 Paithio. O'r holl yn ddechrau'r ysgol yma, roedd ymddangos ar y project ERC mewn colleg mewn teimlo i Glewaeth Margrita. Fel oedd yma, mae'n meddwl ar ymylch â'i oedd, ac mae'n meddwl i'r iawn yn dda i'r wych yn ei ddwylliannol a'r myfyrddau yn ymddangos i gyflawd yma'r ffyrdd fel ythafell yng nghymru yma eich clywed. O'r holl, roeddwn i'n cyflawd yma'r meddwl Un o'r rhan o'r cyfaint a'r cyfaint o'r adlunau sydd yn ffordd yn ymgyrch yn ysgolwch, ac am yw'r corau ar y cyfrifysg archaith, yn fwyaf o'r 6 o'r BC. Mae'n meddwl gweithio'r yn y dyfaint o ddeifrif o'r ffrifysg yr adlunau cyfaint, ac o'r mae'r hyn yn ymgyrch yn ymgyrch. Yn hyn, mae'r hyn wedyn yn ymgyrch yn ymgyrch yn ymgyrch yn fwyaf, yw'r hyn wedyn yn ymgyrch, yn ymgyrch yn ymgyrch yn fwyaf, cyfnodd, cyfnodd, cyfnodd, cyfnodd, cyfnodd. As we know, and we're familiar with the idea that textiles are ways that people differentiate themselves by gender, class, status. But it's also in this period a way that people made themselves urban, made themselves into those urbanites and part of this elite lifestyle of the Mediterranean. So what I want to do today in this research, is where you take a textile approach looking at the iconography. And I want to think about how the textiles were part of the way people made themselves into these urbanites. And I want to do this by considering some seemingly quite simple questions. I want to think about, you know, what quantity of textiles do people have in a costume? How many layers were there? What size were there? And I also want to think about the quality. What quality of these textiles were there? Were they coloured, patterned, et cetera? The Greek corai, in the centre we have a reproduction of one of those with the colourful pigments, are young women and also young goddesses. So these really represent very much the most wealthy aspect of this urban society. As anyone will know who's looked into this research area, there's really substantial debate on the nature of archaic Greek clothing. And this stems, in part, from the analysis of the text, so the early Greek textual sources and the iconography, in particular the mismatch and difficulty in connecting those two. These lovely figures from Mireille Lee's book show the ideas of the different garments, such as the peplos and keton. There's two of the most well-known garments that we know the words for from these early texts. In terms of the iconography, if we trace back the genealogy of the idea, of the iconography of the different clothing types, we end up going back to Beaver who was writing in the 1930s and Richter writing in the 1960s as the main sources. And they really established a canon on authority on interpreting these textile garments of the archaic Greek men and women. And sometimes when things didn't fit between the iconography and the text, scholars suggested that the artist got confused. And so it's not strange to find these sorts of quotes, so boredom. Often the distinction in dress is thoroughly confused. Richter, we are drawn confronted with works about not living things, so blaming it on the art. And some of the clothing arrangements are so complex on occasion, so baffling as to defy attempts to explain and categorise them. So this is coming up to a very recent work here. So what I'd like us to do, rather controversially, is put a bit of faith in our Greek sculpturers and consider what they were trying to show because they actually showed the textiles in great detail. They put a lot of effort into them. They sculpted the stone in relief to show textiles. They've engraved small patterns on them to show the motifs and decorations. And then they painted them. And the Corio are an excellent place to look at different textiles because there's so much detail in these sculptures. And what I want to do with this work in taking a textile approach is to move away from thinking about garments, instead think about textiles. And my question really when I was confronted with these statues was to think how many textiles are there on one of these female statues. So very quickly to think about clothing is actually a very complex group of technologies. We have the cloth, the material that the clothing is made from, so the textiles that I'm focusing on. These are made into clothing, into garments, which are then combined into costumes. So these are several different technologies. And my focus is thinking about the textiles. So this is a statue of Fraziclayam. A wealthy young woman who's buried in the, or not very, the statuies of this woman in the mid sixth millennium BC. And it was found in 1972. I examined this sculpture in the National Museum of Athens. I've also looked at the literature and also the results from polychromies of the analysis of the pigment, which I think gives really important details now for understanding the clothing. So how many textiles do I think that are on Fraziclayam? I think there's one, possibly two large red textiles that may have my teeths woven onto them or woven in or stitched onto them. In addition, then I think across the shoulders, there are two meander pattern borders across the neck and on the sleeves. This is a different pattern band from that on the hem. And then I think there's one long central band from the neck to the hem. This has a multicolored meander pattern on it. On the sculpture, this band stands out several millimeters from the rest of the statue, maybe suggesting it was stitched on or applied. On top of that, on the statue, there is a little remnants of gold leaf. So maybe this wonderful elaborate garment also had these big gold discs that we know from the archaeology of earlier periods. Oh, sorry. Let's go back. So how many textiles in the little box? When we're thinking of how many textiles, we could have up to four different textiles on here. Some large ones and some of these pattern bands. The second chore that I want to look at is the peplos chore. The similar date, 530 BC. This was discovered in the late 19th century and the statue's likely to be Artemis Athena Egodes. Certainly someone really very