 Now it's my turn to present, as you all know as scholars interested in detecting and studying ancient textiles we are obviously met with tremendous challenges, especially in the Mediterranean area where these textiles are mostly absent. We're not so lucky, I just wanted to show you a nice slide instead of scraps. So with actual textiles from Denmark for example, where we have the oak coffin burials, or in Siberia where they're frozen from Pasawuk for example, or in Egypt where they are preserved due to their very dry climate. So in these instances we're met with a wealth of textiles in ancient Greece and Rome, not so much as you know. We have few scraps here and there and especially when you're seeking to see something about color you're really challenged. So then you have to obviously look for secondary sources, it can be literary sources and it can be iconography for example and textile source. But with regards to colors especially iconography has a potential huge source of information on this particular topic. So where I work now it looks like this. I work in the Glitch Attack and I'm dealing with Greco-Roman sculpture primarily from the Roman period in fact and this is what we're met with. It's a wealth of white marble, they're absolutely beautiful and you can actually say something about the garments which are carefully rendered, they're sculpted on these sculptures. But as all of you hopefully know these sculptures were originally painted in all sorts of bright colors. But due to the preservation of conditions in the ground, some of these have been laying in the ground for centuries or even millennia, the paint has dissolved and paint consists of pigments which provide the color and binding media which is organic nature, egg, milk, oils, animal glue etc etc. So when it is in the ground these artifacts are in the ground the paint is dissolved because of this organic binding media. But there are different ways to detect their original colors and I'll present a little bit of what we do in the museum together with my amazing team with my fantastic colleagues where we work with different techniques. I'm the archaeologist and they are the very smart ones educated in the natural sciences and they work in chemistry, geochemistry, geology and of course some conservators and they do different sorts of analysis of these artifacts to track the original paint of how the original looked. And sometimes we're lucky to find a lot of paint or as in these sites for example Egyptian material, there's a lot of textiles, there's also a lot of polyprimine that we're lucky. And here ancient is the cape from Babylon. So one of the techniques we use in the museum which is really really useful, she was invented in the British Museum, we have a representation from the British Museum in fact. In 2009 it was visible induced reminiscence or just VIL because it's much easier to say. And it's a photographic technique so it's non-destructive, non-invasive so we really enjoy that so we don't have to take any samples or anything. It's a really good way of starting a survey looking for ancient polyprimine. This method I will not go into the specific details, use the camera and a filter and so on. It can detect one specific pigment it's called Egyptian blue and it's as we know that world's first synthetic pigment invented in the third millennium BCE probably in Egypt that's why I'm calling it Egyptian blue. And this is what it looks like. In the middle you see an image of one of the sculptures in our collection the Skiara Amazon from the 2nd century CE and to the left and to the right you see close-up images taken with this VIL technique and these shows that she in fact was her garment was painted with a border using Egyptian blue perhaps mixed with something else so we can actually be sure that it was blue but it was blue in it might be purple might be green we don't know but there was a clear border on the edge of the garment so this is really interesting and you cannot tell that you cannot see it with the naked eye when you go look at the sculpture in our collection you cannot see any clear border anything so this is making some of the invisible decoration visible to us again. And this is a close-up of her sandal to the left you see like normal photo and to the right the VIL image and some of her sandal is in fact sculpted and that's usually what we meet in these beautiful sculptures. The strap around her ankle is sculpted so we can actually see it but the rest of sandal is not there and it's been quite a puzzle actually because it was really strange footwear why would you just wear an ankle strap and nothing else but as you can tell here Egyptian blue was used for the ankle strap as well as here around the part of the foot I don't know what it's called but you can tell here so again making stuff the original colors and the decoration and details of her attire visible with this technique. Another case I would like to show you is a sculpture of what we believe is the goddess Pibele from 16 BCE from Campania in our museum collection and here we're a little bit more fortunate because when you look very very careful there are small traces of colors such as this one. This one is a close-up from around here so when you look really closely you can see there are actually tiny tiny traces of blue color this is a microscopic image here and over here you have to take my work for us it's actually some pink and here is a UV image which is another technique we use in