Now, every visitor to Rome knows that the Pope in Latin is the Pontifex Maximus, one only has to confront the Trevi Fountain to be confronted by a superfluity of, to the case of Maximus, presenting themselves as in triumphal form all over this 18th century fountain. The fountain replaced 15th century fountain. This is the earliest depiction of it. Historians usually point to this first Trevi Fountain of 1453, during the Pontificate of Nicholas V, as the beginning, as the point at which the Popes first started calling themselves the Pontifex Maximus. But how and why did the Pope come to adopt what had originally been a pagan and imperial title? The Trevi Fountain is fed by the Aquavirgo, a Roman aqueduct. It's a nearby, just around the corner indeed, from the fountain. The aqueduct is still visible with an inscription commemorating its restoration by Claudius in 46 A.D. And in this contemporary pair of contemporary illustrations, you can see on the left that the aqueduct is made to look like a fountain, as if one had inspired the construction of the other. Indeed, the basin that you can see in the depiction on the left was created at a later date to compound or tighten the parallels between the two. But in fact, what you see on the left is merely a set of arches supporting an aqueduct, whereas what you see on the right is in fact a fountain. So what we can see in putting these two contemporary 17th century images together, an argument for the origins of the papal title, Pontifex Maximus, in the direct imitation of classical epigraphy, in this inscription on the top commemorating Claudius's restoration of the aqueduct. Claudius is called amongst other titles, Pontifex Maximus. But Milton, in Paradise Lost, reminds us that Pontifex Maximus admits of more than one interpretation.  For him, the Pontifex was a symbol of sin and death brought about by the papacy. So this contributed quality of the title, Pontifex Maximus, gives our question its edge, how and why adopt a pagan and imperial title for the papacy. Thomas Hobbes, also writing in the 17th century, speculated that Constantine, the Emperor Constantine, had transferred imperial religious authority to the pope. After converting to Christianity, he had handed over the authority represented by the title to the pope. And as successors to this pope, Sylvester, then justified their supremacy as bishops of the city of Rome, in particular the imperial capital, by employing this repurposed title for themselves. But modern historians have generally looked to the Renaissance revival of classical epigraphy, or generally, as the motivator for the popes adopting this title for themselves. He represented here in the prison of Ciriapra D'Ancona. And yet this merely raises a new question. Why in the 15th century did the pope begin to see himself in the title of Pontifex Maximus? If he had not done so before, why at this moment did he see himself as the Pontifex Maximus? And indeed it leads to a subsidiary question, which came first, the development of an imperial papacy, a papacy which had an imperial identity, or the papal adoption of an imperial title. The text Maximus is current as the title for the pope by the High Renaissance. And indeed Erasmus used it when writing to Pope Leo the Tent, for example, used it in his letters. But it doesn't occur to him ever in his usage of it that it was a historically derived title, as we can see here in this passage from his later dialogue, The Cicerovianus. In this passage, Erasmus is emphasizing the gap that exists between his world and that of Roman antiquity as part of an argument as to why an arch-Cicerovian vocabulary, a vocabulary derived entirely from Cicero, cannot really be applied. He makes the point that things such as the Pontifex Maximus no longer exist. He equates the Pontifex Maximus neither with the hope and his capacity as the head cult of the chief Roman deity, the Flamendialis, or in his capacity as the overseer and the head of the Roman captain, the sumus chivitatis perfectus. So Erasmus highlights here a weakness in a historical ethnographic explanation. That is to say a weakness in an explanation that has the Pope seeing himself as the Pontifex Maximus in ancient inscriptions. Nowadays though, the usage doesn't even present itself, or it doesn't even register as problematic. Papa, one of the other Latin terms for the Pope is also, of course, the Italian word for the Pope, and basically now has an Italian connotation, Papa Francesco, Papa Benedetto, for example. So Pontifex Maximus is the Latin term most casually accepted as simply meeting Pope. And yet it is to this day not part of the official chitulature, despite its usage online. It's not part of the official papal title. So, what questions are we asking here? We've set out the historical question, but there's some other questions that I want us to have in mind as we're going forward. One of them is about looking and seeing. These inscriptions of Pontifex Maximus are around and round from antiquity. So how do people start seeing the Pope in a term commonly used in these ancient inscriptions? People previously saw the inscriptions, but didn't necessarily see themselves in them. And as we shall see, even in the 15th century, Popes are only seen in the inscriptions after the title has been developed by humans for literary reasons, and then adopted, but for reasons entirely removed from that epigraphic presence. So historical epigraphic explanations, you'll see, are postfect. Another question I want us to have in mind is the relationship between style and ideas. So we tend to think normally that style is posterior to ideas. That is, we have a thought, we have an idea, and then we think of the correct style in which we want to present it. But in the Renaissance, and indeed in other ages, where rhetoric ruled, that need not be the case. So our story is also a case study in the social and cultural implications of literary values, the implications of the revived classical Latin of the Renaissance humanists. And in probing here further the relationship between literature and epigraphy and literature and history, we also get at the historicity of the papacy itself. How the papacy began to be conceived as a historical institution. Go back to the beginning. The Romans credited the term Pontifex Maximus, created the office of the Pontifex Maximus to the creation of Pneuma Pompilius, the, well, at least partly legendary, as second king of the Romans in the legal period, and often presented as a law giver, as a creator of institutions. As you can see here, Varro, in his dictionary of the Latin language, presents approaches the title through etymology, whereas Livy and his antiquarian history of Rome much more focuses on the role of individuals in the creation of this office. In practice, the Pontifex Maximus was an elected office. He was the chief of the College of Pontiffs, charged with oversight of religious matters, so that, if you like, the chief operating officer of Roman religion. It wasn't technically the supreme priesthood, nor indeed the priesthood of the supreme deity. Jupiter had his own personal, dedicated priest, the Flamendialis, who would qualify for that role. But it was a position of high status in Republican society, and it was, for example, key to the rise of Julius Caesar, who famously borrowed a colossal amount of money to purchase the office for himself. And having done so, advertised it on a series of coins issued in his name, with the equipment of Roman religion displayed quite prominently on it. And you can see on the coin on the left, Caesar is represented wearing the headdress of the Pontifex Maximus. The term became part of the package of titles and offices, which the first emperor, the founder of the Principate Augustus, took up unto himself, along with various other offices, the king of the people, and so on and so forth. You can see here in his race, Gesti, his autobiography, his discussion of his accepting, taking on this title. He did this in part to present himself as the heir to Julius Caesar, was part of legitimizing his position as the successor to Caesar. But Augustus took this particular role less for power as such than because one of its functions had to do with morality, social morality. And he used his role as Pontifex Maximus as the foundation for his series of attempted moral reforms of Roman society. The other thing that the Pontifex statue presents in wearing full robes of the Pontifex Maximus. Thereafter, the term becomes a fundamental part of imperial titulature down to the late empire. One of millions of examples of board of enjoy in which the emperor Claudius is given this title among many, many other titles, Victor Triumph for the figure of this or that group. Now, historians have long accepted that the Christian emperors maintained the title even as they interfered quite actively in the Christian religion. Early modern historians often argue that the moment Constantine converted to Christianity he seeping in his successor ceased to call themselves Pontifex Maximus, but in fact it's quite clear that the fourth century Christian emperors continued to call themselves the administrator of head of the pagan Roman religion. However, by the late fourth century it seems that this situation was no longer tenable and the historian Zosimus, writing in the sixth century but looking back informs us or tells us that Gratian was the last to use it. It's part of a somewhat labored joke that Zosimus isn't a great joke teller but he makes an attempt in this case to indicate that because Gratian has declined to accept the robes of the Pontifex Maximus there will be a new Pontifex Maximus who is the emperor Maximus who's about to kill him. So that's the explanation for that particular criticism. So, you're looking at in addition the last known epigraphic use of the title which is an inscription commemorating the rebuilding or the restoration of the Ponticestio in Rome in 1770 by the three emperors representing the first valence and creation all of whom call themselves Pontifex Maximus amongst many other titles. It's important to note this context of this last epigraphic usage because this is also the last bridge built in Rome until the Renaissance. There are no bridges built after this for another thousand years. Alan Cameron's pointed out recently that a sort of replacement title started being used in Cretus, sort of distinguished Pontif, something like that was used occasionally by Christian emperors in the 6th century. That's a benefit. Now what did not happen was a straightforward handoff at this point of the title from the emperor to the pope as is of course suggested by the famous Forge document the Donation of Constantine in which the Constantine after having been cured of lack of sea by the Pope Sylvester hands over sort of supreme authority to the papacy. So this is not what happens. Early Christian titular term is a complicated messy problem especially in the Latin language because many of the titles are translations from Greek terminology. The hierarchy of the early church was in flux, practice varied from place to place. As long as we've worked on this problem it has indicated that the term Pontifex from where we get heard was very early in use for bishop and indeed for Christ and it came into the Latin language in 2nd century translations of early Christian texts from Greek into Latin. But in fact the early Christian usage of the term Pontifex maximus is actually as a term of abuse for the pope. You can see here Titolien is a great author of sort of angry denunciations and this is one of many and he is claiming at any rate that someone he calls the Episcoporum probably therefore Pope, Felix I by chronology has allegedly issued an edict saying it's basically fine to commit adultery or fornicate as long as you say sorry afterward. I mean this seems unlikely but in any case as you can see he's as the Pontifex but wait for it he's calling himself a Pontifex maximus so it's clearly a term of abuse. The closest that we have in this early period to an exclusively papal title is Summa's Pontifex the highest it emerges in the 5th century under the Pope