 Thank you very much. And thanks to Richard for the introduction. And while we set up, I'll just say a little bit about the background of our initiative. Greta and I are based at Old University at the Center for Urban Network Revolutions, which is like a little dangerous, much plunk institution, what we call it, a center of excellence. So it's good to know that you are a center of excellence, which was founded a couple of years ago with the intent of trying to study the dynamics of urban urbanization in various parts of the world, from a quite a few of networks. So we've been studying urbanism in many other ways in our college, but we are trying to boost an understanding of the role of networks. If you want to read more about that, we have this group that's just come up, which will highlight some of the projects that we are dealing with. We have work groups working in several places in the world, East Africa, Eastern Mediterranean, Northern Europe. We're obviously here in the capacity of the North European section. Greta will later be presenting in the capacity of the East Mediterranean section because Greta Obinavaya and Achim Liechtenberg who should have been presented for the last presentation, or someone for an ERC interview. As you know, you don't turn those down. But right now, we'll be dealing with one of the sites that Richard already introduced in the read, which is one of the early North Sea Emporia. We've just finished a 14-month excavation there to gather a new advanced data set on that site. I'm not going to tell you about that because we haven't had time to analyze the materials there, but what we'll present today is based on an earlier series of excavations. If you want to know about the new project, you can buy this excellent magazine in the store to let us be a teaser about that project. But today, we're talking about work done on early excavations. So I couldn't resist having that. I think it was called 10 years ago, where Richard was also in conversation with Perenn. The reason why I brought this in is that this has been a constant inspiration from Perenn and Richard's work for what we're currently doing. I don't need to introduce the Perenn thesis. Luckily, Richard did that. All the North Sea Emporia and their rise. Yes, but our work is founded on those notions. We're concerned with finds from this place, Raven, not in the Google town here, which is a fantastic place. I strongly recommend it, but what's really interesting about this is that it's a little strip of land over here on the north side where the Viking settled 400 years before the medieval town really got off. That site was found in the North Sea Emporia site was found in the 1970s. Since then, we have struggled to get a strong data set from that site. The initial excavations were placed in peripheral parts of the settlement in the 1980s and 1990s. There were excavations that targeted the right places, understood the stratigraphy, but were confined to small-scale rescue work. The best of those sites is the 150% work from today. The post office site was excavated by an alcoholic class survivor and his collaborator, Steve Yates. And you can see from these houses quite an abundant number of brass beads and tether and pieces of work from working modern glass, mainly glass beads production, but also non-shots, some of which are there probably as colored, some of them probably as broken as a glass. What's also important, I believe, is that we have an extremely fine-grained stratigraphy that allows us to separate periods very well and to place them rather accurately. We're working on refining that for the time being, Gruella and I have been working on two workshops from that stratigraphy, one which is among the very earliest finds in the early 700s, one which is from about the 780s with quite different bead productions. And then we have added a little bit of work on a later context from the late 9th century, which I and my colleagues Sarah Croix are working on, and we're working so so here from the museum, a great two years ago, a little bit away from the centre of the market place. If you look at the finds here, there are some very clear trends in this user-fined phase, one phase after the other. This figure shows you the glass split, so you could be excluding the tesseract, excluding the beads, but things that could be regarded as workshop debris, and the colours here were the second colours of the glass. And what you can see is that there is, in the early phase, and so in the early mid-700s, a huge amount of blue glass, and not very much of the glass. Then in the phase of that second workshop in the 780s, there is a remarkable change which is a lot more green colours, glass splits, and some more yellow. And then what you should also know is that around here, when we get into the 790s and the 800s, the raw glass disappears, and what really happens in this phase is that glass beads gets to be imported, and that's really made from the net terrain and the insulating area. So most of the materials we have concerning the glass bead production is from the 8th century, and the 9th century is an entirely different kind of a fish, almost. So, I think this is where you're taking over, do I? No, you're going to present that. Right, well, so what we've done, what we're currently continuing during, is trying to understand, not just in general, but in the specific workshop content, what's coming in, and what's going on. How can we, what types of glass reach, really, and can we distinguish the raw materials and production procedures within the visual options? The basic question, well, is lined up between the three glass types. There's roman-matron glass, which was recited since the 7th century. At some point in the 8th century, or 9th