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The Virgin Hodegetria, located in the Cathedral of Santa Maria Nuova in Monreale, near Palermo (Italy), probably dating the first half of the 13th century, is one of the earliest examples of medieval panel painting in Sicily. A diagnostic campaign was carried out on the panel aiming to identify the constituting materials and the executive technique, as well as to assess the state of conservation for supporting the methodological choice of the restoration intervention. Both non-invasive (X-ray radiography, digital microscope, multispectral imaging, ED-X-ray fluorescence) and micro-invasive (polarised light microscopy, ESEM-EDX, ATR-FTIR spectroscopy and micro-Raman spectroscopy) analyses were performed. According to the results, the executive technique followed the 13th–14th-century Italian painting tradition. A complex structure was applied on the wooden support, consisting of a double layer of canvas and several ground layers of gypsum and glue-based binder. The underdrawing was made by a brush using carbonaceous black pigment. The original palette includes red ochre, red lead, azurite, carbon black and bone black. During the several restorations, mercury-based red, indigo, smalt blue, orpiment and synthetic mars were used. The original silver leaf of the frame was covered with red tin-based lake and subsequently regilded with gold leaf. Proteinaceous and oil binders were also detected.

Bagni San Filippo area is characterized by the discharge of thermal waters and deeply produced CO2-rich gases both from vents and soil diffuse degassing. The thermal waters are the results of the mixing between meteoric waters and hot fluids deriving from the condensation, at depth, of vapours uprising from a deep hydrothermal reservoir. This process gives rise to a relatively shallow thermal system at temperature close to 50°C, characterized by SO4-rich and Cl-poor waters and elevated PCO2 (~7 bar). Most of the incondensable gas of deep originated vapour is released as a free gas phase forming cold gas vents and localized spots of anomalous CO2 diffuse degassing. The location and the shape of these degassing zones are strongly controlled by the main tectonic structures of the area. Through detailed soil diffuse degassing surveys and hydrogeochemical modelling, we estimate at 226-326 t d-1 and at 965 t d-1 the deep CO2 emission and the amount of condensates discharged by the thermal springs, respectively. The thermal energy associated to the process results at ~ 29 MW, most of which (~ 25 MW) is associated with condensation occurring at depths greater than groundwater circulation.

The microstructure and chemical composition of blue and green pellets, coloured lump pigments and a metal scrap excavated in Persepolis West (Fars, Iran), by the Iranian-Italian Joint Archaeological Mission in Fars in 2008–09, were investigated to clarify their origin and production techniques. The Persepolis West urban area has its eastern limit about five hundred meters away from the Persepolis Terrace and extends for about 1 km in a westward direction. Due to the presence in this area of various kilns and other remains, the existence of a craft zone connected with the construction of imperial and elite buildings in Persepolis was proposed. The colourful residues were submitted to integrated investigations using portable X-ray fluorescence spectrometry, digital and polarized light microscopy, scanning electron microscopy with energy dispersive X-ray spectroscopy, X-ray diffraction, ATR-FTIR and Raman spectroscopy. The integrated analyses allowed to identify azurite, malachite, Egyptian blue, glauconite, yellow and red ochre with hematite, magnetite and goethite. Proteinaceous material was detected only in one red lump. These pigments are in accordance with the palette used to paint the palaces of the Persepolis Terrace, thus supporting the hypothesis that in Persepolis West craft zone, there was a laboratory for production of pigments. The microscopic features of the lumps and their peculiar shape confirmed a local manufacturing process. Moreover, the diopside presence related to the Egyptian blue production, as well as the discovery of a bronze scrap with a crust of Egyptian blue also suggested that this pigment was manufactured locally.