Leia I and it's part and parcel of the doctrine of heterine supremacy the idea that the pontif in Rome because of Peter is the supreme pontif in Christendom the basic point here is that Pontifex maximus is not used in the middle ages as a title for the pope but there is medieval usage of Pontifex maximus as a label for others and it falls into three streams that we're trying to have a quick look at the first stream we might call the historical stream it's used in discussion of the Roman past it has an essentially neutral connotation but it can be positive here in the text on the left Augustus is recalling a Pontifex maximus who was a virtuous figure it's part of his much larger project of carving out a secular space for Roman officialdom to find a way for Roman officialdom to be neutral either good nor bad it's quite separate, a secular world as separate from the world determined by God's plan from the 9th century visitors to Rome record pagan monuments the manuscript on the right is the famous Eindselen what it said the pilgrim from Eindselen who arrives in Rome reports many of the inscriptions pagan inscriptions which he sees but he made this record of people observing these inscriptions does not feature any particular comment on them you can see here this is the beginning of the inscription we looked at a moment ago on the Ponticesti the last inscription featuring the term these visitors didn't evidently recognize anything people in what they saw or if they did they didn't say so now the second stream of usage is what we might call historical or exegetical it originates in the translation of the term high priest from Hebrew or Greek into Latin you can see here and this is taken from Abid it's used occasionally for Christ but typically for old and new testament figures in the Latin Chronicle tradition so any Latin Chronicle text will when it treats Old Testament history pre-Christian history will use the term as you can see here Pontifex maximus of the dues the third category is certain special contextual uses denoting an office perhaps or perhaps instead for rhetorical emphasis in this example here the historian Wittekin of Corvée writing about the Saxons in the 10th century describes the coronation of Otto I in Germany as king this takes place in 936 he doesn't go to Rome until 962 you can see here Wittekin calls the archbishop of Mainz who crans Otto I calls him Pontifex maximus and if you glance through this text you can see it's full classicizing references even the fact that Aachen is said to be near a town that's founded by Julius Caesar and their magistrates and so on and so forth this is a whole classicizing agenda literary agenda to underpin the imperial aspirations of the Saxons other uses of this sort might be a bit more pointed Pontifex maximus as the best bishop rather than specifically the pope in other words making an argument that our bishop is just as important as the pope a good example of this is Agnellus of Rebena who calls the bishop of Rebena the Pontifex maximus and probably what he's doing is saying to Rome I see yours some as Pontifex and I raise you a Pontifex maximus so equally the Pontifex maximus can simply denote a special or otherwise distinguished pope and collects just a second from the end becomes bishop local history writers called the Pontifex maximus for example one potential exception to this is a small collection of texts that come out of Montecassino all of them are connected to the circle of Petrus Diacnis otherwise known as Petrus Bibliotecarius who's the resident librarian and antiquary in the mid 12th century and as you can see from these two examples Pontifex maximus is used of historical popes and especially in the second example you can see classicism the sort of classicizing literary agenda seems to be indicated but these are real outliers they pop up in the circle of this individual and they sort of go nowhere they disappear after his demise another way to approach this is to note instead key points where the term isn't used for the pope and there are many instances where we might expect it to be where we don't find it the whole rhetoric of Petrion's supremacy the donation of Constantine the in-house set of biographies of the pope, the Libra Pontificalis papal bulls, papal communications of all sort it is never used in these contexts nor indeed the literature of the investiture contest papal imperial tensions none of these instances where the papacy is attempting to assert itself in the secular sphere having more than just spiritual power none of these instances does the term appear so the obvious question is why not basic problem is one of worldliness that Pontifex maximus is as we've said a pagan and imperial title that it's connected to a world rather than spiritual dominion the basic articulation of this problematic is to be found in the writing of Pope Galatius the first in Pope 492-6 on what King comes to be known as the two swords doctrine of the separation the equal separation of powers as you can see here in reviewing Old Testament history before Christ some men were both priests and kings famously Melchizedek being an example of this and then the devil copied this amongst his own people that is to say the pagan Romans in this context such that the emperors called themselves maximi Pontifex each one called themselves Pontifex maximus and therefore they were claiming to be priests and kings at the same time but now that Christ has come the emperor isn't a Pontifex anymore nor does the Pontifex claim to be an emperor it's the two swords doctrine so you can see here the same ideological objection which we may imagine motivated the emperor's refusal of the title separation of powers now the two swords doctrine endures to the age of Petrarch 14th century and the term Pontifex maximus gets used in it we can see here rather unusual text 14th century antiquarian and of course here at large Giovanni Cavallini the first reader of Livy one of the first readers of Livy after antiquity and he treats he discusses Roman history in the context of this reading and here he deploys the term Pontifex maximus in his discussion of why the pope should be based in Rome rather than in Avignon or elsewhere and you can see what he does is through the rather odd analogy of the two charnel houses and their location in one district Monti he has one of these represent the authority of Caesar what he calls the first monarch of the Romans the emperor in other words and the other of these houses represent the authority of the Pontifex maximus so as you can see in the second paragraph he goes on to say that these two houses in Rome one of them looks to the authority of Imperium the other looks to the authority of Pontifichium if you like so it's a rather labored analogy one doesn't normally think of charnel houses as sources of food and sustenance for winged birds but nonetheless this is how they're presented and therefore imperial and sacred authority are separate Caesar versus Metellus but both belong in Rome and we can see in his switch of terms that Pontifex maximus in the first paragraph becomes the historical precedent for some of the Pontifex in the second paragraph now if there is a medieval context for the subsequent papal development of the term it starts with Isidore of Seville a great etymologist dictionary assembler of the 6th and 7th century in his etymologies a great medieval encyclopedia in which Caesar decided the ambiguous usage of Pontifex maximus in his general discussion of ecclesiastical hierarchy it's not really clear if you read especially the first five lines it's not clear what office he's talking about characteristically he's straddling all testament and classical knowledge is it often sort of follows the method of not quite knowing how everything fits together but knowing that he has to fit everything together so as you can see the Pontifex in the second paragraph and the Pontifex maximus it's all rolled into one so the Pope is not really his concern here but his definition is so wide that it could be the Pope or he could be saying that any bishop could also equally well be the Pontifex medicines so his other ambiguity is such that the meaning of this definition must depend on the assumptions the reader brought to it the most important medieval reader of Isidore the great canon lawyer who quotes him in extensa when treating church hierarchy of his own but if you look here again he's discussing the so many pontificates clearly the Pope's and he passes directly from considering the Pope to Isidore's treatment consequently any reader of Isidore in ration would conclude that the Pontifex is the Pontifex maximus is the Pope Renaissance humanists begin to use the title Pontifex maximus from the Pope in a literary context towards the end of the 14th century the first usage that we have found it's tricky to talk of first usage in this context but its first appearance in the record that we have is in Boccaccio's fragmentary life of Petrarch it's not finished it's not one of his major works and it occurs simply as a marker of date just to talk about Petrarch as a way of identifying something happening in the pontificate or under the Pontifex maximus Benedict XII there's no obvious agenda it then starts to appear again in one of the earliest bodies of writing where it seems to have a bit of a tradition in the letters of Leonardo Bruni the early Florentine humanism right from after the period when he arrives at the papal courier and begins working as a secretary for the Pope he doesn't seem to have read Boccaccio's life in Petrarch or at least doesn't seem to be alluding directly to him he doesn't use it as a source in some of his works on Petrarch so it's unclear exactly where he's getting it from but he's not the only person to be using this title in the period copyists even rather deeply into the 15th century as in this example still find his usage to be quite strange pagan imperial title being used for the Pope and we put this as a good example of this this is a copy of Leonardo Bruni's letter collection from the mid 15th century Bruni is writing about how he was perceived eagerly and heard eagerly by the Pontifex Maximus and but the scribe has interpreted the abbreviations differently and has changed what would be Maximo to Maxime so he's made it an adverbial expression turned it into a neutral adverbial expression so he hasn't instead of being heard by the Pontifex Maximus he hasn't been heard by the Pontifex in particular because the copyist isn't really comfortable with this usage it doesn't recognize it what can we say about Bruni's usage well it's unintrusive like in that previous context it doesn't really add any particular meaning to the weather it can be prominent but it's incidental these two examples which seem to be amongst his earlier usages one is in response to a letter of recommendation and the other is in response to an offer by Nicola Nicoli the ardor of humanist taste in Florence the big snob of the city who kind of suggests that he might want to take up the job of chancellor in his hometown and Bruni elegantly refuses he doesn't use it always in all of his correspondence and never when writing on behalf of the Pope and particularly with a select set of avant-garde, Florentine and humanist correspondence this is an important source for the proliferation of Quantifex Maximus as the title for the Pope appears to be Bruni's magnum opus his history of the Florentine people this is written between 1415 and 1442 when the entire work is published as the city's official history but the first six books are already published in 1428 and the first book was written by 1416 but the date 1428 is important for when this first appears Bruni's history of the Florentine people is a remarkable and important work he models himself off of Livy and he is choose along with his adoption of a classicizing language he is choose all post classical words for clarities there is no Episcopus there is no Papa there is an Archbishop's he refers to with the Latin term and the Pope is only termed Quantifex for Quantifex Maximus his first usage in that work in this history and thus in the