 Hello, good morning, dear colleagues, dear Marta, Cecil and Susanna. I'd like to thank you very much for bringing this very interesting topic to this year's E-Meeting in Barcelona and of course for inviting me to take part in this session. I will talk today about my new research project entitled Textiles and Seals, Relations Between Textile Production and Seals and Sealing Practices in Bronze Age Vs. The time directing, I just have started it this year and I will be continuing until 2021. My focus today is textile iconography and the question of interpreting the small-scale representations in Glyptic that may refer to manufacturing of textiles. I will start with an introduction very brief to Greece and in the Bronze Age and the Young Glyptic, then I will shortly refer to how the imagery of Glyptic has already proved to be a potential source of textile knowledge and what is my methodology and approach to the iconography of textile production. Finally, I will discuss Middle Bronze Age Prismatic Seals in more detail as a case study demonstrating that more complex iconographic references to textile production may have also existed. I will close my presentation with some conclusions, obviously, with an important qualification that needs to be remembered. However, these would be the first observations from the ongoing research. The Bronze Age in Greece generally covers the third and the second millennia BCE. The Bronze Age cultures developed on the mainland and they comprise the Haladic and Mycenaean cultures. There was Cycladic culture on Cyclades and Mycenaean on Crete. Seals were produced and used throughout the large part of the Bronze Age. However, with certain geochronological differences between Crete Cyclades and mainland, the uninterrupted use of seals from early to late Bronze Age has only been attested on Crete. For more than 100 years, agent Glyptic has been widely explored as a valuable source of information about many aspects of life in Bronze Age Greece and intensive research has been undertaken into the spragistic use of seals as well as symbolic and talismanic function of seals and their remarkable iconography. However, the complexity of relations between textiles and seals has not been fully explored until now. At first, seals were impressed on clay textile tools, specifically lume weights, a practice that has been observed throughout the entire period of the spragistic use of seals. Secondly, textiles, basketry, weaker work and other organic products preserved as impressions on clay nodules that were still impressed themselves. Cordage impressions, often with knots, preserved under flat-based nodules, so-called pacan plumbin, and inside single-hole hanging nodules. There are also extensive iconographic references to textiles on seals. They may be classified as descriptions of costumes and fashion, sacral textiles such as offerings of textiles or textiles that had some symbolic meaning like sacral knots, motifs resembling textile patterns and more recently recognized symbolic references such as spiders, references to raw materials and possibly dye stuffs such as woody animals, goats and sheep, fibrous plants such as flax, muricida shells and possibly even mass-producing white silk. And finally, references to textile tools and production such as lume weights and weavers first recognized by Brandon Burke and the warp-weighted looms recognized by me. The last three categories marked by red blocks are of special interest in my research. Since the knowledge of textile technology has noticeably progressed and detailed understanding of the Shen Operatua has increased in recent years, iconographic references to textiles are more visible in ancient imagery. Thus, potential raw materials and textile tools may also be recognized in a gel-glyptic on the basis of knowledge of textile technology both prehistoric and traditional as well as experimental archaeology. Here, flags are warp-weighted loom and loom weights motifs or chosen to illustrate my approach to the imagery of textile production in Glyptic. Please note that in this presentation I'm only interested in a visual form of a motif that I identify as a flax, otherwise recognized as a hieroglyphic syllabogram 031 representing an unspecific plant and I'm not going to touch the question of early writing and visual form of hieroglyphic science. The preliminary identification of motifs is based on the graphic visual resemblance to actual objects here, flax plant with its long stem and plant-solate leaves and seed capsules and the general form of the warp-weighted loom and the appearance of hanging loom weights. This identification may further be supported by iconographic compranda with other arts and cultures including the conventions adapted for small-scale representation, for example, in Mesopotamian Glyptic. Then possible classification of procedural sequences in textile production into iconographic conventions might be investigated including so-called technical gestures of textile workers here presumably required by weaving. In case of multi-faced seals such as the metalbrowns age prismatic seals from Crete they already recognized motifs, for example loom weights or weaver width loom weights should be compared and cross-checked with motifs represented on other seal phases in order to determine if any combinations of textile-related themes or repertoires existed. This question is especially important for this Madame Minant reasons since no relations between depictions carved on all three seal phases