From A to Z: Using Alphabet Books as an instructional Tool with Older Readers

Alphabet books provide a literature source for teachers to use in the classroom that focuses on a common sequence of textual organization which upper elementary and middle school students have known since they were young children. These students most likely had in their repertoire of beginning to read activities, alphabet books using common symbols to match the letters such as A is for apple, B is for bear, C is for cat. The objects were selected to match the true sound of the letter with a single or small number of illustrations to demonstrate the concept. The alphabet book addresses the 26 letters in picture book format with typically 24 to 48 pages, illustrations on double pages, and brief text (Kormanski and Stevens, 1993)

Non-Destructive Multi-Analytical Approach to Study the Pigments of Wall Painting Fragments Reused in Mortars from the Archaeological Site of Pompeii (Italy)

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 eruptio

Elucidation of the chemical role of the pyroclastic materials on the state of conservation of mural paintings from Pompeii

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

Elucidation of the Chemical Role of the Pyroclastic Materials on the State of Conservation of Mural Paintings from Pompeii

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 in situ the extent of the impact in the mural paintings of Pompeii.The research leading to these results has received funding from “la Caixa” Foundation (Silvia Pérez-Diez, ID 100010434, Fellowship code LCF/BQ/ES18/11670017). This work has been supported by the projects MADyLIN (Ministry of Economy, Industry and Competitiveness from Spain, Grant No. BIA2017‐87063‐P) funded by the Spanish Agency for Research AEI (MINECO-FEDER/UE) and MINECO-17-CTQ2016-77887-C2-1-R

When Red Turns Black: Influence of the 79 AD Volcanic Eruption and Burial Environment on the Blackening/Darkening of Pompeian Cinnabar

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.The research leading to these results has received funding from “la Caixa” Foundation (Silvia Pérez-Diez, ID 100010434, Fellowship code LCF/BQ/ES18/11670017). A.P.M. is a Serra Húnter fellow. A.P.M’s research was supported by a Beatriu de Pinós postdoctoral grant (2017 BP-A 00046) of the Government of Catalonia’s Secretariat for Universities & Research of the Ministry of Economy and Knowledge. This work has been supported by the project MADyLIN (BIA2017-87063-P) funded by the Spanish Agency for Research AEI (MINECO-FEDER/UE). The authors thank for the funding provided by University of the Basque Country through the Institutionally Sponsored Open Access

In situ non-invasive multianalytical methodology to characterize mosaic tesserae from the House of Gilded Cupids, Pompeii

Mosaics, one of the most important decorative artworks in the Roman culture, were usually elaborated with a set of tesserae joined with lime or others binders to form geometric or figurative decorations. The identification of both substrate and colored compounds of the tesserae is a challenge for chemists and archaeologists. In this work, two mosaics present in the House of Gilded Cupids from the Archaeological Park of Pompeii were analyzed in situ by non destructive techniques. Raman and Diffuse Reflectance Infrared Fourier Transform (DRIFT) spectroscopies were used for the molecular and mineralogical characterization, and hand-held energy dispersive X-ray fluorescence (HH-EDXRF) spectrometry and Laser Induced Breakdown Spectroscopy (LIBS) for the elemental analysis. LIBS in-depth analysis was performed to obtain insights about the thickness of the pictorial layer determining that the thickness of red and orange pictorial layers was higher than 140 μm. The results showed that white tesserae were mainly composed by calcite, while local black colored volcanic rocks were used to manufacture black tesserae. Red and orange tesserae were composed by a calcite-based matrix with a hematite pictorial layer applied over it. Orange color was obtained by diluting hematite in the calcite matrix. Principal component analysis (PCA) of the XRF data was performed to observe differences and/or similarities between the analyzed mosaics; the samples projection of the PCA showed clear groupings.Iker Marcaida is grateful to the Basque Government who funded his predoctoral fellowship. This work has been supported by the project MADyLIN (BIA2017‑87063‑P) funded by the Spanish Agency for Research AEI (MINEICO‑FEDER/ UE)

Chemometrics and elemental mapping by portable LIBS to identify the impact of volcanogenic and non-volcanogenic degradation sources on the mural paintings of Pompeii

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.The research leading to these results has received funding from “la Caixa” Foundation (Silvia P erez-Diez, ID 100010434, Fellowship code LCF/BQ/ES18/11670017). This work has been supported by the Spanish Agency for Research AEI (MINECO- FEDER /UE) through the projects MADyLIN (BIA2017-87063-P) and MINECO-17-CTQ2016-77887-C2-1-R, and the Government of the Principality of Asturias (GRUPIN IDI/2018/000186). The authors thank for technical and human support provided by the laboratory Raman-LASPEA of SGIker (UPV/EHU/ ERDF, EU)

Pompeian hiatuses: new stratigraphic data highlight pauses in the course of the ad 79 eruption at Pompeii

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

Seeing into the past: integrating 3D documentation and non-invasive prospecting methods for the analysis, understanding and reconstruction of the ancient Pompeii. The case of the House of Obellio Firmo (IX, 14)

In 2015 the Department of History and Cultures of the University of Bologna took part at the Grande Progetto Pompei – Piano della Conoscenza, with the task to accomplish a modern and complete documentation of the so-called Lotto 3 in Pompeii. The new record was carried out by means of integrated innovative diagnostic survey techniques (laser scanning, photogrammetry, UAV, geophysical prospections applied for mapping subsoil and standing structures, 3D modelling and BIM applications) in order to provide a total documentary research of the whole analysed sector. After this experience, in 2016 a new project has been started in agreement with the competent Soprintendenza Pompeii, focused at the study, preservation and enhancement of the House of Obellio Firmo, included in the lotto 3 of the Roman city. The new research contemplates an in-depth analysis of the building, employing systematically laser scanning and photogrammetry methods in the direction to generate a geometrically and photometrically accurate 3D model of the house. This model is going to constitute the starting point for the further analysis of the walls stratigraphies and for the mapping and monitoring of the structures' degradation, just turned on during the GPP. The full-scale deepened documentation of the building also includes a detailed geophysical mapping of all the accessible domestic spaces, having recourse to the ground penetrating radar technique. The preliminary results achieved by the non-invasive prospecting survey, integrated with the analysis of the outstanding walls and building techniques, are supporting in a worthwhile way the archaeological understanding and interpretation of the house's history, with both regard to the early genesis and main evolutive phases during the centuries. In order to allow the management and sharing of the amount of the gathered information, the data are going to be organised within a building information model (BIM). The triple objective of the project includes: - the reconstruction of a fragment of the ancient urban landscape in Pompeii during the oldest phase, before the 79 AC and with particular attention to the Samnitic period; the outlining of a well-founded strategy of intervention for the restoration and enhancement of the House of Obellio Firmo; the re-opening of the building to the sightseeings tours and its restitution to the wider fruition