 I would talk today about my new research project entitled Textiles and Seals Relations Between Textile Production and Seals and Sealing Practices in Bronze Age Grease that I'm directing in years 2018-2021. So this what I'm going to talk about today is just the first results after the first year of the project. In this project I investigate a range of various data that were until now never explored together or as impressions of cordage and textiles on other sites of seal-impressed lamps of clay as on the example on the slide never explored at all. Seal-impressed textile tools is the second category of data that I'm going to investigate and textile production related iconography of seals is the third point. In order to maintain all this data an online database has been designed specifically for our project through the services of the Digital Competence Center of the University of Warsaw and my aim today is to present this database as a useful research tool for studying multiple types of textile related evidence from the agency and settings. My presentation starts with a super brief introduction to grease in the Bronze Age and the GenClyptic then I will shortly discuss the main research questions posited in the Textiles and Seals research project and the types of the investigated evidence. Next I will present the structure of the Textiles and Seals database and discuss shortly its search engine. Although it needs to be remembered that as you can imagine after the first year of the project the data entry has not been accomplished and the search engine will be further developing I would try to close my presentation with some preliminary conclusions. The Bronze Age in Greece covers the first and the second millennia BCE and the Bronze Age cultures developed on lands around the agency so they comprised Helladic and Mycenaean cultures and the mainland Cycladic culture on the Cyclades and Minon on three. Seals were produced and used throughout the large part of the Bronze Age however with certain geological differences between Crete, Cyclades and the mainland. The uninterrupted use of seals from early to late Bronze Age has been only attested in Crete. The main objectives of the Textiles and Seals project aim to reveal the structure and meaning of the relationship between textile production and seals and sealing practices. The complexity of this relationship may be tracked by investigating the following phenomena. The use of seals in the administrative practices related to textile production that may be reflected by the practice of impressing seals or textile tools specifically to loomweights. The use of textiles in general administrative practices as various holders of seedings for example in a direct object sitting as tying cords or wrapping textiles or perhaps even as goods that were subjected to seeding themselves and in a combination sitting as holders of boule or flat-based noodles that were attached to other goods or documents. And the last phenomenon is textile production related iconography of seals. It comprises depictions referring to raw materials such as sheep or flecks on sheep meaning bull, a deformation of threads here we have a possible spindle and weaving and symbolic references the spider. Obviously all the discussed data require recording various information or parameters and consequently various scheduling, various queries. A significant share of information is already available online. The main database collecting seals and sealings from the Aegean Bronze Age is the SEMS arachne and SEMS stands here for the Corpus Dominocian and Mechanician Seagal. And the vast majority of seal faces referred on the slide as the SEMS numbers is available in the arachne database. Also several seal impressed objects are documented in another model of the arachne. In the real world the collection of silicone and plasticine casts of the under sides of clay sealings is stored in the SEMS archive in Heidelberg and has been kindly made accessible for my studies for which I thank the director of the archive professor Diamantis Panagiotopoulos and Dr. Maria Anastasiado. As regards the use of textiles in the sealing practices the parameters of impressed cordage and textiles as well as other organic surfaces are of the major interest. However the use of specific seals on specific seal impressed objects is also observed and recorded. Clay sealings may be impressed more times and by more than one seal such as the example on the slide which is the pexiting from Vano-25 infestals and sometimes the impression of one and the same seal may be found on more than one object. Potential cross-references among the main types of data are possible but so far confirmed actually confirmed twice but here is the only one example and this is the spool from Maria but was impressed 10 times by a seal bearing a depiction of two spiders which are read as a symbolic reference. The other example comes from Akrotiri where in the middle branch age there was find a loom weight that was inscribed in a line near a script and one of the sign was is understood by the scholars as the sign resembling the piece of textile. According to the main types of data the database is constructed of three models one documenting the impressions on textiles on clay the second one for seal impressed textile tools and the third for the iconography of textile production. The names of models which display online and would be then accessible to the open public are the ones which are in the double brackets. As regards the number of records until now we have recognized 183 examples of individual cordage and textile impressions and I estimate that it's like three times more than that and 258 seals bearing depictions of textile production related models including 173 and four sided prisms that multiplies the number of the engraved seals three or the engraved seal faces three or four times respectively. Since data are still being collecting the set numbers may of course change and here we have the seal impressed textile tools down 47 I'm sorry it's my attention somehow and this number the 47 will increase definitely because the actually the seal impressed on max mark textile tools were not really very carefully recorded neither by textile scholars neither by scholars who were interested in selling practices. Now let me show a short film made by the colleagues from the Digital Competence