Hollywood, California, Monday, June 7th. The Luxe Radio Theatre presents Arrow Thin and Francis Farmer in British Agents. Presents Hollywood. We want to thank all of you for your regular purchases of Luxe Flakes. It is this loyalty that makes possible the Luxe Radio Theatre. Tonight, our stars are Arrow Thin and Francis Farmer. Our guests, Dolly Tree, noted costume designer of Metro Golden Mayor Studios, and Natalie Bucknell, head of Metro Golden Mayor's Research Department and former secretaries. This program was produced each week by Hollywood's distinguished director Cecil B. DeMille with Louis Silver's conducting, direct from our theatre on Hollywood Boulevard. May we take this opportunity to say once again, welcome everyone to the Luxe Radio Theatre. Before starting our play, I have a letter here that is typical of the mail that comes to us here in Hollywood or is forwarded to us from our different stations. Miss Harriet Rumsey of Alton, Illinois, in her enthusiasm for our product and our show, writes as follows. Most women realize that they owe a debt of gratitude to Luxe Flakes. They know that their stockings, their silk things, their woolens are preserved by Luxe Care. Now the American public has another cause to be grateful to Luxe. Your radio hour is a great contribution. Monday is a red letter day in our family because of the Luxe Radio Theatre. Luxe appreciates your kind words very much, Miss Rumsey. It's the loyalty of our big Luxe family that makes it possible for us to give you the kind of show we want you to have. So every time you order Luxe, and by the way, the big box is most convenient, just remember you are contributing to the success of the Luxe Radio Theatre and such plays as we give you tonight under the direction of Cecil B. DeMille. And now, ladies and gentlemen, Mr. Cecil B. DeMille. Greetings from Hollywood, ladies and gentlemen. Errol Flynn's early career was charted with a compass. He came to Hollywood through the Tropic Tempest of the South Seas, where he was captain of a trading schooner, while Francis Farmer, who hails from Seattle, arrived here by way of Russia. A descendant of Fletcher Christian, who led the Mutiny on the Bounty, Errol has been an officer in charge of native constabulary, a pearl and coral fissure, a beach coma and a member of England's boxing team in the 1928 Olympics. For a time in Australia, he was also a bottle smeller. This odd pursuit consisted of whiffing bottles to see if any odors remained after washing. Once he led a film expedition to the land of New Guinea. The natives were headhunters, but they shot Errol in the ankle. Returning to New Guinea to dig for gold, he made a small fortune. Quickly spent it, bought a boat and with three friends duplicated the voyage made by Captain Bly of the Bounty up the inner passage of the Great Barrier Reef from Sydney to the South Seas. Back in Australia, Errol had his first taste of picture acting, made a second film in England and was soon on Warner Brothers payroll. He has written one book and many short stories. He's here tonight in the part of Stephen Locke. Francis Farmer developed her talent for acting while a student at the University of Washington, where she helped pay her way by ushering in a theater, tutoring, waiting on table and working in a department store. To her great surprise, she won a contest sponsored by a Seattle newspaper, the prize being a trip to Russia. On the way back, she met a theatrical producer who introduced her to a film executive in New York. Francis made her screen test, won a contract and returned home a paramount player. Her next picture is exclusive and we hear her tonight as Elenia. Our plays based on the Warner Brothers films are guested by Bruce Lockhart, best-selling autobiography of the same title. He'll up goes our coast to coast curtain and the Lux Radio Theater presents British agent, starring Errol Flynn and Francis Farmer. The City of Petrograd, the dawn of the Russian Revolution, October 1917. In Petrograd, a young man watches the mounting fury of the Russian Civil War, a screaming hysterical mob sweeps through the streets, driven on by the lashing lips of the mounted police. Suddenly, a girl breaks from the crowd and comes stumbling through the shrubbery. She falls to her knees, the young man darts from the steps and catches her in his arms. Steady there. Let me go. Please. It's all right. I'm not going to hurt you. Where are you running to? The police. They are chasing me. Let me go. Well, you're safe here. Look, get behind that hedge. Storytime! Storytime! Don't move. What are you doing in here? I am of the police. That woman. She shot at me in my arm. Well, you've got her right in these grounds. This is the British Embassy. British territory, do you understand? Now get out. I'll take her. She shot me. Did you hear me? This is British territory. Get out, I said. You're Pedro Studia. You're your Budapamia. It's all right now. He's gone. Thank you.  Tough customer, wasn't he? Still, you can't blame him for being a bit annoyed, you know. After all, you did take a shot at him. He deserved it. Well, he got it. Well, I had better go. After all, I am trespassing on British territory, too.  Low's over. This is not just a split riot. It is the revolution. Tomorrow, the red government will be in power. Oh, and the day after that, the white, eh? Then the green, and so on. Perhaps you do not know a great deal about it, eh? Well, perhaps not, but I'm trying to. Oh, perhaps we should introduce ourselves. My name's Locke. Stephen Locke, British Embassy. How do you do? Fine. Thank you. And you? Forgive me, but I am keeping you out here in the cold.  Oh, I risk the cold. But, well, I suppose I better go in and let him know I'm still alive. Look, you can slip out the side gate there. It's clear now. Thank you. Good night. Good luck. Mr. Locke, I'm glad you've come in, sir. I was beginning to worry about you. Oh, well, yeah. Thanks, Evans. So, Walter has been asking for you. He wants to see you at once, sir. Oh, right. In the library? Yes. Evening, sir, Walter. Oh, Locke. Oh, yes, yes. Come in. Come in. Evans said you wanted to see me, sir. Yes. Sit down, Locke. Nasty business, this. The revolution, yes, sir. From all indications, the Russian government will fall before the week is out. It places us in a rather uncomfortable position, Locke. I might even say a precarious position. Yes, quite so. Yes, sir. If and when the government falls, we have orders from London to close the embassy. Close the embassy? Yes. Move out. Bag and baggage back to England. I see. However, we plan to leave someone behind, someone who understands the situation here, and who will act as a sort of unofficial observer. Well, sir, I have recommended you. Oh, well, thank you, sir. I thought I'd let you know a little beforehand. That'll give you plenty of time to make plans. Yes, just what do my duties be, sir? Well, frankly, I'm not quite sure. But you'll be informed in time, though. But whatever they are, my boy, you'll need your wits about you every minute of the day and night. Now, you'll be alone here, entirely on your own. It won't be an easy job. It may be a dangerous one. Do you still want it? Well, never, sir. Good boy. We'll have a long talk before I leave. Government crumbles. Lennon heads New Russian state. Community flees New Russian state. Bolsheviks in power, people. Lennon seeks the peace with Germany. French, Italian, British embassies closed. British embassy closed. Lord, and don't I know it? Evans, this place is like a tomb. Can't we get some heat in here? Yes, sir. I'll see to it, sir. No message from England yet? Not a word, sir. Will you have your tea now, sir? Well, yes, thanks. I may as well have something to do, I suppose. Oh, uh, Mr. Tito Del Vallev, the Italian legation call, sir. He wanted to know if you'd dine this evening with Mr. LeFarge and Mr. Madill of the American Red Cross. Del Vallev, LeFarge. Madill and Locke, the four lost souls of Russia. The only one who knows why he's here is Madill, and he's not sure. Oh, uh, I said you'd go with them, sir. The Gypsy Cafe. You'll rest your nerve. You have been a bit jumpy, sir, the last few weeks. Well, why wouldn't I be jumpy?  