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Pyroclastic strata have always been thought to protect the archaeological remains of the Vesuvian area (Italy), hence allowing their conservation throughout the centuries. In this work, we demonstrate that they constitute a potential threat for the conservation state of the mural paintings of Pompeii. The ions that could be leached from them and the ion‐rich groundwater coming from the volcanic soil/rocks may contribute to salt crystallisation. Thermodynamic modelling not only allowed to predict which salts can precipitate from such leaching events but also assisted the identification of additional sources of sulfates and alkali metals to explain the formation of the sulfates identified in efflorescences from the mural paintings of Pompeii. For the future, fluorine, mainly related to a volcanic origin, can be proposed as a marker to monitor the extent of the impact in the mural paintings of Pompeii in situ. [ABSTRACT FROM AUTHOR]

Ariadne's house is in the Regio VII of the Archaeological Park of Pompeii (Italy). As it is exposed to external alteration agents (rainfall, water infiltration and atmospheric pollution), the mural paintings located in this important residence clearly show the effects of ongoing degradation processes. This is especially the case of Room 22 (also called the blue room), where the original blue decorations varied towards greyish green hues. In situ and laboratory spectroscopic analyses by means of non‐destructive X‐ray fluorescence, infrared and Raman spectroscopies identified the original pigments and the materials used in the conservation works. Looking in detail at the stratigraphic distribution of the original pigments, using Raman spectroscopy, an inner layer of Egyptian blue mixed with celadonite was detected under a layer of pure Egyptian blue. This discovery proves the presence of a more ancient painting below the one that can be observed today. Considering that celadonite was an inexpensive pigment (thus, probably used to reduce the costs of the paintings), this information strengthens the hypothesis that based on archaeological evidences, there is evidence of an evolution of the socio‐economic status of the ancient owners of the residence. In addition to that, Raman data also proved the occurrence of salt efflorescences; they provided insights about the compromised conservation state of the wall paintings, and they highlighted the action of atmospheric acid gases as an important factor. [ABSTRACT FROM AUTHOR]

A new stratigraphic survey of the pyroclastic deposits blanketing Pompeii ruins shows departures from prior reconstruction of the events that occurred inside the town during the two main phases (pumice fallout and pyroclastic density currents) of the ad 79 Vesuvius eruption. We document the depth and distribution of subaerial erosion surfaces in the upper part of the pyroclastic sequence, formed during two short-lived breaks occurring in the course of the second phase of the eruption. These pauses could explain why 50% of the victims were found in the streets during the pyroclastic density currents phase. [ABSTRACT FROM AUTHOR]

During the excavations carried out in Via di Mercurio (Regio VI, 9, 3) in Pompeii, in 2015, some red, green, black, and brown wall painting fragments were found in the preparatory layer of an ancient pavement which was probably built after the 62 AD earthquake. These fragments, derived from the rubble, were used as coarse aggregate to prepare the mortar for building the pavement. The wall painting fragments are exceptionally well preserved, which is an uncommon occurrence in the city of Pompeii. However, as they were enclosed in the mortar, the wall painting fragments were protected from the high temperatures (probably ranging between 180 °C and 380 °C) produced by the eruption in 79 AD. The pigmented outer surface of each sample was analyzed using a non-destructive multi-analytical approach, by combining spectrophotometric colorimetry and portable X-ray fluorescence with micro-Raman spectroscopy. The compositional characterization of the samples revealed the presence of cuprorivaite, goethite, and celadonite in the green pigments; hematite in the red pigments; goethite in the brown pigment; and charcoal in the black pigment. These data probably provide us with the most “faithful picture” of the various red, green, black, and brown pigments used in Pompeii prior to the 79 AD eruption. [ABSTRACT FROM AUTHOR]

