 Thank you very much. This question is for Caroline, and I'll start by saying that I don't know masses about English pottery from that period, but I was wondering if you could say anything, because the pieces that you showed us in comparison to pieces I've seen from China from that period, for example, are kind of chunkier stodger pieces than some of the finer ones from China. I was wondering how much of a stylistic decision that was, or how much that was just a technological limitation of pottery in that period here. And if it was a stylistic decision, if there was anything like political about the pieces that you showed us in that kind of pottery. Thank you for that question. I think the main difference really between China at that point, we were importing a lot of porcelain, particularly blue and white porcelain, and that was hard-paced porcelain, and we weren't able to recreate that in Europe until 1708. So actually, the best we could do were tingly as earthenware, so they were mostly based on kind of myoka, faience, delf, Dutch delf, that was where a lot of the stylistic decisions are coming from, and then the forms themselves are coming from. So for example the jug that I showed towards the end with the twisted rope is actually based on the French faience shape. So we're much more kind of interlinking with a continental scope in terms of decorative form and imagery, but we are, I mean, we're still, we were still trying to produce Chinese porcelain, but we absolutely couldn't. So yeah, but actually maybe I think in terms of the forms and the shapes of the vessel, that's not something I've looked at a lot. Enough perhaps, yeah. Thank you. Oh, another one, yeah. Of course. Thank you for three wonderful presentations. I have a question again with Caroline. I was really fascinated when you said the sort of democratization of the royal image. I was wondering because these objects are sort of they are used their everyday sort of items and they don't have quite the sort of the reverential thing of some of the textual things does is there sort of an I'm mooring or a loss of control over the royal image by the royal court and alternatively is there sort of any evidence which who knows, I'm sure you'll be able to tell me of sort of irreverent usages of these items, you know, is there sort of chamber pots with the royal image on all things like that. Going around and stuff like that. Thank you. Great question. In terms of the forms not not so much not at that period, you do get that when you hit the later 18th and early 19th century there's a whole world of Napoleonic pots and things, which are quite amusing if you want to get into that. But not so much in the earlier period. And in terms of it's interesting the control of the royal image, I'm really interested in that and you do see those such discrepancy because of how quickly they had to actually physically paint them. I don't know much with Charles and second images but he's quite, statistically it's quite obvious but there's definitely by the time you hit the William and Mary periods. There it's quite difficult without actually seeing the letters or kind of crime, it would be quite difficult to say it's definitely William at that point. And sometimes those are the kind of the way it's been done. I think there's a loss of control there through the image making, but by the time that is happening you've just got so there's been such a much words. The industry is producing at such a larger scale was actually 1640s like I was kind of saying it's still very much an infancy at that point. And it's very much concentrated in London but by the time you hit the end of the 17th century, Brisbane, Bristol, all these other places have popped up as have other types of slipwear which is different kind of stoneware. Genre that are doing similar types, just, but not sophisticated, although some of those are showing you as I said quite formulaic, they weren't actually as I hope that sort of answers your question but I do think there's something very interesting in terms of the politics and the control of that image. And how it's being kind of disseminated. Thank you. Oh, yes, please, Katie. Yeah, three extremely interesting papers kind of following on the question, but this time for Rosa. Just about control of image you mentioned that I'm, you know, Mary's sort of failure if you will was used to bolster Elizabeth. I don't know much about Queen Scott so this might be a very obvious answer to this question. But do you see any sort of attempt from Mary to kind of take back control of her sort of image and reputation and is there any kind of like campaign I suppose from her to sort of reassert herself as like this formidable queen rather than this kind of feminine wave that you can it is quite content to sort of portray her as. And that's actually a great question obviously this is just like a kind of sliver of my dissertation research over the last year or so. And Mary doesn't actually do a lot of kind of her own representation, and she doesn't write very much other than letters and bad poetry and kind of most of her defense comes from people like John Leslie. She is her main defender. And, but actually there's there is quite a lot of acknowledgement in John Leslie's works that most of what happened that was obviously had happened he doesn't try to kind of deny any of it and he says things like, you know, to paraphrase even if Mary had a husband, and she had the right to kill him anyway, she's the queen. And so a lot of it, and a lot of it is kind of gives her more strength, but it doesn't is strangely it doesn't usually try and make her morally any better which I did find really interesting. And, and yeah and so a lot of the time it's, it's kind of reaffirming Mary's claim to the English throne, and, and saying what good queen she would be and restoring the Catholic faith, etc. But actually in terms of the accusations on her character, the defenses on very good. Oh, I think you, thanks so much for your paper. I loved everything you were saying, and particularly like the sensorial experience well the different noises and the music and the quality that was really interesting. I had a question about the scandal and the dances because I know you were saying they're kind of the reports of who was there and what the musics were and who dance with whom. But so often these are quite like kind of a raucous spaces was there an element of scandal and if so did that ever kind of impact negatively on the political agenda of the evening, I wonder. Thank you. That's a really great question. I think for the fashionable opposition. Scandals