 In this case, because Ina is the one who is telling the important things, I'm just adding some information about Cherubat. You might know Cherubat, salt mine in northern Iran. The date is from about 500 before Christ and the main textile body they have is about between 400 before Christ and 400 after. One era, so to say, it's about 1000 textiles found there and whole bodies with clothing on them. And here I don't present the whole Cherubat thing, but just the items that are relevant for Dice the Finalizes. But just to get a small overview, what do we have? For the Acha Minid textiles, that means 5th and 4th century BC, we have the garments, of course, on the bodies, on the salt mummies, then we have a lot of textile fragments from the Acha Minid layers. Usually they are just simple tebis and light, but we also have embroidery, you see it here. We have compound weaves, we have weft floating patterns. The main body of textiles is Sassanids, that means New Persian Kingdom, 3rd to 6th century Common Era. Here we have, of course, a lot of undyed, simple fragments. You must understand that it's a situation like in Heilstadt, it's a salt mine somewhere in nowhere. That means every single textile that is there has deliberately brought there to fulfill a function, and the miners here were more or less not decorated. That means it's a very specific situation for those who are not familiar with things like that. It's not like in a tom where you have the best of the best of the best. But what we have are all kinds of stripes, all kinds of tapestry weaves, decorations, even animal shape things, and so on. We have embroidery and we have compound weaves, and different other structures, the south bands and so on. Notes fills, if someone asks. Then we have also younger layers, that means from the 17th to the 20th century, when this salt mine was still in use in parts, and there we of course have handmade textiles. They are the most coarse ones. And we have machine-made textiles, checkered prints of all kinds, and we have from very wide range of raw materials from the younger layers goat hair, wool, sheep wool, cotton, and synthetic fibers, of course. What are we doing with those textiles? Of course the basic research is, as you know that, this is one of the samples in our analysis, we take all the basic data, and then in some cases we are allowed to take samples for dice of analysis. It's not so easy if you're working in Iran, because for every single step you take you need 20 permissions from the head of everyone untrue to the ministry, and I think the president, I don't know, even Komini think did a stamp somewhere. It's really not easy to get access to samples in such a country. And so we are very, very glad that we got dice of samples. Yeah, it was really good. Yeah, the project aims of the Cherubabad project concerning the textiles is of course we want to have a complete catalogue if it is possible. It can be only done there. It's more than 1000 textiles. When I go there for studying in the museum there, I can just do some, and then I'm training local people to do that. We want to have all of those technical details. Of course, even isotopic tracing is planned. Fiber analysis was done by Antonia Draus-Eicher, dice stuff with you. Yes, and we are also doing sometimes C14 dating on textiles. If they are from unclear layers, usually the textiles are dated by the layer they have been founded. Yeah, but even there more work is to be done. So now switch to the dice analysis, first some historical remark. The first textiles have been found 2004 when they found complete mommies and stopped modern work. And of course in Tehran by the Center for Cultural Relics, RCR, they did first analysis and also dice stuff analysis, which I will refer on later. But modern analysis, which are done now by Inel. Okay, so I'm going to talk about the dialysis. First, I want to say that previously there were three textiles that were found by chance during construction work in the 90s. So previously there have been dialysis done on three textiles that were found by chance during modern construction works in 1994, and they have been published. I'm just saying this because two of them were found in an assassinate layer and one of them in an older layer, so the Acha minute layer. I'm coming back to that later on. But for now for the current study that we did in 2018 and 19, we only selected Sasanian fabrics for dialysis just because of the reason that... We were not allowed to tell the others. And that after all, the Acha minute textiles were more or less monochromes, so also in that point of view, more interest. So in totally five textiles have been sampled. The textiles were stored at the museum in Zanyan, and about 14 samples have been taken. They were analyzed with high performance liquid chromatography and photodiodic ray detection, which is a one-man system for our dye identification. It's a micro-destructive technique, so we need a small sample. And in fact, we are going to identify the dye compounds, the dyes, and based on that we will give an interpretation towards the possible biological sources that might have been used in that area. So going now to the fabrics. So the first fabric is a large fragment of a woolen left-winged tabby with colored stripes in six different colors from which four were taken. The second one is a beige left-faced tabby with a band of color pattern with a cross motif in it in tapestry technique. And then there was a larger fragment with embroidered color stripes and a ramp pattern, also from the tree samples were taken. And there was a piece of felt dyed in blue, which was tied up with a dark brown thread, so we took from the blue felt fibers and the dark brown. And then there was a last textile with a geometric pattern in tapestry technique from which also two samples were taken. So now I'm going to discuss better results of the dye analysis by grouping the same colored yarns together, because one of the first observations we could make is that in fact, we found the same dyes applied in the same colors of yarns. So for instance, the four different red samples