Every town has a legend, a haunted house, an abandoned mill, an apparition that appears by a bridge. Myths and legends are symbiotic with the Midwest, and every town I've lived in had one or two peculiar locations that leave you scratching your head. Usually, these stories seem to spawn as an effect of another reason. In the case of the town I lived in in Colorado, the tales of a haunted grain factory seemed like an attempt to keep a relic of the town's history relevant. Then when I moved to Utah, the story of a main street rife probably spawned as a talking point because, well, to be honest, there isn't much of anything interesting going on in the Utah desert. Then I moved to the middle of an Arizona desert and learned of the local town's weird legend. It started four years ago. A man by the name of Jeffrey Willard came home late one day after delivering parcels, grabbed a hammer from his shed, and mercilessly beat his wife and dog to death. Nobody in town knows why. When the police found him, he was sitting on his porch peacefully. He didn't even know what happened. Yet, when they went inside, they were horrified at what they saw. Supposedly, Jeff was emotionless, telling the police he didn't remember anything about that night or why he did what he did. It didn't take long for the coroner to piece together what had happened. The evidence was clear, Willard was a murderer. A local friend of mine by the name of Dwayne Yolis, who was the responding officer that night, refuses to talk about his experiences that evening. While I was moving in, Dwayne helped me and my wife get acquainted with the town. And as a result, we've become good friends. We've talked a lot about each other's lives, my own experience in the police force, and I learned a lot about him from his stories, both funny and mundane. One evening, he briefly mentioned the Willard murder, and I asked him to tell me more about it. He outright refused. I understand why too. If you've never lived in a small community, it's hard to know how a violent crime can change things. He did make one brief note, however, which was this, Jeffrey Willard was a standout man who loved his wife and loved God. He never would have done something so heinous unless something had caused him to go mad. Despite his refusal to recount his story, it didn't take long to fill in more gaps as it was a common talking point in the local bar even four years later. Nothing anyone's ever said was that he was a normal man living a normal life, and the morning of the murder, nothing was out of the ordinary. He went to work, seemed peaceful and amiable, and appeared normal until he wasn't seen until after the murder. There was no sensible rationalization for why he did what he did. The only one who had any sort of insight was the local barkeep, Tom Davis, who recounted his experience the night of the murder to me many times. Per his story, he was closing the bar when he saw Willard's headlights coming in from the desert from the west. As he says, I already knew something strange was going on when I saw someone coming down reverie road during the night. Willard drove by the bar, and as Tom says, it was like he was entranced. He was driving slowly, ignoring stop signs and traffic lines. As he drove by, Davis says that he got a glimpse of Willard's face. To this day, Davis insists that there was no life in the man's eyes as he drove by. That brings me to the subject of my town's local oddity, reverie road. On the west side of town, there's a road that begins between the gas station and the bar. This starts by the gas station and goes straight into the desert. Nobody has any idea where it goes. There are no houses in the direction it heads off to. There are no towns. There are no lakes, no mines, no rivers. There are no hotels, schools, gas stations, telephone lines, windmill farms, power plants, landfills, cattle ranches. The road does not have a highway marker. It does not even have marks in the pavement. Reverie road is an enigma. The road does not go anywhere, but has been here even before the town. Well, why not drive down it and see where it goes? I've asked everyone in the community has their own story about how they tried. Yet every attempt ended in failure. As it turns out, if you decide to turn under reverie road, you will find yourself in an embankment after about three miles. There is a bridge that crosses this embankment, but it's fallen apart. When this was, nobody has any idea. However, crossing this trench is impossible with a motor vehicle, so nobody has been able to see where exactly the road ends. You can probably see how the murder and roads peculiar nature muddled together to form a local legend. People began to speculate. What was Willard doing on that road that night? What caused him to have an episode of extreme violence? Was it possible that something on the road provoked Willard to kill his family? Theories began to abound. One week, reverie road led to an ancient burial ground. Next week, the road was inhabited by skinwalkers. Some think that maybe there's a government mind bending facility or even Area 51. Maybe Willard had an encounter with aliens.  More logical conclusions abound, certainly, but even those hardly make any sense. The local area has no natural resources to mine for, and there never were plans on having a town in that direction, considering it was off the path of an already established highway. There are no bodies of water, and the land is not arable. There is no consensus on where this road goes, and hardly any history on its construction. The only thing that's certain is that if you stand on the edge of the dilapidated bridge, reverie road continues on indefinitely into the desert to a destination that's impossible to know. A few curious adventurers have tried to find out where the road goes. However, the Arizona desert is harsh, and as established, you can't drive past the embankment. So, after months of speculation and a little bit of exploration, an urban myth was born.  