first book which appears for the public in 1428 is in his narrative of Italy's salvation by Pope Leo I in 452 when Pope Leo turns Attila the Hun and stops him from progressing further towards Europe it fits the pattern of Bruni's extreme classicizing tendency and as we can see from this passage it comes attached to no pro-Papal ideology in fact it comes in the context of a brutal attack on papal arrogance now I said that this is a Florentine history but Bruni is very concerned about the extent, nature and origins of papal power because those things have implications for Florentine independence indeed he was committed to representing papal power as a break from the Roman Empire not a continuation thus a break from the Roman Empire to which Florence was certainly subject but this is not a continuation which makes Florence continually subject so his solution as we can see in this passage also in that first book is to present the papacy as a historical institution of the Constantinian settlement so what happens when Constantine converts to Christianity and establishes Christianity as the Roman state religion so thus the papacy in Bruni's telling here is dependent on the empire but I want to draw our attention to that final passage because it includes this kind of barbed remark about the canon lawyers of the Curio after he makes this case he says well I submit these questions to the judgment of those more learned in canon law, more learned in the use of Pontificium the law of the Pontus which probably suggests that Bruni's own source for some of this is in fact Gratian that we saw earlier and Isidore's usage in Gratian because Bruni has been spending about 10 years surrounded by canon lawyers at the Roman Curio when he writes this passage but that said the neutral linking of Pontifex and Pontifex Maximus to Pope as Gratian did is perfectly amenable to Bruni's classicizing literary agenda which is what he cares about now immediately after the publication of those first six books Bruni's usage seems to be picked up by his followers in 1428 onward major Florentine and other Italian humans begin using the title quite widely in their own work Francesca Fiellova, Anto Barcellini and so on up here is the first usage of the title for the Pope and in fact it's in England when the papal nutcio Pietro D'Amonte writes to the abbot of Sinaldo telling him about the great success that Eugenius IV of Pontifex Maximus had in uniting the Eastern and the Roman Churches a success that didn't last very long but that's the usage other humanists right after 1428 start developing more distinctive usages Lorenzo Vala addresses the Pope as Pontifex Maximus when he dedicates his treatise on the true good to Eugenius IV but already five years later in 1439 he's demonstrating his sensitivity to the title's historical significance when he demolishes the donation of Constantine the forged document which purported to effect the transfer of secular power and supremacy over the Roman Empire to the Pope it's a philological tour de force and one of his one of the things he latches on to is the historical error in not calling Constantine Pontifex Maximus which the forger reveals his late date by not having called Constantine this because Vala knows well that Constantine held the title and hadn't renounced it the forger could fail precisely to establish a historical foundation for papal titulature by having an imperial Pontifex Maximus transfer the title to a papal sumus Pontifex that would have been an ideal solution for the forger but the forger knew no history so he wasn't able to do that so I draw our attention to this because I think it still shows the importance here looking at the Constantinian moment is key for the nature of the papacy as an institution but differing from Bruni Vala is using the title in the course of making a historical argument our most important literary usage by a Renaissance humanist however is that of the polymath architect, writer writer of treatises athlete Leon Batiste Alberti now Alberti uses Pontifex for bishop always that represents a break from how Bruni uses the term Bruni used Prisul Alberti calls all bishops Pontifex he even writes a treatise on bishops which he calls Pontifex now he also often uses it for the pope both for bishops and for the pope but in his famous treatise on architecture Durei Edificatoria as you can see here I put two passages from that he uses Pontifex Maximus exclusively as a title for the pope in Durei Edificatoria it's often an incidental usage as we can see here but it's the first systematic usage of the title for the pope now this development is significantly this development in a treatise on architecture an in a treatise on architecture that was shown to Pope Nicholas V is crucial for our story because this is the point at which the humanist literary practice that I've been discussing starts to affect the faith the most notable example of this and the one of which we began is the restoration of the aquavirgo, the aquavirginate and the building of the Trevi Pantum by Nicholas or under Nicholas V in 1453 Alberti was in Rome at this time and almost certainly involved in the project and so we can now say that these two images that we looked at earlier are not in fact related which is to say the 15th century inscription was not inspired by the nearby classical exemplar rather it emerged from this literary tradition dating back certainly to the beginning of the 15th century if not into the 14th which we've been tracing and the tradition, the literary tradition entered high humanist architectural circles through the person and the writing of Alberti and the construction of this in particular the setting up of this inscription in 1453 and indeed the year 1453 sees a papal roll out of the new title at building works across the city not least at Santa Stefano Rotondo across the vestibule you can see here linked to Alberti's associate, Bernardo Rosalina the text here commemorates how the church of the Proto-Marver Stephen which had fallen into disrepair was entirely restored by Nicholas 5th Pontifex Maximus in 1453 and indeed this pope stamping his arms and titles across the city is remarked on by the contemporary diarist Stefano Vincenzo indeed in his pontificate there's a general usage of the title as of Pontifex Maximus as the papal title not just in monumental public contexts like the fountains and churches but here on the left in the funerary slabs for Innocent the 7th a pope in 1404 to 6th as I illegally photographed it in the back and brought it you can see both Nicholas the 5th calls himself Pontifex but also calls his predecessor Pontifex here on the right you can see similarly a funerary slabs set up by Nicholas the 5th for Giovanni Padgio which again calls the pope by this title however under Nicholas the 5th's immediate predecessor Eugenius IV we see an initial private take up of the title and perhaps this is what we should expect the term was in use in humanist circles since the beginning of the 15th century and it finds itself gradually being deployed in new context so here what we're looking at is the Del Valle family tomb on the capital and in the various inscriptions they're hard to see in this photo they're there, it has to be the Pontifex Maximus references start to appear from the 1440s during the Pontific of Eugenius IV and indeed we can forge a direct connection between these private actors taking up the term and the circle of Eugenius IV himself on the left you're looking at the tomb of Antonio Rideau Pectus Gurbes, Prefect of the city it may ultimately take this form in the 1470s but the point is that he had a direct connection to the pope you can see on the right the Fiorrete Doris on the Vatican that is Antonio Rideau leading the representatives of Rome out of the city to greet Eugenius IV and Segasment of Luxembourg on their arrival interestingly though on the doors Eugenius IV is just called Pampa now as always we have to allow for survivor vagaries of survival and loss we have one possible employer when from 1433 in which Eugenius IV may have called himself Pontifex Maximus is preserved in the Silighe, the epigraphic collection of Ketris Sabina it's commemorating the construction of a dorm of the city of Rome and in Rome however this is a sort of general struggle for control over the university between the papacy and the city and various other actors so it's actually a bit difficult to pin them initiative for this inscription nonetheless we might construct for ourselves two stages a two stage process in the papal adoption of the title private initiative beginning under Eugenius IV and papal usage continuing under Nicholas V so what are the implications of this well first a little bit more history after Nicholas V the title steadily becomes a more and more prominent part of papal epigraphy the papal epigraphic titulature and it begins to appear farther afield particularly interesting case is in the two tombs for Nicholas V's mother one in Salzana and one in Spolet which seems to be early usages of the title outside of Rome one of the most famous examples is this one right here under Pius II who sets up this loggia in Siena the loggia is a classic feature of Tuscan aristocratic architecture and this represents his family's return to prominence on the back of his papacy and is a major architectural statement and across the front is inscribed to Pius II Pontifex and Exynos the title is also seemingly used on his tomb inscription the monument has been moved it's now in Saint-Beret de la Valle and it's a composite monument but the original parts have that on the earliest parts have that on the main inscription now let's move the generation later by this time people around the pope are now looking for an imperial explanation for a title that has by this point already been adopted so for our story the most symbolically important statement of this new imperial ideology connected to the title is that by Sixtus before and in 1475 with the opening of the Ponte Sisto the Ponte Sisto the first bridge built in Rome since later antiquity built on ancient foundations but this is the first new bridge since the Ponte Cestio that we saw before and this is actually quite an exciting moment for us and hopefully for all of you because here are the Ponte Sisto inscriptions these are the original inscriptions which were previously at the middle of the Ponte Sisto were moved in restoration and since went missing and we are very pleased to be able to show these photographs because we have discovered them and they are now resting peacefully in a private area of the gardens of the Villa Borghese and they are being cared for and restored but this is an exciting this is the first time these have been revealed in their current state these inscriptions are written by the humanist and prefect of the Vacchi Library by Telemio Platini Platini also wrote Humanistic Lives of the Popes and which he began with Christ who will be referred to as both Emperor and Ponte Fex so in that context Sixtus who appears in that work as he appears as Ponte Fex Maximus in these inscriptions is presented as Christ's successor as Emperor and Ponte Fex another important antiquarian manuscript from the period even goes that next step of identifying the Cyplician Ridge over which the ancient Ponte Fex Maximus seemed to have some kind of role of oversight and maintenance with the rebuilt Ponte Sisto Ponte Sisto associates this rebuilt bridge built on ancient foundations with the seven bridge but that also suggests some of this imperial idea matching going on in this period so basically it's the succession of developments leading us to this point that finally makes that association with imperial titulature easier and suggests to us why it was Ponte Fex Maximus among all of the imperial titles that exist in ancient usage and in ancient inscriptions that became the Pope's own imperial title but it's also a matter of location so where we are standing here we're standing on the Ponte Garibaldi which is a modern bridge for traffic over the Tyvelyn road we're looking downstream at the Ponte Cestio and upstream towards the Ponte Sisto so these