New formed K-feldspars inhibit the concentration of K in alkaline solution.

Current agricultural practices require the use of large quantities of plastics, which contribute to a significant increase of the quantity and quality of agricultural production, but also require high quantities of plastic waste to be disposed in such way that will not have a negative effect on the landscape and the agro-ecosystem. In this paper the results of an experimental investigation of the possibilities of producing new regenerated plastic films through mechanical recycling, from post-consume agricultural plastic films are analysed. Six recycled films, made from agricultural low tunnel and greenhouse covering films as well as from HDPE bags for agrochemical packaging, have been extruded producing films of different thickness. These regenerated films were characterized by means of mechanical and spectrometric tests and SEM þ EDS analysis. The obtained results show that without adding any additives into the blends good mechanical and spectral properties can be achieved by mixing the greenhouse and low tunnel recycled plastic film coverings.

Torre Alemanna (FG, Italy) was one of the most important medieval example of Teutonic Knights Order life in Italy (13th-16th century AD). The archaeological excavations conducted by the Soprintendenza Archeologica della Puglia in 1999-2000 discovered and extracted a large number of glazed graffita potsherds dated to the 15th-16th century AD. This work presents the results of an archaeometric investigation of 46 potsherd of “Torre Alemanna type” pottery, aimed to define a compositional reference group and to understand the technological characteristics of its production. Principal component analysis and cluster analysis applied to bulk chemical data (XRF) of the ceramic body showed a strong compositional homogeneity. Local calcareous clay was used as raw material. The mineralogical assemblage detected by XRPD, inferred maximum firing temperatures between 800°C and 950°C. Optical microscopy and SEM/ EDS investigations on coating revealed the presence of quartz-rich white engobe covered with a leadbased transparent glaze. The polychromatic decoration applied on the engobe was analyzed by spectrophotometry (CIELAB) and EDS to compare the colour characteristics through all the potsherds. The microstructures observed at the boundary between the ceramic body and the surface coating point to a single firing to sinterise the body and to fix the coating. The results obtained show a technological continuity with the past about the use of local calcareous clay (Argille subappennine) to produce fine pottery, and define the reference compositional group of the “Torre Alemanna type” pottery, already attested in several archaeological contexts of Southern Italy.

Colouring materials of the Neolithic wall paintings at Santa Croce Caves (Bisceglie, Apulia) - Neolithic wall paintings of the Santa Croce caves (Bisceglie, Apulia) were analysed to define the painting technique through the analytical characterization of the pigments and binding media. Samples of red wall paintings film from two different areas of the caves have been examined by means of various analytical techniques. XRD, Raman and SEM–EDS analyses identified the red pigments as the local terra rossa sediments. They are silty-clayey continental sedimentary deposits, formed mainly by Fe-oxides/hydroxides (hematite and goethite), as colouring material, and clay minerals (mainly kaolinite), as inorganic binder.

Il 28 novembre 2012 un tornado ha interessato le provincie di Taranto e Bari attraversando la Puglia dal Mare Jonio al Mare Adriatico. Il rilievo sul terreno ha permesso di ricostruirne il percorso, stimarne l’intensità ed individuare, in relazione all’orografi a, la possibile vulnerabilità del territorio rispetto a fenomeni naturali di tale entità.