God, they even let old ladies knit socks. Listen to that. For days they've been going by, Russian soldiers back from the front. Every one of them that leaves makes England's position that much weaker. All I can do is stand in a window and watch them go by. They also, sir, who stand and wait. Wait? Wait for what? Tea, sir.  Thanks, sir. Come on, cheer up, Locke. You've got to face a yard long. It can't be as bad as that. Sorry, Madill. Look at me in the same bulge as you, Stefan. Bulk tea to both. In the same boat, yes. Waiting for word from my home office. And LeFarge here, too. Oh, me? I only wait for a visit on my passport. Well, I'd like to know who's going to do it for you. There's no one left here. Oh, looking for someone, Locke? No, I was looking at someone. I say, wait a bit. Will you follow us back in a few minutes? Uh-huh, you see? That girl who just came in is going to speak to her. He knows her, maybe, eh? I wonder if he knows the man who came in with her. Why? Who is the man? Pavlov, head of the Chakar, the Russian secret police. I have heard of that. Who hasn't? Well, how do you do? Oh, the Englishman. Yes, the lady of the garden. Oh, you remember me. Mr Pavlov. Pavlov, Mr... Mr Stephen Locke, is it not? Yes, how do you do, sir? I don't seem to recall where we met. No, we've never met. You will excuse me a moment, please. There's someone over there I must speak with. Yes, of course. Thank you. Sit down, Mr Locke. Tell me, did you, uh, catch coal that night? Well, I sneezed once and then decided against it. You see, with your revolution going on, I didn't know if I'd ever get my handkerchief back from the laundry. And I thought you had gone back to England with the others. Oh, no. The embassy left in such a hurry, they forgot me and one old umbrella. Do you come here often? Every night. I sit in the embassy all day and here every night. But, haven't you anything to do? Not a blessed thing. My orders were to consider myself in bomb. You know, I've been sitting for the last month, watching you Russians negotiating for a separate peace. Not making a move, not even presenting an argument against it. And why should you? Suppose England were in a war where she had more men mobilized than any other nation on either side as Russia has. More than the United States and England put together. And suppose Englishmen were fighting with shells filled with sawdust. And suppose England's mortality rate was higher than any of the other nations as Russia's is. You put England in Russia's place. What would you want England to do? Just exactly what England would do. Keep right on fighting. Exactly.  We have ideals in England, huh? And so have we. But at least I am fighting for ours. I see. And I sit safely in the embassy, letting others fight for me, huh? No. I did not mean it that way. Oh, I know. You know, I'm getting as touchy on this subject as an old maiden lady about a pies. Forgive me, but I've been sitting down and vigorously doing nothing for so long, it's getting on my nerves. Look, let's get out of here and get some air, can we?  Oh, I would like to, but... but have no... Oh, yes, that's right. We will go anyway. Come on, we will have to hurry. I do not want to explain. Are we going someplace in particular? No. Just driving. Where? Well, what's the difference? We can't go far enough to get out of Russia. If I had a job in a country I did not like, do you know what I would do? Go home? Yes. So would I. But suppose you had a job in a country you did like and you were anxious to keep it from making a mistake, but your hands were tied, then what would you do? I would be very grateful they were tied so that they could not meddle in other people's business. And I would try to forget it by talking of something else. Well, what for instance? The moon up there? I think not. Stars? No. Music? No. Us? No. Yes. Why are you stopping? Well, I can't drive and kiss you at the same time. You should not have done that. I suppose you think me a little presumptuous, eh? A little, but at least it's served to change the subject. Oh, so you're bored. No, but I am cold. Take me home, please. But I'll see you again. May I? You want to? Yes, tomorrow? So soon. Wish we could make it sooner, tomorrow's a long time. Lenya? Thank you. Oh, I really should be going. It is very late. Oh, no, not yet.  Oh, you're not very flattering. I've been here all evening, and now you want cheering up. Oh, that's just an excuse. I don't know what I'd have done with that, you, these last few days. Thank you. Why do you look at me like that? You know, Lenya, if I were a sculptor, I'd model ahead of you and call it Joan of Arc. You have that kind of beauty. I think I'd model you standing... Oh, no, I wouldn't.   Think so? I do not understand you. No, for the first time in my life, I don't understand myself. I think I'm in love with you, Lenya. Well, that is impossible. Is it? Oh, please do not. Let me go, Stefan. Afraid? Yes. With me? No, no, for us. That kiss would be the beginning of something that we would both regret. Would you regret loving people? Yes. When you know you'll have to part. It must be part. Oh, you know we must. Our lives are devoted to following two idealists, Stefan, leading us in opposite directions. That means that sooner or later we must say goodbye. Lenya, if I weren't English and you weren't Russian, that would make a difference, wouldn't it? Yes. And can't we pretend then? Pretend? Yes, that there's no war, no revolution. We're just two people, unattached and free. Free to love each other if we wanted to. Oh, Stefan. You do want to.  For what? Who is it? I beg pardon, sir. May I see you a moment, please? Right. It's important. Excuse me, Lenya. Of course. Elevens? Dispatch from London, sir. From London? Get my decoding book. Have it, sir. Right here, sir. Well, let's see now. His Majesty's government has appointed you unofficial representative. Unofficial representative in Russia. Unofficial. Now, what the blazes does that mean? Anyway, you've been appointed then. I look to you to do all in your power to prevent signing of a separate peace with Germany. This does not convey recognition of Russia, but commissions you to act only as an individual. We cannot be responsible for your safety or your decision, but await your recommendations. At last, Evans. It's wonderful, sir. It's the greatest diplomatic mission of the whole war. We've got to keep the Russians fighting on the east and front. How do you think I'll find the ambassadorial bed, Evans? There are many things, sir. A bit large, but comfortable. Evans, I appoint you Lord High Chancellor of the Bedchamber, Lord High Keeper of the Keys, Lord Higher... Well, Lord High, anything you like. In short, your poobar, Evans. Thank you, sir. I'll see the war commission tomorrow. Talk him out of signing that peace treaty. This is the chance of a lifetime. There's one thing. They mustn't know I'm unofficial. Oh, no, sir. Now, let's see... Oh, Lenya, I'm sorry. It is all right. I was just going. Well, I'll see you home. Oh, please do not bother. You must be busy. Well, I am rather, darling.  