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Source text - Italian La sua descrizione trova conferma in molti ritrovamenti come monete che la raffiguravano, antefisse in terracotta, statuette in bronzo e l’imponente statua esposta attualmente nella sala Rotonda dei Musei Vaticani (fig. 7). La dea viene spesso raffigurata con un mantello di pelle di capra e scarpe dalla punta ritorta, mentre sostiene un giavellotto e uno scudo in compagnia del suo serpente. Le principali caratteristiche della Iuno Sospita sono, secondo il Galieti, le seguenti: natura ctonia e funeraria e quindi agraria, simbolo di fertilità muliebre, protettrice della città di Lanuvio e dei soldati. Non tutti gli studiosi che si sono interessati dell’argomento concordano con le sue considerazioni. Analizzando attentamente l’iconografia della Iuno Sospita, vi si nota sia una componente agraria che pastorale. La pelle di capra che accompagna costantemente la dea è proprio il simbolo di un rituale di sacrificio propiziatorio fatto dal pastore alla divinità per tenere lontano l’insaziabile nemico: il lupo. Accanto al simbolo della capra si aggiunge quello del serpente “un demone teriomorfico”, come lo definisce il Galieti, “personificante una forza... che abitava la stessa terra e che cibandosi di topi e di altri esseri nocivi all’agricoltura, purificava il suolo rendendosi benemerito del raccolto”. Mentre alla Iuno Sospita veniva offerta la capra (simbolo pastorale), al serpente venivano offerte delle focacce (simbolo agrario). Inoltre la presenza di armi nell’iconografia della Iuno Sospita sottolinea le radici delle popolazioni del Lazio antico, poichè le popolazioni a carattere pastorale e quindi nomadi erano spesso bellicose.
Gli scavi del Santuario di Giunone Sospita
L’area del Colle S. Lorenzo, dove in antico sorgeva il complesso sacrale di Giunone Sospita, fu interessata da interventi di scavo nel 1884 da parte di Lord Savile Lumley.
Con gli scavi di Savile, dal 1884 al 1892, tornarono immediatamente alla luce strutture in opera incerta databili al II sec. a.C. e alla metà del I sec. a.C..
Nella zona a sud-ovest dell’impianto – e, più precisamente, tra il pilastro angolare e la struttura in opera quadrata- si rinvennero, al di sotto di uno strato di crollo delle volte del portico, vari frammenti di parti di cavalieri, il torso di una statua di ninfa che usciva dall’acqua e, a ridosso della struttura in opera quadrata, capitelli e rocchi di colonna. Sul finire degli scavi di Lord Savile si rinvenne, in un luogo imprecisato (visto che l’antiquario inglese non fornisce utili elementi topografici), la favissa votiva dalla quale emersero le strutture templari di I fase, databili alla fine del VI sec. a.C., di cui le antefisse a testa femminile con nimbo traforato terminante a palmetta e di chiara matrice romana rappresentano il ritrovamento più significativo.
A intraprendere gli scavi sulla zona del tempio vero e proprio fu, nel maggio del 1914, l’Ufficio Scavi della Provincia di Roma. Gli scavi, diretti dal Prof. Angelo Pasqui, fecero emergere i muri perimetrali del tempio in opera quadrata con un muro di recinzione in opera reticolata parallelo ai lati nord ed est dello stesso e un lastricato parte in basalto e parte in peperino, immediatamente all’esterno dell’antico impianto religioso.
Dallo scavo del tempio e da piccoli sondaggi effettuati nel terreno sottostante, emersero soprattutto frammenti fittili di varie epoche appartenenti alla trabeazione esterna, antefisse, votivi vari, ma anche alcuni frammenti di una testa marmorea pertinente al gruppo di Licinio Murena.
