 Okay. Do you hear me? No. Merci aux organisateurs. The past two years, in northern half of France, a team of in-rep researchers is carrying out an inventory of textile furniture from a typological or chronological perspective. My personal work is complementary. My purpose is to help understand the contextual data related to textile craftmanship. My interest in the spindle world on loom weights led me to work on the time of the representation of this craft in the Photo-Historic Society. That is, how to testify to your belonging to textile universe by wearing a specific set or how this universe is described in the graphic image of Photo-Historic. My aim today is to convince you that there is a close link between the human impendance and textile production. I will illustrate these hypotheses with two examples. So, the first concerns a range of ornaments that can be described as looms. The most obvious models come from Italy and serve as a starting point for this work. In this case, this is the case of Carnavaggio di Opino, which seems to indicate the desire to represent textile craftsmen on clothes. On this slide, the same color code is used to describe the loom with blue for the warp beam bar on the second bar. The green for the woven work, the orange for weights. At the bottom, the same color code is adapted to the object and terminology of parts constituting them, the hook, the intermediate pieces, the chains or other connecting system, a possible additional bar on the pendants. By analogy with Italian furniture, the same hypothesis can be made for similar sets of furniture. We have chosen to consider all those with pendants. These pendants are identified in various categories of objects, which are themselves separated into two political classes. There is a parallel between the disc-shaped weight of Central Europe and of Mediterranean. Similarly, the Alstatian pyramidal weights, which find their equivalence in contemporary ornaments. One is represented flat and made of metal. The other being made in volume and in clay. The hypothesis I propose is that the articulated belts of the continental final bronze age match the same kind of representation. In France, the typology of loom weights is parallel to the same hypothesis in the case of belts. Cylindrical weights are replaced by peripheral weights with soft edges. Then pyramidal and more angular and finally triangular shapes could trace an evolution of objects or associated techniques. The general design of the belts can evoke the weaver's work through the weaving of the metal elements. The end decoration can represent an evocation of a narrow loom that can be used to make borders decorated on either side of a wide loom. Many belts have this element at both ends, which could refer to the weaving of the strips. In my opinion, it is an additional argument in favor of this interpretation in relation to weaving. Other older forms are identified with the earthy form ornaments of the beginning of the final bronze age. The same type of hypothesis can be considered to interpret the French and German examples so-called earthy form ornaments from La Colobine, La Solzotte or Karlsruhe. This object incorporates in their design an idea comparable to that of the Fieblers or belts mentioned before. Due to their dating, this object could constitute older forms of weaver's craft pendant. The small group of bronzes considered here at first sight a group of heterogeneous artefacts, but it is surprising to recognize many common characters. These are metal parts, the particularity of which is to be used to connect several parts of a complex set. We can assume a common origin of these different parts from the same matrix, whose general aspect is characterized by an open work treatment, a simple complex or sometimes closed and reduced to a simple geometrically shaped plate. This rigid support has a simple binding function in the assembly of complex sets. The general design is summarized here in the form of a diagram. The some typical composition sometimes incorporates in its shape the motif of a solar boat, a sun boat. Or a simple geometric shape that is more difficult to interpret, whether or not loaded by an ideology, it is this piece that supports the loom like a warm beam bar. At the base of the object, a larger number of rings are distributed over the entire white. In this lower part, there are sometimes other arrangements such as simple voids or openings used at a point of attachment to a series of chains. Roads or braiding of metal wires, which symbolically reproduce the wooden structure stretched by the weights. The second example of an arrangement concerned pins. I hypothesize the existence of a link between the spindle walls on some pins in the middle and final bronze age. The hypothesis would be that we are trying to represent in the finery this tool used for spinning. The conical shape of the head suggests a similar shape between these two categorized tools. The presence on the pins of a belly that can imitate the bobbins of trade on the spindle. On other pins, such as the Picardie pin, it is possible to recognize a pattern comparable to those woven. The hypothesis is to recognize the representation of the work product and therefore a symbolic association between the pin and the spindle. It should be noted that other forms do not seem to work in this interpretation. There is an example of vasiform head. It means like vessel. This ad led to an interest in other form of pins, first with a form of disappointment in the Alftone results, but not so long. This is a lively debate among Italian researchers about spindle walls on vessels. Giovanni Leonardo Fuscioli in Forma di Vaso. It shows strong formal links between spindle walls in red and vessels in blue. Quickly comparable profiles can be highlighted with an example one, a position of digital decor or in example four, the figuration of horns. In example two, above right, another high profile with a narrow opening and regular decorative bounds. A dish decorated in example three, other details such as presence of overfoot in six. A very simple question naturally emerged, is this hypothesis valid for the collection of the bronze edge in northern France? The complete copies found in excavation are often in little worm, but comparison is possible. Some characteristics can be observed such as the presence of digitized decoration on the shoulder or in median parts. The profile of the conical spindle wall, their decoration on the slightly received edge seems to us very similar to the clothes with digitized decoration. This set can be compared to horns well present in a final regional bronze. The specimen of spindle wall stone here on the right is dug as if they want to represent the inside of the vessel. This is not real or untier, that may correspond to its use. In the end, this first test on the regional collection seems relevant to us and seems to cover a good part of the categories of non-vessels, bowl or boats. On the left, a slightly provocative image for those interested in object technology. This is an example from the beginning of the Latin in Picardie. In my opinion, the perfect image of a situla. On the right, what is the link between the three objects? In my opinion, it is necessary to study each type of thing to verify the continuity between these objects. Is it just the same fashion at the moment? It could be explained with the way of considering materials at a particular time in the same area. More surely, it is the sign of an underlying concept. For example, these two proposals concerning ornaments may be merged into one. The vessels can symbolically provide a life trade. In this example of vortuvancian meteorutes presented here, like they were discovered in the beginning of the 20th century, the tube could constitute a form of amalgam between the threads and the weights in the basal part. The methods of representation of the same idea can be very different from one region to another. So to conclude, it is a summary of this idea. There are more to study about vessels which represent lume. We find many in hostile culture on some abstract versions in the west of Europe. I have no time to discuss this specific topic here. So few points that I want to bring to the community of specialists in textile studies. For the European region under consideration, this phenomenon is in my opinion a massive phenomenon. This observation does not mean that each region has a similar history or custom on habits. However, the similarity may reflect a common origin or aspiration. It may be a current of fact or trend, but these points are very difficult to verify. In some specific cases, they reflect really contact that show that the elites meet from region to region. They reveal also that certain regions are influential through the diffusion of the form they generate. These sets are the expression of a relative plurality of form within this religious framework which offers a common matrix. It is also a form of mimicry that reminds us of the Cousin Wood of prestigious objects in Europe and beyond. Almost in a female version, this object evokes such as shallots, sword on children, a cauldron, that is often mentioned. Something like must have. Thanks for listening.