Of course. Good night. Good night. I'll call you tomorrow. Yes. Please do, Steffa. Minister Locke? Yes? You have just promised this commission England's trade and recognition. And return for which Russia is to continue supporting the Allied armies at the front. Exactly. Tell us, Mr. Locke. On whose authority do you do this? I represent England. You lie, Mr. Locke. You represent England only unofficially. Your purpose in coming here was to delay the making of a separate peace. You spoke well, but only expressed the opinion of one of England's many private citizens. Seems that you know something of my affairs, gentlemen. May I ask how you know? It is our business to know many things. Your excuse, Mr. Locke. We advise you to leave Russia as soon as possible. One moment, please. Gentlemen, it's quite true. I am here only in an unofficial capacity. But allow me some time to communicate with London. What for? I'll tell my government that in return for your not opening peace negotiations, I promised you immediate help. Money, ammunition, troops. My government will back me up. I know it. Well, gentlemen? We will allow you three weeks, Mr. Locke. We must be assured, however, that during that time England will do nothing to hinder our government. I pledge England to that, sir. Send your communication. Thank you. Thank you, gentlemen. We shall keep our promise, Mr. Locke. Let us hope that you keep yours and those you have made for England. I think England's integrity is well known, sir. Good day, gentlemen. Remember, Mr. Locke? Three weeks. Well, sir, how did it come out? Oh, badly, Evans. They knew I was acting unofficially. They knew it, but how are... Yes. Oh. That's how they knew it. She told them. Who's there? It's you. You said you would call. I had to come to see you. What for? Come to ingratiate yourself again so they can betray another confidence? Oh, no, no. Don't deny it. You were here when that dispatch came. You overheard what I said. You told them. How else could they know? You had no intention of denying it, Steffa. It was my duty. Really? And I suppose last night when you... you said you loved me, that was all in the line of duty, too, was it? Last night was beautiful. So beautiful that what you said just now will not even spoil the memory of it. Goodbye, Steffa. Oh, no, wait, Elenia. I'm sorry. I didn't mean what I said. Come here, darling. Oh, dearest.  You believe so strongly in your ideals, don't you? Don't you see how wrong they are? Well, my ideal is peace. Peace and happiness for Russia. You call that wrong? It must be wrong to let down one's friends. There must be loyalty between nations. This separate piece, it's a rank betrayal. You mean that England will be inconvenienced because Russia refuses to share the burden of England's war. No, we're fighting for the world. Oh, you think your country is the world? Well, at any rate, we kept on fighting when the Russians threw down their guns and ran away like a lot of frightened dogs. Why did I do that when I loved your soul? Darling, I suppose because we just aren't big enough to see over our ideals. Elenia. Let's listen in for a moment now on a little girl and her mother.  Mommy, what are you going to do? I was going to luxe the things I was wearing this morning. Can I come with you? Well, of course, honey. That slip looks clean. It's clean. Why do you wash it? Well, I found it pays to luxe things after every wearing. They stay pretty and new much longer that way. You see, dear, if I put them into the hamper, the perspiration dries in and it's apt to rot the threads. That's true of stockings, too.  Oh, mommy, I want to luxe all these things after you're through. It looks like such fun. Grown-ups, too, think of fun to luxe things. It takes less than a minute to whisk up a nice froth of suds, swish things around a few times and toss them into clear water. Less than a minute, mind you, and yet it keeps silks like new actually months longer. If you haven't a box of luxe handy to the bathroom wash bowl, make a note to get some tomorrow. And here again is Mr. DeMille. British agent continues, starring Errol Flynn and Francis Farmer. After promising help to the Russian government, Stephen waits to hear from his home office in London, waits with growing anxiety for the official confirmation of his promises. It's late evening, near the end of his three weeks of grace. Alone in his study, Stephen paces the floor nervously. The doors flung open, and Elenia stands on the threshold. Elenia, you shouldn't have come here. With your cars watching me, they may suspect you. Something has happened, Steffa. I wanted to tell you, rather than have you humiliated by learning it from them. What are you talking about? British troops under General Poole landed on Russian soil this afternoon. Why then? That's the answer to my telegram. I've won. No, no, Steffa. You have lost. What do you mean? They have come to fight against the revolution. But they couldn't do that. I promised it. It is true. I saw the official telegram. What did they mean? England betrayed you. This perfect country of yours, in spite of all its high ideals, ruined your career. Humiliated you before the world. You see, it was you who were a little foolish, Steffa. Not a bit of it. One's either useful or one isn't. My career. What's that when men are dying by hundreds in the trenches every day? England hasn't let me down. I let her down. I knew the promises I made were lies. I just wanted to delay that separate piece. That's all. I never sent that telegram. Oh. You'd better go now. You'll only get in trouble being here. You will not see me again, Steffa. I'll see you. The government is moving to Moscow. Naturally, I go with it. We shall not see one another, Steffa, even in Moscow. You think more of your duty than you do of me, eh? Yes. And I worship you. That is why we must not go on together. It would kill the most beautiful thing I'll never know, our love. And I want it to live. Oh, do not see me again, please. Goodbye, Steffa. Goodbye, Ling. Drop that grip right here, Evans. Yes, Mr. Locke. Open the windows, will you? It's stuffy. Yes, sir. Well, Puba, make yourself at home, because this is it. It isn't until the checker asks me what the blazes I'm doing in Moscow. I might ask, sir. What are you doing here? I'm not exactly certain. All I know is that the government's here. I've a hunch that if I can establish some sort of a contact with them, they might be coerced, weedled, or tempted back into the war somehow. That was the doorbell, sir. Was it? That rather tinkling noise, do you mean? What do you suppose it means, sir? Well, probably someone wants to be let in. That must be it, sir. Welcome to Moscow, Evans. Mr. Madill and Mr. LaFarge. Hello, Mr. New. Hello, Madill LaFarge. Tito, how'd you know I was here? They're spies, eh? Sure, we've been here a week already. Sit down, sit down. Look, I'll take up a drink for you. No time, LaFarge. What? No time for a drink? We are in a hurry. What's the matter? Perhaps you had better close the door. Yes, Evans. Yes, sir. Well? I suppose you know that sir has been assassinated. Yes, sir. It's hardly news right now. Well, an attempt is being made to reorganize the White Army. What? By whom? There are two let-each officers here. All do, and the nourishment Callaghan from this house. Their chance? They need money, as usual. The White Army? To fight the revolution. If they win, they'll put Russia back into the war. You'd like that, Locke? I could. I could ask my government for five