Translation - English His description is confirmed in many archaeological finds that depict her, such as coins, terracotta antefixes, statuettes in bronze and the impressive statue currently displayed in the Rotunda of the Vatican Museum (fig. 7). The goddess is often portrayed with a goat skin cloak and shoes with upturned tips, while holding a javelin and a shield, and accompanied by her serpent. The primary attributes of Juno Sospita, according to Galieti, are the following: a nature that is chthonian and funerary and therefore agrarian, a symbol of feminine fertility, and the protectress of the city of Lanuvio and of soldiers. Not all scholars in the field agree with his observations. Careful analysis of the iconography of "Iuno Sospita" reveals both an agrarian and a pastoral component. The goat skin that always adorns the goddess is actually a symbol of a propitiatory ritual sacrifice made to the divinity by the shepherds to keep away an insatiable enemy – the wolf. In addition to the symbol of the goat, there is also the symbol of the serpent “a teriomorphic demon”, as Galieti defines it, “personifying a force ... that lived in the same land and that, by eating mice and other beings detrimental to agriculture, purified the earth making it worthy of the crop”. While a goat (pastoral symbol) was offered to "Iuno Sospita", flat breads (agrarian symbols) were offered to the serpent. In addition, the inclusion of weapons in the iconography of "Iuno Sospita" emphasizes the roots of the ancient Latium peoples, as populations of a pastoral and therefore nomadic nature were often bellicose.
The Excavations of the Sanctuary of Juno Sospita
The area of the San Lorenzo Hill, where the sacred complex of Juno Sospita stood in antiquity, was excavated by Lord Savile Lumley in 1884.
The excavations by Savile, which took place from 1884 to 1892, immediately brought to light structures in opus incertum dating from the second century to the mid first century BC.
In the zone to the south-west of the complex – more precisely, between the corner column and the structure in opus quadratum – beneath a layer of debris from the collapse of the portico vaults, they uncovered various fragments of horsemen, the torso of a statue of a nymph emerging from water and, behind the structure in opus quadratum, capitals and drums from columns. Towards the end of Lord Savile’s excavation activities they discovered in an unspecified location (as the English antiquary did not provide useful topographical information), the votive favissa containing architectural artefacts from the temple from phase I, dating to the end of the fourth century BC. The most important of these finds were the antefixes shaped like a female head with a pierced nimbus that terminated in a palmette, which are clearly of Roman origins.
The Excavation Office of the Province of Rome initiated excavations on the actual temple area in May of 1914. The excavations, directed by Prof. Angelo Pasqui, uncovered the perimeter walls of the temple in opus quadratum with a surrounding wall in opus reticulatum parallel to the north and east sides of the temple and a paved area, made of both basalt and peperino, immediately outside of the ancient religious complex.
The excavation of the temple and a modest examination of the surrounding area primarily uncovered clay fragments from various eras that formed part of the exterior trabeation, antefixes, various votive items, and also a few fragments from a marble head belonging to the Licinius Murena group.
Spanish to English: Archaeology - Informational Panels for an Archaeology Museum
Source text - Spanish 3.1
Principios de la DRX
Este análisis se basa en la medición de las interferencias ópticas que se producen cuando los rayos X inciden sobre una muestra.
La difracción es característica para cada tipo de estructura.
Comparando el resultado con un patrón se obtiene la composición del objeto.
Con esta información podemos:
- Determinar el lugar de producción mediante la identificación de áreas con arcillas de la misma composición.
- Estimar la temperatura de cocción, gracias a que algunos minerales se forman a determinadas temperaturas mientras que otros desaparecen.
Resultado
Los difractogramas permiten identificar cuarzo como mineral principal de la composición de la arcilla, acompañadas de mica y pequeñas proporciones de plagioclasa.
3.2
El microscopio electrónico muestra los cambios en la microestructura de la cerámica, lo que ayuda a determinar la temperatura de cocción.
Sus análisis proporcionan datos como textura, tamaño y forma de la muestra.
