 I can show you something modern, but as we shall see in the Viennese, you have very little dots, very beautiful, made on high prices and very, you know, skillful pieces of crystal. The little dots, for instance, for the fur of the animals, of the mage, of the birds, and sometimes just for decoration. And for that, we know that they use on rock crystal, because that's different for older things like glass. They used something close to that type of drill bit, which is a rounded drill bit. So here, this is a modern one, a Chinese drill bit with diamond powder already coated in it. But it wasn't like that, of course, during the early Islamic period. But for just the shape, the general shape of the drill bit, we think that it was something close to that. And it was no more than one or two millimeters of diameter. Oh, wow. Yeah. And so it was attached to the same bow lathe and run according to... Well, and I've seen similar bits like at Eider-Oberstein where they... Oh, yeah, yeah, yeah, absolutely, because they use this kind of thing. Yeah. And there they had the foot pedaled drill. Oh, yeah, the... Hold on, we'll call that in English, but... Ladle lathe. Yeah. Yeah. Ladle lathe. Yeah. Which was used in China versus in the Islamic world. Okay. It was the bow lathe. Okay. Interesting. Yeah. In principle, it's very, very similar. Yeah. Because there is the only way that you have to work brittle hard stuff like rock crystal. Right. Yeah. You can't work it, but this is the only way. Abrasion is the key for working brittle material like that. Yeah. Yeah, yeah. And it's like that since Neolithic. Yeah. Now, how easy is it to... Or as you're working with it using abrasives. How easy is it to mess up and still manage to shatter the crystal or... Okay. So, what is interesting is you never know what's going on beneath the surface of the raw material. Right. But for rock crystal, it's a bit easier, let's say. So, of course, the raw material was selected by the master of the workshop. Right. Or the master designer or whatever, the guy in charge of acquiring the raw material. According to, of course, its clearness and also if you've got cracks and so on. Right. It's going to be rejected, of course. Right. And then if you have a pure and perfectly well-made rock crystal and so on, you're almost sure that you want, you know, not sure, 100%, but you have more chance to go through the process without breaking the piece. Right, right. But then you never know. You know, sometimes, you know, the structure of the crystal. Yes. Even during the work, it can be horrible. But most of the time, you know, when you have experience and so on, you know, hope to, you know. You get a feel for your material. Absolutely, absolutely. But sometimes, you know, you can't avoid that the piece is going to break and so on. So, it's possible when you start with a big piece, you know, and break at some point, it's possible to take one part to remain a smaller object and so on. Sometimes it's just impossible. Right, right. And what is interesting is we don't have, for instance, for Fatimid craftsmanship, we don't have, we never found a workshop with this waste material and so on. So, we don't know what happened, you know, you had a breakage and so on. So, no idea. But we assume that if it's possible, if the waste material was large enough, it can be reworked. Right, right. Okay. Yeah, I mean, every good craftsman recycles. Of course. And it was so valuable, you know, at that moment. You know, possibly, okay, there are several possibilities for where the raw material was coming from. But at the moment, we have this hypothesis that most of the big, large crystals, very pure and clear, were coming from Madagascar. Wow. So, that was extremely rare material and extremely valuable. So, you don't want to lose. Right. And so, it has to get all the way from Madagascar to Egypt. Yeah. Wow. Yeah. Yeah. So, that was something. Yeah. That was something. It could, apparently, I don't know, a trip of months. Yeah. Yeah. Yeah, definitely. And a heavy cargo too. Oh, yeah. And then, you know, with the camels and so on through the deserts and so on. Yeah. So, that was, yeah, something, right, raw crystal was extremely valuable. Yeah. Indeed, yeah. And, you know, working it took months as well for some pieces, for some big pieces. Yeah. Especially, you know, for the shaping, the rough shaping, the sewing and so on. Yeah. Then, for the carving of the decoration, that's something different when you are finally, you know, when you muster your craft and so on, that can be pretty fast. Yeah. Yeah. I was extremely surprised, you know. When I worked in India, you know, I discovered that, you know, it was a shock because I expected that, you know, carving in relief pieces of raw crystal took weeks and maybe months. Right. And, you know, it's not so well what they have to do, you know, that they could carve a piece very quickly. Okay. But easily, I don't know, but quickly. Yeah. Yeah.