Excavations carried out in Cuma by the Centre Jean Bérard archaeologists have uncovered a large quantity of pottery. This study is focused on cooking ware and on internal red-slip cookware, also known as Pompeian Red Ware (Rosso Pompeiano), dated from the first century bc to the first century ad. A comparison with the minero-petrographic composition of beach sands collected along the Bay of Naples coastline highlights the provenance of the temper from the Somma-Vesuvius area, marked by leucite-bearing scoriae and garnet. Petrochemical analyses allow us to distinguish two main groups of pottery characterized by different technological options based on the amount of temper and on the type of clay. X-ray diffraction and scanning electron microscope data demonstrate improved accuracy in the production of Rosso Pompeiano, especially with regard to firing control, which was in a prevailing oxidizing atmosphere and in a narrow thermal range, between about 800 and 900°C

Archeological campaigns along the track of the Domitian road in Cuma resulted in the recovery of a large amount of potshards and crucible fragments (both open and closed forms), covered with residues of blue and green frits, respectively. Typological analysis of the crucibles combined with mineralogical and petrological analyses on the ceramic body and frit residues revealed that the forms are intimately related to the technological data. Newly formed calcium silicates indicate high firing treatments of crucibles during pigment making (not lower than 950°C). In particular, different working temperatures for the two types of crucibles have been estimated by the presence/absence of sodalite‐nosean feldspathoid. This mineral formed after the reaction of Si‐Al‐rich material (the sintered ceramic body) and alkalis transferred to ceramics via chemical diffusion during the pigment synthesis. Thus, the estimated working temperatures are higher for closed forms (>1100°C) and lower for the open ones (950–1050°C). This different thermal treatment perfectly fits with the temperatures of green and blue pigment synthesis; higher temperatures for green pigments allowed the formation of abundant Cu‐bearing glassy phase, whereas, blue pigment is prone to the formation and thermal stability of cuprorivaite crystals (950–1050°C). Moreover, the two frits showed similar recipes (quartz‐feldspar‐calcite‐rich sand) with the exception of more abundant Cu‐bearing colorant agent in blue hue and higher proportion of alkaline flux in green frit. The obtained data suggested that crucibles were a fundamental tool for pigment manufacturing, likely one of the best example of ancient technical ceramics, as they permitted controlling the temperatures along with the fuel and the treatment time. Combining analytical and archeological data, the production and the technology of the two colored compounds identified as Egyptian Blue and Green frits in ancient Cuma has been inferred. Finally, considering the Vitruvius excerpt that identified an Egyptian Blue production in Puteoli, the area of production can be widen up to the northern Phlegraean Fields, also including Cumae and Liternum.

Archaeological excavations performed in a funerary complex in Cuma (Campania region, Italy) unearthed excellently preserved common wares dated to the third century A.D. Archaeometric analyses were focused on Campanian pitchers, Aegean‐like cooking pots, and pyriform pitchers, the latter recorded for the first time in an Italian context. The local pitchers were manufactured with a high‐CaO clay (CaO = ca. 12 wt.%) and local volcanic temper, fired at ca. 800–850°C, as suggested by the presence of calcite. The Aegean‐like pots and the pyriform pitchers were made with low‐CaO clay (CaO ≤ 4.0 wt.%) mixed with a calcite‐bearing temper, along with volcanic and siliciclastic grains, and fired at 800–950°C. The comparison with raw materials inferred that local vessels were made with low‐CaO basinal clays which outcrop in the northern Campania region, and sands from the shoreline north of Cuma where carbonate, siliciclastic and volcanic phases mix together. Our results suggest that the Phlegraean Late Roman workshops produced their traditional vases along with imitations of Aegean‐like pottery. Thus, microregional production responded to a market demand requiring shapes and styles similar to imports from the eastern Mediterranean, with which commercial trade was still quite active.