million francs. Eh, we thought perhaps you... No, I have no government funds of my command. You could give Callaghan a draft on London. Yes, I could. It's a long chance, of course, but... And very unhealthy, if we're caught. Well? Where are these men now, Zabodo and Callaghan? They've got a hideout in a garret. We've been using it as headquarters. It's the only place in Moscow that has a keyhole without a spy-z and nestled in it. All right, take me there. The only thing left to do. Fight. Okay. Dots and Russia, White Army reorganized. Mutiny breaks out in Russian ranks. Mutiny and Russia. The first new mutiny, Russian secret police hot-laders. You sent for me, Pavlo? Yes, Elenya. Sit down here. You're tired? A little. We cannot stop now. You know that. Why did you want to see me? It's about your friend, the Englishman. Oh. You've seen him since he came to Moscow? No. No. Why, Pavlo? We have reason to believe that he's supporting Zabodo and Callaghan. And why are you so sure of that? At any rate, he's being credited with it. And you want a scapegoat? We must have sufficient evidence to arrest him. What do you want me to do? Obtain that evidence. If he's arrested now, he will only be deported. Later, he will be shot.  Is that an order? It is. I have no choice, then. You're familiar enough with his habits to present yourself to a certain Lettich officer named Callaghan. Give him this cheque. Tell him it's from Locke. Demand a receipt in full for all monies paid to Callaghan by Locke so far. If the receipt is over the amount of the cheque it will prove that Locke has contributed other money. Your knowledge of Locke and the gift of the cheque should be sufficient to convince Callaghan that you're an accomplice of Locke's and you will have the evidence. I hope you are wrong, Pavlo. But if you are not, you will have it. Tonight? No, no. Tomorrow morning. Robert Hill, have you got it? Who's it from, man? Message from Cromelon. You better decode it, man. Let me see it. What does he say? Wait a minute. Where is it? Cromelon's failed. The mutiny's been suppressed in Kiev. That's nice. That makes everything just fine, doesn't it? The last hope is that Tito del Val has been able to find Zabordo. He's holding the cadets in line. Now, if he doesn't, there's only one place we'll find this little rebellion, and that's up the flu. That's Lenin. He's the brains of the government. If he'd only make one mistake, relax his grip for 24 hours, the whole government would go to pieces. Yeah, and a nice earthquake with a tidal wave would help, too, if you want to talk in terms of long shots. It's Tito. Open the door. I ran all the way from the station. Well, did you find Zabordo? Dead. What? Dead? I've lost chance. Now, what do we do? I don't know. I don't know. You'd better get some sleep, Locke. You're on the verge of talking to yourself. Yes, I'll get along. Back to my rooms. Sure. You know there's an old American proverb. When you're behind the eight ball, there's nothing to do but sit there and wait for the break. Go ahead, Locke. Who's that? Lenin. It's Joe. I have been waiting for you. Lenin, I wanted you to be here, too. I need you. Oh, do not say that. Don't. It's true. Everything else has gone to pieces. You're the only thing that's left of me. Stop, Stefan. You don't know what you're saying. Yes, I do. I made a mess of everything, Lenin. England backed the wrong horse all right when she gave me this job. I need a lot of cheering up this time. I have not come to cheer you, Stefan. I cannot do that, ever. You are here, darling. That's all I ask. Stefan. If only you could understand that a woman can love a man yet fight against him. What? You have always put your country before everything, have you not? Well, so have I. Go on. This morning, I... I pretended to be your agent. Go on. The Chakar wanted evidence on which to arrest you. And you volunteered to get it? And they told me if you were arrested now that you'd only be deported, but that later you would be shot. I see. Well... There is a man named Telehand, to whom you gave a promissory note on London. I persuaded him to let me have it. Oh. Yes. But don't you see it was to save your life as well? Because of the less evidence of the Chakar? No, not yet. Really? Well, that's a pity. Because now you've lost the chance. You've been pretty clever, Lenya, but you're going to be cheated of the praise that was coming to you. You wanted it both ways, didn't you? And gratitude of the state and my admiration for patriotism that made you able to betray someone you pretended to love. Well, it's not going to work out like that. What are you going to do? I'm knocking the door. The country may have no further use for me, but I'm not cashing in without a struggle. I'm sorry to upset your plans with the Chakar, but the inside of a prison doesn't appeal to me. So you're staying here for as long as it suits me to keep you. And if I said that I wanted to stay? What do you mean? If I wanted to stay here with you. How long? As long as it suits you to keep me for life. Give up everything? If you would. I'm out of the game. That's easy. But with you it's different. Lenya, we can leave Russia together. I would not have believed that together was the loveliest word in the world. Lenya, I love you darling. I love you, Stefan. I thought everything in my life was over and done with. Now I find it's only just beginning. Have you ever been in England, Lenya? I spent a summer in Sussex. Well, one day we'll have a house in Sussex. And in the morning when the world's waking up we'll go out through the wet grass and see the motherly old downs heaving themselves out of the mist. There'll be no more rumble of those guns from the west in front just the sound of a morning breeze stirring in the pines. I'll hold your hand then and say forever, Lenya. Stefan, what is that noise? Sounds like a crowd. Open the window. It is a crowd. Look at them. They're filling the whole square. Something has happened. Stay where you are. I'll answer it. Who is it? It's Tito and Madill. Tito, Madill, what's the matter? Close that door. What's the matter? What's happened? Plenty. Lenin's just been shut. He is dying. Lenin's shut? When did this happen? Half an hour ago. Can you see what it means? With Lenin out of it we still have a chance. A chance? Where's LeFage? Quick, on to find Callaghan. If we can rally the outlying districts we might pull through. It's worth a try anyway. What are you going to do? Oh, it's all right, Lenya. You're not going to fight. You're going to start all over again. It's my duty. But what of us are alive together? We were going to England. But I can't go now, darling. Not right away. I see. Then it meant nothing to you. I mean nothing to you. Please, Lenya. I can't expect you to understand this, but it's a chance again. It's a chance to help England. A chance for mom, Madill, and bloodshed. That is what you mean. That's what you want. Oh, haven't there been enough of that already? Haven't enough men died because of you? Darling, Lenya. You're to blame for all this.  