Sirve para investigar la mineralogía de la pieza y para estudiar las alteraciones superficiales que haya podido sufrir el objeto.
En este yacimiento se han aplicado al estudio de las alteraciones producidas en la cerámica por su permanencia en agua durante siglos. Así se puede determinar el mejor tratamiento de conservación.
Resultado:
Los microanálisis detectan un elevado contenido de óxidos de hierro en la muestra superficial. En la muestra de perfil se identifican contenidos de azufre que señalan la presencia de pirita.
Conclusión:
El enterramiento de las cerámicas en un medio reductor como el agua de mar ha dado lugar a la a la aparición de óxidos y oxihidróxidos de hierro.
Como hipótesis puede establecerse una fase de neoformación de sulfuros de hierro que se desarrolla con mayor intensidad en las capas superficiales de la cerámica.
La alteración ha dado lugar a un incremento de volumen en los nuevos materiales generados que puede dar lugar a disgregaciones, descamaciones y enrojecimiento superficial, mientras que en las zonas interiores de la cerámica las partículas de sulfuros de hierro tienden a permanecer inalteradas.
También permite detectar partículas metálicas anómalas, procedentes seguramente de los vertidos de las explotaciones mineras de la zona, aunque no parece afectar a la integridad de las cerámicas.
Translation - English 3.1
Principles of XRD
This type of analysis is based on measuring the optical interference produced when X-rays strike a sample.
The diffraction pattern produced is distinctive for each type of structure.
The object’s composition is obtained by comparing the results with a standard.
Using this information, it is possible to:
- Determine the place of production by identifying geographical areas with clays having the same composition.
- Estimate the firing temperature, since certain minerals are formed at particular temperatures while others are destroyed.
Results
The diffractograms identify quartz as the principal mineral in the clay’s composition, as well as the presence of mica and small quantities of plagioclase.
3.2
The electron microscope shows changes to the ceramic object's microstructure, which aids in determining the firing temperature.
Electron microscope analyses provide information regarding the texture, size and shape of the sample.
This method is used to investigate the artefact’s mineralogy and to study any alterations to its surface that may have occurred.
For this archaeological site, the technique was used to study alterations in the ceramic artefact that were caused by it being underwater for centuries. By studying the object with this method, the best conservation treatment can be determined.
Results:
The microanalyses detected an elevated content of iron oxides in the sample taken from the surface. The sulphur content found in the cross-section sample indicated the presence of pyrite.
Conclusion:
The submersion of the ceramic objects in sea water, a reducing medium, caused the formation of iron oxides and iron oxyhydroxides.
A hypothesis can be made that the neoformation of iron sulphides was more intense in the ceramic object’s surface layers.
This alteration brought about an increase in volume through the formation of new materials that can cause disintegration, flaking and reddening of the surface, while the particles of iron sulphide in the internal zones of the ceramic itself tended to remain unaltered.
This technique also permitted the detection of anomalous metallic particles, undoubtedly originating from the dumping of waste from mines located in the area, although these particles do not appear to have affected the integrity of the ceramic objects.
Spanish to English: History/Anthropology - Informational Panels for an Anthropology Museum
Source text - Spanish PROTOHISTORIA E ÍBEROS
1. Hace unos 3500 años sucede un gran cambio: desaparece misteriosamente la cultura del Argar. Surgen pueblos sin murallas en zonas llanas y los instrumentos de cobre dan paso a los de bronce, mucho más resistentes.
2. Al territorio de la actual Andalucía llegan productos de todo el Mediterráneo cerámica micénica o chipriota, armas de metal, figuras decorativas…
3. Hacia el año 1000 antes de Cristo, los navegantes fenicios llegan a las costas andaluzas trayendo nuevos inventos: la metalurgia del hierro, el torno para la cerámica, la escritura y la moneda. También la técnica de alinear las casas y formar calles…
4. Este contacto con los fenicios provoca en Andalucía una etapa de gran influencia oriental que lleva al nacimiento del reino de Tartessos. 4.A. La gran riqueza minera de estas tierras produce la creación de colonias fenicias, griegas y después cartaginesas a lo largo de las costas.