century, you see Slavic plant-axe glass as a new material coming in, to the north. And also, in the 8th and 9th century, we have a production of wood-axe glass commending in northern Europe, as part of the European Renaissance. These are the three major types of glass that we can follow and that we will present ourselves in. And then I think it's the, yeah, do you want to... I think since you excavated them, I think maybe you, I mean it would be better. Just very briefly, this context is the first of our focal points. From the new information project, we have about five of these very early workshop sketches. This is nothing like that in Genso. This is a glass bead maker sitting down, almost like a palliative flint cutting at a certain point. What you find is two square meters, three square meters, of glass debris around the central part where glass was melted and turned into bees. But it is such a confined, contextually precise material to work with, and that's the beauty of it. The one we have here is dated to 17th, roughly, and contains materials that we think are raw materials including glass vessels, but also a lot of tessera. And these are glass, which are not tessera, but something else and we will tell you what that someday else might be. And then it has got bees, mainly faulty bees that fragmented during cooling and also pieces with tons of other works of inquiry. Next one. We can follow a series of workshops, but to make a long story short we have then focused on one workshop from the late 8th century where we've seen this change into a much greater proportion of green glass and an entirely new set of beads, what's called wash beads, which is produced in a slightly different way using slightly different colours and a conspicuous confined range of colours which raised the question whether the glass bead makers here were able to control the colour range, so was there in fact more of a technical knowledge of the material in this workshop. So these are the two contexts that we'll be looking at from the centre of the employer area. The employer itself will remain part of it. It's a little complicated in the late 9th century. It's still a question when activity there ends. There's a lot of truncation, but we were lucky to find a few years ago a workshop about a burial site, which is one of which had a great material of beads and the work from the mid 9th century. And this is the last concept for the 3rd century. Good, so what we did is we put them into the lab and we did an electrical workflow for the major elements and we did laser operation. The trace elements, this is our lab in August, and then from the first context we did a new workshop. You can see this is a plot from from these guys that they are all made from glasses. That goes for the tesla, goes for the glasses, the splints and from the next workshop with the different kinds of beads and different colours and also the blue splints over here and some green raw material and yellow baby raw material. Again, they are all Roman or they are all natural glasses. So no new glass types seem to have arrived at this point. The next, the penthouse again we had very different things, we had some natural glasses, but a year ago it was made from platinum, but we also have some plant glass and in both cases these are blue beads and then we have some orange for their contention and they don't like this they would have this called green green and this is actually blue but completely more on the outside. Good. If we look at this plant, which is developed by on this table I can see and freestyle is trading the raw material to the geological material so the sand in this case for the silica and the heavy minerals in the sand for the luminous and the titanium and it separates glass coming from Egypt so the one above the lines are from Egypt and there are some Roman glasses so this is all made from glass from the first millennium with the different types the anti-mortar glasses even though they don't have as much titanium they are still believed to come from Egypt and you can see the blue workshop which are behind the circles here are all fun as Roman make these high glasses so no business time glasses in that context and then the later colored ones they also club as Roman make these glasses although some of them so the yellow maybe raw materials that I showed you they seem to start there and move the way out here towards higher aluminum and silica the same with some of these amber colored beads I'll get back to that why that is maybe for the vessel so to go back to the first workshop where you have the blue glass and then you have shirts of vessel glass if you look at the vessel glass they were making these Roman type glasses but they actually have very high covered in lead baffling to me that they have more color in lead than the colored glasses so this is the color but they are still transparent and here is a study from hemorrhage where Freestone and Raren had looked at glasses and in the Roman time in London they have the transparent glasses had very low color so lead and cover but in the recycle context of hemorrhage so early in the ages when we recycle these Roman glasses so many times that any colored glasses that we mix in with these transparent glasses have contaminated them and so they are very high and these vessel glasses seem to be out of these very recycled Roman glasses and we also see that it's not just the case with cover and lead in these vessel glasses but we see for many of these again there's been Roman glasses that have come to have made us really work into these glasses that we remelted over in the middle age context our question was of course when we find a workshop with transparent vessel glasses and tessera and then a lot of what could be