Well, go on. Pass out your guns. You haven't married enough men yet. Shoot them down. Shoot them all down. But do not expect me to stand by watching. Lenya, come back here. Come back. This is the Columbia Broadcasting System. And then Francis Farmer continue our play. We hear from a woman who served for several years as a British agent at the very scene of tonight's story. She is Natalie Bucknell, the director of Metro Golden Mayor. Last year, Mrs. Bucknell spoke to us on film research. Tonight, it's about her thrilling war experiences. Decorated by the Tsar for heroism as a nurse, she later joined the famous Second Women's Battalion of Death. Marrying Lieutenant Commander George Bucknell, an English naval officer stationed in St. Petersburg, she became a British subject. But like the hero of our play, Mrs. Bucknell was not officially connected with the British government. Ladies and gentlemen, Natalie Bucknell. But I'd like to say first of all, Mr. DeMille, concerns neither spying nor research. Merely as one of the countless women who must feel the same as I do, I want to thank the sponsors of this program for a product which saves us women so much time and money. Like a plate. Now for undercover experiences. I took place nearly 20 years ago at the time of war. And I sincerely trust no one will interpret my remark as a reflection against the nation for which I have every respect. Tell us, Mrs. Bucknell, how did you become a secret agent? It was at the time that Bolsheviks raided the British embassies in Petersburg, August 1918. A few months after they had made their separate peace with Germany. I was alone in a room when Captain Kromi, a British intelligence officer, dashed in followed by the raider. He was shot before my eyes and died in my arm. Then the rest of us, about 10 Englishmen and 5 Americans and Frenchmen, were seized by the Chukka and imprisoned in Petersburg, August 1940. Did you escape or attain your release? I didn't escape, Mr. DeMille. I was released after two days. They thought that by letting me go, they could follow me, find out where we kept our funds, and intercept any communications that might come from England. Rather an uncomfortable position. What did you do? It made me surprise you to learn that I went at once to the German Shared Affair. He may have been an enemy, but he also was a gentleman. Through him, I was able to get word back to England. What about your companions imprisoned in the fortress of Peter and Paul? I managed to establish contact with them by looting my pursuers and disguising myself sometimes as a peasant, sometimes as a servant girl, or a nurse. By bribing first the guard and then a woman cook, I was able to get inside the prison several times. The cook admitted me in exchange for a pair of fashionable high-level boots. Through her, the messages reached the prisoners. I knew that the more ingenious methods of concealment were the ones most likely to be found out. So I used the simplest. And my most successful rule was to hide messages in cans of French sardines. After six weeks, the Bolsheviks decided to release our men if England would also release a group of Russian officials imprisoned in London. This was arranged, and the exchange negotiated in Sweden. But it wasn't until more than two years after the killing of Captain Croming that England sent an official representative again to Russia. I presume it was for this work, but you were awarded the Order of the British Empire. Partly for that, perhaps, and partly for what I was able to do when my husband and I returned a few months later to the south of Russia. He was then the British Navy's officer attached to General Dnykin's staff. It was my job, again unofficial, to remain at headquarters and convey the news to him at the front. I also was in charge of a military hospital. Looking back at these experiences, Mr. DeMille, they seem like a nightmare, yet many of the things I learned during the war are very helpful to me in dealing with the problems of research that arise in our pictures at Metro Golden Mare. And now, let's listen again to the play. Very thrilling, Mr. Dnykin. Errol Flynn and Francis Farmer resume the story of British agent. With Lenin between life and death, mob hysteria rises to fever heat. Blame for the shooting has been laid to Stephen Locke and his friends, and the net of the jacar tightened slowly about them. In the Garrett hideaway, their storehouse for guns and ammunition, Stephen and Madill work doggedly far into the night. In the flickering light of a candle, they check a list of their forces. Lundrovich, 20 men. Send him 10 more rifles, 200 rounds of ammunition. Right. Next customer. Petrovich, 40 men. Mr. LaFarge. Come in, LaFarge. Any news? Yes. I have news. What's the matter? Del Val is dead. What? Dead. They shot him an hour ago. God, why did it have to be him? Well, I'm going to try to get through to General Stefanovic. He has the strongest counter-revolutionary forces in action. I need 500 rubles, Stephen. Right. Here you are. Oh, by the way, you fellows, I hear the jacar has a list of all counter-revolutionaries. Ha! We have featured. Hello. Au revoir. Au revoir. Chirot. So long, LaFarge. All right, let's get on with him. Who's the last one? Petrovich, 40 men. 30 rifles, 400 rounds. Androvich, 10 men. 10 rifles, 100 rounds. Koskoff, 15. 10 rifles. What's that? A machine gun. Kill him right in that window. They got LaFarge. He's down there. He's lying in the street. He's dead. Del Val, now LaFarge is gone. I got him. Killed him. The dirty rat. Easy, man. They killed him. Put down that gun. I'll show them. Put it down.  I locate the rifles, ammunition, everything. Sorry, Locke. Lost my head. Hand me my coat, will you? Where are you going? Look up a friend of mine. Who? General Stepanovich.  You'll never get through. Don't worry. I'll get through. How? I've got to think that up on the way. Kovrov speaking. What? Where'd you pick him up? Hold him, of course. He won't, eh? We'll see. Well? They've just arrested Medeo. Medeo? On his way to meet Stepanovich. You know him, Elena? Yes, yes. I know him. He refuses to talk as yet. We shall have to make him talk. What can he tell you? He's the only one left who knows where Stephen Locke is hiding. That's why I gave orders not to shoot him. We must find Stephen Locke. But why, Pavelov? Why is it necessary to hunt down one lone man when there are so many? Because our government is teetering. If Lenin dies and if these riots continue, it will fall. These riots must be stopped. Locke is one of the sources he must be found. It's no longer a thing in terms of the present or of ourselves, Elena. Love is of small concern now. I want you to go and see Medeo in his cell. He knows you love Locke. Gain his confidence. Find out where Locke is hiding. No. You refuse? Oh, haven't I done enough? None of us have done enough. But I love him. I love him. You will go. Do you hear? No, please. You will go. Long time. Hello, Elena. I am sorry you are here, Medeo. Merely a stopover. I'm leaving tomorrow. You are to be shot in the morning? It was mentioned in my conversation with the chakar. Locke, where is he? I'll tell you tomorrow, at noon. If only I could reach him. You were rather fond of him, weren't you? I love him. You know there used to be four of us. It wasn't bad then we could play poker. But now with the rest of us almost gone, there's nothing for Locke to do but play solitaire. He's playing alone hand now. He can't win. If he could only get out of the country, but how could he? I might. You might? I could get him out. You didn't come here as a spy, did you? No woman could be that rotten, could she? No. All right then, I'll tell you where he is. Go to number 11, Lou Bianca. It's a garret over two vacant stores. You knocked three. It is a garret over two vacant stores. Knock three and two on the door to the left. Ah, good work it in you. I'll send a squad. Oh, he isn't there now. He will not be until nine o'clock. It's eight now. But the place is filled with ammunition. He could kill twenty men before they reach the stairs. Then the only way is to blow it up. The time bombs will do the trick. We'll