The paper aims to examine the last results of experimental and interdisciplinary research, started in the archaeological area in Pompeii by the \"Federico II\" University in 2010, on the enlarged fruition in Pompeii. After Covid-19 pandemic is necessary to rethink the use of the archaeological site considering the need put in place by the health emergency, combining instances of a perception of the archaeological heritage in safety with those of a direct and indirect experience, rationalized and increased thanks to the Universal Design and the use of new interoperable technologies. The increase of knowledge, the survey, and the digitalization of the acquisition processes, by developing optimized methodologies for integrated surveying and modeling for the Heritage Building Information Modeling (H-BIM) and for the archiving and management of data relating to the heritage, facilitate the sharing of cognitive elements starting from new methodologies and processes of knowledge. The searches, in line with the themes of the Universal Design and thanks to an interoperable web-based platform, experiment technological devices for the accessibility in relationship with the changed needs of cultural fruition due to the pandemic. A special focus analyse on how the conscious use of new technologies may be the key to understand the material and immaterial traces of the case study: Arianna\'s domus, in the Regio VII, Insula IV.

The present article provides chemical, paleontological and mineralogical data obtained during an archaeometric characterization of 40 samples (33 pottery sherds, 5 clay samples, 1 sand sample and 1 red earth pigment) collected in the Via dei Sepolcri ceramic workshop in Pompeii, Italy. The workshop was still active during the 79 CE eruption of Mt. Vesuvius and the archaeometric data obtained in our investigation reveal distinct differences between pottery and geological raw materials belonging to an early \'Phase 1\' production (from the beginning of the 1st century CE to the 62 CE earthquake) and a subsequent \'Phase 2\' production (from the 62 CE earthquake to the 79 CE eruption). These data inform the discussions and interpretations presented in the article entitled \"A pottery workshop in Pompeii unveils new insights on the Roman ceramics crafting tradition and raw materials trade\", edited by Grifa et al. [1].

This study focuses on the experimentation of a method based on the use of UV-C irradiation to eliminate the biofilms present in a tomb located in the necropolis of Porta Nocera, in Pompeii. For this study, the autotrophic component of the biofilm was isolated in the laboratory, while, contemporarily, the characterization of the composition of the pigments of the frescoes took place on original fragments, which had already detached from the tomb and were examined in situ. These preliminary analyses were necessary for the recreation of test samples in the laboratory, which closely matched the original surfaces. Artificial biofilms were used for experimental exposure to UV-C radiation. The exposure to UV-C radiation was carried out at different distances for a fixed time interval. The effectiveness of the biocidal action was assessed by employing optical microscopy techniques, through a careful visual assessment of the area occupied by the biofilm on the different test samples, using a photographic survey, as well as by means of colorimetric measurements using spectrometric techniques. In order to obtain an additional parameter to evaluate the death rate of microorganism cultures exposed to the UV-C radiation, the concentrations of the photosynthetic pigments were also measured by spectrophotometry. Results showed that biofilms were completely eradicated by radiation, and no change in pigment color was observed.

Vesuvius eruption that destroyed Pompeii in AD 79 represents one of the most important events in history. The cataclysm left behind an abundance of archeological evidence representing a fundamental source of the knowledge we have about ancient Roman material culture and technology. A great number of textiles have been preserved, rarely maintaining traces of their original color, since they are mainly in the mineralized and carbonized state. However, one outstanding textile sample displays a brilliant purple color and traces of gold strips. Since the purple was one of the most exclusive dyes in antiquity, its presence in an important commercial site like Pompeii induces us to deepen the knowledge of such artifacts and provide further information on their history. For this reason, the characterization of the purple color was the main scope of this research, and to deepen the knowledge of such artifacts, the SERS (Surface Enhanced Raman Scattering) in solution approach was applied. Then, these data were enriched by HPLC-HRMS analyses, which confirmed SERS-based hypotheses and also allowed to hypothesize the species of the origin mollusk. In this context, a step-by-step integrated approach resulted fundamental to maximize the information content and to provide new data on textile manufacturing and trade in antiquity.

This study aimed at using portable analytical techniques to characterize original and decayed materials from two murals paintings of Ariadne House (archaeological site of Pompeii, Italy) and define the degradation pathways threatening their conservation. The first wall, located in an outdoor environment, has been directly exposed to degradation processes triggered by weathering and atmospheric pollution. The second wall, placed in a basement under the ground floor, has been constantly sheltered from sunlight exposure and drastic temperature fluctuations. The analytical data obtained in-situ by using Raman spectroscopy and Laser Induced Breakdown Spectroscopy (LIBS) correlates the degradation patterns affecting the two surfaces to their environmental context. The deterioration processes detected on the outdoor wall, which entailed the complete loss of the paint layer, were mostly related to leaching and thermal fluctuation phenomena. The mural painting from the basement instead, showed deep degradation issues due to soluble salt infiltration and biological colonization. The results obtained from this unique case of study highlight the indispensable role of in-situ spectroscopic analysis to understand and predict the degradation pathways jeopardizing the cultural heritage and provide to the Archaeological Park of Pompeii important inference to consider in future conservation projects.