scrapped from production and then we find these splints is it that we have the raw material so the vessel glass and the tessera that they melted together and used to produce beads and basically since they were all made in these Roman glasses there are very few places or very few parts where you can make mixing lines but one of them is using the colorant and the antimony which is very very high in the tessera in fact here plus the tessera but they were actually much much higher so if you melt them they have the crystals of the antimony in them so that means that they really are much higher on the spot and if you mix that with these vessel kind of vessel glasses then you have the tessera up here and the vessel glass here and yes in fact you have all the others the beads, the splints the things that have remnants of the tools so these that used to be scraps from working and making the beads flooding in between so one more looks like we have a mix of a range here of these vessel glasses and tessera which flushed out of the screen here to produce the beads in the later workshop we have the different types of colors and we have covered for doing the blue green and we have iron and then we have yellow but it's yellow tint left tint it's not that antimony like the Roman tint so this seems to be all in Roman glass but it seems like they have colored the yellow using a newer technique and I'm very cautious here because that technique actually existed about 200 BC kind of disappeared and came back around 480 and became something that used to be so they seem to have all Roman glass but maybe they actually worked these and color them by mixing the color and then melting the glass and then mixing the two together and when they do that mixing the color and over in that little plate crucible that plate crucible could have been contaminated and that may be why we have the yellows flooding out here so it is not visiting time glass it is in fact a contamination from these plate crucible that they work and of course we don't know if they made the yellow and green or if they imported it and it was made somewhere else so just to sum up for the early workshop it looks like we have the raw materials and the blue beads actually could be made there since they have the raw materials could also be made somewhere else but then they're importing both what could be the raw materials and the vessel glass shows these typical signs of recycling so it almost appears to us that they imported them maybe as shirts, as broken glass because they needed them one thing I can about to find out is it takes very little you can see on the part that I showed in the mixing line there's a lot of vessel glass and then media leaves a little bit of plasma to make the blue beads because all the beads are very close and then there's a glass covered in plastic and then I'm going to let you talk about the red I just wanted to round the presentation by coming back to our question so what we were interested in from the beginning was what the glass had to say about long distance trade and actually as what we expected was especially those clear blue splinters they looked so much like what was the put-out execution glass so we had imagined that the glass would actually point us to clear evidence of Mediterranean context quite early on and as you saw from Richard's presentation that would not be unlikely because there was a lot of glass in the context of the late NT building works so why on earth could this very little material have been taken through other small quantities before doing glass beads as compared to furnishing a church yet what we found was our surprise not only in the very early workshop but also in the later workshop what's said without exception all the materials that we get are the imperial Roman types which means that none of the new glass types seem to be coming to be in the 8th century or at least in most of the 8th century I think the best explanation that we can find for that is that the recent location that is being taken place was not involved the Mediterranean sites which would have had a component of Byzantine or Islamic glass but it's more likely to come and show materials that were already in northern Europe and probably in the Frankish lands the weakness of that and perhaps that's something that some of the audience can fill in is that we haven't identified so far the sites where we have the same history of the materials but I think a laser percentage will also be able to fill in on that so in the late workshop that we didn't talk much about for weeks after that single clock you do get both the clearly new glass and the Islamic plant glass I forgot to mention that the plant glass glass to the best of our knowledge because it's actually really hard to distinguish between Sasanian and Islamic plant glass glass but if we look at the potassium magnesium it looks like the blue beads the plant glass glass actually is Sasanian coming from Iran the same has a very recent study by Phelps where they're using the calcium aluminum like aluminum versus calcium magnesium and there they also plug in the Sasanian glass so it looks like the plant glass but maybe there's some that can tell the story of how to distinguish between the two it looks like the plant glass is from the east which will be very exciting but the glass type certainly are the ones that we associate with the that's it it falls in general but you can't compare anyway so let's well certainly Middle Eastern part so very short it's around so I think this might be a point to the range notion of North and Europe in the 8th century being a more local affair especially from the wide range of the glass and they would be a simple sign yeah and then that's it that's it was there a that's it