Insert your own reason why. Eventually, time eroded the myth, and people began to forget about reverie road again. The story of Willard's violent act silently became a bruise in the town's history. Life began to return to normal, and only fragments of the original fascination with this street remained. There were still believers, but for the most part, nobody cared to speculate further. Reverie road was just a road. That was until yesterday morning. There's no way to cut to this. I was minding my business, filling my car up at the gas station. It was a typical Monday morning. My wife was in the passenger seat when she suddenly tapped on the window and pointed out into the desert. I turned towards the road and quickly saw a shape moving towards the town. I watched as it drew nearer, and eventually those that were nearby stopped what they were doing to see this mysterious figure emerging from the desert. Soon, the shape came into focus as it got closer. It was a man limping, and he was dragging something behind him. As it got closer, I could hear my wife scream from inside the car, and my heart dropped. It was Tom Davis, the barkeep. He was shambling up Reverie Road, a chain wrapped around his torso as he walked laboriously towards us. Behind him, something heavy dragged on the pavement, streaking it red. I ran up to him, the small crowd of people coming with me. I called out Tom's name, but he didn't respond, instead continuing to move forward. Then when we were no farther out than a few meters, I stopped, and I could feel my body freeze. Tom Davis was dragging a body behind him. The crowd stopped moving. In the Arizona heat, I could feel goosebumps form. I stood awestruck as I watched the details slowly emerge. Tom's torso was bloodied, and his clothes were ripped, exposing deep wounds. The chain that surrounded him was the same chain he usually had in the back of his truck, the one he volunteered to people when they needed to tow something. Tom's face was blank. Despite the oppressive sunburn he'd acquired, his lips were dry and peeling. As he got closer to the intersection, his face began to show some signs of lucidity before finally erupting into a confounding blabber as he stepped off the road. People surrounded Tom, and screams filled the still air as people began to see the condition of his son. What happened, Tom? Slowly, Tom turned around and let out a shriveled scream as he saw what he was dragging. I told my wife to drive home, and the police were immediately called. People started moving away from Tom, watching in silent horror. As it appeared he regained consciousness. He dropped to the pavement, crying into the air, and screaming louder than any man I'd ever heard scream. I watched a father try to remove the chains from his son. I watched a father try to administer CPR. I watched a father endlessly call out his son's name. And I finally watched a father hold his son's corpse as his wails were not returned. I could only stand with a stiff hand covering my mouth, keeping my distance from the scene as I realized what I was witnessing.  The officer stood there, shaking. I watched his knees wobble before he turned around to the cruiser, nearly falling against the door. After a few minutes of abject panicking, he calmed himself before approaching Tom slowly. Tom Davis was apprehended. The body was examined by the responding officers. Nobody had a question about what happened. Then within the hour, the legend of Reverie Road returned. After Tom was apprehended, the officer organized a search party to find their vehicle and Tom's wife, as well as any supporting evidence about what might have happened. I volunteered, as did many of the townspeople to help. Businesses closed as the community gathered at the edge of the road to help in the search. People began to speak as we began to walk into the desert. This was just like the Willard murder. The road turned him mad, too. The most common question churning through everyone's mind, why? So we walked down Reverie Road to find out. We combed the desert for tracks or any sort of clues as to what went on. We found no tire tracks or other evidence that Tom's truck went off-path. We found no footprints, no clothing, no weapons. No sign of a struggle. The search was beginning to appear fruitless. Then we made it to the dilapidated bridge. The bridge was still broken apart in the middle as anyone would come to expect. But something caught us by surprise. Tom's truck was on the other side of the trench. There was no evidence he drove into the trench. The ground and dry brush was undisturbed. Instead, it appeared as if he somehow drove over the bridge. Weirder yet, the white Ford was still running as if it had been suddenly abandoned. One of the tires was flat with a knife sticking out of it as if sabotaged. The ground surrounding the vehicle was disturbed and blood painted the windows and hood. I heard a woman from beside me sputter out pointing at the side of the car. Oh my God. I looked to see what she was pointing at and I quickly pulled her away as I covered her eyes. There was a hand dangling from inside the car, blood dripping down the arm. Officer Ulyss called in that they found Tom's wife shortly after. Then without pause, I saw him turn to us, terror in his eyes. He told us we should turn around and