bridges were then immediate neighbors and in fact they would have been even more visible to each other and even more striking in their landscape before the embankment of the Tyvelyn towards the end of the 19th century when the bridges were longer and the area around them was lower so they would have been even more noticeable to the viewer and if you are on one of them you would be looking in one way to see Gratianus Ponte Fex Maximus and the other way to Sixtus Ponte Fex Maximus from this moment and through this secure route the Ponte Fex Maximus was back as the imperial bridge builder of antiquity Romanus thus construed had a major effect on the development of the imperial tendency to borrow the words from Pope Sixtus' medal that we saw two slides ago the Ponte Fex Maximus was a sacri cultur with cura reo publicarum that is the care the responsibility for public affairs that may be reo publicarum but really in the plural life alluding to this responsibility for two republics the Roman Republic and the Christian Republic both in peace and in war especially in that latter respect it reaches Xenon under Sixtus' nephew Julius II at the beginning of the 16th century the Rasmus when in Rome was once shocked to hear Pope Julius the dress in an oration adds the Roman maximus and described as thundering like the chief god of the Roman pantheon but the success of this ideology is why we take the papal adoption of this one imperial title for granted yet arguments about history and precedent began here what the historical precedent for papal power is would be central to the confessional histories of the subsequent century and that really goes beyond that but historicizing the papacy that is putting Roman history at the foundations of papal power had some interesting consequences as well and that's where King James I comes in comes in in the form of his letter to Pope Paul V written in response to Pope Paul in Cardinal Bellarmine's letters to the English Catholics calling for them to give their allegiance to the Pope and not to their King James so these are some of the interesting consequences that James picks up on because if the Pope was an heir via Augustus to an institution created by Pompilius then he was not really the successor to St. Peter under the institution of Crest but more to the point he was heir to an office created by a king subject to a king's laws and the laws of Numa for that matter only extend as far as the temporal power of Rome meaning that while the Pope's law was fine to stand within the papal state James had no problems with that James and his kingdom were free and in the process the Pontifex Maximus that title but created by the second king of Rome could be understood in fact as a concession that it was the king who was in charge of the church and of religious law so historicizing papal power as a means for its promotion in the hands of the papacy therefore also pointed the way towards its diminution the universality of the Catholic Church and leaving the door open to seize the real papacy thank you


A fiery horse with a speed of light, a cloud of dust, and a hearty hyo silver! The Lone Ranger! Before this exciting adventure, a word from our sponsor. General Mills, makers of Cheerios, the ready-to-eat oat cereal that gives you go-power, and Wheaties, the breakfast of champions, present by special recording, The Lone Ranger!  He's got go-power from Cheerios, yes, he's got go-power! There he goes! He's feeling his Cheerios, Cheerios, Cheerios! Good old Cheerios, they got go! So nourishing, because they're made from oats, with minerals, vitamins, and proteins that your body needs. Yes, indeed, a bowl of Cheerios and milk really starts your day off right, does all sorts of good things for your body, helps you have strong bones and muscles, good red blood, and healthy nerves. So every morning, take on a bowl of Cheerios and milk for real go-power. You like that wonderful toasted oat flavor too, downright delicious. Come to think of it, Cheerios is one of the tastiest muscle-building foods you can eat. Try Cheerios and you'll hear... He's feeling his Cheerios! With his faithful Indian companion, Toto, the daring and resourceful mask writer of the plains, led the fight for law and order in the early western United States. Nowhere in the pages of history can one find a greater champion of justice. Return with us now to those thrilling days of yesteryear. From out of the past come the thundering hoofbeats of the great horse, Silver! The lone ranger rides again! Come on, Silver, let's go, because I am Silver! The westward movement of the railroad was bringing great changes to the frontier territories, and was looked upon with disfavor, not only by the Indians, but the tough outlaw element who had run things more or less their own way. After the difficulties at Ratang Pass had been overcome, the railroad pushed on toward Santa Fe. Along the right of way, a new army post Fort Union had been established. In a hideout not far from Fort Union, writer Hutchins, a noted gunman and outlaw leader, walked the floor as he spoke to his followers. Man, I learned the major at Fort Union is expecting a company of troopers to arrive by railroad soon. Doggone major is going to give us trouble, right? That's right. Major Alger swore to use that company of troopers to hunt this gang as soon as they arrive. What do you figure I'm doing, writer? Tell me to it that the troopers don't get through, Kirk. Are you going to stop me? If I blow up the bridge across Stony Canyon two miles from here, when the train's going over... Holy mackerel, writer! They find out we did it, the six of us will be hunted for murder by the whole army. Now wait, wait, listen to me. The renegade, Sue, are going to help us. My friend, Fleet Foot, got the chief to agree. I promise them they can loot the wreckage, but he's glad to do anything to hinder the railroad. I figure when news of the wreck gets out, the Sue will be blamed. Why don't we just leave this territory and forget the troopers, writer? Sure, because I also learned that troop train is bringing a large shipment of federal gold bound for Santa Fe. It should be picked up by a Mexican military escort and taken to Mexico. We'll get that gold, then leave the territory. Where do you get all the information? From Jake, the telegraph operator at Fort Union. He'll ride with us to the canyon, then stay with the gang. When's the train coming through? Day after tomorrow in the afternoon. We'll meet Fleet Foot and the Sue in the canyon at noon. Get everything ready. In his headquarters at Fort Union, Major Algiers sat at his desk, talking to his aide, Lieutenant Jones. Lieutenant, I've had verification that the company of troopers will arrive there for tomorrow. Are the barracks ready for them? Yes, sir. I've had words from the Colonel at Fort Dodge that he's requested the lone ranger and his Indian friend to come here and help us trail Hutchins' gang. They're due to arrive within the next two days. I've heard of that mask man, sir. If he and his friend to help us, it shouldn't take long to locate the Hutchins' gang. Yes, I agree. His arrival, none of the troops have been kept secret. So we should be able to take Hutchins by surprise. That's right, sir. Well, I'll go with you now and inspect the barracks. Very well, Major. Oh, there ho, ho! That night, Ryder Hutchins and his men were visited at their hideout by the fourth telegrouper, Jake. Hi, Jake. I didn't expect to see you again before you joined us in the canyon. I got some more news for you, Ryder. Yeah, what? Telegram came from the Colonel at Fort Dodge, saying a couple of armed rays are coming to Fort Union to help trail the gang. Yeah, that's nothing to worry about. We've been trailed by experts in the past. Yeah, maybe. But the two that are coming are worth worrying about. Who are they? A man's sombre known as the Lone Ranger. What? An Indian who rides with him. Lone Ranger? Right, Thunder. Those two are worth worrying about. Right. I don't like it, Ryder. Neither do I. I'll get word to Fleet Foot to have the two watch form and see to it they don't reach the fort. I'm not going to let the Lone Ranger or anybody else interfere with my plan. Hey, Jake, when are they supposed to get to the fort, you know? Within the next two days. Maybe they won't arrive before we wreck the train. But if they do, those two armed rays will run into trouble they didn't expect. The next morning Ryder Hutchins went to the Renegade Sioux Camp and talked to Fleet Foot. Now, the masked man in Indian, I told you, about worked with the law. We've got to make sure they don't get through to the fort. Ah, two watch form. Good. Now, when we meet in the canyon tomorrow, make sure to have some braves watching the trails to see that nobody comes along. And another thing, make sure after the wreck that none of the troopers get away.  Good, good. I'll see you tomorrow at noon, not any more.  The following day, the Lone Ranger and Tonto rode the trails toward Fort Union. The trails split at the end of the canyon, half a mile from the bridge. Then led back toward the railroad tracks on the fort side. Fort Union is only a few miles from the canyon, Tonto. We'll soon be there. That's good. According to the colonel, Ryder Hutchins and his gang, causing a great deal of trouble in this territory. Why major at fort not take troopers? Come for gang before now. Well, Fort Union is new, Tonto. Up to now, it's been manned by only a small garrison of troops. But the colonel said more troops are on the way. Ah, that's good. Come on, Tonto! Meanwhile, in the canyon under the wooden bridge, Ryder and his men attached many large cans of blasting powder to the wooden beams. Then ran a single long fuse along the floor of the canyon to a safe distance behind the formation of large boulders. It's ready. I hope you have a timed ride, Ryder. Don't worry. I've figured this out mighty careful. I've ridden here several days in a row, and I've noticed that all trains coming west blow the whistle just before they enter a cut the short distance back from the canyon. Then it takes them exactly three minutes to reach the bridge. When we light the fuse here, it'll reach the explosives in three minutes. It should blow when the trains just starting onto the bridge. That means the whole thing will crash into the canyon. Right. Then the two who are waiting up the canyon will move in. After that, we'll grab the gold. Now, all we gotta do is wait. Hey, Ryder, what about Jake, the fort telegraph operator? He's supposed to join us here. Well, I told him to spike, but I kind of figured Jake's usefulness is over. I don't trust him too much. You see, I just neglected to tell Fleetfoot about him. What's that got to do with it? Well, Fleetfoot has some Sue Braves watching the trail between here and the fort. So I figure when Jake comes along, those two will finish him off. That'll leave one left to share the loser. Right. Jake heads along the trail from the fort to the canyon. Suddenly, the Indians... Get up there!  