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This article focuses on the archaeological and archaeometric characterization of a glass head pendant in Phoenicio-Punic style from the Marchetti Collection, a formerly private assemblage now belonging to the University of Padova. After the first visual inspection, the typology and appearance of the object raised serious doubts about its authenticity. For this reason, an integrated approach combining stylistic and typo-chronological analyses with archaeometric data was implemented for reconstructing the manufacturing techniques and identifying the raw materials used (i.e., silica source, flux composition, and colouring and opacifying agents). The analytical techniques used include stereomicroscopy (SM) to identify the production techniques, OM, SEM-EDS, and µ-Raman for textural and chemico-mineralogical investigations. The archaeological study and the comparison of our analytical results with the data published in the scientific literature agree in confirming that the investigated object is a forgery, as already demonstrated for other pieces from the same collection. [ABSTRACT FROM AUTHOR]

Pliny the Elder testifies that roman workshops used volcanic glass (obsidian), but also produced and used a dark glass (obsidian-like glass) quite similar to the natural one. In the context of the study on medieval mosaics, the use of the obsidian and obsidian-like tesserae is a challenging research topic. In this paper, we present the results of a multidisciplinary study carried out on the Dedication wall mosaic, realized by a byzantine workshop in the 12th century in the Church of St. Mary of the Admiral in Palermo, and where numerous black-appearing tesserae, supposed to be composed of obsidian by naked-eyes observation, are present. Historical documents, multispectral imaging of the wall mosaic, and some analytical methods (SEM-EDS and XRPD) applied to a sample of black tesserae, concur in identifying here the presence of obsidian and different obsidian-like glass tesserae. This evidence, although related to the apparent tampering and restoration, could open a new scenario in the use of obsidian and obsidian-like glass tesserae during the Byzantine period in Sicily and in the reconstruction of multiple restoration phases carried out between 12th and 20th century AD on the mosaics of St. Mary of the Admiral.

A systematic and extensive analytical study was carried out on the loose inlays discovered in the Ptolemaic workshop of Tebtynis (Fayum oasis, Egypt). This paper presents data derived from the multi‐methodological archaeometric investigations (optical microscopy, scanning electron microscopy–energy‐dispersive spectroscopy, electron probe microanalysis, micro‐Raman spectroscopy) performed on a set of intentionally colored and opacified glasses. In particular, we will discuss the textural, chemical, and mineralogical results related to the study of the yellow, yellowish‐orange, red, and brown inlays and semi‐finished/waste products now preserved at the Museo Egizio, Torino. The results highlight the presence of natron (low‐magnesium glasses, LMG) and plant ash (high‐magnesium glasses, HMG) base glass, coexisting with intermediate composition. Yellow samples are opacified using lead antimonates doped with iron and sometimes tin; conversely, yellowish‐orange specimens and the only brown sample are characterized by nanocrystals of cuprite. Red glasses are found in two variants: Dull reds are HMG with colloidal metallic copper particles, while sealing‐wax reds show LMG composition, associated with dendritic cuprite dispersed in a transparent, greenish matrix. [ABSTRACT FROM AUTHOR]

Inlays range among the most aesthetically pleasing and technically challenging glasses produced in the Ptolemaic period. Despite the central role of this phase in the history of glass technology, little is known about the recipes and the technological knowledge of the Egyptian artisans. This paper will thus focus on the study of the materials from the secondary workshop of Tebtynis (Fayum oasis, Egypt). We report the first multi‐methodological study comprising textural, chemical, and mineralogical analyses (optical microscopy, scanning electron microscopy coupled with energy‐dispersive system, electron probe microanalysis, and μ‐Raman spectroscopy) on a set of 81 colorless, white, blue, and green samples carefully selected among the 800+ glasses from the craft area now stored at the Museo Egizio, Turin (Italy). Our study offers the biggest compositional database of well‐dated Ptolemaic glasses currently available in the literature, highlighting some interesting novelties regarding the silica and alkali sources, and the coloring and opacifying techniques employed. The results suggest a specialized craft of traditional origin, but open to innovation and experimentation, as expected from transitional phases. [ABSTRACT FROM AUTHOR]