 And as you will see my presentation, I will catch some ideas that Alicia has already presented, which is the isomorphism between bodies and bottoms. That's why my presentation is entitled, Phoenician Boreal Shaped Representation, the Iconography and Symbolism. In the Phoenician art repertoire, the most famous isomorphism between bodies and bottoms is the so-called Bottle Idol, and the Bottle Idol, we can find it in two supports, whether in general or in the spinning, and it's a very well-known motif, and several studies have devoted to interpret this symbol. But I would like to add another material with the same idea of connecting people and persons and bottles, which are these terracotta figurines, although they are not labelled as Bottle Idol because Bottle Idol's are clearly related to steely and jewellery, I will develop this presentation. All these terracotta figurines revolve around the same idea of bodies and human bodies and bottles. Well, just somewhere in my research, I am now focusing always in looking at the shape of bottles, and whenever I see these ones, I connect it with Phoenician and Punic ones, and it's transforming the act of drinking in a practical, more sensual and very eye-catching for marketing reasons, obviously, for children. Even now, you can see the connection between these two issues, bottles and humans. So, but coming back to the Phoenician, just because some of you are not very well familiarized with the Phoenician diaspora and the Punic presence, just I show you a map of my colleagues who are here preparing for a publication, showing that three diasporas, some cities from the present day, CVI, Lebanon, Israel, began through the Mediterranean and Atlantic around the 9th century in December. They settled in different areas, always on the coast, sometimes creating colonies from scratch, sometimes interacting more intensively with the local population. Here I have shown you the materials I'm going to present to you today, which are materials from the Central Mediterranean, from Carthage and Phoenician colony in Western Sicily, which is Moncia, and several materials from colonies from South Serbina. But first of all, I want to explain to you what we know about the Phoenician art, because the people who work in Phoenician material culture and Phoenician culture, perhaps the artists, the art works are not very well known or are not well studied in them. And it is curious to know that the first materials leveled as Phoenician art weren't found in the Lebanon, neither from the colonies. They are these famous Phoenician metal bowls, and they were found at the mid 19th century in Chervetteri, at Luscan Chervetteri, Indian Ruth and Cyprus. So what we call proper Phoenician art has been never found in the Lebanese areas. These are the Phoenician metal bowls made with different metals, and the decoration is always inside the metal, inside the bowl, not outside. And as you can see in the light, they have an Egyptian icing to it, because now there's a current debate about if Phoenician art exists or not, because it drinks from a Greek and Mesopotamian and Egyptian motif. So is there a proper Phoenician art? That's a current debate. Well, after these metal bowls were preserved, some other fragments were located in other areas of the Mediterranean, and always related to Phoenician art. Why would we know that? Because one of them had an inscription and a Phoenician inscription, and that's the main idea, that's the main argument to relate it with Phoenician art. As you can see here, this is a quote of the ancient testament that precisely explains how the people from Tyre, Phoenician people are well known for being good artisans, and they are very, very appreciate for their luxury works of art. And indeed the second important material clearly related to Phoenician art are the Iberians and the Phoenician Iberians, but they are only found in Mesopotamia as well. So what we will find in the Phoenician settlements, either in the Levant or in the colonies. We found a wide range of what we can label as art walls. The numerous ones are terracotta figurines with different techniques, mold-made, handmade. These are mold-made, handmade, and simple, and handmade. We'll make as well. It is interesting because the terracotta figurines are all massively representing women. The number of masculine figurines is very low. We have also this fantastic terracotta mask and with this sardonic smile, we love it. This apotropa, apotropa ice, which are small candles, glaze made of glaze. They have an apotropaic symbolism, and they were used as amulets, therefore protected. I have here also a typical Phoenician art material, which are the ostrich eggshells. Ostrich eggshells were used well as containers. Here they have the top and the entity that were used as proper containers, or also they cut it in small pieces and painted them with faces, representing human faces. And most of them they are found from funerary contexts. Other artworks, which are not as abundant as the previous one, are statues made out of stone. Mostly some of them are made from marble, but this is not very common. This is a presentation of best. Alicia has already shown you. And also very rarely, and from later chronologies, from late Pune chronologies, we have mural paintings from funerary chambers, always using red pigments, massively. So as I had already told you, the bottle I know is one of the most famous iconologues. There are two supports where this motif is represented. On the one hand we have the pendants, always made out of gold, and found in tombs. They are dated between the 7th and the 6th century BC, in the area exclusively from Carthage, Assalvinia, and Sicily. And it's reading the documentation to prepare this session. It was funny because the researches that wrote about this assumed, directly, that these were pendants located in tombs of green, in relation to what they said. But there's absolutely nothing that I know of biological analysis. So it's just an assumption that the creation of the world is a feminine vision. So that's something we have to delay. The other support where the bottle I know is represented is on the steve from the toffets. And the toffets are... Toffets for the ones you want to react with. Is that a controversial topic in Carthaginia? Because there is the data of it. Is this a cemetery, or is it simply a sacred place where people, the devotees attended to the shrine to send gods for their worship. And in the toffets, what we found in terms of material culture is arms containing the ashes I love, newborns or animals. And sometimes they are means, ashes from animals and newborns. And some of these arms were surmounted by this steve represented with the bottle I don't know. But I'll show you some. The bottle I don't know is a kind of sacred element because sometimes it's accompanied with the crescent underneath and this is a representation very typical from the Phoenician. Also accompanied with caduceus or incense burners. So it's a central element in the steve. Interestingly, and that goes to my main element, at the later thermologies the bottle I don't know became anthropomorphized. You can see here how they are raised faces and reinforced the connection between these terracotta figurines made out of the triassembles of the bottle and this seam. So these are the bottle shaped figurines that I really connect with. They have the same idea of the bottle I don't know. They are made out of, they are wheel made, assembling the form of a bottle. But they are not proper bottles because as you can see here the top is open, and the base is open, so they are not used as bottles. Although they are made, they are performed, they use the technique of a bottle. Indeed, they are considered as umbrellas, which is the figurines and the bottles, and choosing this shape has consequences in terms of representing the body. One of the consequences is that the face, the face has the neck of the jar and the neck of the bottle and to transform the jar of the bottle, what the artisan did was simply to add ears to make the eyes and also to cover the opening of the jar. And that's why the faces have this strange look. Another way of transforming the next jar into faces is to put a clay addition on the top of the bottle and transform it into a face. So I would like to... My main concern about this connection between people and bottles is about the way that Phoenician and Phoenician people understood their own bodies. I don't think this is an stylistic and technical analysis is worthwhile, but also there is something else in reproducing human bodies in the shape of a bottle. So my idea is that the connection between bodies and bottles is in relation to the idea of bodies as fluid containers. And indeed the Pistaracotas emphasized all the human orifices where liquids are expressed, breast and genitalia are also both. So my idea here is that bodies are conceived as elements where fluids circulate. And it's interesting to put it in context because these figurines and the bottle idols are precisely found in Tufts. Tufts as you can see here, and a lot of them as emotionally charged places where people went there to perform a ritual in connection to the family household or to their ancestors. So one way to connect the living with the dead or with the divinities or with the non-born members of the family is through precisely the transmission of fluids. Corporal or alcoholic or repeat. And that's all we've missed.