The icon Virgin Hodegetria, now in Santa Maria Nuova Cathedral in Monreale near Palermo (Italy), probably dates from the beginning of thirteen century could be considered one of the earliest examples of medieval icon in Sicily. The icon is distinguished from other southern icons by the strong Byzantine matrix and by its size (169x131x3 cm). Since 2015, the icon is part of the Arab-Norman Palermo UNESCO Heritage. This paper will deal with historical and scientific investigations on the icon to better understand the painting materials, the executive technique and to resolve question about on-going restoration in planning a complex conservation project. Examination of the icon was both non-invasive (IR false colour, IR b/w, UV fluorescence) and micro invasive (optical microscopy, scanning electron microscopy with energy dispersive X-ray spectroscopy, FT-IR spectroscopy and micro-Raman spectroscopy). The executive technique appears to be similar to that used in 13th century according to Italian painting tradition: canvas support is present between the wooden panel and the gypsum/glue-based preparatory layer. The underdrawing includes the occurrence of dark grey accurate lines that seem to have been applied by brush. Silver leaf was used as a background of the paintings and in the haloes of the Virgin and Child without bole layer preparation. Mineral pigments (red and yellow ochre, green earth pigments), carbon and bone black, Cu-based pigments, azurite, indigo, orpiment/realgar, lead white, vermillion were mixed with egg-yolk medium. The presence of several not original paint layers, gilding and varnishes belonging to different previous restorations required a conservation treatment able to return to the original iconography and the stylistic specificities of the masterpiece of Monreale.

Diagnostic research was carried out to acquire information on Me-taw-ya temple, Pagan archaeological area, Burma (Myanmar). Throughout the centuries the temple was severely damaged by a series of strong earthquakes, the most recent one taking place in 2016. Our principle aim was to acquire information on the building’s constituting materials (i.e. bricks, mortars and stuccoes) to determine how the temple was constructed, an essential tool for the development of conservation/restoration projects in compliance with international guidelines and standards. The archaeometric study used selected samples to undertake an integrated application of preliminary in situ non-invasive ED-XRF investigations and micro invasive analyses. Optical microscopy observations, FT-IR, XRD and TG analyses were performed to identify the mineralogical and chemical composition of materials. Samples were categorized using principal component analysis (PCA). Hierarchical cluster analysis (HCA) were also performed on EDXRF chemical compositional data. Results have delineated a series of considerations linking the geographical origin of the constituting materials to local sources as well as clarifying their formulation and use in the construction of Me-taw-ya temple. Results were used to identify compatible materials for conservation treatments.

During a restoration and diagnostic campaigns carried out on Paestum funerary slabs belonging to the Lucanian funerary art, calcium antimonate (CaSb2O6) was detected for the first time in the pictorial layers. This artificial pigment, widely employed as opacifier both in ancient glass and glaze covering clay objects, was found in the wall paintings, regardless of the colour, supporting the hypothesis of an intentional addition of calcium antimonate to the pigments and the involvement of ceramic painters. A multi-analytical approach was performed on 32 funerary slabs (6th – 3rd century BCE), currently located at the National Archaeological Museum of Paestum (Italy) using both polarized light microscopy and environmental scanning electron microscopy equipped with energy dispersive X-ray spectrometer, micro X-ray fluorescence, micro Raman spectroscopy, Fourier Transform Infrared spectroscopy and powder X-ray diffraction. The results confirmed the use of a limited number of pigments, usually applied with fresco technique, although in many cases the stratigraphy of the painted layer showed morphology of mezzo fresco technique, but no organic binders were found. The hues of vegetal decorations were obtained using green earth, sometimes Egyptian blue mixed with yellow ochre, carbon and bone blacks, and orpiment. The alteration of green earth and other iron-containing pigments are likely responsible for the discolouration of the original hues. In red paints, hematite and red ochre are frequently associated with ilmenite, a typical volcanic mineral. Egyptian blue was used in blue paints while in black paints it was mixed with carbon and bone black pigments.

In this study the Madonna del Soccorsoo della Mazza wooden sculpture has been analysed by an interdisciplinary and integrated approach. The polychrome sculpture, dating back to the 18thcentury, comes from the church of the Madonna del Soccorso or della Mazza (1604) situated in Via Maqueda, in Palermo and it was placed on the main recess of the altar. All steps of the conservation project, from the preliminary study to the choice of materials and the restoration procedures have been accompanied and supported by diagnostic and scientific analysis. In order to evaluate the state of conservation of the sculpture and the technique employed to construct the support, computer tomography study was performed. Optical microscopy allowed to identify the wooden species and to verify the presence of microbial colonization or insect infestation. Scanning electron microscopy, combined with energy dispersive X-ray analysis (SEM/EDS), as well as XRF (X-ray fluorescence spectroscopy), were used to characterize paint stratigraphy and pigments. Sampling by sterile swabs and in vitro microbial culture has been performed to obtain the biological colonization.

