 And I want to thank you to the organization of this conference to admit my proposition and also to the board of the conference here to admit this request. Well, I'm going to give you another point of view of the formation of an archaeological collection because I want to show you how the social network, as he said, the colleague, made possible to do things in this collection different to another one. And it was in the pioneer of the management and the ordering of the archaeological collections in Spain. So let me introduce you this man, his Jorge Bonzo, who is called George Edward Bolsa Marta. I miss him here and there, sorry. So he is well known in Spain as Jorge Bonzo. He was a man who came to Spain as a tourist to form a panther. So he came to do these things, these kind of things. He came to the country to discover our culture, to make some paintings about our holy week, our fair thing like this and our landscapes. But in this moment, when he arrives, he not also has the opportunity to discover Spain and our traditions. He also has the opportunity to make contact with a lot of people interested about the study of archaeology and history in Spain. He went, he made a travel, you go here in the app. He went, he made a travel through all Spain and he decided to stay in the south, just see the red point. And over there, he developed all his work because he had the opportunity to visit one Iperian Roman Tom in the Necropolis de Carmona. And he saw the painting over there and he said, he's writing, he said, and now I'm looking at these paintings, I decided to be an archaeologist. So, and this decision was crucial because in our history of archaeology in the south of Spain because this is what he's considered was one of the pioneer archaeologists here in this part of the country. His work was one of the pioneering different perspectives. This first work was in association with the local pharmacies and some people from the town of Carmona, a little village who was nested at Roman, an important Roman necropolis. So, with this association with the local pharmacy for Fernando López, he decided to excavate this site. And this site was the first archaeological site presented to the public in Spain. And it was, I mean, inside it, he has also the first archaeological site, archaeological museum in Spain you have here. So, and the tons, as you see here, they were presented to the public. So, it was pioneering in this site. So, but he decided not only to study the necropolis because he was really concerned about the study and the geography and the relationships of the culture and the ancient culture in Spain, in the south of Spain. So, he decided to go to the territory. He was a former pioneer. He was here, arrived to Spain with the fine arts degree, with an hour in archaeology. But it was not scientist archaeology as well as well. But knowing this situation, I think, I've been looking at all the works that he developed after the excavation of the Roman necropolis. And it was always accompanied by someone. It means he always collaborates with someone to do his kind of works, archaeological works. So, he decided to explore the territory, as you say. I collected a huge archaeological collection. Most of them, these pieces were from proto-historic sites. So, he need now, just I saw, I said to you, he made the excavation of the Roman necropolis. After that, he made a museum. Now, he has excavated the territory and he needed a museum. So, this is the origin of the collection that I want to continue. Here, you have some phases that I prepare, I think, more or less. And we have the 1889 to 1902, the first phase, the origin of the collection, all the first excavations he made at the region of Los Alcorres, near to Carmona, close to Carmona. And then, the second phase is in 1902 and 1907, when the rehabilitation and refurbishment of the Mairena de Alcorre Castle where will be its talents collection. And then, the third phase, it was 1908, 1911, it was the second exploration of the Alcorre region and the collaboration with the Spanish Society of America. And after that, in 1912, 1930, the fourth phase, the collaboration in other projects, I saw by a local audience at the Filla, I will show you. But the very beginning of this collection, this proto-story collection that will be nested in the castle, it was the contact with Apurenga and Pierre Paris. They were invited by the minister in France to look for the Iberian collection in Spain. So, these relationships made him to feel attracted by the study of the proto-historic collection sites in this region. So, as I told you, he built the castle in 1902 and he refurbished. As you see, it was half demolished and was in ruins. So, he decided to make a new sale inside, trying to recover all the former walls that remain small. So, he made this kind of a museum like this and it was also his private dwelling. He made contacts. After, one of the most important things in the origin of this collection, the impact that I'm going to explain to you is the relationship that he had with a lot of scholars and researchers all over the world, we can say, Europe and America, Africa. He said, we have a difference with the other collection that we have been exposed before. We have remains of almost every document and every debris remains that he had in the collection. So, we have a huge level of archives that let us know with who he had contact at this moment. And what was the meaning, the things that we can relate to this. So, at the very first beginning, he made the exploration of the Alcoris area with the many proto-historic sites and he made all these plans that we preserved at the moment and he decided that this time he published all the results in the archaeological review in Paris. And he decided at this moment to send this article to many of the researchers and archaeological researchers that they are working around Europe in this moment. So, because of that, he made