This work was focused on the study of the biodegradation processes jeopardizing a mural painting conserved in the basement of Ariadne House (archaeological site of Pompeii, Italy). The fresco stood out for its peculiar state of preservation: the upper part, recovered in 1988, was just barely colonized by microorganisms. On the contrary, the lower part (excavated in 2005) was almost completely covered by extensive biological patinas. The genomic characterization carried out by polymerase chain reaction (PCR) highlighted the presence of seven different fungi strains on the mural surface. Beside, in situ and laboratory analyses were performed with the purpose of identifying the causes of the heterogeneous spatial distribution of the biopatinas. The in situ Raman spectroscopy and energy dispersive X-ray fluorescence (ED-XRF) spectroscopy measurements excluded any link between the heterogeneous colonization and the original materials present in the wall. On the other side, X-ray diffraction (XRD) and scanning electron microscopy (SEM) on microsamples proved the presence of a thin volcanic material layer overlying the lower part of the fresco. Considering that most of the biofilms of the studied mural painting only growth over these residues, it was confirmed the role of volcanic material as a suitable support for biological colonization. Thanks to the obtained results, this research helped to understand more in depth an important degradation pathway threatening the artworks from one of the most important archaeological sites in the world.

The figurative arts and precisely the ancient Pompeian wall paintings portraits can provide an additional source of information in supplementing bio-anthropological studies. There are several genetic diseases with a wide spectrum of congenital bone stigmata in association to distinctive facial features. Gorlin-Goltz syndrome, also named nevoid basal cell carcinoma syndrome, is an autosomal dominant syndrome characterized by unusual skeletal changes, such as macrocephaly, facial asymmetry, hypertelorism, frontal and parietal bossing caused by germline mutations of the gene PTCH1. The Gorlin syndrome, clinically defined in 1963, existed during Dynastic Egyptian times, as revealed by a spectrum of skeletal findings compatible with the syndrome in mummies dating back to three thousand years ago and, most likely, in the ancient population of Pompeii. In the present research, we discuss the potential relationship between Pompeian wall paintings portrait and the cranio-metric bone changes revealed among the Pompeian skull collections assuming that the ancient portraits can constitute an important tool that should be strictly integrated with osteologic and biomolecular data in order to argue a syndromic diagnosis in ancient population.

There are several genetic diseases with a wide spectrum of congenital bone stigmata in association to cutaneous and visceral benign and malignant neoplasms. Gorlin-Goltz syndrome, also named nevoid basal cell carcinoma syndrome, is an autosomal dominant systemic disease with almost complete penetrance and high intra-familial phenotypic variability, caused by germline mutations of the gene PTCH1. The syndrome is characterized by unusual skeletal changes and high predisposition to the development of multiple basal cell carcinomas, odontogenic keratocysts tumors and other visceral tumors. The Gorlin syndrome, clinically defined as distinct syndrome in 1963, existed during Dynastic Egyptian times, as revealed by a costellation of skeletal findings compatible with the syndrome in mummies dating back to 3000years ago and, most likely, in the ancient population of Pompeii. These paleogenetic and historical evidences, together with the clinical and biomolecular modern evidences, confirm the quite benign behavior of the syndrome and the critical value of the multiple and synchronous skeletal anomalies in the recognition of these rare and complex genetic disease.

This work presents a methodology that combines spectroscopic speciation, performed through portable Raman spectroscopy, diffuse reflectance infrared Fourier transform spectroscopy (DRIFTS), and energy dispersive X-ray fluorescence spectrometry (ED-XRF) working in situ, and thermodynamic speciation to diagnose the environmental impacts, induced by past and current events, on two wall painting panels (Nos. 9103 and 9255) extracted more than 150 years ago from the walls of a Pompeian house (Marcus Lucretius House, Regio IX, Insula 3, House 5/24) and deposited in the Naples National Archaeological Museum (MANN). The results show a severe chemical attack of the acid gases that can be explained only by the action of H2S during and just after the eruption of the Vesuvius volcano, that expelled a high concentration of sulfur gases. This fact can be considered as the most important process impacting the wall painting panels deposited in the museum, while the rain-wash processes and the colonization of microorganisms have not been observed in contrast to the impacts shown by the wall paintings left outside in the archaeological site of Pompeii. Moreover, the systematic presence of lead traces and strontium in both wall paintings suggests their presence as impurities of the calcite mortars (intonacco) or calcite binder of these particular fresco Pompeian murals.

This paper is a critical reconsideration of Freud\'s analysis (1907) of Wilhelm Jensen\'s novella Gradiva: A Pompeian Fantasy (1903). Freud\'s interest was aroused by the parallels between Jensen\'s presentation of dreams and Freud\'s model of dream formation just published in The Interpretation of Dreams (1900). Freud also acclaims Jensen\'s presentation of the formation and \"cure\" of his protagonist\'s delusion about a marble bas-relief of a woman walking. This paper argues for the centrality of the phenomenon of fetishism, briefly considered but excluded from Freud\'s analysis. The fantasy of Gradiva as \"the necessary conditions for loving\" (Freud 1910, pp. 165-166) is also a key thesis of the essay, which makes use of the newly translated Freud-Jensen correspondence contained in this article\'s Appendix.