that the search was concluded. On the way back, nobody spoke. Last night, I went to go drink. I think after everything I had seen, I needed it. There were more people at the bar than usual. Good for them. There was a heavy air as one of Tom's friends was managing for the night, but he acted solemnly and talked very little, only servicing people's request. Surprisingly, Officer Ulyss showed up as well. He was still in uniform and sat in the corner without talking to much of anyone. After an hour of talking with some of the other locals, I decided to check up on him to make sure he was all right. He saw me approach, nodded and stared at the window at the road. I sat down, prying my eyes to see what he was looking at, and eventually I spoke. You all right? He stiffened up, laid back in his chair, and nodded. Yeah, yeah. I ordered a drink for both of us, and I brought the topic to the Cardinals and their current season. Ulyss seemed mildly interested, but the conversation didn't go anywhere. I was preparing to leave to give him some time, but then he spoke to me. You know, the night of the Willard murder, I... He sighed, gathering his thoughts, then continued, Well, you know I don't like talking about that night. You don't have to, I assured him. No, no, I think I do, he said. At that moment, I saw a level of conviction on his face and determination to power through whatever reservations he had about the topic. I need to tell someone. That night, when we found Willard's wife, I remember distinctly how horrific and merciless the crime scene was. I mean, Christ, one moment you got this man and his loving wife, and by the next she was barely recognizable. Nobody had any idea what could cause a man to... He choked for a bit before continuing. And so, I asked around the town about the local gossip to see if I could piece together an affair or a motive. There was none, and Willard himself was as confused as we were. But then, Tom told me about the night he saw Willard return from the desert on Reverie Road and die. He began to hold his hands tight to his mouth, a look of anguish splashed against his now reddening complexion. I drove down it. I paused, waiting for him to continue. What did you see? His eyes looked at me and spoke straight and without hesitation. Nothing. There's nothing down that road.  I nodded. He turned over his shoulder at the crowd on the other side of the bar who were oblivious to the conversation. He glanced back at me, bringing his face close to the center of the table, before whispering, What I tell you next, it stays with us, you understand? I nodded again. When I came back from the road that night, I began to have nightmares. I could feel the sweat in my palms and the anxiety in my limbs. In the entire time I've known Jolies, I'd never known him to be anything but level-headed. I was beginning to believe that the trauma of the morning had caused something inside him to finally come out, a side that I've never seen. I had nightmares that I drove past the bridge. I took a drink from my glass, not sure what to say. At first hearing, it didn't seem strange that he dreamed about the road after feeling his mind with thoughts, but there was one word that stuck out to me. He said, nightmares. What was on the other side? I don't remember. I never remember, but I dreamed I was Willard that night, that I was the one with the hammer and that I was the one who he paused, trying to collect himself. I dreamed that I did what Willard did. I placed my hand on his wrist. Look, you had a nightmare after a traumatic event. There's nothing abnormal about that. No, he said, no, it wasn't just a normal dream. He said, I had another one last night and it wasn't about Willard. I froze, you're not saying I am. He said, nodding slowly, Tom, I saw it all. I was Tom Davis in my dreams. I saw the man and his family take a turn on the road. I saw him drive through the dark desert. I saw him approach the bridge and he gulped when he was on the other side. I saw what he used on the sun. I saw what he did to the wife. My mouth just hung open. I didn't know what to say. Yolise was letting tears stream down his face at this point. And I sat silently, you didn't see the wife's body. He continued, but I did, and it was exactly as I, as Tom left it, weapon and all. Another long pause, how can someone do those things? I could have stopped him. I saw it coming. I could have stopped it from happening. I wanted to try and calm him down, try and tell him there was nothing he could have done. Instead, I sat silently, taking in everything I'd heard. The conversation turned back to other things, and I tried my best to keep his mind off of whatever was eating at him. We only hung around for another hour before the bar closed, and I wished him farewell. He said goodbye, a faint optimism that maybe everything was going to be fine. I knew deep down that he wasn't going to sleep that night. So I got to my car and began driving out of the bar lot. Not long after, I made it to the stoplight at the intersection with Reverie Road. The air was warm and still, and as I waited for the light to turn green, my eyes went to the dark road that drifted into the vast desert. The street lights illuminated the entrance, but that was it. Reverie Road was shrouded in black. I turned my gaze back to the street ahead of me, staring at the main street again, continuing my weight as the light was still red.  This draw overpowering and the allure indisputable. I began to wonder how much could it hurt to go down this road real quick to see if I could find something myself. It was pulling my focus, and all I could wonder was what was down there. Nothing. That's what Yulie said.  