we analyzed, you can see already that the red is very similar, and we also found the same main dye compound, which was alizarin, which is found together with other minor compounds, but they all refer to dyeing with the roots of dye's mother, rubyctic turm, which was a well-known dye source in Iran already there. Also some electric acid was found which refers to tannin, which were used as organic mordants to dye with mother. For the five blue samples, we also found indigotein as major dye compounds in all of them, was found together with indirubin and isatine to a lesser extent, and they all refer to dyeing with an indigotein source, in this case either indigotein or what, regarding the geographical context, both are possible. There were also some antropinondies, alizarin and rubyadine present, so it might be combined with a red dyeing with a plant from the rubyaceae family. The composition is not exactly the same as found in the red dye, so it might be something else than dye's mother, but this is not sure to say, because also the treatment with the red dyeing of indigotein gives all the circumstances, which could have an influence on the red dyes too. But for the five samples, we found the same combination, and then we have the yellow ones, in fact they were more yellow-orange, and we see that luteolin glycosides and luteolin itself are the main dye molecules, apart from some glycosides of apiginine and apiginine itself, which refers to dyeing with a yellow dye plant, which I call a yellow luteolin containing dye plants, because there are many plants that have luteolin as main compounds, regarding the geographical context again, starwards, regent starwards, and chamomile would be among the most likely sources. We also found some red-antracinone dye compounds, so again the color, the final color is obtained by combination of the yellow dye source and dye's mother. And there are some 10 in 2. And then for the green, in fact the green color is much more rare in these Sasanian textiles, two samples have been taken, two different samples because the first on top, you see it's really green, and the second one is in fact a combination of yellow and blue dyed fibers. So, but concerning the analysis, both times we find a combination of dyes from a luteolin yellow source and from indigo or wood, and apart from that there are also some traces of alizarin and allergic acids, but as main sources. In the dark brown sample, we analyzed no organic dyes for present, so it's probably the color of the natural pigmentation and not of dye that we see. So these are the results, but when we want to put them now back in the context of the salt mine of Sherabat in the 4th to 6th century CE, we have to say that in fact from the archaeological sites of modern territory of Iran, almost no textiles from 600 BC to 600 CE have been analyzed for dyes so far, so in fact the study of the Sherabat textiles are an important contribution to basic research in that area, and we can only for the moment compare with the earlier two analyzed textiles from the salt mine, and we can see there that in fact the same red dye source has been found there, the same blue, the only difference is to be found in the applied yellow dye source, as in the earlier analysis they identified tamarisk, and the second yellow which was called an unknown yellow, it's not a luteolin based yellow because then it would be known, but this is the only difference so far we found, so more far reaching comparisons with dye sources used in the ancient world are required on our plants, especially the cross fertilization with the late antique Roman Empire and Egypt should be interesting to investigate. From the latter region, in fact many textiles have been preserved and have been analyzed in the last decades, so from there we know that the main dye sources during Roman times were in fact the same, were also madder, so dyes madder, were also indigo, or woat, and luteolin based yellow to a less extent also, other dye sources were found, but the main dye sources are the same as what we found in Sherabat, later on also other dyes are found as a result of the influences from the east, also in Italian dyes, in Italian textiles we found woat or indigo, and biasaea type of dye, which was more likely white matter in that case, but also there we find the same type of dye sources already in much earlier dated textiles like from the ancient period, so I'm leaving now to conclude the first two. Yeah, so as we saw that the dyes starts should be quite comparable with the so to say Roman world and Egypt and so on, but this might also be the gap in our knowledge about what was going on around, that means we also have to look at what happens in China and in the Caucasus region and so on, but this is just the further research that we are doing, but why we were looking at the Roman Empire in Egypt is this, I mean because if you see textiles that they could even be from a tomb somewhere in Egypt, and so I have many of them because I've seen all of the Chirababab textiles and there are a lot of things like that with Klavi and so on that look so Roman to me and you have to be clear what exactly happens in the new Persian Empire, what do they have themselves, what is their production, but there are no actual textiles usually and you have to search for more information about that and so we are now comparing it a bit and even if you compare the technical details of the Chirababab textiles to have those Roman appearance, it's just with brackets please, then it really it fits very well because the use of asplied warps and the threat counts and all of those details are really comparable and so a lot of more research has to be done and I think there is big potential of to seeing all of those cross fertilizations that go around in the ancient Neo-East and if you are working with textiles from the other sides around because the Roman and Egypt is well known but from the otherwise please get in contact with us, we need information and we know that maybe things are going on but not published and so yeah please network with us, yes okay thank you very much