With a canyon behind them, the long ranger and tattle rode the trail toward the fort. Suddenly, a horseman came around the bend ahead, forcefully followed by four souls. Who's your host? Use your gun, tattle! The four Indians swerved quickly and disappeared over a ride. That rider fell from his horse to the narrow on his back. We go to him, easy, steady, big fella. Easy, fella, easy. Rider, he said I'd get through all right. The Sue was supposed to watch for you. For us? Yes, yes, that mask. You're the long ranger. He didn't even get that wound chemically. Yes, I know. You mentioned Rider. Rider Hudson Gang. Oh, I know I'm done for. They're going to blow up Rage, troop training, waiting with the soul in the canyon. He's dead, Donna. He said the Hudson and his gang are waiting with Sue in the canyon. The troop trainers almost do. They'll cover the body with branches and come back later. Right now, we must stop the train from reaching that bridge and get a help to catch up with the gang outside of the train tunnel. You'll not have time right around the end of the canyon. I'll find a way to get across. Meantime, you ride to the fort. Tell the major what we heard. He may be able to get here in time. We'll continue our lone ranger adventure in just a moment. Take champions down south. They sure enough know about Wheaties. The Southland's favorite Wheaties fan is New Deal, known as Stan the Man. Because when he swings his mighty bat, he nearly knocks that baseball flat. Another Southland player, he's a great player. He's a great player. He's a great player. He's a great player. He's a great player. He's a great player. He's a great player. Another Southland pride and joy is Bobby Lane, a Wheaties boy. Because when he starts to turn on steam, he's sure a one-man football team. Just ask Stan New Deal or Bobby Lane. They know the secret of Wheaties' energy. There's a whole kernel of wheat in every Wheaties' flake. Wheaties, breakfast of champions. Now to continue. After quickly covering the body, Tuttle left for the fort, while the Lone Ranger started back to the canyon. In spite of the fact that time was precious, the Lone Ranger realized that he tried to cross the bridge. He and Silver would be a perfect target for the outlaws and two in the canyon. He decided to depend upon the Great Horse Silver's extraordinary speed and stamina to take him around the end of the canyon in time to stop the train. The big stallion exerted every effort to comply with the command of his master. He reached the end of the canyon where the trail sloped down past the canyon entrance, then continued up the opposite side. The Lone Ranger saw several Sioux Indians coming up from the canyon floor toward him. He quickly drew to a halt. The masked man looked back. Others Sioux were coming behind him. Quickly the Lone Ranger looked around. The canyon narrowed at that point and he saw that the distance across to the opposite rim of the canyon was at least 8 feet. He realized grimly that a mist meant person death a hundred feet down. All right big fella. Without hesitation he rode Silver a short distance back from the canyon rim. As the jump was he will be trapped. With the Sioux Braves racing from opposite direction the Lone Ranger gave the magnificent stallion free reign. Run Silver! Narrows flew second fast but fell short as the masked man approached the yawning chasm. Without breaking stride Silver took off in a high graceful jump and landed safely on the opposite side. Realizing that their ponies couldn't possibly make the jump. The Sioux with howls of rage and frustration pulled rain at the edge of the canyon while the Lone Ranger continued on his way toward the railroad track. Good boy big fella. Run Silver! When he reached the railroad the Lone Ranger followed the tracks away from the canyon and stopped almost a mile from the canyon bridge. The masked man's next problem was to stop the train. He piled wide brush across the tracks. Then hearing the train whistle in the distance he struck a match and lighted the brush. Waking in the canyon near the bridge Ryder Hutchins and his men also heard the train whistle. The train whistler for the cut he reached the bridge in three minutes how light the fuse. There it goes. Now we'll just wait until things happen. Yeah Ryder, I heard engines yipping a while ago. Yeah I heard them too. I reckon they were after Jake. That yipping came from the left towards the pass. Fleetfoot and his braves are waiting out there behind boulders. In a few minutes men it'll happen. Then we'll move in and get the gold. Meantime the troop train ran through the cut and approached the big pile of burning brush on the tracks. Hey Tom look ahead something's blazing way up in the middle of the tracks. What are you posing at? Turn the vinyl but I better stop. I was told to blow the whistle if I spotted trouble. So here it goes. Well men it's time to go. We're going to get the gold. We're going to get the gold. We're going to get the gold. In a minute we stop. The troops will pile off to see what's up. Yeah I'm almost hoping it to hold up because I can see the surprise on the onboard spaces when a whole couple of poopers appear. Uh huh.  You don't think he's figured on holding up the train alone do you? Well if he did he's about to get the surprise of his life. The soldiers are getting off the train and running this way. The old ranger leading Silver walked from cover and approached the motionless action. He held one hand high. Palm outward in the Indian sign of friendliness. Look a mask down there. What's the meaning of this? We have you covered. Hello Captain Barry. You know my name huh? Why have you stopped us out here? I stopped the train. Prevent a great disaster Captain. Perhaps. My men have you covered. We'll take you into custody. What was that? The bridge over Stony Canyon was blown up. The explosion was evidently timed to go off as the train was causing... Oh one would have escaped Captain. Outlaw and steward waiting in the canyon to make sure of that. Of course they'll leave now knowing the train has stopped in time. Hugh, how did you know? I know the Colonel Fort Dodge. He mentioned you were coming to Fort Union in charge of a company. That's how I knew your name. I remember now.  That's right. Do your men have their horses on the train? Yes. In stock cars attached to the rear. I suggest you get them and try to capture the men who blew up the bridge. My Indian friend went to Fort Union to report the outlaw's plan. We'll unload the horses at once. All right men, let's get moving. In the canyon, writer and his men discussed what had happened as the sous stood nearby listening. Hey, son, do we all hurt that train whistle? Should have reached the bridge just when the fuse fed off the powder. What are we gonna do now? Better get away from here while we can. Yeah, Regan, you're right. The soup is on the train. Must have heard that explosion. They'll come to investigate. We take two Braves back to Indian camp. All right, Fleet Foot. We'll go part of the way with you. And we'll go on to Santa Fe. Let's get going, men. The outlaws and the sous rode along the trail that led to Fort Union intending to take a cross trail a little further on. As they started up a rise they quite suddenly pointed and spoke. Writer, look. Some troopers heading this way. Let's take them to the fort. Yeah, about 15 or so. Take cover, everybody. With these two to help us we can take care of those troopers. Quickly, the outlaws and the sous dismounted and took cover as the troopers opened fire. We can take them off from behind these boulders. Let them up! The small band of troopers also took cover but not before several were wounded. Meantime, the sous trapped through the woods in an effort to surround the major and his group. The major spoke to Tatto. There's too many for us, Tatto. We can reach the horses. We have to try and orderly retreat before our escape is cut off by the Indians. It's not easy, Carey, wounded. Get the horses. But it's bad if two move through trees and get behind the troopers. I know, but we'll... Look, Tatto! The long ranger and the company of troopers galloped into the fight. Within a short time, the battle was over. Rider and his men, most of them wounded, were tied to their horses. Fleetfoot and his braves were disarmed and stood solemnly waiting to be taken to the reservation and punished. The major was saying, We'll turn Rider Hutchinson's gang over to the sheriff at the Fort Union settlement. Then we'll send Fleetfoot and his braves to the reservation. Major, the sous fatally wounded a man on the trail a while ago. They've learned from Hutchinson's man who was a telegraph operator at Fort Union. Oh, Jake! Wonder what he is doing without permission. Perhaps Rider Hutchinson will answer that later, major. I'm grateful to you for what you've done, sir. You and Tatto saved the day for us. The masked man saved our lives, major. In a few more minutes, we'd have been crossing that bridge when it was blown up. What about the gold ship? I left men to guard it until a wagon can be sent to pick it up, sir. Good. We'll send back a wagon as soon as possible. Tatto will now go back along the trail now, major, and get the body of the telegrapher. Then we'll come on to the fort. Very well, sir. We'll see you later then. Adios. Good-bye, sir. Let's go, sir. Easy, sir. Come on. Come on. Come on. Had an event with that masked comrade. Our plans would have worked out just right. That's enough, buddy, you riders. Hey, ought to string him up, major. Easy, man. Easy, easy. I know how you feel. Especially after the narrow escape you've just had. But Rider Hutchinson and his men will be tried for more than one murder. They'll eventually be hanged, legally. Thank heaven there are fine, true Americans in the West. Men of great courage and determination who are ever ready to save lives instead of to take them. Such a man is the Lone Ranger. Lone Ranger, a copyrighted feature of the Lone Ranger Incorporated, is produced by Trenzel Campbell Muir Incorporated. The part of the Lone Ranger is played by Brace Beamer, your announcer, Fred Foy. Listen to the Lone Ranger brought to you by special recording Mondays through Fridays at this same time.


I want you to use these pictures to talk about the plot of the story. So remember, the plot is what happened in the story. So when you turn with your partner, I want you to look at the pictures and then talk to your partner about what happened. Okay? Can you turn and talk and talk about the plot, about what happened in the story? So turn and talk. Turn and talk. The plot is a hot water and then the fire comes out, and then the fire goes away. And the color is pink. Pink. In them. In the big bubble was blowy and then it was running at the bricks house. And then the big bubble was blowing blowy and he didn't blow and then he said, I was glad to see that he was blowing.


He's dead. He's away.  I'm seeing your lane. I'll gage him for a flash on there, right there? Yeah, go. Trinkets, yes. It's gonna be your flag soon. It's fine. Gonna burn. Yeah, well, I can blind them with this. Okay, I'll just blind them with blinding. Nice, nice, nice. Okay, I'm going open field. I'm going open field. See me? Yeah, yeah, yeah. Vehicle. Yeah, I'm just gonna hold this last forever. I'm trying to cross the other side of the road. Death there. Yeah, there's this guy. Can get it. Just follow you. Moving back, because he's gonna blizzard. Yeah. Oh, he did. I'll stop priest. Nice.  Majors in. I can't, I can't, I can't. I can't.  I'll stop priest. Burning priest? I'm hanging priest. Yeah, yeah. Good. Yeah, just burn him. I don't know what he's blowing. Blinks, yes, man. Getting you now. I'm hanging priest, man. Honestly. I think it's good. He has no PS. I have no wins, though. Okay, I've finished this. I think this is scoffs, maybe. Yeah, be careful. I'll, I'll hold this. I'm just gonna run. I'm just gonna run. Yeah, yeah. I'm hitting burns on mage. You're in, though. It's fine. I'm regaining that. I'll put fiend on his pet. That's an assault mage. Assault priest. Assault priest. Assault priest. Assault priest. I'll pick that. I need to be here. Resist to spell. Got it now. He's fencing on me. I keep trying to spell it.  I'm just regaining the spell. I can get the amount of blinds. It's super fine. I'll blind up to all these blocks. Like, at all. See me drinking? Yeah. Come here, come here, come here. I've got fiend. I've got fiend. I've got fiend. I've got fiend. I've got fiend. I've got fiend. I've got fiend. I've got fiend. I've got fiend. Yeah. No, tell me, tell me, tell me. I drink it. Death sheep, half sheep. We have played back. We're okay. On Co-Cost. Yeah. Very nice. He's running away now. I can't get wounds because I have main numbing on.  Going. You guys are peaceful. You promise? Drinks? Upstairs? Or do you know- Burning on that? I don't know. Because maybe she's here but I'm a fork, so I'm still. Death fear? He gets me. gets me. This is alright, I have no chance of burning the fairy. Okay, Priestie is just coming in to die. Just be careful, click 24. I'll shield this one. C.S. unburn. I'll dispell you if need. Now you have a dart, he can't poly you. I mean, I played this full game before going to the main house, you know, impossible. I just do that like, no no.