plant it early, give everyone a chance to stand clear. At what time? We'll play safe. We'll set a bomb for ten o'clock tonight. He's sure to be there. He will be there. At least, he'll never know. No, he will never know. Who's out there? Who's at that door? I'll shoot. Who is it? Why are you here? I wanted to be with you. I see. Did you come in the line of duty? No, no, Sifa. I have done my duty. It has finished. It is just you and I now. Listen, dear. Listen to me. It is nine o'clock. In an hour, you and I, we are going away together. What? It is all arranged. Your work is done. So is mine. But how? I'll never get past that door, darling. They shoot me on sight, you know that? Do not worry, darling. We have an hour to tell each other how happy we are. How happy we are going to be. A whole hour or two. That's for what time is it? Three minutes at ten, darling. Why? Oh, it seems to have gone so quickly. Darling, is there anything wrong? Is something I'm told? Oh, no, no, darling. Stepan, excuse me. Hold me tight. Tell me you love me. Tell me. Tell me, Stepan. Oh, darling, I love you. I love you, darling. Spill holes. Why, I wonder. Why? I do not know. Wow, they're yelling something. It's something about...it's about Lenin. Lenin lives. He's going to recover. Lenin is peace. The terror is over us, Stepan. What does it mean? It means we are free. They will empty the prison. Then my deal is saved. And we are, darling. We can go to England. Oh, God. What? Now get out of here, Stepan. We have got to get out of here. Unlock the door. But why? Do not stop now, please. Please, Stepan. Open the door. Oh, quickly. Lenin, are you mad? Get down the stairs. Out on the street. What's all this about? We have got to get away from here. Out into the street. Give me a hand. Here we are. Look. Out that way. Stay near me, Stepan. Stay near me. Do not leave me. It's all right, darling. We're out now. Lenin, will you please tell me what you're doing? Lenin. Are you all right, Stepan? Yes, darling. You knew what was going to happen. Yes, but...but that is over now, Stepan. We are free to go. Our life is beginning again. You knew what was going to happen, and you stayed with me. That was my duty, too. Lenin and Francis Farmer will join us later. If you saw such hit pictures as David Copperfield, Liable's Lady, The Thin Man, A Tale of Two Cities, and The Good Earth, you've seen on the screen the name of tonight's guest, one of the world's most famous exceptions, the rule that it takes a man to make clothes for women. She's a native of England and established her reputation in stage and production throughout Europe. Then in New York, and finally in Hollywood. Now at Metro-Goldwyn-Mare Studios, she creates styles for stars like Myrna Loy, Virginia Bruce, Louise Reiner, Maureen O'Sullivan. Ladies and gentlemen, Miss Dolly Tree. Thanks, Mr. DeMille. I could begin to talk now about nothing but locked flakes and still not have time enough to say half what I'd like to about your wonderful product. That's very nice. We want to hear something about clothes, too. But you go ahead and I'll interrupt you when I think it's time to change the subject. Fine. The outstanding quality I found in luck is the feeling of utter cleanliness that it gives to clothes. It leaves them with a freshness no other soap seems to impart. Our wardrobe department at MGM uses locked flakes constantly, just as they do at every other major studio. What I've discovered personally is how good they are for silk stockings and woolen. It keeps a woolen sweater, for instance, just as soft, fleecy and elastic as when it was brand new. I've also found out that women have such faith in luck that they don't work so hard when laundering a garment. And because of this fact that you don't have to use so much effort with luck, your clothes don't lose their shape. Luck means less work and a better job. Thank you, Miss Tree. But what about the clothes themselves? What makes a woman well-dressed? An ability to select simple clothes of good quality with the thought of the most important thing is not her wardrobe, but herself. What I mean is that clothes should emphasize the woman first and then the style. Now, do clothes make the woman, or does a woman make the clothes? Well, everybody has some one good point to emphasize. If a girl has lovely feet and legs, she should spend most of her money on shoes and stockings. Her hands are particularly nice. It's smart to attract attention to them by wearing conservative jewelry and keeping her fingers well-groomed. She has lovely teeth. Let her wear a collar or a necklace that will direct the eye to her smile. Don't pay any attention to styles unless you're comfortable in them. Wear the kind of clothes in which you feel the best. Then you'll look your best. Has the coronation been as important an event in the realm of clothes that it has been to history? The coronation hasn't affected clothes a great deal, Mr. DeMille. Though the Duke of Windsor and the former Mrs. Simpson have created some style trends, the Duke's day in Austria has started a vogue for short toerolian sweaters made of thick, heavy wool. While one of the popular new colors, a sort of hyacinth shade, is known as Wallace Blue. Apart from colors and styles, Mr. Tree, have there been any really new ideas in clothes recently? Well, we're popularizing a new type of fabric, Mr. DeMille, called hand-painted musseline. This material is like a stiff chiffon with the design painted on by hand. For those who can afford it, hand-painted musseline assures absolute individuality in gowns without a chance of them being copied. But what about those who can't afford to gild the lily in that fashion? Well, if your income is limited, don't buy many clothes but get good ones. You want an example of what the right clothes can do. Pay attention to Euna Merkel and Saratoga. For the first time, it's an opportunity of playing a glamorous role. Working with such a lovely girl as Euna, my job was really easy. But it proves what clothes can do in creating a new personality. On behalf of the ladies, thank you, Mr. Tree. A check-up of our styles since their last appearance in the Lux Radio Theater shows that Errol Flynn, after spending several weeks at the Battlefronts of Spain, has returned to the comparative calm of Warner Bros. Studio. This is a film with Kay Francis called Libelled Lady, called Another Dawn. While Francis Dawn, for Francis Palmer, has made the toast of New York for RKO, and has just begun to get her feet wet and ebbed-eyed, another Paramount picture. Am I fact straight, Francis? Straighter than my tongue, I hope. But they're not detailed enough. What about that trip you took to Spain, Mr. Flynn? Well, I don't think I quite realized what it was going to be like. Anyway, I know now what it is to hear shells exploding over your head and machine gun bullets whining past. Believe me, it's pretty frightening. But of all the horrible things I saw down there, I was convinced of one thing, and that is that the only cause in the world today worth fighting for, and that every man and woman should fight for, is the cause of peace. Don't I recall reading in the newspaper that you were wounded over there? Well, I wasn't actually wounded, I made a bump on the head, but it was a bit more serious than that. What happened was that a large caliber shell burst about 50 yards away from me on the mid-front. I was hit on the head by some falling debris and suffered concussion for several days. But suppose I do a little cross-examining. What's this I hear, Francis, about your going east this summer to do a