The paper deals with the results of a multi-method archaeometric study focused on the different stones used in the facade of Santa Maria della Piazza church (Ancona, Central Italy). The church is an excellent example of the Italian Romanesque style. It was built at the end of the 12th century close to the old harbour of Ancona (Ankon in ancient Greek) upon the ruins of an early Christian church, founded at the end of the 4-5th century (barsanti, 1995; Marano, 2019). The architect Magister Philippus projected the construction of the Romanesque church. The current facade was built in 1210 and consists of three parts showing a rich iconography. The splayed Byzantine style portal created by Magister Leonardus is decorated with an impressive and symbolic bas-reliefs.Partially damaged by numerous earthquakes, Santa Maria della Piazza was restored many times. First renovation was carried out in Romanesque epoch and the second in the Gothic period, until in the recent past. From 2003 to 2008, Architectural and Environmental Heritage Superintendence of the Marche Region (Ancona) supported a conservation project concerning the whole facade. At that time, a diagnostic campaign was also carried out to investigate the different weathering processes affecting the stones.In 2018, the Superintendence planned a facade monitoring to evaluate the efficacy of the last restoration intervention. Besides, an archaeometric project was carried out both to classify all the stone materials and to determine their provenance. Mineralogical- petrographic investigations and isotopic analyses provided useful results to update the database of stones used in the architectural heritage of the Marche Region. A schematic colour map indicating all the lithotypes employed in Santa Maria della Piazza facade was drawn.The stones used in the facade are carbonatic lithotypes represented by Maiolica, Scaglia Rossa and Corniola Formations, belonging to the Umbria-Marche Succession, local travertine and extra-regional stones such as Istria stone, Aurisina stone, Breccia Corallina and Occhio di Pavone. Among different types of marbles Carrara, Thasian, Proconnesian, Iassense and Pavonazzetto were identified. Several elements, such as figural reliefs, slabs, and columns, representing fascinating examples of reused materials (spolia), come from both local geological formations and various Mediterranean areas.

Pagán is an ancient city located in Myanmar that is renowned for the remains of about 4000 pagodas, stupas, temples and monasteries dating from the 11th to 13th centuries. Due to a magnitude 6.8 earthquake in 2016, more than 300 ancient buildings were seriously damaged. As a part of the post-earthquake emergency program, a diagnostic pilot project was carried out on Me-taw-ya temple wall paintings to acquire further information on the materials and on their state of conservation. This article presents our attempts at characterising the painting materials at Me-taw-ya temple using non-invasive portable energy dispersive X-ray fluorescence (ED-XRF), portable Raman spectroscopy and micro-invasive attenuated total reflectance—Fourier transform infrared spectroscopy (ATR-FTIR), micro-Raman spectroscopy (µ-Raman), gas chromatography-mass spectrometry (GC-MS), polarized light microscopy (PLM) and environmental scanning electron microscope—X-ray energy dispersive system (ESEM-EDS) investigations with the aim of identifying the composition of organic binders and pigments. The presence of a proteinaceous glue mixed with the lime-based plaster was ascertained and identified by GC-MS. In addition, this technique confirmed the occurrence of plant-derived gums as binders pointing to the a secco technique. Fe-based compounds, vermillion, carbon black and As-compounds were identified to have been incorporated in the palette of the murals.

An interdisciplinary archaeometric study concerning the Amtoudi Agadir, declared World Cultural Heritage (northern border of the Sahara Desert, southern Morocco), was performed consisting in lithostratigraphic reconstruction of the bedrock, diagnosis of constitutive materials (stones, mortars, and wooden elements), and analyses of constructive techniques and architectonic elements (load-bearing and supported structural elements). The medieval agadir (fortified granary) was built directly on a rocky piton with rocks of the substratum with traditional materials and ancestral techniques. The stones have been identified and classified into four petrofacies. Degradation such as biological attacks, chromatic alteration, erosion, exfoliation, and fissuration on the stones have been characterized. Recommendations for conservation and maintenance of the rocks have been proposed in compatibility with the environment. Load-bearing (masonry walls) and supported structural elements (ceiling structures) have also been studied in order to define their stability. Worst cases of 1- and 2-height walls, together with worst cases of the wooden or stone ceiling structures have been analyzed. Materials, techniques, and dimensions have been characterized for possible failures to shearing, bending, and flexural buckling as guide for maintenance of the agadir. The main problems of the walls derive from excessively thin construction with a lack of interlocking of the rocks and a diminished proportion or quality of mortar joining the rocks due to washing. It has been recommended to avoid thicknesses lower than 0.4 m for 2-height walls and lower than 0.3 m for 1-height walls. A nominal load has been estimated in the worst case (with wooden elements) for the ceiling structures of about 7.0 KN/m2. The calculations have indicated that a 25% increase over the nominal load would imply a risk of failure, the use of stone elements being preferable over wooden ones. With these propositions for the Amtoudi Agadir, new management and prospects for cultural tourism are feasible. This research was supported by Urbino University found (Resp. F. Guerrera); by CGL2011-30153-CO2-02 and CGL2012-32169 research project (Spanish Ministry of Education and Science) and by Research Groups and projects of the “Generalitat Valenciana” from Alicante University (CTMA-IGA).