Hello and welcome everyone. My name is Melissa Weber and I'm speaking to you from the campus of Tulane University in New Orleans, Louisiana. I serve as the curator of the Hogan archive of New Orleans music and New Orleans jazz, a unit of Tulane University special collections or Tusk for short. Now I'll be giving a presentation today titled jive in with Dr. Daddy race radio and representing black in Jim Crow, New Orleans. Thank you for joining me before I start the presentation, I'd like to give some context. The radio preservation Task Force is an organization that was created in 2014 by the Library of Congress's National Recording Preservation Board to facilitate preservation of research on and educational uses of radio recordings held by archiving institutions and private collectors in the US. In 2019, the radio preservation Task Force published a call for papers for its conference titled a century of broadcasting preservation and renewal. I first proposed presenting what you'll see today for that conference and while my proposal was accepted the pandemic canceled the conference, which was to be held in 2020. Fortunately, the conference was rescheduled and I was able to present at the Library of Congress in Washington DC. This past spring. It was a rewarding experience for me but attendance was limited to those who were in DC. Today I'll share with you my presentation kicking off American Archives month which is celebrated in October. This online event is being recorded and the link will be shared with all who have registered for today's events. The recording will also be posted to the Tulane University Library's YouTube page. Following my presentation, I will answer questions that you post at any time by clicking the Q&A button in your zoom toolbar. And now let's begin. I'll share my screen. www easy am New Orleans circa 1949 to 1957. That's right. Jackson Brewing Company and Dr. Dadio want you to move right on in before the time gets too thin and treat yourself to a real friendly light eating swallow of Jack's beers. That's right brought to you every night about this time on that Jack the cat station at WW easy station. That's right. That carnival city station in New Orleans. Susie, Louisiana. Goodness above. Yeah, double bubble. Yes, I tell you, we're going to get right on start the thing going. Yeah. The recording of the opening game of the jive in with Jack's radio program on WW easy am New Orleans, circa 1949 to 1957 represents the story of Vernon L. Winslow senior, who transformed his career from a conservative university art instructor to a broadcasting novice who became not only the first full time black radio disc jockey on New Orleans radio as Dr. Dadio, but one who boasted the highest rated radio show in the city. It represents a story of radio to transform community, but also recognize the value of black dollars and advertising power in the Jim Crow south. It represents New Orleans as a center of musical innovation, placing it as a nucleus in the creation of the emerging 1950s music centered youth culture of rock and roll. And it represents how these stories are brought to life through the stewardship of archival primary sources, upgrading their status from memories to tangible materials that we can access and experience. In this presentation, I'll discuss Dr. Dadio's intersections of black broadcasting history, radio advertising and New Orleans, while integrating recordings from his landmark jive in with Jack's program digitized in 2019 through a Grammy museum grant to Tulane University Special Collections. These recordings, as well as others not used in my presentation are available online via the Tulane University Digital Library, and are from the Vernon Dr. Dadio Winslow collection, part of the holdings of the Hogan archive of New Orleans music and New Orleans jazz, a unit of Tulane University Special Collections. In the late 1940s with commercial broadcast radio, being a mass medium of choice for entertainment, nearly 70% of homes in urban and rural areas in the US, owned at least one radio. Yet an Ebony magazine report showed that among 3000 radio disc jockeys working in 1947, only 16 of those were black equating to less than 1%. The author and mass communication scholar Bala Baptiste notes the following reasons why a change was forthcoming in radio stations, hiring black broadcast talent. They were quote, the migration of blacks from rural to urban places, and their rising social economic status, the emergence of competition in the form of the new medium of television. The profit motive, the influence of clever, assertive black radio trailblazers, and the growing admiration of black music, and quote. Vernon Winslow would play a role in all those factors, though he would enter broadcasting through the back door, both figuratively and literally. Winslow was raised in Chicago and moved to New Orleans after receiving his Bachelor of Fine Arts from the Art Institute of Chicago. In 1947, Winslow became an art professor at Dillard University, a historically black university in New Orleans, while at Dillard Winslow participated in an arts fellowship in New York City. It was there that he discovered broadcasting, as he would notice white NBC radio announcer Dave Garroway working in NBC studios in Rockefeller Center, the same building where his fellowship took place. In a 1986 interview for the Times Piki Union of New Orleans, Winslow said quote, I was making $44 a week teaching art at Dillard, I was married, and I had two children, I had been to New York and seen the NBC building and I thought, why can't I be an announcer. At this time, there were no black stations and no black announcers, end quote. Winslow devised a plan which involved becoming acclimated in black New Orleans nightlife and hanging out at night spots including the famed do drop in. He pitched to New Orleans stations with a radio show concept involving him as a hip talking DJ playing New Orleans music and the hottest national sounds created by black artists, whether jump blues swing jazz or other race music, which was the term used for black popular music at that time in the late 1940s. WWLAM declined his pitch. WJMR also passed, though offered him the opportunity to produce such a show as long as Winslow could teach white DJs to host the show in both style and voice. Essentially, Winslow was hired to coach white disc copies on black style and vernacular and sell it on air. Winslow's creation was Papa Stoppin, whose music selections and on air narrations would be scripted and selected by Winslow but manifested on the air by one of four white DJs who played the role and were assumed to be black by WJMR increased audience of black and white listeners. In a 1976 interview for the Times-Pikachu newspaper, Winslow recalled, it was my job then to stand behind them and train them how they could talk like blacks, like the Cap Callaway in the lingo that comes out of the ghetto. Here's an excerpt of one of the white Papa Stoppin DJs interviewing music artist, Tab Smith. You'll hear him mention the title of the radio program, Jam, Jive, and Gumbo, as well as language such as fine, frantic mellow music. Please note that each of the digitized audio files vary in their levels of audibility. This is due to the poor condition that the records were in originally and how the lacquer discs were able to be conserved and treated despite flaking cracks and other issues. Hello, New Orleans.  Nice having you here tonight, Tab, giving out this fine, frantic mellow music. And I'd like to ask you a tough question. I know thousands and thousands of fans in the way as an animal like you have to be the same question of all the recordings you've made, which do you consider the best? Well, I personally think Purple Heart is my best. I think that's a good selection and there'll be thousands of people here in New Orleans who would agree with it because Purple Heart has sold and mounted into the hundreds of thousands as our own program, Jam, Jive, and Gumbo can testify. One day in 1948, while one of the Papa Stoppin actors left the control booth to go to the restroom, Winslow got on air himself as Papa Stoppin. WJMR's white management fired him immediately, though they would keep the successful Papa Stoppin show and brand that Winslow built in just one year. Jackson Brewing Company of New Orleans was looking to market Jack's beer to Black residents. A Black public relations staffer named Naomi Borkins brought Winslow's success to the attention of the Fitzgerald advertising agency who managed the Jackson Brewing account. Neither the Fitzgerald ad agency nor WWEZAM were concerned with perceived or real backlash around promoting to Black audiences, which was at that time risky due to rampant racism and dangerous due to threats from white supremacists. Winslow left his art teaching position to not only make more money through this new show titled Jive and With Jacks, but also usher in a new era of radio broadcasting in New Orleans. Jive and With Jacks premiered on WWEZ on May 29, 1949. The program utilized the hip, smooth personality that Winslow originally envisioned. Now he could voice it himself using his moniker Dr. Dario, a name he came up with after a conversation with music star Louis Jordan, where Jordan referred to him as Dario. The main objective of the show was to promote Jack's beer. One way he did this was to throw Jack's block parties at local Black owned night clubs, which were broadcast via live remote on WWEZ. Here's an excerpt of a Dr. Dario Jack's beer promotion at a New Orleans bar. Now here we are at Big Club 225 at 225 South Rampart Street and right here we have a gang of folks around us, Pops. One cat right behind me is holding a bottle and it doesn't look like a Jack's bottle. I don't know what the devil is. Man, what's in that bottle right there? That thing! Well that's groovy, that's groovy. That goes into Jack's party too and right behind me I want you to talk to, I got a jack can stuck in my face here. By the way, I want you to follow right here, he's reading for the microphone. I want you to tell me what you think about this Jack's we got today. What do you say, Pops? Well, my name is L. Y. Douglas, that's the best beer in town, have been drinking it 15 years. I think it's top. Good deal, good deal. Now let me see. Wait now, I think I've got to get to a young lady somewhere. Let me hand the microphone right down here. I think I can climb over here a little bit. May I have your name please? Evelyn Odom. And your name is Evelyn Odom. By the way, what do you think about? Well, tell us what you've been drinking. Jack's beer is wonderful. You find this beer in town. Make it get in the groove. You heard what the lady said. Man, that's really, really, really fine. And here's Dr. Dario doing a Jack's block party at the Garden of Joy. Man, did you ever see a Jack's party in action? But Pops, let me take you to one right now. And leading off to the first person I want you to talk to is somebody whose name begins with M. Yes, she is, yeah. Whenever you're out, come to the Garden of Joy at 1614 New Orleans Street and get all the Jack's beer you want. Directly speaking is Mel Venus. Don't forget, Pops. And Pops, I don't know her address, but I sure wish I did. And right here's Pops. Well, he said there's somebody from out of