But there was something. I could feel it.  A car honked behind me, and I looked back up to the traffic light. It was green.  I drove into the desert carefully and slowly. I had my brights on, the wheels of my car dipping and rising with the imperfect asphalt. The stars above me were faint, and the desert around me was infinite. All the while, I kept thinking to myself, there's nothing down this road.  I should turn back. I was two miles in. There was no turning back. The loneliness was unmistakable. It felt like I was the only living thing for hundreds of miles, and even the light of the town behind me was fleeting. I turned the radio up for some company, but it eventually faded to static. Then, I made it three miles in. I slammed on my brakes. I heard the tires under the car screech, and I was kicked forward in my seat. My headlights illuminated the site before me, and I could feel my breathing become labored. I sat motionless, and I must have been wide eyed as a deer caught in the headlights. I began to shake, and I knew that something was wrong. The bridge before me was intact. I sat in my car, gripping the steering wheel. Impossible. With my car still running, I stepped out of the driver's side, placing my foot on the asphalt underneath. Removing my gaze, I eyed the bridge before me. Tom's truck was still on the other side, abandoned and lifeless, still covered in blood. I stepped forward to the edge of the bridge. The road continued into an abyss of darkness, stretched out before me in the headlights. I began to feel a breeze pulling me in. It would be so easy to step forward, to traverse the bridge, and make it to the other side. I could finally find out where the road went. I stood, continuing to stare into the darkness, when I saw two lights come on far ahead. They were like pinpoints, miles down the road. They weren't moving. They looked almost like headlights, but I already knew there was nobody on the road. Another thought popped in my mind. They almost looked like eyes. The curiosity was too great. I had only one goal, to cross the bridge and walk into the desert. I had no other drive, no other motivation. I was going to know where it ended, and I was going to know tonight. As I stood before the bridge, placing my foot forward, it was almost like I began to dream. I dreamed about walking down the road. I dreamed that I made it to the end. I dreamed about crossing the bridge once more, making it back to town. I dreamed that I went to my garage. I grabbed a drill. I dreamed that I opened the door to my bedroom. I flicked the lights on as I gripped the drill tightly, the bit spinning loudly as I stepped forward. I dreamed that my wife turned to me, fear washing over her face, and she screamed. I dreamed, no. I woke up panning, the sound of a drill ringing in my ears as I flailed around in the darkness of the desert.  The car was still running behind me, and sweat dripped down my face. I was shaking as I crawled back to my car, put it into reverse, turned it around, and I drove as fast as I could back to town. I have no idea how long I was out there for. The sun was beginning to come up over the horizon. I was shaking the entire drive back, and I soaked the seat in steering wheel and sweat. I made it home. I nearly had a heart attack before opening my bedroom, not sure what to expect. When my wife woke up, I told her I fell asleep in the bar parking lot. She was disappointed, but I could live with that. I couldn't tell her what I saw. I couldn't tell her that I was almost pulled into the other side of the bridge. She wouldn't understand. I've been shaking all morning. I can't sleep. I called into work just to write this because I need to tell someone what happened.  I can still feel its presence. It still pulls me to it. I still have to know what's at the end, but I'm fighting against it. I'm terrified of what happens if I make that cross. I know when I go to sleep, I'll find myself there again. But I have to fight it. I've cursed myself with an endless battle. So now I'm trying to remind myself that there's nothing down that road. It doesn't go anywhere. There's nothing at the end. Every town has a legend. In the case of Reverie Road, I'd rather keep it as that.


So look at this image for a while and then we'll get back to our topic which was looking at the different manifestations of a baroque impulse in the works of Bormini in specific and also Bernini and his contemporaries. The third great member of the Roman baroque is Pietro da Cortona. And da Cortona simply means from Cortona which is a town in Tuscany. And like so many of these Renaissance guys or Baroque guys, Pietro da Cortona is as comfortable doing painting as he is doing architecture. And this ceiling in the Barberini Palace is often considered to be the best thing ever when it comes to ceiling painting in the Baroque. And one thing that's so spectacular about it is just the very idea of how this thing engages the space below it. When we looked at the Sistine Chapel or even when we looked at the Farnese ceiling by Annibale Carracci which we looked at very briefly just for me to say not as good as I would like it to be. We noticed that there was this idea that a picture, a framed picture was transported to the ceiling. So ontologically and ontological means having to do with states of being, having to do with states of what existence we're talking about. So if you look at a picture you know that that thing is in a different state of being than you are. That's the thing on the wall. That's the image. And so Michelangelo in the Sistine Chapel is very happy to keep that clear by framing pictures