play? Oh, yes. Well, it's just that I want to work in summer stock. I feel I need as much stage work as I can get. Well, the reason I'm here today, Mr. DeMille, is because it's the next best thing to being on the legitimate stage again. To all of you, my sincere thanks. Goodbye, Mr. DeMille. Goodbye, everyone. Goodbye, Francis. Thank you, Miss Farmer and Mr. Flynn. Ladies and gentlemen, this is your renouncer, Melville Roy. A brilliant production has been arranged for your entertainment next Monday night and will be told in a moment by Mr. DeMille. Mr. DeMille, as Sir Walter Carrister. Don Terry, as Medill. Joseph Kearns, as LeFarge. Cy Kendall, as Pavloff. Frank Nelson, as Tito DelVal. Lee Malar, as Commissioner. Lou Merrill, as Mr. X. John Lake, as Dmitri. James Eagles, as Peter. And Ross Forester, as the newsboy. Mr. DeMille and Miss Farmer appeared through courtesy of Paramount Studios. Mr. Flynn, Warner Brothers. And Lewis Silver's 20th Century Fox, where he was in charge of music for the new film, This Is My Affair. If you haven't yet put your blankets away, plan to lux them the first bright day that is also fresh and windy. Lux won't shrink woollen. Blankets stay warmer, cared for the lux way. You see, the warmth of a blanket depends very largely upon the amount of nap. When a blanket shrinks and mats and washing, it loses its fluffy nap. Then it won't keep warm. In Farmer's Bulletin Number 1497, the government warns against rubbing, heat, and harmful alkali. You avoid all these, washing blankets the lux way. It keeps them soft and fluffy. It's so thrifty too. News now from our producer. Twice produced on the Broadway stage, twice in motion pictures. Our play for next Monday night is destined, I think, to rank as one of the most dramatic stories ever presented in the Lux Radio Theater. Madame X. Hollywood has few more convincing emotional actresses than the one who comes to our stage in the title role, Anne Harding. And starring with Miss Harding, James Stewart. Our sponsors, the makers of Lux Flakes, join me in inviting you to be with us again next Monday night when the Lux Radio Theater presents Anne Harding and Madame X with James Stewart. A few hours ago, Miss Jean Harlow was graduated by death to whatever the next stage may be. The screen has lost one of its most brilliant personalities. And we who knew her are kind and gentle friend. Hollywood Tonight holds many heavy hearts. This is the Columbia Broadcasting System.


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Hello, my name's Natasha and my name's Alexa, and we both work in the admissions team at Prague College. We're looking forward to welcoming our new students in the upcoming semester. Applications are open for both February and September 2021, so if you're interested in studies with us, please don't hesitate to get in touch. Due to the ongoing pandemic, for the February 2021 semester, we want to give students as much choice and flexibility as possible. What that means is that you will be able to start your studies in Prague in person with face-to-face teaching if government regulations allow it at that time, and of course we will be following all safety precautions. If, however, for whatever the reason you prefer to start your studies from wherever you're currently based, you have the option to do that through our digital campus. And you can study for either part of the semester or indeed the full first semester of your studies entirely wherever you're based through our digital campus. And then you could join us in Prague from the September 2021 semester. It's up to you. And the great news is, is you don't actually have to decide now. If you know that we're the university for you and you want to start your program in February, then you can complete the admission process. And once you've confirmed your place with us, you can tell us closer to the start of the semester in February how you want to start your studies, whether in Prague or through our digital campus, and we'll support you no matter which option you choose. As a university, we have a personal approach with a student focus and small class sizes. This means that we're adaptable and deliver an excellent student experience regardless of the circumstances. An online teaching doesn't mean you have to study alone. We offer interactive student experiences and extracurricular activities. Thus far have included our Halloween and welcome parties, our visiting artist and lecture series, our master speaker series, and media innovation and technology series. If you would like to start your studies in 2021, the great news is that you can apply now for either the February or the September semester and the full application process can all be done online. In the admissions team, we're very happy to arrange individual calls with you to arrange calls with our current students so you can learn more about the student experience and you can even visit a class through our digital campus. In the admissions team, everything is communicated in English, but we also have colleagues who speak Czech or Russian if you would prefer to speak in either of these languages, so don't hesitate to contact us with your questions. We look forward to hearing from you and hope to welcome you at Prague College soon.


There are some serious functions that are really missing from Windows 10 and Windows 11. Obviously, there are multiple functions that should be there by default, but you can use those functions using these four apps that I'm going to recommend to you today. So, number one, go for Duplicate Files Fixer. Known for spotting and shredding duplicate files for years now, Duplicate Files Fixer reviews all the duplicate files in the system closely and removes them automatically. Once the duplicates are detected, one single click and you can get rid of them. So, get in your system today to ease up the process of manual search of duplicate files and of course, save user mode of space and time. Check out the link of the app in the description below. Number two, Speaker. In Windows 10, we have a tiny little speaker icon at the bottom that controls the volume. However, when you are doing multiple things at the same time, like Zoom session and Spotify together or audiobook with the live stream, you should be able to control each app's volume individually without going into different apps. So, for this, go to Microsoft Store to download your trumpet and install it. Now, check the volume button at the bottom and see that all the apps that are open are actually broken out and you can control the volume individually. Next is Search Everything. Open the website voidtools.com and install the tool.  Click on that and then select a show search window or new search window. Click on that and then watch how quickly this is when you type. The results are amazingly quick. Try anything to find and I'm sure you will get it on the screen immediately. Last is tabs in the find explorer. I'm sure we all want this. This utility solves the issue of find explorer having no tabs. So, just go to qttabbar.wiki.com and install it. Simply open up find explorer, click on new, unbeat the options. See a little arrow, click on that and then click on QT bar. Now, right click on any of the folders, select open in new tab and there it is. Now, you get simply bounce between the various tabs all within find explorer without opening up the other one. So, that's it guys. These four apps will definitely change your experience on Windows. If you want to recommend any more apps to us, our common section is open for you and don't forget to subscribe to our channel.