have been discovered so far. The existing hypothesis suggests that prisms may have belonged to officials that are more than one administrative function and thus seal phases might refer to different responsibilities of an individual. According to other scholars including the recently published monograph by Maria Anastasiadou some of these depictions might have been just imitations of the hieroglyphic inscriptions that also appear on these seals. Could textile production be a theme that possibly linked different seal phases of some of the prismatic seals? To answer this question let us have a look at the basic statistics first. There are 600 prismatic seals altogether including the pieces with decoration that is not readable anymore. The motif of weaver width loom weights has been attested on 23 seal phases and the motif of loom weights alone on 31 seals. At least every tenth seal refers to general motifs of loom weights depicted alone or with the weaver. The seals such as represented on the slide with all three phases possibly referring to textiles and textile production are very rare yet they exist. The observed combinations comprise a motif showing a woody animal that is an animal with horns identified as goat or sheep sometimes as a grimy or a proton of such an animal and a spider, a symbolic reference. There is also a combination with the repeated motif of two woody animals on two seal phases here possibly shown in a reproduction sequence and combinations of a woody animal and a possible textile tool such here possible weaving sort and bitters. There are also repeating combinations of the loom weights motif alone or with the weaver depicted on two seal phases out of the three. The most popular is the combination with woody animals and this appears altogether on 23 seal phases. Equally differently distributed frequency is upset for the combination with various figures of male, never female, represented alone or in groups. Then go depictions of various pots and vases sometimes accompanied by a man four and five accordingly and the same in number are combinations with spider or spiders three and six examples. Then goes the motif termed as a duck lion, two and six examples and the fish motif, one and five examples. There are also combinations with a motif of a waterfall for examples and with ornamental motif such as a whirl free examples. Therefore most of the repeating combinations with the loom weights motif do not demonstrate any further references to textiles. On the other hand, the motif state possibly referred to textile production such as spiders are generally popular on prismatic seals. For example, spiders can be recognized on 56 seals thus obviously spiders were also depicted in combinations with other motifs than loom weights. Even if I believe that some of these other combinations with spiders may reveal further relation to textiles in dual cores, the possible meaning of the spider motif might be different in different combinations. To conclude, the imagery of a gene-glyptic reveals indeed manifold references to textile production including references to raw materials, die-staffs, textile tools and works. This multiplicity is especially visible on the middle bronze age prismatic seals from Crete where the loom weights motif appears on every tense seal and textile related combinations of motifs might be observed on two or sometimes even three seal faces. The general complexity of textile imagery in a gene-glyptic will be further investigated with the help of a database still under construction now designed specifically for textiles and seals project by the Digital Humanities Laboratory of the University of Warsaw. The following concluding remarks will be formulated as questions without any secure answers, yet posing them seems to be helpful for understanding the possible variety of relations between textiles, their imagery and selling practices. Assuming that particular faces of prismatic seals indeed corresponded to different administrative responsibilities of an individual seal-beer, it is tempting to identify these possible responsibilities on the basis of iconography. In fact, several crafts or professions such as textile and pot-making, sometimes as we have seen represented together, archery, possibly fishing, may be recognized on these seals. Textile production seems to be particularly well represented in this context. Yet, there are also seal faces bearing depictions of various animals, including odds, corpios and centipedes, as well as purely ornamental motifs that may not easily be connected to a specific craft or administrative task. Therefore, the imagery of prismatic seals must have had more complex meaning even if the suggested correlation between the tasks and images may still be valid. Thirty combinations comprise the Lumoids' motif and the depiction of woody animals, so it's nearly half of the representations of the Lumoids' motifs is combined with animals. Again, it would be tempting to interpret this regularity in a relation to the responsibilities of an individual seal-beer and his or her control or involvement in two procedural sequences of textile production, wall gathering and weaving. Yet again, the already expressed reservations are valid also for this interpretation. Still, the revealed textile-related combinations of motifs on different seal faces allow to consider the three-sided prismatic seals as potential iconographic entities, which meaning is encoded on all three seals faces, and thank you for your attention.