Center about operating the iconographic model of the database the author of the presented animation is Vojcik Karpiński. It will show how the records are entered and what kind of information is recorded. After the general basic information about the identification, provenience, statistic and contextual dating there is a section documenting the iconography which we will see in a second. For the dating we use also the slice time dating to make a broader horizon and now we are coming to the iconography. So all seal faces refer to the SAMS volumes and the SAMS online database RACNA if they are in this database. Motifs are described according to the SAMS list of references or keywords as well as the list of motifs distinguished by Maria Anastasiado in her monograph who analyzed three sided prisms the stylistic group of seals that views the most frequent iconographic references to textile production. Texture motifs are defined by us and you are free to merge or change the keywords. In case of inscribed seals as we will see in the second example on the film which you will see in a second we also record the individual signs and entire inscriptions and the example on the film will show the written hieroglyphic script transcribed after the chic which is the corpus hieroglyficarum inscriptionum pleatae. Now why the data input is playing let me give you some more information about the technical aspects of the database but also its overall cost. The database was built by the digital competence center of the University of Warsaw which is the technology partner for all humanities at our university and my special thanks go again to Piotr Kastrzykdomi, Purhała and Ewa Seraphim Pursator who collaborate with me. All software used to construct the database is free and open source. The application tailored to the buzzer database requirements was written in Python using the Django framework. Data is being stored is in a post-gray SQL database and the Django admin module facilitates data input. The search and data visualization interface was built basing on bootstrap. The overall cost of the digital competence center services are calculated only to 8500 euro and they comprise design and implementation of the website and database, hosting domain SSL certificate, design programming and implementation of the security and backstrap policy and automatic backstrap option including restore options and general oversight over all IT aspects of the project. Now we'll see the data search which is illustrated first by the most frequent textile production related motif so far recognized. This is the Lumwitz motif represented by 75 examples and the spider would be the next. The general motif of the Lumwitz comprise several combinations which you will see here including depictions of the warp weighted Lum as we could have seen one of them and a combination of the Lumwitz with a male figure termed by us a weaver and the weaver is represented as we will see by 26 examples and I will have no time to talk about the methodological principles for distinguishing certain motifs of course the iconography of series is tricky but this is also the part of the project so the the motifs are recognized according to the principles. Now we will see the variations of the spider motif and while the Lumwitz motif is characteristic for metalbrowns aged lipstick from creed exclusively and especially the Maria stratite prisms the spider motif had been depicted throughout the entire bronze age and now we can see it slightly later depictions stylistically belonging to the so-called talismanic group and these are 15 examples. These are spiders. The example three shows how the combinations of motifs such as the Lumwitz and the spider are searched by the end word which results in this case in searching in search showing all fields that have these two motifs depicted on one face or or on two or more faces if this is a multi-face seal but what we need is also the search we use the search with or keyword and this one we use especially when we combine the keywords from different systems which are not exactly suited for our searches like in this case from Arachne and what we saw there was a combination of the so-called waterbed motif with a spider. Two conclusions the textiles and seals database already proved to be a very useful and helpful tool it allows recording various types of data and parameters in a rigorous manner and with clarity. Since the database is accessible of online it may be operated by more users simultaneously without worries about the consistency of the entered data yet the creation of such a database is not an easy process and requires a good communication between us the archaeologists and the software designers of developers. It also requires some elasticity in the official agreements since new ideas are appearing while using this tool and this appears on both sides I mean on the site of archaeologists or like me but also the software designers may add a lot of things to that. Now a short comment about the search potential of such database although several of the anticipated correlations and cross references among the data are theoretically possible to track without the newly created database and search engine practically the amount of work required by such searches would surely leave several observations and noticed and several questions unanswered. The present search engine facilitates tracking combinations of data that have been not anticipated or expected previously such as for example a possible semantic relation of scenes engraved on various seal faces of the multi-faced seals until now there was the general opinion that these depictions have no relations to each other but the repeating combinations of different motifs such as the already mentioned the combination of the motif of lumoids and the motif of the spider with a so-called waterbed attested on 11 examples. It used to be also attested on the scenes related to textile production on the attic pottery and it was never explained neither for the attic pottery and textile production neither for the edge and seals. Tracking more combinations of data from all modules of the database is expected and these new possibilities are already opening paths for new questions and even at this early stage of research make its scope more specific and as we believe router. Thank you very much for your attention.