The Villa of the Papyri is one of the most imposing architectural examples of Herculaneum dated before the eruption occurred on 79 A.D. During the earliest years of the excavation of the site (18th century), the Villa has been explored through a thick network of tunnels dug into the hard bank of tuff rock. Recent excavations went on discontinuously between 1990s and 2008, until the discovery of a room located in the lower floor of the building, showing serious phenomena of colour change of some areas of the painted walls. Some dark green parts of mural paintings after volcanic mud removal became white and powdered, detaching from the plaster. During the last restoration works a scientific approach became necessary in order to acquire detailed information about the wall painting technique and the degradation phenomena occurring in some decorative elements in the vault of the Basis Villa (a room in the lower floor of the building); it was established to perform a scientific recognition. Integrated investigations – carried out by optical microscopy, scanning electron microscopy with X-ray microanalysis (EDS), X-ray diffractometry (XRD), ion chromatography (IC), FT-IR spectroscopy, gas chromatography mass spectrometry (GC-MS) – had primarily the goal to characterize the materials used for the realization of the these impressive wall paintings, as well as to assess their state of conservation. A second aim of the research was to test the reliability of non-invasive analyses that are sometimes performed in situ to study mural paintings, like reflectance spectrometry in the visible range (vis-RS), X-ray fluorescence (ED-XRF) and micro-Raman spectroscopy, as well as imaging analyses like false colour IR (IRC) and visible induced IR luminescence (VIL). The whole set of analyses allowed to identify a typical Vitruvian plaster with the following pigments: Egyptian blue, red and yellow ochre, goethite and hematite particles, green earth and carbon black particles. The high content of soluble salts, which is related to the sulphur-rich water in the site located few metres above water level in the walls and floors, caused a worsening in the state of conservation of mural paintings.

This paper deals with the archaeometric characterization of the bricks belonging to Tol-a Ajori Gate, one of the most important excavated sites on the Iranian plateau (Fars, Iran), close to the World Cultural Heritage of Persepolis. The archaeological excavations were carried out between 2011 and 2016 and brought to light a monumental building. The wall of the structure is built with mud and fired bricks sometimes glazed that are very similar to the elements of Babylon's Ishtar Gate. Several investigations were carried out on the bricks in order to investigate the technology process and to compare their composition with local clays, as potential raw materials collected nearby the archaeological site. The brick samples were investigated using different analytical techniques (Optical Microscopy, XRD, XRF, SEM-EDX, FT-IR/ATR, TGA, STA and Micro-Raman) to point out differences in chemical and mineralogical composition. Raw clay samples were submitted to XRD, XRF, SEM-EDX and FT-IR/ATR analyses. A wide homogeneity is present for all the considered bricks: Ca-rich clays with quartz-rich temper were used, this possibly suggesting a common raw material origin. Firing temperatures interval was estimated around 850–900 °C. A multivariate data treatment (PCA and HCA analysis) was applied to the XRF data set acquired for both clays and bricks. PCA suggests that Polvar alluvial clays could be the source raw material for mostly of Tol-e Ajori's bricks and more than one clay deposit was probably used.