Hello and welcome to the session. In this session we are going to discuss the following question and the question says that if matrix x is equal to matrix containing elements 3-1, 1, 2 show that 5x-x square is equal to 7i where i is the identity matrix. We are given that the matrix x is equal to matrix containing elements 3-1, 1, 2 and we need to show that 5x-x square is equal to 7i. For this first we shall find x square which will be equal to x into x that is equal to the matrix containing elements 3-1, 1, 2 into the same matrix containing elements 3-1, 1, 2. On multiplying these two matrices we will obtain a 2 by 2 matrix in which the first row first column element will be obtained by multiplying the first row of the first matrix by the first column of the second matrix that is 3 into 3 plus 1 into minus 1. The element in the first row second column is obtained by multiplying the first row of the first matrix by the second column of the second matrix that is 3 into 1 plus 1 into 2. The element in the second row first column is obtained by multiplying the second row of the first matrix by the first column of the second matrix that is minus 1 into 3 plus 2 into minus 1. And lastly the element in the second row second column is obtained by multiplying the second row of the first matrix by the second column of the second matrix that is minus 1 into 1 plus 2 into 2. This will be equal to the matrix containing elements 9 minus 1 minus 3 minus 2, 3 plus 2 and minus 1 plus 4. This will be equal to matrix containing elements 8 minus 5, 5 and 3. So now we have x square is equal to matrix containing elements 8 minus 5, 5, 3. We shall now find 5x. 5x will be equal to 5 into the matrix containing elements 3 minus 1, 1, 2. If we multiply a scalar by a matrix it has to be multiplied by every element of the matrix. So this is equal to the matrix containing elements 5 into 3, 5 into 1, 5 into minus 1 and 5 into 2. That is equal to the matrix containing elements 15 minus 5, 5 and 10. We had to show that 5x minus x square is equal to 7i. So consider the LHS which is 5x minus x square. This will be equal to the matrix containing elements 15 minus 5, 5, 10 minus the matrix containing elements 8 minus 5, 5, 3. To subtract 2 matrices we have to subtract the corresponding elements of the matrices. So this will be equal to the matrix containing elements 15 minus 8, 5 minus 5, minus 5, minus 5 and 10 minus 3. Which is equal to the matrix containing elements 7, 0, 0 and 7. As we can see 7 is common so we take 7 out and we get 7 into the matrix containing elements 1, 0, 0, 1. This is equal to 7i where i is equal to the matrix containing elements 1, 0, 0, 1 which is the identity matrix. So here we can see that 5x minus x square is equal to 7i. This completes our session. Hope you enjoyed the session.


This lecture is entitled Carlo Moderno and the Italian Baroque and in today's lecture We're going to take a quick look at Carlo Moderno Look at two examples of his most famous building facades and try to understand what his unique role was in the Italian Baroque First thing you should understand about Carlo Moderno is that he's considered a transitional figure Transitional figure And when I say transitional figure what I mean is transitional between Renaissance and Baroque He was actually trained in the late Renaissance and his early career began at the end of the Renaissance But he sort of ushered in a new style the new Baroque He's seen as one of the main figures responsible for doing that So he kind of bridges the gap between the two worlds and is an important figure in that way connecting these two worlds Now the two images we're going to look at today are the facade of Santa Susana which you see on the left and the facade of St. Peter's Basilica, which you see on the right and These are arguably two of his most important building facades Santa Susana was one of his first commissions and The appearance of the facade is very typical of Carlo Moderno's facade With the two levels the triangular pediment at the top the scrolling volumes at the side all of these classical elements the division of space with the columns and pilasters as well as the strong focus on the central portal St. Peter's Basilica the facade is also very important Largely because of what it is. It's St. Peter's Basilica, which is the heart of the Catholic Church The heart of the counter-reformation Let me write that down really quickly heart of Counter Reformation So clearly a really important commission in that regard Now you have some reading assignments about Carlo Moderno So I'll let those speak for themselves and Santa Susana is discussed in those readings But I wanted to put it on the screen here so you can take a look at it and examine it as I discuss St. Peter's Basilica, which is the main focus of today's lecture Now as you probably remember from earlier art history courses St. Peter's was obviously a really important commission and it was built over the course of many many years And it's kind of a complicated Commission because there's the old St. Peter's which was built in the fourth century by the Emperor Constantine and then there's what's known as new St. Peter's or just St. Peter's which is what stands today and that plans for that began as early as the 16th century and What might have Made the church want to rebuild its main church. Why would they have wanted to create something new? Well, obviously again, everything goes back to the Protestant Reformation So in the 16th century as the Catholic Church is threatened by the Protestant Reformation They decide we're gonna get rid of old St. Peter's and build something new and impressive that will show our power and authority So again, it's a really complicated commission and a lot of different people worked on it, but essentially Carlo Moderna can be credited with the facade and Let's look at this facade. Let's try and See what we think is Baroque about it. What's interesting about it and we looked at this in our Lecture introducing Baroque architecture. So let's review some of the things we discussed Well, we mentioned the use of the colossal order Which I'll write down again colossal order, which if you recall is grand scale unlike over here at Santa Susana and The architecture that was more typical of the Renaissance as well We have Massive scale Architectural elements look at these columns going from the ground level all the way up to the ceiling level And what is the implication of that? What is what does that? Suggest to a person may be standing in front of it. Well, it certainly is more awesome and imposing and authoritative so that's very much in line with the goals of the Counter Reformation Church, right to prove their own authority and power and So that's one thing that we see right off the bat and I mentioned last time This is something we'll see a lot in Baroque architecture and we see it here And it makes perfect sense for the church that it's built in don't see that in Santa Susana, which is a smaller More intimate setting so it makes sense that you wouldn't see it there But the facade of St. Peter's Basilica is kind of showing us a hint of what's to come and later Baroque now another important thing that you should know about Carlo Moderna particularly and you do see this with other architects, but Carlo Moderna was famous for drawing the visitor's eye to the central portal of his church facades Let me write that down your eye to Central and that might sound like a strange thing. I mean, how does architecture draw your eye, you know It's not like there are arrows pointing at the central central Portal, but in a sense architecture can do that through other architectural elements it can Direct your attention to what it wants to direct your attention to so how exactly does he do that on both of these church facades? well in one sense he does it By creating a rhythm that that attracts you to the central portal and what I mean by that is you have All of these classical vertical elements on the facade of both of these churches kind of marching along the facade But notice how the spacing between these elements gets closer as you move towards the center And this is just a little trick that brings your eye towards the center And not only does it bring your eye towards the center, but it creates movement and liveliness in the church facade Another interesting thing he does in both of these churches is these with these same vertical elements He he moves from the flat to the more sculptural these on the outer edges are flat plasters and Then as you move towards the center They're more Defined more three-dimensional columns that are actually sticking out quite a ways from the surface of the building and to even extend that to make it more three-dimensional The wall surface of the facade behind these vertical elements moves forward as well so It seems to actually move move towards the visitor as you your eye moves from the outsides of the building towards the inside of the building so really clever manipulation of this architecture and You know, it's important to remember This is not completely unfamiliar architecture. This is still very much in the classical architectural language classical right with the columns the triangular pediment And all of this stuff that's very familiar by now and even this central portal of the church is It recalls classical temple fronts right with the columns across the front and the triangular pediment So this is Classical language, but it's being used in a very new way and that's really one of the hallmarks of Baroque architecture And much like the sculpture that we've already taken a look at Broke Italy. There's an interest in creating drama dynamism movement and really engaging not just the space around but the people who are looking at it So keep this all in mind as we move forward because these are themes of broke architecture in general