L’esame del dipinto su tela “San Rocco e gli appestati” di Jacopo Tintoretto ha avuto inizio in occasione del recente restauro, descritto dettagliatamente in questo volume. Scopo delle indagini scientifiche era ottenere informazioni sui materiali e sulle tecniche usate al fine di ampliare le conoscenze sul modus operandi del Tintoretto, confrontando i risultati ottenuti con i dati di letteratura, nonché fornire un supporto di conoscenza alla programmazione degli interventi di restauro. Negli anni passati numerosi dipinti di Jacopo Tintoretto sono stati sottoposti ad un’indagine scientifica. I primi studi, risalenti agli anni 1970-1980, trattano, in particolare, alcuni dipinti della National Gallery di Londra, “San Giorgio e il Drago”, “Cristo lava i piedi ai suoi Discepoli”, L’origine della Via Lattea”, “Ritratto di Vincenzo Morosini” , ed altri quattro attribuiti o associati al Tintoretto nonché vari capolavori conservati a Venezia, in particolare nella Chiesa della Madonna dell’Orto , nella Scuola di San Rocco , nella Chiesa di San Simeone Grande e nella Galleria dell’Accademia . Studi più recenti sono dedicati rispettivamente ai pigmenti del ciclo Gonzaga ed al “Dreams of men” del Detroit Institute of Arts . Dell’impiego di materiali vetrosi nei dipinti veneziani del Rinascimento tratta, invece, Barbara Berrie, includendo il “Cristo sul mare di Galilea” della collezione Samuel H. Kress di Washington. Tintoretto non costituisce un oggetto di studio facile in quanto poche sue opere sono firmate o datate, e poche sono databili con certezza. Dei dipinti studiati sono stati esaminati gli strati di preparazione, i pigmenti ed i leganti pittorici. Le indagini condotte, mediante tecniche analitiche di livello più o meno avanzato, hanno fornito una banca dati significativa sulla tecnica pittorica del Tintoretto. Il presente lavoro costituisce un piccolo contributo nell’ambito di una ricerca più ampia e sistematica sulla tecnica pittorica del pittore veneto. Per lo studio dei materiali e della tecnica pittorica del “San Rocco e gli Appestati” ci si è avvalsi di tecniche analitiche non distruttive e microdistruttive in quanto applicabili a quantitativi di materiale inferiori al milligrammo, prelevati in punti diversi del dipinto. In vari punti del dipinto sono state effettuate delle misure colorimetriche al fine di descrivere le qualità dei colori e di monitorare eventuali variazioni prima e dopo l’intervento di restauro e nel tempo. Gli spettri ottenuti permettono, a volte, anche l’identificazione dei pigmenti. Nel corso del restauro, dal dipinto in questione sono stati prelevati campioni da zone diverse. Dapprima tutti i campioni sono stati sottoposti ad un attento esame allo stereomicroscopio. Tre frammenti di campioni provenienti da punti diversi sono stati inglobati in resina epossidica per ricavarne delle sezioni trasversali che poi sono state osservate al microscopio ottico (MO) in luce visibile riflessa ed al microscopio elettronico a scansione (SEM) ed analizzate mediante spettroscopia micro-Raman. Sulle sezioni trasversali è stata condotta un’analisi chimica elementare con l’ausilio del SEM dotato di un dispositivo per la spettroscopia a dispersione di energia (EDS). In effetti, la tecnologia ESEM è frequentemente impiegata nel campo dei beni culturali, in particolare per lo studio di sezioni stratigrafiche di dipinti. Al fine di stabilire la composizione chimica delle diverse vernici presenti sul dipinto, sono stati effettuati dei campionamenti tramite batuffoli imbevuti di alcuni solventi. L’intento è stato quello di fornire indicazioni utili al restauratore per proseguire correttamente le operazioni di pulitura previste. Per il riconoscimento delle sostanze organiche presenti nelle vernici campionate è stata impiegata la gas cromatografia accoppiata alla spettrometria di massa (GC-MS).

Il progetto archeometrico affrontato è stato rivolto alla caratterizzazione chimico-fisica di varie classi ceramiche, rinvenute nell’area del castello di Montella, con l'obiettivo di definirne i connotati tecnologici per una corretta classificazione e per identificarne la produzione: locale o di importazione. Oltre agli obiettivi indicati, l’indagine archeometrica è stata finalizzata a confermare l’ipotesi archeologica che le classi ceramiche con rivestimento vetroso piombo-stannifero (protomaioloica, smaltata di transizione, smaltata) siano il risultato di una evoluzione tecnologica. Gli aspetti più ampiamente indagati sono stati: - la composizione chimica e minero-petrografica dei corpi ceramici; - la natura e la composizione del rivestimento nelle classi ceramiche in cui esso è presente; - la natura dei pigmenti utilizzati nelle decorazioni

This study focuses on defining compositional and structural characteristics, identifying raw materials and production technology, and validating the archaeological hypothesis of a local production of thin-walled pottery (2nd cent. BC–3rd cent. AD) in the Vesuvian area. Samples investigated were analysed using OM, SEM-EDS, XRD and LA-ICPMS supported by a statistical multivariate treatment of the compositional data of the ceramic bodies. The results obtained show how an integrated approach of analytical techniques can provide answers to archaeological questions and also give a valuable insight into the exchange of raw materials and/or finished products between sites. The paper also discloses how a combined analytical methodology represents a positive step in answering the one question which remains unsolved concerning the entire ceramic production in the Vesuvian area: the provenance of the clayey raw materials used. Indeed, the massive pottery production in the Bay of Naples down the ages contrasts with the unavailability of the necessary clayey local resources.