This paper presents the results of a comprehensive diagnostic investigation carried out on five paintings (three wood panels and two paintings on canvas) by Lorenzo Lotto, one of the most significant artists of the Italian Renaissance in the first half of 16th century. The paintings considered belong to 1508-1522 period, corresponding to the most significant years of Lotto's evolution. A wide array of non-invasive (reflectance spectrometry and X-ray fluorescence) and micro-invasive analytical techniques (optical microscopy, scanning electron microscopy with energy dispersive spectroscopy, micro-FTIR spectroscopy, micro-Raman spectroscopy, gas chromatography coupled with mass spectrometry and high performance liquid chromatography coupled with photodiode array detection and mass spectrometry) were applied in order to provide a large set of significant data, limiting as much as possible the sampling. This study has proved that Lotto's painting palette was typical of Venetian practice of that period, but some significant peculiarities emerged: the use of two kinds of red lakes, the addition of calcium carbonate and colourless powdered glass, the latter frequently found in pictorial and ground layers. Moreover, the integrated investigation showed that Lotto's technique was sometimes characterized by the use of coloured priming and multi-layer sequences with complex mixtures. Chromatographic analyses allowed to identify in all specimens: azelaic, palmitic and stearic acids, generally referring to the presence of drying oils. The extension of additional non-invasive examination to about 50 paintings by the same author, spanning from 1505 to around 1556, helped to verify the evolution in the use of some pigments, such as the yellow ones, where Pb-Sb yellow was used alongside Pb-Sn yellow.

The restoration of the wooden statue of Madonna of Montserrat at the Diocesan Museum of Palermo was preceded by a series of chemical-physical and biological investigations which have allowed a better knowledge of the work. In particular the following analyses have been performed on fragment of original material, sampled near the gaps of the wooden statue,: • observations of cross sections to the reflected light Optical Microscope (OM) to identify the stratigraphy and the pictorial materials; • SEM (Scanning Electron Microscopy) observations on cross sections and analysis in microprobe with Energy Dispersive Spectroscopy (EDS) for structural and chemical analysis of the single pictorial layers; • X-Rray Diffractometry (XRD) on dust samples to identify the principal mineralogical composition of plasters and pictorial layers; • Fourier Transform - Infrared Spectroscopy (FT-IR) for the characterization of plasters and pictorial layers; • Time of Flight - Secondary Ions Mass Spectometry (ToF-SIMS) for the elementary analysis of the pictorial material; • microscopic (SEM), microbiological (in vitro crops) and molecular (PCR, Polymerase Chain Reaction) investigations for the evaluation of the biological decay. The obtained results have given information both on the executive techniques of the support and the pictorial film and on the conservation state of the work.

Dissemination of Della Robbia glazed terracotta in the Marche (Italy) region started from the third decade of the 16th century. Numerous altarpieces, some of which no longer exist, document this artistic production. The protagonists of this diffusion phase were two of Andrea Della Robbia’s sons, Marco (Fra Mattia) and Francesco (Fra Ambrogio). This paper shows the results of the scientific investigations carried out on constitutive materials of different altarpieces located in South Marche belonging to the Fra Mattia’s production: the Coronation of Virgin between Saints Rocco, Sebastian, Peter martyr and Antonio abbot, dated back to 1527–1530, located in the collegiate church of S. Maria Assunta in Montecassiano; the Annunciation, dated back to 1520, placed in the church of S. Maria del Soccorso in Arcevia; the fragmentary Crowned Madonna and saints altarpiece, probably realized after 1531, today preserved in Civic Museum of Ripatransone. The first altarpiece was made in Montecassiano using two different assembling or production techniques: the external part of the lunette and the pillar strips are made of glazed polychrome terracotta, while the altar step and the internal part are an interesting and uncommon example of polychrome painted terracotta. The provenance of the glazed Arcevia altarpiece is not clear yet: some historians hypothesize a local manufacture of Fra Mattia and some others a Roman or Florentine production. The remaining parts of Ripatransone altarpiece are partially glazed and partially not coated perhaps because they were unfinished and not yet painted. Clay body samples collected from the above mentioned altarpieces were investigated using different analytical techniques (OM, XRD, XRF, PIXE) to point out differences in chemical and mineralogical composition and to determine if the altarpieces were made by using local raw clay materials or other clays from Tuscany or Campania as in the Della Robbia previous production. A comparison has also been made with literature data on the Della Robbia terracotta masterpieces. From the chemical point of view, the clay bodies show a good compositional homogeneity and result calcium and iron-rich according with the raw local materials. The presence of gehlenite, pyroxenes, and hematite and the incomplete decomposition of clay minerals indicate that firing for all different terracotta parts occurred in a thermal range between 800 and 950 °C, mostly in oxidizing conditions.

