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Marbles, carbonatic (i.e. calcitic-dolomitic) rocks deriving from the metamorphic evolution of previous carbonates, are often rather similar to each other in many respects (i.e. mineralogical, physical-structural and chemical), and thus difficult to identify. In search for a diagnostic method to provenance marbles, we have selected a limited number of Italian white marbles representing a wide array of metamorphic (i.e. thermal) levels. The mesoscale structural arrangement of these samples was derived by means of combined Ultra Small Angle and Small Angle Neutron Scattering experiments. The parameters of the model used to fit the data have been correlated with the metamorphic history of the samples. These interesting preliminary results, to be confirmed with new analyses, throw new light on the strict relationship between the formation history of a marble and its intermediate mesoscopic structure, which is of potential interest for other applications, such as the source identification and authentication of ancient marble artifacts.

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.

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).\ud 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 1527-30, 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.\ud 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.\ud 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.\u2028From 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

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