Abstract Twenty-six samples of mortar used for various construction applications (joint mortars, floor mortars, filling mortars and plasters) were collected from different areas of the archaeological site of Pompeii (Campania - Sothern Italy). The mortar samples belong to various historical periods covering approximately 2000 years, from the 2nd century BC to the post excavation period (18–19th century). The samples were characterized employing Optical Microscopy (OM), X-ray Powder Diffraction (XRPD), X-ray Fluorescence (XRF), Electron Probe Micro Analysis (EPMA) and Raman Spectroscopy. Moreover, image analysis was carried out using JMicroVision software in order to determine the percentages of binder, macropores and aggregate, in terms of crushed ceramic fragments (cocciopesto), rock fragments and monocrystals. The application of these techniques allowed obtaining a complete chemical and minero-petrographic characterization of the samples, which may prove useful for preparing compatible repair mortars for future restoration works. The archaeometric study provided new data on the production technology of the mortars and the analogies and differences observed among the samples, enabled us to distinguish different constructive phases, thus confirming or rebutting the archaeological hypothesis on the dating of some samples. By combining compositional variables through the discriminant analysis, it was also possible to analyse the time evolution of the materials and to construct preliminary multivariate statistical models, helpful to identify the various typologies of mortars used in the different historical periods. Highlights • Mortar samples from Pompeii, with different constructive functions, were studied. • Characterization of the materials can be used for preparing compatible mortars. • Analogies and differences were highlighted to identify the constructive phases. • Preliminary statistic models were proposed to discriminate materials and constructive phases. [ABSTRACT FROM AUTHOR]

Crystallization of soluble salts is a common degradation phenomenon that threatens the mural paintings of Pompeii. There are many elements that contribute to the crystallization of salts on the walls of this archaeological site. Notably, the leachates of the pyroclastic materials ejected in 79 AD by Mount Vesuvius and local groundwater, rich in ions from the erosion of volcanic rocks. Both sources could contribute to increase the concentration of halides (fluorides and chlorides) and other salts in these walls. The distribution of volcanogenic salts and their impact on the conservation of Pompeian mural paintings have however not yet been fully disclosed. In this work, an analytical methodology useful to determine the impact of the main sources of degradation affecting the mural paintings of Pompeii is presented. This methodology combines the creation of qualitative distribution maps of the halogens (CaF and CaCl) and related alkali metals (Na and K) by portable Laser Induced Breakdown Spectroscopy (LIBS) and a subsequent Principal Component Analysis of these data. Such maps, together with the in-situ identification of sulfate salts by portable Raman spectroscopy, provided information about the migration and distribution of volcanogenic halides and the influence of ions coming from additional sources (marine aerosol and modern consolidation mortars). Additionally, the thermodynamic modeling developed using the experimentally determined ionic content of Pompeian rain- and groundwater allowed to determine their specific role in the formation of soluble salts in the mural paintings of Pompeii. [Display omitted] • Mapping of Na, K, F and Cl on Pompeian mural paintings by p-LIBS. • Creation of a scale of impact by salt crystallization on mural paintings. • Discrimination among ion sources by chemometrics applied to p-LIBS. • Influence of pyroclastic materials, groundwater and marine aerosol. • Role of restoration mortars as reservoirs of sulfate salts. [ABSTRACT FROM AUTHOR]

It is widely known that the vivid hue of red cinnabar can darken or turn black. Many authors have studied this transformation, but only a few in the context of the archeological site of Pompeii. In this work, the co-occurrence of different degradation patterns associated with Pompeian cinnabar-containing fresco paintings (alone or in combination with red/yellow ocher pigments) exposed to different types of environments (pre- and post-79 AD atmosphere) is reported. Results obtained from the in situ and laboratory multianalytical methodology revealed the existence of diverse transformation products in the Pompeian cinnabar, consistent with the impact of the environment. The effect of hydrogen sulfide and sulfur dioxide emitted during the 79 AD eruption on the cinnabar transformation was also evaluated by comparing the experimental evidence found on paintings exposed and not exposed to the post-79 AD atmosphere. Our results highlight that not all the darkened areas on the Pompeian cinnabar paintings are related to the transformation of the pigment itself, as clear evidence of darkening associated with the presence of manganese and iron oxide formation (rock varnish) on fragments buried before the 79 AD eruption has also been found.

Pyroclastic strata have always been thought to protect the archaeological remains of the Vesuvian area (Italy), hence allowing their conservation throughout the centuries. In this work, we demonstrate that they constitute a potential threat for the conservation state of the mural paintings of Pompeii. The ions that could be leached from them and the ion-rich groundwater coming from the volcanic soil/rocks may contribute to salt crystallisation. Thermodynamic modelling not only allowed to predict which salts can precipitate from such leaching events but also assisted the identification of additional sources of sulfates and alkali metals to explain the formation of the sulfates identified in efflorescences from the mural paintings of Pompeii. For the future, fluorine, mainly related to a volcanic origin, can be proposed as a marker to monitor the extent of the impact in the mural paintings of Pompeii in situ., (© 2020 Wiley-VCH GmbH.)