not a big problem for them. In fact, you know, if anything to draw attention to that side, and whether, you know, scandalous behavior is being discussed in correspondence in the press in caricatures. It's all creating this identity. So the ballroom could definitely be a raucous space. And you do have, you know, fights breaking out in the ballroom between 1760 and 1830. The changes in government, particularly for the elite does make the ballroom a contentious space. And we have, you know, divisions between factions standing on separate sides of the ballroom and refusing to speak or dance with each other, and actually having mediators trying to parlay between the two groups. So scandal definitely took place and it really created this political atmosphere of the political elite in London. I might just use my my chair's prerogative just to jump in there quickly because I want to pick up on that point of the role of the press in all of this because this is something that's sort of slightly coming up in my own research at the moment, how the press does tend to report all these sort of fashionable parties and say, you know, who was hosting who, you know, even though these are, in theory, private events. I just wondered if you could kind of offer any comment on sort of if and and how these sort of this sort of press reporting was exploited by the parties concerned. Absolutely. So that's a really interesting dynamic that you've raised so these are essentially private events you only get in if you have an invitation. So the fact that the public press is reporting on these private events. It's not as if there was a system of kind of sending in kind of anonymous tips to flesh out some of these details. But even though these events were private. So strategizing that's going on in these spaces is meant to be read by broader society, not just the political elite, but people reading the newspapers to see what the power plays are be, are being made actually. Yeah. Great question. Thank you. No, not at all. Thank you. Oh, yes, we've got a question over here. I do have two questions. So once for Rosa. Thank you also for three amazing papers once for Rosa. Rosa, how Mary and Elizabeth obviously had a very, very sort of close literary relationship. How close or did Mary and Mary as a Mary the first Marine Queen of Scots have a sort of literary relationship. What was Mary the first ever evoked at the same time as Mary Queen of Scots. I can ask both questions at the same time and then one person gets the chance to shop. And the other one's for Hilary, following on from the question about sort of controversy of dancing. This is definitely sort of highlighting my own complete blank patches. My own research obviously sort of music is sort of dangerous force from a theological perspective, obviously 200 years of past. I'm just wondering sort of what has changed because obviously Britain is still very Protestant. How, how has music become permissible? Or has it? Yeah, well, short short rows of perhaps go first and then Hilary can just have a moment to think. I think I can sort of answer this one. There obviously isn't as much crossover because Mary is still sort of, sorry, Mary Queen of Scots is still in France and relatively obscure by the time Mary the first dies. But the kind of one figure who does draw comparisons is John Knox. So he, I can't remember exactly which text it is. I'm kind of going back to a much older reading here, but he makes comparisons between kind of, I think maybe four Mary's that were in power in different countries in England, Scotland and France. And kind of complains about them all at once, not only because they're Catholic, but because they're women. And at that point, and most are content to kind of leave Mary Queen of Scots be it is only John Knox, the sort of the most, the most anti feminist of them all, who is really kind of commenting on her as early as that. But yeah, I couldn't find the article. All right. In terms of the question of music within the ballroom. Certainly, Georgian music was just so pervasive, obviously you have music within the church you, you have music within the theater, you've got street ballads being performed, it just pervades every day life. So it's very much permissible in that sense in that it's just being heard everywhere. I know one musician in Oxford, John Malcher had a journal where he was writing down the music that he was hearing just as he was walking down the streets and he wrote who was performing, whether it was a street musician, whether it was a more formal space, what was being performed so it's just pervading everyday life. So completely. And the connections between music in elite ballrooms and kind of the more open social spaces of the streets. Those are really kind of blowing back and forth in terms of country dance tunes in particular. They were being drawn from these street ballads from the theater, they were really going back and forth between the court, the ballroom, the stage and the streets. You. Well, thank you. Yeah, thank you both for those answers. I'm very conscious that we're sort of coming up to 22. Do we have any other final burning. Oh yeah just one one last question there. If I can quickly steal the last question. Thank you fantastic papers so interesting to hear about them. So I wanted to ask about about how currently kind of ballrooms in the popular imagination are a place of romance and maybe kind of alliances and courtship. But in that obviously, even in the popular imagination there's an understanding that it's a place of kind of power dynamics and alliances that smaller scale. And I wanted to what extent that was part of the scene or harness store is so and so flirting so and so a part of the scene is that something people are capturing, you know, a kind of corketish wick or whatever it is at the time. Definitely it's definitely a part of what happens in the ballroom it's typically seen as one of the spaces for matchmaking during the season. But there's so much more that's going on in the ballroom and that's one of the things that my thesis really looks at it's about complicating this picture. And quite often with, you know, successive waves of J nights and Austin fanatics, you know you have this perception of the ballroom and especially in contemporary period dramas, where flirtation is all that's being portrayed. So it's become a very skewed perception of what's going on in this space, and you have so much more going on from politics to, you know, economics connections to the judicial system in the 18th century. There's quite a lot going on. Great question. Thank you.