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IntroductionThe present article reports on a case study aimed at improving STEAM education in secondary schools. It discusses the use of sonification as a teaching strategy to integrate music into science learning, using different approaches from data audification to parameter mapping into aural models and to the rewriting of song lyrics based on STEM topics.MethodsA qualitative research study has been performed in a secondary school in the school district of Bari (South of Italy). More specifically, students’ and experts’ perceptions of experienced sonification activities have been collected through six rounds of focus group interviews.ResultsWhile there was a good improvement in student achievement in science, it is worth noting how musical activities also led to some benefits for students involved in the sonification workshops. The integration of music with STEM disciplines has promoted more cooperation and empathy among the students. Additionally, musical inputs can help students discover and regain interest in music. However, the study also highlighted the differences in teacher training and content knowledge, suggesting the need for future research to consider broader samples and experimental designs.DiscussionResults and implications for educational research and practice are discussed considering the recent literature on STEAM. Finally, this study demonstrates the importance of a robust instructional design for sonification activities, so that they can be more effective, aligned with the school curriculum, and integrated into the classroom teaching-learning process.

Devotional artworks represent a valuable form of art, as they are evidence of religious worship and the demo-ethno-anthropological, as well as historical-artistic, heritage of a community, which is why they definitely belong to the cultural identity of a geographic area. The Madonna della Croce wall painting is an example of devotional art preserved today in the homonymous church in Triggiano (Bari, Italy). The presented study concerns the characterization of pigments used in the painting. The identification of pictorial materials had the aim of providing a contribution to knowledge about the painting, the history of restorations, and other historical events, and to increase the information about the Apulian painting to better reconstruct the social, cultural, and economic contexts of the region. Through a non-invasive and fast methodological approach, including portable digital microscopy, colorimetry, fibre optic reflectance spectroscopy (FORS), and X-ray fluorescence spectroscopy (XRF); 42 points considered on coloured areas were analysed in situ, and results on pigment identification were achieved. According to the local wall painting tradition, red and yellow ochres, green earth, vine black, massicot, and lead-tin yellow were found. Furthermore, both indigo-woad dye and a mixture of vine black and yellow ochre to obtain a blueish colour on the Virgin’s mantle were highlighted.

This paper proposed a multianalytical, non-invasive, accessible and expensive (compared to traditional ones) approach for the characterization of pictorial surfaces. A set of 18 pigments and 37 mixtures widely used in the Middle Ages in the Apulia (Italy) artistic and archaeological contexts was considered, and corresponding replicas were produced. Pigments were first characterized by X-ray powder diffraction (XRPD), then replicas were studied by optical microscopy using a portable instrument, colorimetry and fiber optic reflectance spectroscopy (FORS). The investigation provided encouraging results, which allowed the creation of a library including diagnostic microscopic, colorimetric and reflectance markers of each pigment and the identification of the mixtures’ components.

This study presents the petrographic and chemical characterization of the frescoes in the Church of San Panfilo in Tornimparte (AQ, Italy) by Saturnino Gatti, a prominent painter of the late 15th–early 16th century, known for his exquisite technique, composition, and use of color. The characterization of the frescoes is essential for understanding the materials and techniques used by Gatti, as well as for identifying the stratigraphy and painting phases. Eighteen samples were collected from the original paint layers, later additions (17th century), and restored surfaces, and analyzed by optical microscopy, cathodoluminescence microscopy, scanning electron microscopy (SEM-EDS), μ-Raman, and electron paramagnetic resonance (EPR). The analyses revealed a microstratigraphy often made of three main layers: (1) preparation, consisting of lime plaster and sand; (2) pigmented lime, applied by the fresco technique; and (3) additional pigmented layer on the surface. The most often recurring pigments are black, red, yellow (all generally linked with the fresco technique), and blue (applied “a secco”). The presence of two painting phases was also noted in one sample, probably resulting from a rethinking or restoration. These findings contribute to the understanding of the history and past restoration works of this cultural heritage site, providing important insights not only for conservators and restorers, but also for a broader understanding of Italian fresco painting and art history of the late 15th and early 16th centuries.

