 Good morning. First of all, I would like to thank the organizers. And I am Sharon Sultana, and I'm the senior curator of the National Museum of Archeology in Malta. Why is Amit? Well, basically, the Mr. Pisa Amit has been known in Malta as the father of Malta's archaeology. And he is the source for many researchers, basically. Many people, many researchers, both local and foreign, come to the museum to look through his notebooks and see his collections. But basically, they are mostly site-specific. So someone would be studying one particular site and looking at the notebooks for the particular site. What I intend to do for my PhD, for which I have to submit a proposal, so is basically go through the recording methodology of Amit throughout his years and see the development of his recording methodology and his collections, and basically the effect it had on the local archaeology. Now, for those of you who might not be familiar with where Malta is, we're here. Yes, and a very tiny dot in the middle of the Mediterranean. Yes, people live there. I am one of the 475,000 people who live on the dot in the middle of the Mediterranean. And however, even though it's very small in size, Malta is 27 kilometers by 14.5 kilometers. You can cross from the southern part of Malta to the northern part, basically 45 minutes by car. That's when there is no traffic. As you can imagine, Malta is overpopulated. And when there is traffic, it can take like three hours. So however, due to its strategic position in the middle of the Mediterranean, basically, Malta has been, since the Neolithic period, a haven for a lot of colonies. People coming and wanting to make Malta part of their colony, because it has very good natural harbors. And obviously, it's in a very good position for them to be able to connect to other places. So since the Neolithic period, we have Neolithic people coming over from Sicily. They are basically our first illegal immigrants. And basically, throughout the Bronze Age, Phoenicians, Romans, it goes on. Until 1964, when Malta gained its independence. So all these people who came over and settled in Malta basically left us a wealth of cultural heritage, which nowadays is regulated by the Cultural Heritage Act, which was enacted in 2002. But as we shall see, that was not always the case. What we have here is one of the, what is Malta, Malta is famous for, one of our Neolithic temples. This is a Monaito temple. And basically, we shall also see how Temizami dealt with protecting these sites. So Temizami, born in 1964, died in 1935. Basically, during this period, Malta was a British colony. It was a very important British naval site. And that scenario basically affected the way cultural heritage in Malta developed. In the 1900s, in Malta, and even in other places, especially in Malta, it was the turning point for museums and collections. And Temizami was basically at the helm of this turning point. Now, Temizami, as he is more popularly known, was a doctor by profession. So he graduated in 1888 as a doctor. And in 1891, he was appointed the analytic chemist to the Senatorate branch of the police department. And he had that post until 1920, when he became director of university. In 1905, he discovered the cause of Anguland fever, which basically he realized that this was coming from unphosterized goat's milk, and thereby no. But his discovery was not immediately attributed to him, because basically there were a team of British doctors working with him. So it was only later that this discovery was attributed to him. In between, in 1903, he was appointed by the Lieutenant Governor, Milrather, and as temporary curator of Malta's first public museum. And also a secretary of the Committee of Museum Management. Now, a lot of people were against this idea of appointing Zameed as temporary curator, mainly because of all the commitments. And those are just a few. He was involved in so many other committees, basically other commitments that he had. Milrather himself was convinced that Zameed was the best man for the job. Basically said, and this is noted in one of the committee meetings, that Zameed was to dedicate his part time out of office hours when not employed in other government work, which does not sound, you know, it doesn't work well. Now, why was Zameed chosen? Basically in 1901, as part of the imperial colonial tour, the new conductors of Cornwall and York were going to visit Malta as part of their tour. And it had been thought to have a long exhibition. And Zameed, being the secretary of what was the Malta Committee for Arts and Commerce and Manufacturers, basically put together this long exhibition whereby he got people, private people, basically to hold long art effects for this exhibition. And this exhibition was considered to be such a success. Somewhere in the region of 1,000 paying visitors and a lot of other complimentary ones visited this exhibition, which lasted only 10 days. So due to the success of the exhibition, they thought that Zameed would be able to continue with his work as curator of the museum. Now, what was the state of affairs before Zameed entered the scene? So basically, there was already a national collection, which basically had been amassed by the vice chancellor, John Francisco Verla, the vice chancellor of the Knights of the Order of St. John. And since the 17th century, this collection had been to various places, moving from one case to the other. And it was dispersing in auberages, in government departments, private hands, stolen, sold. I mean, we've heard all this already. So it was basically the collection pre-1903, was housed in the public library, in the Beotec and the public library. And it was still in the museum of the public library. Now, it's public and it's a library. So the general public wouldn't have entered there. It would have mainly appealed in the 1800s to people of the academia. Only the lerid were going to go inside the library. So even though it was a public library, it was definitely not accessible for all. So what did Zameed do? Before that, I would like to point out, here, there is a letter in one of the Monty's newspapers, which was written in 1891, whereby there was this person who wrote this article and that is written there, wanted a museum for Malta. And it's reproaching the Monty's public, saying, listen, you should be more proud of your culture, heritage, and look that your collection dispersed. So you need a national museum with someone who takes care of your collections. Now, when Zameed was appointed as part of his dream, I had to write what our quote then were reports. And these are one of the sources of information that we have. So basically, he's reporting about the collection that he found. Basically, he points out that it wasn't just two rooms. And though serious attempts at the library made to increase the collection, or at least arrange and classify the exhibition, in a manner to satisfy as much as possible the requirements of students and of the general public. And no effort to increase the visitor in the museum, or to indirectly attract public attention to it by low exhibitions of objects of archeological interests from numerous private collections. Some of which are very rich. However, the thing that really irked Zameed was the lack of proper labeling, which definitely impaired the value of the collection. Now, in 1903, the collection changed