much... ..a woman very much showing the wealth of these material cultures at the early urban centres. So Richter, in her analysis of the 1960s, and people subsequently have typically seen this as two garments. So shown in a blue colour here, there's a crinkly texture in the relief of the stone that the sculpture's made. And this is shown on the right elbow area and around the feet. This is one of the first layer and the second layer of the garment is what's shown in red here, in which gives her the name of the peplos chore. With the difference of pattern bands, we can see an essential pattern band down the front. Here the work on polychromy has been important. So the work of Coch and Brinkman and T identified through the pigment what they suggest is the third textile on this figure. And so rather than seeing this as simply decoration at the front of the peplos, I actually think this is a separate garment that's only shown in pigment. And this has a freeze of banded animals and other features. You can see there there's a red ground to the textile with these decorative motifs. So how many textiles do we see on this peplos chore then? I should say how many textiles do I see. I think underneath we have two large crinkly textiles, maybe one, maybe two of those, followed by that in that central area, a second layer of textiles with this freeze, the red ground textile, this complex animal banded freeze at the centre, which then goes up the body. We don't see where that finishes. The third layer, ooh, lost it. On top of that is this large textile with little blue crosses. And on two sides of that we have these pattern borders, the red and blue decorative lotus bud palmate designed pattern borders, which creates the overfold here. I think this is quite possibly, these borders could quite possibly be two, either a starting and finishing border or the edges of the textiles created matching each other because these are the same patterns. So this is a very large textile with elaborate edges. But then on top of that, what's going on with these green bands with the rosettes on either side of that central split in the third layer of garment? Are these then additional applied textile bands on this textile? So how many textiles might we have here? Ah, I missed the last one. Then there's a small tied belt, the blue and green around her waist. So how many textiles do we have here? I think we could have five different textiles, three of them really large textiles and some of the bands, the belts, smaller decorative areas. The coro wearing a keton starts to see some familiar motifs coming up here. I think similarly there's this crinkle pattern texture on the top area of the body and I think this is maybe one or two large textiles. We don't know how far it goes down. And around the base then there's very different texture in the stone and I think this is a second, probably very long textile that's pleated and particularly at the front under that central band there's a huge wodge of pleats so showing a lot of fabric in there. There's a little bit of patterning on it. Whether or not there's a central band, we don't know without someone working on the polychromy on that. Possibly there was also a central band in that area which we see in the centre of the legs. So in terms of how many textiles, maybe there were two very large textiles in the central band on this coro. In the last one, the most complex, maybe the baffling one that we got at the beginning. How many textiles do I think are on this coro? Again in that top area we see this crinkled texture just on one of the shoulder crinkled texture textile which I suggest would be again hanging from the shoulders, large textile. On the upper area there's a very fancy red band across the neck and shoulder. Then what's going on with the rest of it? Maybe this is one absolutely huge textile with the complex draping across the top and the lower area. That's a possibility or maybe it was two separate areas. Around the lower part of the body this smooth area with the folds you see a textile with the blue motifs on it. Also this very fancy central band. Presumably a belt holding it together. At the top there's a textile with similar motifs to the lower area. This seems like one of the very largest textiles on here. There's a lot of folds and pleating. This also has a red band in the lower area and on the shoulders. A blue band on the shoulders. I think this is quite lightly folded in half. The quarter is the front that we see here draped around the body. We see this area a bit. How many textiles on that Coray? If we count them in the way I'm looking at, there could be up to eight textiles. Some of those really large some of them smaller bands. In terms of what kind of textiles I think they are from work by Greek colleagues and also my other colleagues on the project I think that some of these smoother areas of the statue could well relate to the weft face tabbies that we find in Greece and much rarer are these fine open tabbies in linen with the overspun yarns and I think this could well be the sort of textile that creates that crinkly effect in the top area of many of the Coray. Also the idea of the figurative textiles which are much rarer of course found archaeologically I think these could well relate to the sort of thing we hear Penelope weaving with the shrouds and also see in iconography as in this example from Cusie. So really to sum up what were these and I've lost my page let me find this again let me find this again you know how were people dressing themselves okay time people were a very large textile, they're numerous there are multiple layers there's contrasting textures bold colours and patterns Textiles of course take a very long time to make and they're time consuming and use lots of resources I hope by seeing the clothing on the Archaic Coray from a textile perspective rather than a garment one this reinforces actually the wealth of the textile material culture that we're seeing at this time and we can see these as valuables that they were in these early urban areas okay thank you