 Yes, thank you. First of all, I would like to thank you, the organizers, not only for having me here, but also for realizing this fantastic panel on a very important topic. In my presentation, I will talk about the interpretation potential of the depictions of the garments of female figures from the fifth century BC in Greece. I'm particularly interested in the following questions. What are the meanings of the garments on ancient depictions? Is there a thematic correlation between clothing and the wearer? What significance do these elements have for our interpretations? So far, these fundamental questions have only scarcely been touched upon with regard to the classical Greek period. Interpretive approaches often purely rely on social identification models. But can the choice of garments depicted be interpreted solely with monocouser explanatory models? While for most of the other ancient periods, like we hear today and will hear today, there are survey works and individual investigations available about economic, ritual, religion, production, consumption, exchange, technology, and so on and so on. Research on classical ancient garments has not long been concerned with social, cultural, and contextual questions relating to the archeology material. These areas continue to be a major disidirectum for the Greek classic period. And Dr. Thises, Parthenos, Nymfe Güne, weibliche Trachtikronographie als Bedeutungsträger am fünften Jahrhundert vor Christus in Griechenland, Ulrike Tyson deals precisely with this topic. She takes the approach that the clothing was consciously chosen in classical representations depending on the rarer. According to Tyson's, the different garments served to visually convey the social character or divine qualities of the rarer. The open peplos, I'll give you here some information. The open peplos is assigned to the Parthenoi. To the close peplos, to the group of mothers and or wives. The attic peplos, you can see on the top, especially to Athena, but sometimes also to Artemis and rare to the Parthenoi. The shalton with fake sleeves, the most common type of garment, with a long coat reaching from head to feet, is again for the bridges and bridge brides and Aphrodite as well as for Nymfs and attic citizens. The material bases for her thesis are the images of the 5th century BC which were included in her analysis across genres. However, she has not fully presented these general. The aim of my master thesis long ago was to test the semantic system of garments she had designed on the basis of sculptures and thus to assess a genre completely with regard to the question for the first time. Today, I will limit my presentation of the results of my work to three groups, the Nike, Leather with Swan, and the Corai. Nike is clearly defined and well-known character from ancient sources so that it is to be expected that the thesis of firmly to assignable garment can be proven well with the help of the Nike representations. Let's have a closer look. The Nike of Paris. The figure stands on a left foot. His heel slightly raised. The right foot must have freely hung down from the base due to the leg position, which creates the impression of flying. The figure careers on the right side open and on the right side open unbelted peplos with an apoptigma. The garment folds on the front view are characterized by the few flat folds. The body shapes are veiled in the rear view by the dress. In front, the clothes of the peplos lies close to the legs, whereby the contours emerge. The Nike of Peonius. The figure is placed in a frontal orientation towards the viewer. The left leg is vertically below the figure with a foot pointing downwards. The right leg is slightly bent back, whereas the figure as whole is slightly bent forward. The rings are reconstructed for upwards and outwards. She floats above the eagle of Zeus. Behind the figure, there's a wide open hematron. In addition, she wears a robe with an overlap that lies particular close to her body at the front and blows back to the side of the figure widely. It is held only on the right shoulder by fibula while it has slipped down from the left and the bottom is no longer covered by clothes. The robe is girded just above the belly button. The apoptigma swings out to the sides. The type of garment is controversially discussed in research. The interpretations range from a shaitan to a peplos open on both sides or on one side to different comparisons with modern wrapped dresses. This uncertainty is based on a particular characteristic, while the right side is open like the holdup and the fabric in front of the legs clearly shows. Also, the left leg is represented naked. Bernard Schmeitz rightly points out that the motive of the bare leg does not necessarily have to be due to the real costume one, but can be understood as an expression of fast movement. It is therefore an overgirded peplos open on the right side, so it is an attic peplos, which we have to deal with here. Another Nike, the Nike from the Sanctuary of Iris. We don't know it for sure. But OK, the ring figure moves to the right. She wears an attic peplos open on her right side. The longer overfold reaching down to the highs is belted on the chest and at the level of the waist. The dress has slipped down from the left shoulder, but the breast is not exposed. In addition to the double-girded open peplos, she wears a hemation, which is only preserved in the back of the figure. The body shapes, especially the legs and breasts of the heavily moved figure are clearly emphasized by