Abstract Notarchirico (Southern Italy) has yielded the earliest evidence of Acheulean settlement in Italy and four older occupation levels have recently been unearthed, including one with bifaces, extending the roots of the Acheulean in Italy even further back in time. New 40Ar/39Ar on tephras and ESR dates on bleached quartz securely and accurately place these occupations between 695 and 670 ka (MIS 17), penecontemporaneous with the Moulin-Quignon and la Noira sites (France). These new data demonstrate a very rapid expansion of shared traditions over Western Europe during a period of highly variable climatic conditions, including interglacial and glacial episodes, between 670 and 650 (i.e., MIS17/MIS16 transition). The diversity of tools and activities observed in these three sites shows that Western Europe was populated by adaptable hominins during this time. These conclusions question the existence of refuge areas during intense glacial stages and raise questions concerning understudied migration pathways, such as the Sicilian route.

The wall paintings of five Hellenistic tombs in Apulia were analysed using a multi-technique approach to discern the painting techniques used and contextualise them within the phenomenon of Hellenistic tomb painting in Southern Italy. In particular, the question was asked whether technical knowledge played a role in the reception of Hellenistic artistic models and whether this knowledge was present locally. Raman and IR spectroscopies were used to identify pigments, colourants, and binders; light and electron microscopy were used to determine the structural characteristics of the paint layers and recognise the manufacturing technique. Analyses identified a fresco application for the Tomba dei Cavalieri (Arpi) and a dry application for the Canosian hypogea. The palette—typical for Hellenistic tomb painting in Southern Italy, Etruria and Macedonia—was composed of lime (white), charcoal (black), hematite (red), goethite (yellow), and Egyptian blue (blue). In the Tomba della Nike (Arpi), meanwhile, two particularly refined preparatory layers were observed. The palette was enriched with precious cinnabar and madder lake. The colouring components of the root were mixed with clay and K-alum applied on an additional layer of lime. The use of madder lake and a pink background link the painting to the polychrome Daunian pottery, and the contribution of a local workshop to the decoration of this tomb thus seems plausible.

The present study explores the effect of activating solution concentration (4, 6 and 8 M NaOH) on mechanically and thermally pre-treated carbonate-high illite clay (LCR). Pastes were prepared with an alkaline solution/clay (S/B) ratio of 0.55, which were cured at room temperature and relative humidity > 90% in a climatic chamber. At two and 28 days, compressive mechanical strength was determined, and the reaction products were characterised by X-ray Powder Diffraction analysis (XRPD), Fourier-transform infrared spectroscopy (FTIR) and Scanning Electron Microscopy - Energy Dispersive X-ray spectroscopy (SEM/EDX). Results obtained showed that the presence of reactive calcium in the starting clay induces co-precipitation of a mix of gels: An aluminium-enriched C-S-H gel (C-A-S-H) and a N-A-S-H gel, in which sodium is partially replaced by calcium (N,C)-A-S-H. Pastes prepared with higher (6 or 8 M) activator concentrations exhibit a more compact matrix than the ones prepared with 4 M NaOH. The findings show that the use of a 6 M NaOH solution yields a binder with two days compressive strength >20 MPa and 28 days strength of over 30 MPa.

This paper presents the preliminary results of the study of the Early Neolithic pottery production in the Marche region, Italy (VI mill. BC). The main goal of this research is to expand the knowledge of pottery manufacturing processes associated to the typical Central Adriatic Impressed Ware, at present poorly understood. All sites under analysis are located in the piedmont hills of the Apennine Mountains, except one which is on the coast. This study aims to highlight synchronic and diachronic variability in pottery technology, to identify common traits and to investigate the raw materials selection and exploitation strategies. The pottery assemblages are examined by means of an integrated approach which include techno-typological and archaeometric analyses. The environmental factors, the distribution of resources, the technology solutions taken by these early Neolithic communities are considered.