many, there were many interests about the researchers, have many interests about the results that Bolsor has discovered in this region. So, here he begins the context and the management of the collection. So, for example, he made contact with Archinton Boulin, who was a botanist of the Malaecological Society of London. So, looking at the results of this collection, of this research, he told him it was necessary to study the Malaecological remains that he found over there. So, he decided to do it in collaboration with him and now in the museum we have this collection of Malaecological items, and even catalogue at this moment, and now there are really important things to show to the new researchers because they are coming to the museum to look for them and the information that they have. So, and also another thing that I think is really important is that they have the same presentation that Archinton Boulin sent to Bolsor at the time, at the end of the 19th century. All that contact was if you have a collection, a Malaecological collection, you don't have only the pieces, you have always said to look for them in order to present them. So, metal items also are usually difficult to preserve the concern. So, he made contact with Adrian Oger for the Naval Archaeological Museum in Belgium who was developing a formula who lets the pieces to preserve the pieces, the metal pieces, iron pieces. So, he used it, he asked him for it, he used it at the museum, and he recommended to another persons who he knows to the research to do it. The formula we don't know because we've got this method of what was applied in Estoppel, Bergen, Chalderua, Liedia, and a lot of museums. We have no contact with them, maybe. We have to contact with them because we have some of these pieces to see here. And these pieces that David applied, this method applied, and we have them still now. So, it works, but we don't know if inside there will be the piece of metal or not, which is also only a cover. We have to consult to the other museum. But it's important at this time to have this notice about the preservation of the metal collection. Also, he has really, we were three interested concerns about the territory as I told you. So, he decided to study the river, the low valley of the Guadalquivir river, in order to look for the Roman factories. So, he made, again, a collaboration with the University of Cambridge, Cambridge and Cambridge Foundation, and worked with William Giltrick-Lad much well. So, the conclusion of this study was published as well. And at the museum, we have the values and remains, like this crystal glass. This remains, these positions, where we have all the handles with seals, even the seals, and in the other one, we have all the conclusion that he had. So, now, when the people come to the museum, even the childs, it's really easy to explain them what he found and what was on an archaeological, centrifugal archaeological study. So, this was another thing that we have over there, glass case. I know the collaboration really important was that where he did with Pierre Paris in Bailoclaudia, Gadit of the South, also, of Spain. And over there, he was condomental to do all the plans of the Necropolis of Roman, again, of Carmelburg, of Bailoclaudia. So, over there, he made it, and he dissolved it on his work. He also did try gifts to the collection and some pieces like this, that you can see. There are also some exchanges of pieces, like this one sent by Petri Barra to him from the archaeological site that we have found at Amadeuilce. And also, another one, another one from Nomancia, he worked also with the Chulten in Doniana and he has also some pieces, we have some pieces from there. It's also important to note that he has also concerned about the protection or the preservation and other type of remains, like the bone remains. So, here we have this school, which is the oldest school trepan in our region and it's preserved over there. The collaboration with the Hispanic Society was also very important because he added some pieces, some items to the museum in New York and the Museum of New York published many of his works also over there. So, he also buys many items like this, alabaster base of this statue of Romain Efebo and it's also in the collection. So, the collection is really huge. Well, I have a lot of time, I have a lot of time. So, this relationship with the Hispanic Society gives him also the interest to collect any other things like artisan pieces of work of art of Spain and things like that. But the most important that I wanted to explain to you about my English, let me, is the museography that he applied. New Italy and Spain and this out, we have this kind of museography, sculptor's coins and top epigraphic tables. And now, plates. And he has a context with another type of museography made in Egypt and Europe. So, he visited many museums and he take notes and he made this kind of presentation that is really different of the other one. It was more positive, presentations of the time. So, he made some notes about the presentation. He put the presentation like he see, like he saw over there. And he also made some replicas to make it undistable to the public, the collections. And he made also, he was also concerned about the context. Did you see? He made, he discovered some things and he made some glass cases and made a reconstruction of how it was. And he made also context, precious context about the dorm and that he excavated like you can see here. He made also what is spread of this collection with the tourist management of the castle. And also, the impact of the collection and the way to manage it was spread all over the world and there were a lot of people who came to visit the closer and to consult their collections as we have in the film, in the signative books that we present the moment of the new set. So, sorry about my English, it's the first time. And I hope to you, thanks. Thank you very much.