town. Okay, we'll pick them up right now. Right now, man. Mr. Mrs. Snowden. Mr. Mrs. Snowden from Mobile. Can't open up Big 225. Can't open up Big 225. That's a good deal in Mobile. Okay, we're so glad to have you, sir. And drink a pretty Jack's in Mobile. We hope we can do that down here. Now somebody who has a beret right here. Come on in, man. Let's have it. Take a clip from the Snig Captain. Drink Jack's. This is Snow. And Poppy knows he's Snow. Really knows. Through the popularity of Dr. Dario and his winning concept, jiving with Jack's would become the top rated radio show in New Orleans. Despite his success, Winslow was not allowed to walk in the front door and lobby of the hotel New Orleans, where WWE easy operated. When recording engineer Cosmo Matassa heard about this, he offered his J&M recording studio as a location for Winslow to broadcast from. Matassa was white, but was trusted by the black artists he would record in the style of the newly christened rhythm and blues music, a new term coined by white billboard reporter Jerry Wexler in 1949 to replace the title of race music in the magazine. Wexler would eventually co-found Atlantic Records, one of the premier major labels specializing in R&B. Matassa's R&B recordings of artists such as Fats Domino and Little Richard would help provide the soundtrack of the emerging youth culture of rock and roll. And Dr. Dario's show would be a catalyst in promoting both the music and artists both in New Orleans and outward. Here's Dr. Dario promoting music and Jax Beer live from J&M Music Shop and recording studio at 838 North Rampart Street in New Orleans. Yeah, man, leave that file on the lawn. Just go around to the corner and ask the man, you say, say, Papa, give me a cold, thirsty one, not the one on the bottom of that ice bath. Or Jack, that beer in town is now better than ever, better than ever, ever, that Jack ever was. And listen to some of that junk and boogie blues by Steve McDaniels, a brand new one there, a brand, brand new one. Dr. Dario elevated the authentic presentation of black creation as he himself was a black creator. In his book, Racened Radio, pioneering black broadcasters in New Orleans, Bala Baptiste wrote, quote, mass media was broadcasting black records spun by an African-American disc jockey. Jukeboxes and live performances were no longer the only game in town, end quote. In addition to featuring the most popular music, Winslow's WWE easy show would include interviews with entertainers who performed in New Orleans. Here's Dr. Dario interviewing Duke Ellington in 1951 on Jive and with Jax. The clip begins with Winslow asking Ellington how much he weighs. This is Duke. You see, the best way to catch Duke is just listen to his music, number one, and then see if you can catch him in person on his many personal appearances and see if you can catch that flashing smile. It should have belonged in New Orleans, but of course it belongs to Washington and New York. Well, we're going to spread it around the world, Duke, because we make it all be everywhere. Don't you think so? That's a wonderful idea, a wonderful idea. I'm for Dario, for me, do all your lovely listeners know that we love them madly? And to hear Duke say that, the flash in his eye, and the way he really looks at it straightforwardly, means that that word madly ought to be undisturbed by every Ellington opus in the book. By the way, Duke, it's certainly nice having you on the show, and we want you to carry on. You certainly are our idol. You've been mine since I was about 14 years old, and you've been many millions, that's millions and millions of others, Duke. Well, thanks very much. Love you madly. Ladies and gentlemen, that was really Duke Ellington, and now let's play a little Duke Ellington spin. What do you say? Jiven with Jax also included a segment titled News and Blues. Its presence negates that the program was solely a vehicle for music and emphasizes the importance of advancing news literacy to Winslow's audience, likely a decision made by Winslow himself. Here's the News and Blues intro by Winslow. Here we go, it's Blue Dawn. La Vo Ba, La Vo Da, Da Vo Do, Da Do Da. That's right, it's a dream song bringing you news and blues. That's right, news and blues. First we give you the latest batch of headlines from the Wires of the United Press.  You heard it, Fred, with that bop hop and treetop and bee bop and blues. Yes, News and Blues. And now we're gonna rip right off with you and pick up a few of the headlines that means our news. The headlines from the Wires of the United Press edited right here in our W-W-E-E-C newsroom. E-E-E. Winslow's promotions and programs led to him being appointed a sales director of the black market for Jackson Brewing Company in 1950. Throughout the run of Jive and With Jax, Winslow would incorporate gospel music alongside secular music recordings. Among the digitized clips from the Winslow collection that I didn't include in my presentation today, but that you can listen to online are recordings by the Golden Chair Jane Jubileers, a live recording of a sermon by an unidentified pastor and Winslow's gospel music cross promotion with Keystone Life Insurance Company. In my research for this presentation, I discovered a vertical file at my repository, which contained the following quote from an unidentified interviewer dated April 12, 1972. Quote, I asked Winslow why he switched from rock and roll to gospel. He said that the show was sponsored by the Jax brewery and that his children used to ask him what he did for a living, and he had to tell them I sell beer. Also, he stopped and considered that he was aiding and abetting alcoholism, and then he decided to go in for church music. Quote, here's a final clip from one of the Jax Block Party promotions live from the Sunset Tavern in New Orleans, which speaks to what Winslow consented with influencing his decision to end Jive and With Jax. That was tough. We are right here, right over the table, right by the door. Okay, here's a lady wants to tell you something. Where you stand by? Hello, everybody. I'm drinking Jax, and I'm drinking Jax for Chase Up. And I love it. I'm just crazy about Jax. Yeah, I'll tell you. Groovy. Groovy. Love that kind of carry on. Am I missing anybody up in front here? I got here, didn't I? Let me see. Let me move on back then. Oh, here we are. Way, way, way, way, way, way back here. Pick up on me. Okay, here we are in the patio right back in the rear of Sunset Tavern, a lovely, lovely regroup fair. Let me hear something about this Jax deal, man. Who are you and where are you from? I'm Pat Gardner from 1431 St. Peter Street. And every time you drink a Jax, you just got to relax. That is straight gate, I'm telling you. And the way he talks to it, he needs it. Here we are again, right here. Oh, and dog glasses. Love those D-bops without it, without the pop, doesn't it? My name is Laurie Kenneson. I travel from coast to coast, but best of all, dear, I like Jax the jack of all. I like a little four-rider pole. I'm straight. She's also with a swell party tonight. And she says she wants some out of town. Let me see. One table more, way over here in the corner. There he is, man. He's been around town all day long. I want him to put a little something down for you.  Well, I'm at the Sunset right now. I'm wondering if he's going to drink Jax too, I guarantee you. I like Jax, Pop, because I got a drink and I keep the blues all the time. Yeah, man, he calls me Pop and Stopper, but he means I was at stuff years ago. Ain't no more Dr. Daddy now. How about my friend across the table? I drink Jax the more Jax I drink the more I want to drink. Yeah, man. Love that kind of carry at all. Here we have one more Jax guest. And then we're going to sign off a few... I've been drinking Jax before this time. He don't mean 9.45. He means 19.45. Okay, and now, last but not least, I want Mrs. Leona Mitchell, our newest Jax representative, to say a couple words to you. Hello, everybody. We have a lovely house tonight. Let me know how you like the Jax. Come on, folks, give. Come on, folks, give to some more Jax. Come on, let me see how many got a Jax in their hands. I appreciate you all drinking my Jax. I hope you all drink my Jax. Thank you, ladies. And I thank you gentlemen. Okay, Rolla Papa Rolla, that's it. While on WWEZ and Jiven with Jax, Winslow created a new show, also utilizing his Dr. Daddy O'Persona. Titled Good Evening Mother, Winslow's on-air personality was more relaxed and the music he featured was entirely gospel. In 1976, Winslow told the Times Piquet, quote, I noticed when I was in the rhythm and blues field, the rock field, the excitement was always based upon high fashion, conspicuous spending, meeting somebody at the airport. Gospel music provides for a different kind of introspection. You begin looking a little bit deeper and you say, golly, you mean to tell me I wasted those four hours and all I did was talk about myself? It starts you asking questions, end quote. Here's a clip of Dr. Daddy O's Good Evening Mother program on WWEZ. Now, once again, it's time for Dr. Daddy O's nightly show, Good Evening Mother. Hey, good evening, mother. How are you? Yes, how's the mall tonight? And how is the man? All right. And how are the folks next door? Save. It's been a hard day today. We hope to get together just for 55 minutes of gospel songs, spirituals and hymns dedicated to, well, the greatest little lady of all, Matt's mother. Sure, Dr. Daddy O says every day is Mother's Day. And right now we're going to start a little session off with, well, a gospel number that makes the burdens of the day seem like. Jiven with Jax ended its run in 1957 with Winslow departing Jax and Brewing Company on good terms. Thereafter, he continued working in advertising, received his masters of education from Tulane University in New Orleans, returned to teaching art at Dillard University and remained in broadcasting, mostly in gospel, but from time to time he reached back to his late 1940s and early 1950s roots, such as with Wavelength, a classic New Orleans R&B and rock and roll revival show. He hosted weekdays in 1987 from 4 to 6 p.m. on WYLD AM 940 in New Orleans at the age of 75. In his On the Air column for the Times pick you, Mark Lurando wrote quote, Some local music enthusiasts will tell you that rock and roll was born the night that Dr. Daddy O signed on for the first time. Though Alan Freed generally is credited with exposing rock music to mass audiences for the first time, Freed's New York radio show didn't start until three years after Dr. Daddy O spun the same kinds of black music records in New Orleans, end quote. It is a history that is both rich in lore and now tangible via primary sources and accessible archives, making Winslow someone who not only contributed to the legacy of broadcast and music history, but also to the preservation of his own legacy. I would like to acknowledge the sources used for my presentation, and not only thank those I've cited, but also thank my fellow colleagues who worked on making the Winslow collection accessible to the public. Jillian Cuellar, director of Tulane University Special Collections was the principal investigator of the Grammy Museum Grant and was assisted by Jennifer Waxman, head of collection management, and by former Tulane Library's employees, Lynn Abbott, Elena Abert, Sabrina Johnson and Dorothy McKendrick. I would also like to thank Sean Nolton, Riley Marsh, Alan Velazquez, and Maddie Wyand of the Digital Scholarship and Initiatives team of Tulane University Libraries for their work to ingest the digitized recordings into the Tulane University Digital Library for all to hear. Additionally, photo arts imaging professionals in Mississippi was contracted to do physical conservation on the discs and engineer the audio digitization. Assisting with today's presentation behind the scenes are Alan Velazquez of Digital Scholarship and Initiatives, Rachel Stein of the Libraries Professional Development Committee, and Raquel Horlick, who has coordinated the libraries series of workshops talks and trainings.  