the garment. OK, sum up to the Nike. While Tyson described the attic peplos of the garment preferred by Nike, the examples have shown that the open peplos is an alternative garment, which she describes as characteristic for paternoi. Also, Nike is unmarried and childless. This is not one of her primary characteristics. On Nike shown here, wear an open peplos, which differs only by the belting. In these representations, the most important characteristic of the figure is emphasized by the waving, tight-fitting garment, her speed. This can be taken as a sign against a monocotal explanation of costume. Let's go further. The woman leader with a swan. The woman surrounds the swan with a wide arm in front of her belly. The left arm is guided sideways upwards away from the body. She wears an unbuilt peplos open on the right side. Its fibula is closed only on the left shoulder from the right. The rope has gilded down over the chest. The right side of the body is naked. Also, the closed body shapes are clearly emphasized by the garment. The identification of the figure's leader is secured due to the intimate representation with the swan. Leader is known as the wife of Tyndareos and mother of Casto and Polidoikos from the Odyssey. A rippidus, on the other hand, has handed down as a child renfoibi, glutamastera, and Helena. Almost 500 years later, Apolodorus reports that Zeus visited her in the shape of a swan and had fathered Polidoikos and Helena with her. The same night, she also slept with her husband Tyndareos from this connection, then Casto was born. It can be noted from the sometimes very differing literary sources that leader is a mother and wife. In the sculpture discussed here, Zeus, in the shape of a swan, approached her as he fled from an eagle so that she protected him as can be seen from her right and raised left arm. That Zeus would seduce her is also made clear by the open peplos whose feebleur has already come off her right shoulder. It is clearly an erotic scene. The rogue contradicts Tyson's interpretation. For a wife and mother, a close peplos or a chiton with fake sleeves would be expected, which would also correspond to the erotic character of the scene. The open peplos here, however, would identify the rara as partenoi. That is clearly not the case. The choice of the robe was not based on the social status of the person, but because it is very suitable for the representation of the moment before Ladder and Zeus will have sex. It exposes the body of Ladder and underlines the erotic aspect clearly. The illustration shows that the situation depicted had a decisive influence on the choice of garment. Let's come through to Korai. Ancient social status are two central categories in Tyson's work. Yet she mixes them, namely that of the girls, the Korai, and that of the partenoi. Thus, she describes the running maiden from the loisers, first as a girl, in order to point her status as a partenos a few pages later. According to Tyson, girls are 10 to 14 years old and have not reached the status of a partenos. Such a separation is problematic, however, as the ancient written sources show. There are people, dead people, are referred to as girls or marriageable young woman, maiden, by the terms Korai and partenos. For example, in Teucritos or Aristis, from the first half of the third century BC, shows the synonymous use of the two words, terms, and two consecutive sentences. So here, partenos came as a girl and no goes as a woman. Partenos, a gyne, and a wife now, and mother and nurse of the children, but never a girl. She's a gyne, mitera, but no Korai anymore. Partenos and Korai are here opposed to the terminus gyne in the following lines. It becomes clear that the transition from a girl to a woman, so from partenos and Korai to gyne, is carried out through sexual intercourse, oyne. That antiquity is much more complex than the division into partenos num for gyne suggests is shown not only by the inclusion of the Korai as a terminus in the social sense, but also by the round sculptures. Like here, for girls, the goddess Korai Pesefone and the Korai from the Eirehtayan, this group is represented in completely four different garments. So the chaiton with fake sleeves, chaiton without fake sleeves, close peplos, and eric peplos. Here, too, it is evident that the costume is not an ambiguous. In summary, we can state that closing has several levels of meaning in ancient iconography. It is not clearly determined by the social status of the wearer. Various factors influence not only the type, but also design and arrangement of the garment. And garments are not only markers for a social role model. They are also an essential part of the narrated story and thus a multi-faceted picture element. It is shown that a more in-depth examination of closing has a high information potential. In order to achieve reliable results, future research must include both the complete spectrum of closing and especially its possible combinations that wasn't a topic here, not rely on monocosal and unabitious interpretative approaches and expand the material basis, including the vase images because of their numbers, the person names on it, and the dating basis, and the attic tomestones to extend the range from the mis-depictions that it was here clearly emphasized to that of the citizen images. Such an approach would contribute to a better understanding of the multi-layered usability of closing to convey differentiated and nuanced image, meaning, and thus to a better understanding of the image as well. Thank you.