the museum it's also really good because it's non-invasive so we don't have the artifacts and it can point us in the right direction of what we are actually dealing with and here you can see that the red or the pink color lights up that in color redish color here which indicates as an organic pigment which is used perhaps medallic which was really common it could be something else but probably medallic and here you see a cross section of the blue colors that's a certain layer or something there also illustrating the beautiful like purplish blue color used for her gauntlet. So I don't know if you can tell I hope you can but we're trying to plot in with the traces of colors are like blue blue blue blue and here's a lot of blue as well and here's some blue and a lot of purple here on the mantle so I hope to do a reconstruction of her next year when you've done some more examinations but what we can already tell is that she was brightly colored she was not white obviously but full of blue she was wearing a blue cheetah probably and then a pink mantle probably with a bit of blue on it as well and yeah that's another instance another example Nemesis from Rannous in our collection which is amazing she has a lot of falls in her garment which we like that when we're looking for polychromy because that's where we're lucky to find it again I hope you can tell that here are some traces of yellow yellowish yellowish orange hopefully but we need to look closer to this this is just what I'm taking with my own camera we haven't examined this sculpture yet because we have to make sure that this is just not something from the ground where it's been excavated and hasn't been cleaned so we have to find out if it's truly creamy or not I hope that she's you know that would be something for you Daphne and I'll call you right away yes male garments as well this is more or less typical in a way by first look Roman male sculpture he's wearing a turquoise traditional attire among the Roman elite and he has been examined by my colleagues and my colleague Emily Skolmova the last time that's why he has made two different reconstructions of this sculpture and there's so much to say about this I could go on for this one this for like half an hour first of all I have to say both scenarios are likely it's really really difficult to reconstruct these ancient sculptures it's not something to take to be taken lightly it's not easy because there's so few traces of color left so there's a high level of interpretation involved and you have to keep that in mind always of course when you see these beautiful reconstructions always yeah be a little bit skeptic but so we don't know actually if it's only the border of his garment of his token that was uh was colored like this or maybe the entire token we're not entirely sure no matter what it's really interesting because when we read the written sources describing the toga it's either white or the pretexta with the purple border or entirely purple which was reserved from the for the emperor and the imperial family of course and this was restricted to the elite to wear this kind of garment and especially in these colors and there was like a level as you probably know a hierarchy of who could wear what the interesting part is that this guy from devious doctors he was an actor in fact and he was a freed slave who became very very filthy rich so he had these uh yeah this sculpture actually in a sanctuary nimi uh and also of his former owner uh a portrait of her as well so he is really rich but he was not part of the elite as such so he was not allowed to wear a purple toga for example so what was done here well he wore the toga but he chose a different color to reflect something else respecting the kind of social hierarchy reflected in the press and i find that really fascinating and really interesting and this is really a fantastic case proving how polychromy can help us understand the the details and the the message in these different images we see so they're important to take into consideration that our perception can be changed or the interpretation can be changed entirely when we add the color oh how am i doing in time am i good okay and this is of course very very obvious but i want to show you again it's just close up of a couple of statues uh in our collection as you can tell sometimes the sculpture was kind to mark where the border of the garment should be like this here as well so it was easiest to paint and here there's a border all the way along here here here also again an indication that this was painted in some sort of color here it is again for the third time today but it's a wonderful case so i had to use it as well i would do it briefly because Susanna already dealt with it and deaf me as well see of course original here and here are two different reconstructions by the frame plans and again that shows that it's quite difficult sometimes to do reconstructions when it's just limited evidence that we have available but again here the polychromy has helped interpreting this particular sculpture that it's called the peblos car but it's not wearing a peblos and that's based on the polychromy as you can see she's wearing this thin garment underneath and a tighter garment maybe the appendices you know and some sort of long garment which is tied here and then down over here but it's open so it's not the peblos so that was just my brief point it's important so now go ahead twice today and that was actually it thank you