5. En el interior de Andalucía surgen pueblos fortificados u “oppida” de las diversas tribus iberas, con su gobierno y ejército, sus artesanos, comercio y creencias religiosas. En esta etapa se van consolidando las distintas clases sociales.
6. Pero a partir del siglo III el mundo íbero sufre un gran impacto con la ocupación imperialista de Cartago.
7. La invasión cartaginesa comienza con la llegada de Amílcar Barca a Cádiz en el 237 antes de Cristo. Pero Roma, que disputa a Cartago el dominio del Mediterráneo, derrota a los cartagineses y se apodera de Hispania.
8. De este modo, las culturas de los íberos desaparecen y dan paso a la cultura romana, de la que aún somos deudores los andaluces actuales.
ANDALUCÍA ROMANA
1. Expulsados los cartagineses, Roma, que había sido acogida como liberadora por los íberos decide permanecer en Hispania, lo que provoca múltiples enfrentamientos armados.
2. Con la paz llegó la romanización de nuestra tierra. La población íbera adoptó el modelo político, administrativo y social de Roma, que encajaba bien con sus formas de vida.
3. Las ciudades béticas se rigen por una oligarquía de familias, que ocupan los cargos públicos, incluyendo los de senadores locales, heredados del mundo íbero.
4. Cada civitas, o ciudad, administra amplios territorios bien delimitados y perfectamente definidos en sus leyes locales.
6. Con el tiempo se fue produciendo un proceso de concentración de la tierra: los propietarios más ricos adquirieron las tierras de los más humildes y formaron grandes fincas o villas. 6.A. En tiempos del Imperio, estas villas se convirtieron en el centro de la producción agrícola, gracias al trabajo de numerosos colonos y esclavos.
7. El Mare Nostrum se llena de naves, prueba del gran crecimiento comercial que vive el Imperio. 7.A. La Bética es una gran proveedora de vinos y aceites, cereales y salazones -el famoso garum-, así como de plomo y metales preciosos.
8. Estos productos de primera necesidad ayudan a sostener al ejército y a la plebe de Roma, y con ello contribuyen a la estabilidad política del Imperio.
9. Este modo de vida se mantiene prácticamente hasta el declive del Imperio Romano, a principios del siglo V.
Translation - English PROTOHISTORY AND THE IBERIANS
1. An important change occurred 3,500 years ago: the Argar culture mysteriously disappeared. Towns without walls appeared in the plains, and copper tools gave way to bronze tools, which were much stronger.
2. Products from throughout the Mediterranean reached the current territory of Andalusia, including Mycenaean and Cypriot ceramics, metal weapons, decorative figures...
3. In approximately 1000 BC, Phoenician sailors reached the Andalusian coast, bringing new inventions: iron metallurgy, the pottery wheel, writing and money. In addition, they introduced the technique of aligning houses and forming streets...
4. This contact with the Phoenicians initiated a period characterized by a strong Oriental influence and led to the establishment of the Kingdom of Tartessus. 4.A. The great abundance of mineral resources in these lands led to the founding of Phoenician, Greek and later Carthaginian colonies along the coasts.
5. In the interior regions of Andalusia, the fortified towns or "oppida" of various Iberian tribes arose, with their own governments and armies, as well as artisans, trade, and religious beliefs. During this period, the different social classes became more consolidated.
6. During the third century BC, however, the Iberian world suffered a serious blow with the imperialistic occupation by Carthage.
7. The Carthaginian invasion began with Hamilcar Barca's arrival in Cadiz in 237 BC. However, Rome, which was contending with Carthage for control of the Mediterranean, defeated the Carthaginians and took control of Hispania.