During the last restoration (2008-2011) of the polychrome terracotta altarpiece called Coronation of Virgin between Saints Rocco, Sebastian, Peter martyr and Antonio abbot, located in the collegiate church of S. Maria Assunta in Montecassiano (Macerata, Italy), scientific investigations were carried out to acquire detailed information about the painting technique. The identification of materials allowed a correct restoration. The altarpiece is almost entirely realized by Marco della Robbia (Fra Mattia), dates back to the first half of the XVI century and represents an interesting example of painted terracotta produced by using two different techniques: glazed polychrome terracotta and the "cold painting" technique. The characterization of the samples' material constituents was obtained by analysing the cross-sections and the fragments by different techniques (optical, SEM-EDS and ATR-FTIR microscopy as well as GC-MS), as the real nature of a component is often difficult to assess with one single technique. The optical microscope examination of paint cross-sections shows the presence of many layers, indicating the complexity of the paint stratigraphic morphologies. The original polychromy of della Robbia's masterpiece is constituted of cinnabar, red lake, red lead, orpiment, red ochre, lead white, lead tin yellow, green earth and raw umber. Two different types of gilding technique have been distinguished. The first one presents a glue mordant, and the second one shows an oil mordant composed by a mixture of red lead, red ochre, cinnabar and orpiment. The GC-MS analysis allowed the characterisation of linseed oil and a mixture of animal glue and egg as binding media stratigraphically located by the use of ATR-FTIR mapping microscopy. The analytical results of the painted terracotta integrated investigations show that original technique adopted is characterised by the application of pigments in an oil-binding medium directly applied on the substrates, probably treated with oil and animal glue. A large number of overpaintings above the original scheme of polychromy was found, which could be ascribed to almost three different interventions; the absence of modern pigments suggests that they could be realized long ago.

A study has been performed on the Cretaceous to Early Miocene succession of the Vrancea Nappe (Outer Carpathians, Romania), based on field reconstruction of the stratigraphic record, mineralogical-petrographic and geochemical analyses. Extra-basinal clastic supply and intra-basinal autochthonous deposits have been differentiated, appearing laterally inter-fingered and/or interbedded. The main clastic petrofacies consist of calcarenites, sub-litharenites, quartzarenites, sub-arkoses, and polygenic conglomerates derived from extra-basinal margins. An alternate internal and external provenance of the different supplies is the result of the paleogeographic re-organization of the basin/margins system due to tectonic activation and exhumation of rising areas. The intra-basinal deposits consist of black shales and siliceous sediments (silexites and cherty beds), evidencing major environmental changes in the Moldavidian Basin. Organic-matter-rich black shales were deposited during anoxic episodes related to sediment starvation and high nutrient influx due to paleogeographic isolation of the basin caused by plate drifting. The black shales display relatively high contents in sub-mature to mature, Type II lipidic organic matter (good oil and gas-prone source rocks) constituting a potentially active petroleum system. The intra-basinal siliceous sediments are related to oxic pelagic or hemipelagic environments under tectonic quiescence conditions although its increase in the Oligocene part of the succession can be correlated with volcanic supplies. The integration of all the data in the “progressive reorientation of convergence direction” Carpathian model, and their consideration in the framework of a foreland basin, led to propose some constrains on the paleogeographic-geodynamic evolutionary model of the Moldavidian Basin from the Late Cretaceous to the Burdigalian. This research was supported by Urbino University grant (responsible F. Guerrera), Italy; CGL2009-09249 and CGL2011-30153-CO2-02 research projects (Spanish Ministry of Education and Science), Research Groups and projects of the Generalitat Valenciana and from Alicante University (CTMA-IGA Spain); Research Contr. IDEI 436/01.10.2007 (CNCSIS-Romania).

