 So good morning. I will present a work that we developed with an assemblage dated from the 18th century that was found in Almada. And we see in a minute where Almada is located, for the ones who don't know. And it's a glass assemblage dated to the 18th century. And you'll see why this was a different decision that we did with this assemblage. So Almada is located in the south part of the Tagus River in Lisbon. And here on, so it's very, very close to the Tagus River. And it is believed in the 18th century that this area was inhabited by people from the lower classes. This is the street where the collection and the assemblage was found. And we are seeing that it's an area with very narrow streets. It's an area where the street nearby is close to the Jewish corner. So as we see, this is a place that was inhabited from the 12th century, at least. And we see here the location and the area where the assemblage was excavated. Not only glass was found, but also ceramics and porcelain. Also, everything dated to the 18th century. And everything was closed in this hole where we see the archaeologists excavating. So I will dedicate this presentation to the glass assemblage and I'll talk about the other materials that were found. But what we wanted was to bring to light this incredible glass set that was found. And to explore new ways to present and to show this type of material to the people. And also to understand how can this help us to preserve these materials to our present and future generations. We believe that this is our social duty to share the knowledge that we acquire from the city of these assemblages outside the academic world because we all publish papers and books and book chapters. And sometimes this part of sharing the knowledge outside the academic world stays a little bit forgotten. So to show you just a hint of the glass assemblage, it's mostly composed by one glass bottle. Everything is dated from the 18th century. And also drinking glasses. And we see a variety of shapes and decorating techniques. And also other types of glass vessels. You are seeing objects already treated and we'll see the process that it went by. And how did this work evolve? And how did this project started? We have, so I'm an assistant professor at the Master of Conservation and Restoration. And we have in the first year of the master a discipline called Project. And as you see, Project is a very broad discipline and everything can fit inside Project. And so I had six students and we need to develop a project. And since we are in Almada, we are very close to the Almada municipality. And we knew about this glass assemblage. And so we decided why not go to the museum with the students and start treating these materials. And when we saw the assemblage, it was an immediate decision that this should be on display. We should do an exhibition with the material. And so all the treatments and all the decisions were made with this point, with this objective to exhibit the material. And so briefly on the conservation part, what we did first of all, because none was inventory. So we need to inventory all the glass objects. We need to clean the material that was stable enough to be cleaned. And for the ones that were not stable, they need to be consolidated. Here our main objective was never to remove corrosion layers or to give an aspect that was not an archaeological aspect because all the materials corroded corrosion layers and it's broken. And so what we did was the least intervention possible way to conserve and to preserve for the exhibition. So you see different parts consolidating, putting the puzzle together, assembling the objects. For some of the objects, they were not stable enough physically speaking. So we needed to do something here to make them stable enough to be exhibited. And the decision was whenever possible and you see in this case here, the whole part more than half of the flask is missing. So it's not physically stable. And we decided not to fill that huge area because it would lose its archaeological aspect. So we decided to create a system, as you see here in the middle. This is made out of glass, not to be a problem, with the glass-based material. So we created the system just to support the other part to make it physically stable enough to be exhibited. And the same situation happened. This is just another example. A wine glass bottle, a very big missing part here. And so the olden neck was very, very heavy. It was not stable enough. So we just made a small infilling here. It's a detachable infilling. So whenever I want, I can remove it just to make it stable enough physically to be exhibited. So the mission of this exhibition was to show this glass assemblage to everyone who wanted to go and see the exhibition. But we wanted to focus the local population because the local population in Almada is all the time very interested when they see an excavation, an archaeological excavation. And sometimes what happened is that the material is excavated and go to storage and no one sees it. And so we wanted to give this back to the population. And we also wanted and tried to show how the Almada inhabitants from former times lived and what did they use. We also used this opportunity to show the work that we developed at the faculty and what does our students learn. And how do we approach this study of historical materials, obviously here focusing the glass. And also highlighting the importance of preserving glass and what can we take from, what kind of information can we retrieve from these studies of glass for the present and for the future generations. So all of the exhibition was designed by our students, obviously with the help of the museum staff and the archaeologists that excavated the material. And we focused these aspects. We wanted to show how glass is made. So we devoted a part for the raw materials. We wanted also to show what recipes were used in the 18th century to produce wine glass bottles. We also wanted to show different shapes of these bottles because these bottles are a world and they have different shapes of necks, of bottoms and so on. Also the colors that exist among these wine glass bottles are very, very different shades of green, of brown. We also wanted to illustrate how this object is produced. Obviously the archaeological context and we also tried to create an ambience where we showed how these wine bottles were present in the everyday life in people's houses. So the exhibition opened on the 9th of June and finished on the 31st of July. It was held in the Almatic City Museum and it was of free entrance. And here I'll just briefly guide you through the exhibition. We started with the raw materials as I told you and we just wanted to show how these raw materials look like. So more than writing what was used, show exactly what glass makers used to produce glass and especially the wine glass bottles. So we use the raw materials concerning the plants, not only the plants but also the ashes that result from the plants that is actually what we use to produce the glass with a brief explanation of what these materials served for. And then we approach the color. Here you have to believe in me. These glasses have different shades of green and the panel that goes with this exhibition, with this part, shows and describes different, how the different colors in glass can be approached and why these different colors appear. And then we approach the different shapes of the push-ups. These are very important when we try to date or study the provenance of a wine glass bottle. The shapes and the way the push-ups in the bottoms are made can be very helpful in dating and understanding the provenance. And they are all different from each other. So we now look at wine glass bottles from nowadays in our homes. They look almost all the same and they have the standard measures. So in the 18th century, it was not like that. Every bottle had its size, its shape. As we can see here, so when we move to the shapes and to the evolution of the shape of the bottle, we can see different shapes, different colors. These are the different shapes of the bodies and this can also be associated with different liquids they were made to contain. And the different necks, as you can see, they are completely different in terms of shapes, one from another, and this can help dating and understanding provenances. And we also wanted to show the different aspects of the archaeological materials. So when we excavate all materials, they have different corrosion layers, different aspects, and we also wanted to show this and to keep this for the audience. This was a display that we used with two glass recipes to produce wine glass bottles and these were retrieved from a Portuguese recipe book from the 18th century to produce wine glass bottles that was used in the Portuguese glass factories from this time. And here, the students made drawings explaining how the shape of the bottle was obtained in this period, so no machines on the 18th century. And finally, we created this ambience where we showed, obviously, with the intent of showing the material so it's not crowded like it was in a home, but we showed the material inside a created living room. So with the wine bottles, with the drinking glasses at a table. And it's most important how the bottles can be placed inside the home. And this explains why the bottle, the shape of the bottle evolved from the onion shape to a cylindrical shape because it needed to be stacked for the sake of space inside houses and other places. Finally, we have the archaeological context. It was in the middle of the room, so if you entered from the right or from the left, the archaeological context was present in the middle so you can see the exhibition in either way. This exhibition was also, we used it to engage different publics. So we organized talk sessions and guided visits. We, during the period the exhibition was on, we organized three different talk sessions followed by guided visits. We'll have an exhibition. It will open on the 17th of September, so in two weeks from now, in the library of our faculty. And we'll use this opportunity to release the catalog of the exhibition. And we also organized other different talks in this time to engage the faculty students. So we have now a completely different public. And I would like to thank you for your attention. It was a pleasure. Thank you. Thank you.