8. Thus, the Iberian cultures disappeared and were replaced by the Roman culture, to which current Andalusian society is still indebted.
ROMAN ANDALUSIA
1. After driving out the Carthaginians, the Romans, who had initially been welcomed as liberators by the Iberians, decided to remain in Hispania, thereby provoking numerous armed confrontations.
2. The arrival of peace was accompanied by the Romanization of the land. The Iberian population adopted Rome’s political, administrative and social models, which were well-suited to their way of life.
3. The Baetican cities were ruled by an oligarchy of families that occupied the public offices inherited from the Iberian world, including those of local senators.
4. Each civitas (or city) governed extensive territories that were clearly demarcated and well-defined by local laws.
6. Over time, a process of land ownership concentration occurred: the wealthiest property owners acquired land from the poorest, creating large estates or villas. 6.A. During the Imperial period, these villas became the centre of agricultural production due to the work of numerous tenant farmers and slaves.
7. The Mare Nostrum (Mediterranean) became filled with ships, proof of the significant commercial growth the Empire was experiencing. 7.A. Baetica became an important supplier of wines and oils, cereals and salted fishes (the famous garum), as well as lead and precious metals.
8. These essential products helped sustain both the Roman army and the common people, and thereby contributed to the empire’s political stability.
9. This way of life continued almost until the decline of the Roman Empire at the beginning of the fifth century.
I specialize in texts relating to Cultural Heritage (Art, Art Restoration, Archaeology, and Tourism) and the Environment (Environmental Engineering, Ecology and Renewable Energy Sources). My educational background includes three years of doctoral level study in an Art Restoration program in Valencia, a two year Art Restoration course in Florence and a degree in Chemistry. Before developing an interest in Art Restoration, I worked for seven years as a research chemist.Examples of projects I have translated:
Cultural Heritage
• Books relating to cultural heritage and travel: Jerusalem, by Roberto Copello, White Star Publishers, 2008. Farewell to the Last Man: Irian Jaya and Papua New Guinea, by Jago Corazza and Greta Ropa, White Star Publishers, 2008. Switzerland from Above, by Alberto Marcarini and Cesare della Pietà, White Star Publishers, 2008. Petra, by Fabio Bourbon, White Star Publishers, 2008.
• Academic papers relating to Art History, Art Restoration and Archaeology
• Explanatory panels for artwork and objects in museums
Environment
• Environmental engineering, including groundwater recharge, groundwater remediation, soil remediation, dredging and sediment remediation, phytoremediation, coastal defense works and site assessments
• Environmental impact of agriculture (water pollution, erosion and soil degradation)
• Renewable energy sources, particularly biofuels
• Wastewater treatment
• Digestate management
Education and Experience:Freelance Translator (2006-present)Doctoral Level Study - Department of Art Restoration and Conservation
Universidad Politecnica de Valencia
Valencia, Spain (2003-2006)
Painting Restoration Program
Gaia Centro de Estudios de Arte y Restauración
Valencia, Spain (2004-2006)
Art Restoration Program
Instituto per l'Arte e il Restauro
Florence, Italy (2000-2003)
Art History Courses
Rutgers University
New Brunswick, NJ, USA (1996-1998)
Chemist (Synthetic Organic Chemistry)
Merck Research Laboratories, Merck and Co.
Rahway, NJ, USA (1993-2000)
BS Chemistry
The Pennsylvania State University
State College, PA, USA (1989-1993)
Keywords: art, history, art conservation, art restoration, art history, restoration, conservation, archaeology, painting, sculpture. See more.art, history, art conservation, art restoration, art history, restoration, conservation, archaeology, painting, sculpture, cultural heritage, ecology, environment, translation restauro, storia dell'arte, pittura, scultura, ecologia e ambiente, restauración, conservación, arte, restauración del arte, conservación del arte, historia del arte, pintura, escultura, patrimonio, ecologia y medio ambiente. See less.
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