In the frame of an extensive research project concerning the study of archaeological finds from the sea of Pantelleria Island (Sicily, Italy), about two hundred Punic, Greek-Italic, and Roman amphorae have been examined. In particular, thirty five Punic amphorae belonging to six different typologies of the second century BC have been studied. They were probably produced in that Punic-Tunisian area comprising Carthage and other Punic sites nearby the Sahel area. These ceramic artifacts were recovered from shipwrecks dating back to the II century BC, belonging to a shipload, i.e. associated with Greek-Italian amphorae (first half of the second century BC) and with Roman- Tyrrhenian amphorae (second half of the second century BC). Selected amphorae underwent archaeometric studies which are aimed at identifying their origin, at validating the archaeological hypothesis, at identifying the production technology, and at studying their conservation status. Results obtained allowed to recognize three ceramic-body groups characterized by different relative distributions of grain size fractions. Furthermore chemical composition results show some analogies with sherds from Carthage. Diatoms, algae and bryozoa encrustations have been identified as well, together with surface chromatic alterations (i.e. black areas), probably ascribable to chemical reduction processes, due to the activity of sulphur- bacteria., Dans le contexte d'un vaste projet de recherche concernant le matériel archéologique de Pantelleria, on a étudié près de deux cents amphores puniques, gréco-italiques et romaines. En particulier on a sélectionné trente-cinq amphores puniques qu'on associe à six typologies du IIème siècle av. J.-C. (Torres, 1996) produites sans doute dans la région punique-tunisienne comprenant Carthage et les centres puniques de la côte aux environs de la région du Sahel. Il s'agit de produits céramiques récupérés dans des épaves du IIème siècle av. J.-C, qui appartiennent à une charge de genre mixte, c'est-à-dire associés à d'autres amphores gréco-italiques (première moitié du IIème siècle av. J.-C.) et à des amphores romaines tyrrhénéennes (seconde moitié du IIème siècle av. J.-C). Le groupe d'amphores sélectionnées a été soumis à des études archéométriques afin d'identifier leur origine et de confirmer, éventuellement, les hypothèses archéologiques, pour identifier la technologie de production et pour connaître leur état de conservation. Les résultats de ces recherches ont permis de créer trois groupes de pâte caractérisés par différentes distributions des fractions granulomètrique. Les résultats de l'analyse chimique montrent des similitudes avec les obtenues sur les matériaux céramiques de Carthage. De plus, on a mis en évidence des incrustations de diatomées, algues et bryozoaires, ainsi que des altérations superficielles de la pâte de genre chromatique (noircissements) qu'on peut ramener à une activité de réduction de la part de sulphobactéries., Amadori Maria Letizia, Baldassari Roberta, Lanza Stefania, Maione Michela, Penna Antonella, Acquaro Enrico. Archaeometric study of punic amphorae from the underwater recoveries of Pantelleria Island (Sicily).. In: Revue d'Archéométrie, n°26, 2002. pp. 79-91.

The walls of the Oratorio of San Giovanni Battista in Urbino are decorated with outstanding mural paintings dating back to the 15th century. Due to degradation processes that have occurred in the past years, such paintings require a conservative restoration project. In order to evaluate reasons of the decay, some scientific studies have been performed. They consist of macroscopic observations and chemical (EDS), morphological (SEM) and mineralogical (XRD) analyses of samples both from the original preparatory layers under the painted layers and from the restored plasters at the surbase of the wall. In addition, environmental studies have been performed to verify microclimatic conditions of the church in which the mural paintings are located. Finally, a conservative restoration project was proposed.

The aim of this study is to setup a first chemical database that could represent the starting point for a reliable classification method to discriminate between Archaic Phoenician and Punic pottery on the base of their chemical data. This database up to now can discriminate between several different areas of production and provenance and can be applied also to unknown ceramic samples of comparable age and production areas. More than 100 ceramic fragments were involved in this research, coming from various archaeological sites having a crucial importance in the context of the Phoenician and Punic settlement in central and western Mediterranean: Carthage (Tunisia), Toscanos (South Andalusia, Spain), Sulci, Monte Sirai, Othoca, Tharros (Sardinia, Italy) and Pithecusa (Campania, Italy). Since long-time archaeologists hypothesised that Mediterranean Archaic Phoenician and Punic pottery had mainly a local or just a regional diffusion, with the exception of some particular class like transport amphorae. To verify the pottery provenance, statistical analyses were carried out to define the existence of different ceramic compositional groups characterised by a local origin or imported from other sites. The existing literature data are now supplemented by new archaeometric investigations both on Archaic Phoenician ceramics and clayey raw materials from Sardinia. Therefore, diffractometric analyses, optical microscopy observations and X-ray fluorescence analyses were performed to identify the mineralogical and chemical composition of Othoca ceramics and clayey raw material. The obtained results were then compared with own literature data concerning Phoenician and Punic pottery in order to find features related to the different ceramic productions and their provenance. Principal component analysis (PCA) and hierarchical cluster analysis (HCA) were also performed on the chemical compositional data in order to discriminate ceramic groups. A very complex situation was found: imported ceramics coming from Carthage, with a large-scale distribution, were found together with a predominant local production pottery. The archaeometric results demonstrate that historical and typological approach has to be supported by scientific analyses to better understand local or Mediterranean exchanges.