hands and became the responsibility of Zameed. And he set up the first display two years later at Polat Zashara in 1905. Basically, as he himself reports and yet reports, even though the building has had its own restrictions, like some of the museums in Malta still do, because they are housed in historic houses, and he still managed to display as much as possible of the collection in a very systematic manner. And he also tried to make the collection as accessible to the public as possible. So even commission scaled down models, these are the scale of one is 230, four models of the megalithic remains, which were causing quite a stir and dramatic arraigning at that point in time. Until now, these megalithic remains were still thought to be finishing, dating to the finishing period. So this really links with what you were saying before. And in his guide, he basically said, the visitor who finds no time to drive to the ruins can thus get a fair idea of his important megalithic buildings by simply visiting the museum. Now, basically, and I will not go into this for, basically, a lot of time, he did have a very good relationship with the British authorities. And Lloyd Grunfeld, who had been in general, basically, when he relinquished his post, he left a great deal of his collection, his description collection to the museum. And that is one of the clocks we have, still in the museum, basically, for the donation. And this started off a number of other donations. So by doing this, basically, some of it was raising a lot of awareness. And in his other reports, there were a lot of, there are whole lists of people donating various artifacts to the museum. And in this manner, the collection was just growing exponentially, which led to moving to another place. They basically had to take the collection and move it elsewhere. And in 1992, the museum display moved to a burjitalie. These are all places in Valletta, which is more of a city. And then again, through his guidebook, basically, we can see how he tried to make the collection as accessible as possible. And the guidebook, which is dedicated to Grandpa, even comes with a floor plan and, you know, everything is marked. And there are also a lot of images of the sites. So, in each room had specific collections, chronological collections, but they were site-specific. So for each showcase, it would have artifacts from the different sites, which would come with information about the site itself and even images of the site. So, it's to sort of put the artifacts into context. The sites were briefly described. When I see it briefly, most of them were briefly, but for the sites he excavated, before he excavated himself, they're much more detailed. And he also notes that if anyone wanted more literature, they could ask because they don't think they would readily supply them with more literature. So he was even taking care of different levels of information that would have been accessible to the public. And from his notebooks and from the annual reports, we basically realized that displays were constantly being updated as sites were discovered. So for those sites, which he thought were important for the public to have access to, he was constantly updating the display. Now, apart from the displays, there are other sources from where we can get information about the way something's worked. We have his field notebooks, annual reports, and his publications. Now, his field notebooks are the ones which I like the most about his recording methodology. Most of them are very detailed, a lot of writing and very, very detailed drawings, most of them with measurements, from which one could actually reproduce a site. In fact, we have done a similar reproduction in our museum, whereby we took one of the sketches, ten of the sketches, and we could actually reconstruct the whole tomb with the artifacts which we know were pertinent to the tomb. In other cases, the information is very scanty, and in some cases, like the question mark over there, it is very interesting to note, I just did a preliminary research about this, but I will have to go into more of that, that in some cases, when there is a question mark, these will not feature in the annual reports, so one will have to see why that was happening. One will also find other information, not actually pertaining to the excavation, but for example, how much a cat costs a taxi. Let me never draw, never learn how to drive. So, and how much the pottery costs, because as I will be saying later on, basically, most of the times, pottery have to be bought from the landowners. Whatever was written in the field notebooks, mainly the main emphasis was on the collections. So, we do have very detailed drawings, sometimes in watercolor, mainly in pencil, but then drawn over in pen, and some of the artifacts from which we can basically even provenance when we have difficulties. Photography was one of his recording methods, and he used to annotate on the photos. We have thousands of glass negatives, which we're basically doing the conservation of. Now, legislation, at that point in time, did not exist. So basically, what was happening, whenever there was infrastructure buildings, a lot of material was coming out, and he was basically just doing rescue excavation. And in some cases, he would either choose just to take photos and not acquire the pottery. And the reasons for this would have been multiple. Basically, it was lack of space in the museum, and here we already have notions of the accessioning policies, something which, to date, would not have Adinash Museum of Archaeology, but he would still take photos of the artifacts which he would have left on site. And at this point in time, as well, very important sites weren't even fenced over. So he was really pushing hard with the local authorities in order to have a legislation. In 1910, basically there was some sort of legislation which had a lot of loopholes, but basically years of it was saying that he was pushing the government basically to reposition the land, so basically the sites would be for the public and not for private events. And basically, what he's saying is, having to the excessive population and their own limits of these islands, our monuments are in danger of being destroyed by ignorant people. He didn't miss his words. Through carelessness, many interesting monuments have already disappeared, but fortunately, many more still remain enough. Indeed, to make the most of these islands from an archaeological point of view, the most conspicuous space in the Mediterranean. He was very proud of his heritage. He obviously made a lot of contacts with people abroad. He took artifacts abroad with him whenever he visited places in order to get feedback on the artifacts. Here we have two people, Margaret Murray and Crawford. Margaret Murray affectionately says that his British friends refer to him as Tammy Demet. So basically, what I went through was quickly what he did during his temporary employment, which eventually lasted over 30 years. That's the end of it. Basically, there are a few suggested reading titles and I do appeal that if any one of you ever comes across anything related to zombies, lately we brought download books which weren't known to be pertaining to zombies from UCL because they were found in a cupboard somewhere and so anyone who has any information can just send them in letters. Thank you.