Gilded and enamelled glasses of Islamic style, coming from a 13th century landfill in Melfi castle, a Swabian emperor Frederick II fortress, were subjected to a multi-techniques approach in order to explore the complex and very fascinating ancient production technology of gilding and enamelling on glass. Non-destructive μ-Raman spectroscopy was employed on the most important and well-preserved objects, optical (OM) and electron (SEM) microscopies were used to investigate the sections stratigraphy of tiny fragments sampled from the borders of the already damaged objects. In order to provide the chemical analyses of the bodies and the enamels, energy dispersive X-rays spectroscopy (EDS) and X-rays photoelectron spectroscopy (XPS) were also employed. The body of the objects proved to be made of silica-soda-lime glass, while the enamels of lead-rich glass (“soft enamels”) and coloured by lapis lazuli and cobalt for blue, hematite and minium for red, lead-tin yellow for green and calcium phosphate for white. The gilding was found to be applied on a red enamel basis. The presence of carbon inside the gildings and the detection of two different gold signals by XPS suggested the hypothesis of the use of the so-called “liquid gold”. This study gave thus an important contribution to the understanding of the production of this class of rare and precious objects, also confirming that the materials and technological procedures are consistent with the Islamic tradition, probably due to the presence of Islamic artisans at the court of Frederick II.

The Crucifix panel painting in the Santa Maria a Mare church on the Isle of St. Nicholas (Isole Tremiti, Italy), painted on both sides, was executed between the late 12th century and the early 13th century and several times restored in the following centuries. The precious artefact was studied by various complementary analytical techniques in order to characterize the original medieval painting technique and the subsequently applied restoration materials. Optical microscopy (OM), scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDS), micro-Raman spectroscopy, pyrolysis-gas chromatography/mass spectrometry (Py-GC/ MS), and Matrix Assisted Laser Desorption Ionisation–Time of Flight–Mass Spectrometry (MALDI-TOF-MS) were applied on various samples taken from significant parts of the painting. The compositional data were used for a correct planning of the recent restoration treatments and as a support for the historical-artistic study of the painting. The results obtained confirm that both paintings—recto and verso—were realized by following the 13th century Italian painting tradition. Egg-based paint layerswere applied on a gypsum/animal glue ground. Various pigments could be identified amongwhich the precious lapis lazuli. Interestingly, thewater-gilding of the recto was performed without the use of a bole layer. Pinaceae resin as well as acrylic resins were found.

Fifty oil lamps from the catacombs of ‘Ponte della Lama’ (Canosa di Puglia, second to sixth centuries AD) were analysed to understand the correlations existing between types and fabrics and to determine their provenance. Petrographic and chemical analyses confirmed the archaeological hypothesis of local production of the oil lamps, using fluvial deposits. However, the three samples of oil lamps imitating the African ‘Atlante VIII’ are considered chemical outliers compared to the rest and are supposedly of foreign origin. The extensive and original repertory of lamp types characterizes Canusium as the production centre in the late Roman period.

Since 2002 a non-invasive investigation integrating aerial photography and high-resolution magnetometry has been carried out for reconstructing extensive ancient settlements in Tavoliere lowland (Southern Italy). Relevant magnetic anomalies were detected in all the surveyed sites allowing a precise mapping of the buried structures over more than 150 ha. Next to this research susceptibility measurements, PXRD, XRF and optical analysis were also performed in order to explain the origin of the notable magnetization contrast between the anthropogenic structures and the embedding materials, generating the measured signals. This last study was accomplished, in 2006, in Monte S. Vincenzo site, a vast Neolithic village where the remotely sensed data were also used to guide some direct inspection. Trial archaeological excavations brought to light parts of C-shaped compounds, providing complete information on the geometry and location of the sources of magnetic signals. Profiting by the archaeological feedback, the susceptibility contrast between the soil filling the ditches and the calcareous substratum was assessed in situ. A synthetic model based on this information was created and compared with the experimental data. The infilling material was also sampled for laboratory analysis: the presence of several magnetic minerals (pyroxenes, monometric magnetite, haematite) was ascertained. Furthermore optical analyses showed different types of volcanic and igneous products such as pumices, melanite garnets and lava fragments. Geomorphological and archaeometric evidence allowed us to relate these materials to activity of the Mt. Vesuvius volcano. Eventually their possible spatial distribution was inferred from recent studies on ash transportation and deposition during explosive activity.

Technological transformationsin the pottery production in the first half of the 4th millennium BC: archeometric data from Scanzano Cave, Masseria Stevanato and Parco San Nicola - This paper presents the results of characterisation analyses of 28 samples of Neolithic and Copper Age pottery from the site of Scanzano Cave and Masseria Stevanato (Bari) and Parco San Nicola (Rutigliano). Archaeometric analyses were performed at the Dipartimento di Scienze della Terra e Geoambientali of the University of Bari “Aldo Moro”. The samples are almost petrographically inhomogeneous and different potter fabrics can be distinguished from their composition and grain-size distribution. The existing relationships between the various sites and ceramic classes, their chronology and fabric are discussed. The analysis of mineral phases allowed distinguishing the various contributions to the NPIs between those of safe origin by Vulture volcanism, such as K-feldspars barium-rich and Ti-augitic pyroxenes and garnets, and those who have certainly source rocks of the Apennine slopes, such as pyrope or almandine rich garnets.