Archeological campaigns along the track of the Domitian road in Cuma resulted in the recovery of a large amount of potshards and crucible fragments (both open and closed forms), covered with residues of blue and green frits, respectively. Typological analysis of the crucibles combined with mineralogical and petrological analyses on the ceramic body and frit residues revealed that the forms are intimately related to the technological data. Newly formed calcium silicates indicate high firing treatments of crucibles during pigment making (not lower than 950°C). In particular, different working temperatures for the two types of crucibles have been estimated by the presence/absence of sodalite‐nosean feldspathoid. This mineral formed after the reaction of Si‐Al‐rich material (the sintered ceramic body) and alkalis transferred to ceramics via chemical diffusion during the pigment synthesis. Thus, the estimated working temperatures are higher for closed forms (>1100°C) and lower for the open ones (950–1050°C). This different thermal treatment perfectly fits with the temperatures of green and blue pigment synthesis; higher temperatures for green pigments allowed the formation of abundant Cu‐bearing glassy phase, whereas, blue pigment is prone to the formation and thermal stability of cuprorivaite crystals (950–1050°C). Moreover, the two frits showed similar recipes (quartz‐feldspar‐calcite‐rich sand) with the exception of more abundant Cu‐bearing colorant agent in blue hue and higher proportion of alkaline flux in green frit. The obtained data suggested that crucibles were a fundamental tool for pigment manufacturing, likely one of the best example of ancient technical ceramics, as they permitted controlling the temperatures along with the fuel and the treatment time. Combining analytical and archeological data, the production and the technology of the two colored compounds identified as Egyptian Blue and Green frits in ancient Cuma has been inferred. Finally, considering the Vitruvius excerpt that identified an Egyptian Blue production in Puteoli, the area of production can be widen up to the northern Phlegraean Fields, also including Cumae and Liternum.

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Recent transportation infrastructure works in Naples, Italy, provided important discoveries related to the production of pottery in the Hellenistic workshop area of Piazza Nicola Amore. A minero-petrographic investigation was conducted on 35 samples belonging to the widespread Campana A ware and production indicators (clayey raw materials, unfired Graeco-Italic amphorae, kiln wastes, workshop tools). Additional analysis was conducted on black-glaze and common ware samples for comparison. The analyses reveal compositional and technological homogeneity of Campana A ware. Samples are characterized by low CaO content with evidence of both volcanic and sedimentary components, suggesting that different clay sources were properly mixed to prepare a standard recipe. Production indicators, black-glaze and common wares, have a composition well consistent with the calcareous clays from the island of Ischia. Leucite- and garnet-bearing temper from the Somma Volcano were used for the preparation of coarse-grained pastes, unfired Graeco-Italic amphorae, and clayey raw materials, thus suggesting that they represented the clay sources for amphorae production. Our results reveal new technological and socioeconomic aspects of Hellenistic pottery production in the Bay of Naples, in particular for the Campana A ware, now representing a new reference group: Neapolis

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