And I'll place in the chat, the links that you all will find beneficial to accessing these recordings and others. The full Vernon Dr. Daddio Winslow Broadcasting broadcast recordings as well as many other digital collections. And now I'll look in the Q&A section to answer any questions that you may have a question from Eddie Hughes and your selections you show that Winslow respected his religious obligation. Did he speak about the social atmosphere of the time, or was there space for that at any of the radio stations. In the recordings that are part of the digitized collection. I did not hear any sentiment about the social atmosphere, nor in the 1950s would that have been accepted at that time. It is definitely worth researching more to see if maybe he talked about it off the air and I do recommend Bala Baptiste's that I cited and and a great question. Thank you for that. But as far as as the 25 digitized recordings, there wasn't really anything that spoke to to that energy and given the time. I can understand why but there are more, there are more recordings actually because and I have to cite them. The Amasad Research Center holds a larger Winslow collection and it's among their, their finding aids. The Amasad Research Center which is also located on the campus of Tulane University. So, perhaps when those are digitized, we may have a fuller a fuller picture that can be answered. Thank you. And I see that Jennifer Waxman in the chat, my colleague here at Tusk mentioned that Tusk started with photo arts for digitizing. Oh, thank you. But the, but the work ended up using, but Tusk wound up using the Northeast Document Conservation Center to convert the lacquer disks to digital files. Thank you very much for that. I don't see any additional questions in Q&A. The one additional chat has popped in. Oh, I think that's for the highly damaged disks, they use this amazing amazing 3D imaging process, and Jennifer posted a link to that in the chat. Thank you so much Jennifer. If there are no more questions, I'd like to thank you so much for joining me today and wish you a happy archives month. Please feel free to share the recording and link to the collection with others as it comes out to you and it is posted on the YouTube page of Tulane University Libraries. Thanks again. Bye bye.


The next acute symptom patient present with is an acute scrotum. So it can be a torsion of appendix, torsion of spermatic cord or torsion of the testis. It can be infections like epidemitis, epidemocritis, all this can be easily ruled out with a simple ultrasonography and a history taking. History generally with epidemitis and epidemocritis is a long standing really it will take about 3 to 4 days. Secondary factors like diabetes or immunosuppression might be the cause. Unlike in torsion of spermatic cord or torsion of testis where the patient is young male, adolescent male with an acute history or acute spontaneous onset of testicular pain. Rare causes can still be vascularities or dermatological lesions which will make acute scrotum. So the first investigation of choice in acute scrotum is a duplex ultrasound of scrotum. If the diagnosis is clinically suspicious, yes we do not delay the patient for any investigation. The colonopulore ultrasound has the maximum sensitivity of 88% and the specificity of 98%. Yes, here you can see the reduced blood supply to the testis and also you can make out the twist or the torsion of the spermatic cord just before the junction where the blood supply has stopped. So surgical exploration is very important. One is to diagnose the problem, de-rotate the testis and make sure that it is not any other problem in the form of epidemocritis. Occasionally we may find on table that we have taken the patient into war with the primary diagnosis of torsion but may land up in acute epidemocritis. But yes, still that is okay but we can manage with antibiotics but we have not missed out torsion and lost his testis. So an acute epidemocritis generally is an endurance process where he has a scrotum swelling, erythema, pain and generally they have very severe tenderness and the cremastic reflex is present in epidemocritis whereas it is lost in torsion. Here the management is bed rest, scrotal support, parenteral antibiotics with IV after her diagnosing is DI and any urethral instrumentation, per urethral instrumentation catheterization should be avoided in epidemocritis. Suppose you have a large epidemocritis with retention, the preferred mode of drainage would be an SPC over foley's catheter. The next emergency where we are called is preapism.  It can be ischemic or a non-ischemic, generally ischemic preapisms are painful whereas a non-ischemic preapisms are painless. Now the role of urologist to treat is a preapism is more in ischemic where we have to act very fast within 6 hours to drain the blood. The diagnosis for ischemic and non-ischemic is first is clinical. The next thing is we draw a corporal blood and check his ABG, if the partial pressure of oxygen in the ABG is lesser than 30, we diagnose it as an ischemic preapism versus a non-ischemic preapism where the partial pressure of oxygen is more than 90 millimeters of mercury. So this we have to diagnose because the mode of therapy or mode of treatment is completely different. Other causes for preapism include drugs, some trauma, hematological disease like sickle cell disease and tumor. The diagnosis is usually obvious from the history and the duration of erection should be more than 4 hours. Painful or not is because we have to differentiate between ischemic and non-ischemic preapism. And the previous history of and treatment of preapism is also important because early in sickle cell disease, these patients have repeated episodes of preapism. Yes, that indicates that it is again an ischemic type of preapism which has to be treated immediately. So treatment depends on the type of preapism as I told initially, many of the time it is a conservative treatment where if it is an ischemic preapism, we inject phenyl effrin. We drain the blood, inject multiple episodes of phenyl effrin in the dose of 100 to 500 micrograms diluted phenyl effrin up to 1 hour. See the response, generally 80 to 90 percent they respond and then we manage accordingly. Suppose it fails then there is a surgical option where we shunt the blood in the form of shunts. The next form of urological emergencies are trauma. The most important ones and the most common ones are the renal trauma, bladder trauma and the urethral injuries. Urethral injuries are rare, usually we get on-table calls for urethral injuries otherwise in emergencies the renal trauma and the bladder trauma are very common and very important to know how we do the manage. It can be blunt or penetrating, a direct blow or exhilaration or deceleration injuries to the kidney can cause this. A penetrating with injury with knives and got shot or heterogenic, yes can cause this type of renal trauma. Indications for renal imaging, the best imaging is contrast and then CECT abdomen and pelvis with delayed phase if the patient is hemodynamically stable. So microscopic hematuria, penetrating injuries associated, hypertensive patient which has been resuscitated, rapid exhilaration or deceleration injury in the history or any child with a microscopic hematuria with a trauma, blunt injury abdomen warrants any renal imaging. Non-contrast imagery is inferior, yes contrast CECT abdomen is accurate, rapid and images other than and it images all other organs also for management. So generally we try to grade these renal injuries from right from sub-scapular hematoma up to renal avulsion, the highest grade is vascular pedicle avulsion, grade 4 involves the collecting system injury. So generally we can classify in this group and up to grade 1 to 4 still there is role for non-exploratory laparotomy provided we have sufficient ICU backup and monitoring system and grade 5 of ascorb injury, yes we have a role for nephrectomy. So these are the images, the right kidney has a small laceration of the upper pole of the kidney, these type of injuries are generally monitored and they settle they do not require any exploratory laparotomy and procedure. 95% of the images, 95% of the injuries are managed conservatively of the penetrating injuries of isolated kidney then 50% are still managed conservatively we just monitor their hemoglobin, their urine outputs and their general condition without intervening them. Bedrest, IV antibiotics and vital signs monitoring hemoglobin are the key 4 indicators where which tells that the patient is not deteriorating. Surgical exploration is limited only for patients we have persistent bleeding or hypotensive persistent hypotensive they are expanding there is expanding perinatal hematoma on follow or there is a pulsatile perinatal hematoma. The next form of injuries are in the form of bladder injuries where it can be a penetrating or a blunt injury, rarely spontaneous ruptures can happen in very in cases of benign enlargement of prostate where the bladder has severe excessive filling pressures. This type of injuries can be classified into intraperitoneal and extaperitone why this classification is important because almost all the extaperitoneal perforations the second pictures the second picture shows the contrast these are CT's histogram where we have passed the catheter and filled the contrast and then taken a CT is not a delayed phase the dye has gone beyond the bladder but still it is contained inside the peritoneum. So these are the injuries where which can be managed almost 95% conservatively we just have to place a catheter monitor them for 2 to 4 weeks unlike this type of injury where the bladder has been injured and the whole dye is passing in the whole abdomen. The problem here is the urine keeps leaking into the peritoneum keeps getting absorbed into the peritoneum it causes raised creatinine it can cause peritonitis these injuries have to be treated surgically. So generally with intraperitoneal rupture patients will have abdominal pain abdominal peritoneitis raised in creatinine sometimes occasionally hypertension with associated other abdominal injuries but with extaperitoneal injuries they do have a supra pubic type of pain sometimes more frightening on look but there generally be a extaperitoneal injury. Yes of course all the patients almost all will have hematuria. So bladder trauma do a CT's histogram if he is stable if it is intraperitoneal will have to go and close it if it is an extaperitoneal yes only catheter drainage is sufficient.