and having them be up on the ceiling. Pietro da Cortona does something quite different. Pietro da Cortona here is extending the space of the room illusionistically. Quite a theme really. You know you often get these paintings called things like the crucifixion or the creation of Adam or the separation of light and day. These are great biblical themes. The theme of Pietro da Cortona's painting is the triumph of the Barberini. The Barberini are his clients. That's kind of crazy right? It would be like the triumph of Bill Gates going up in chariots into the sky. Something like that. If you get enough money you can pay for that. I would definitely be commissioning that one if I were Bill Gates. But look what's going on. It's really quite amazing. It is as though the ceiling of the room has been blown away. There is an extension of the architectural features of the room into the painting and then a dismantling of those features as this great sense of rising up happens. The Trumploi perspective is being used but it's a Trumploi converging upward rather than converging forward. All of the techniques of the Baroque that we've admired in architecture are being trotted out here with great glory. And that is these complex compositional strategies of diagonal recession, of multiplicity versus unity, of loose handling of paint, strong plays of light and dark, and a moving of the pictorial image almost into the territory of theater. It becomes so dramatic and so active. I just wanted to show you that as a point of reference for where we've come since the days of Michelangelo, which we're not really so very long ago. Just a little diagram from Christian Norbert Schultz whom we mentioned before, talking about two basic diagrams for the Baroque church. One diagram is the longitudinal church that really becomes expansive around the dome, so much so that the domed part of the church becomes kind of like that great vault of heaven, that microcosm of the heavens that the centralized church tried to be. And the other diagram is the elongated central space where you give yourself an axis but just barely. Or you have some kind of displacement of center along a line that begins to give you an ovalized space rather than a centralized space. Let's get back to the theme we were discussing last time. The confrontation between Bernini and Boromini, or at least a comparison between Bernini and Boromini. Boromini and Bernini were both together working on projects with Carlo Maderno. And when Maderno died, they more or less went their separate ways. And their separate ways were quite different. Bernini was very courtly, Bernini was very charming. Bernini was the favorite architect, not simply of the Pope but also the king. Bernini went to France to do projects for Louis XIV, for example. Nobody was as charming as Bernini. And here you see a little handsome guy, Bernini, over here. Meanwhile, we have Boromini. And Boromini was very grumpy and very paranoid. Boromini eventually committed suicide by falling on his sword. And as he was dying, he was burning his drawings because he didn't want somebody else to get credit for designs that he did. Particularly, he didn't want Bernini to get credit for designs that he did. So he was in a difficult psychological state, let's say. Whereas Bernini was very gracious. The implications of that, if you happen to be an architect, is you don't get so many clients if you're the grumpy, paranoid, schizophrenic guy. And you get lots of clients if you're the courtly guy that popes and kings like to spend time with. There are more differences between them. And I would say one difference is that Boromini comes to architecture through architecture, through stone cutting, through masonry. When Boromini was a little boy, he actually cut stone on the Milan Cathedral. That was his first job.  And you can find some of those in the Milan Cathedral. So he had this personal experience working on a Gothic site before he came to Rome. So the kinds of tasks that he would have the workers in the field do, he could explain to them. He knew exactly how everything got put up in the field. He knew it all. So he was really intellectual. He had in his own personal library over a thousand books. And in a day when books were precious, that is a huge library. Unlike, say, Michelangelo or Palladio who had great patrons who brought them into this sophisticated way of thinking about the world, thinking about philosophy. Boromini is a kind of autodidact, which means he taught himself things by reading. He became familiar with theory. He tried to load on as many meanings as possible. Meanwhile, Bernini was a sculptor. He was really interested in these close observations of nature, very interested in the virtuosity of handling stone, but not really skillful in architectural questions. So let's look at a couple of projects that they did that are similar in terms of program. Or not similar in terms of program, but let's say similar in terms of ambition. The first one we're going to look at is the Scala Regia by Bernini at the Vatican. As an aside, aren't these men dressed nicely? These are the Swiss guards at the Vatican. And if you think they're dressed nicely, that's because Michelangelo designed their outfits. And they still wear these little darling outfits designed by Michelangelo. I think they look great. The task that Bernini has is to make an entrance to the Vatican Palace. The Vatican Palace is up on an upper level, and the desire is to make an entrance more or less through here. So a big stair that gets you to the upper level of the Vatican Palace from the courtyard in front of the Vatican. What he does is he designs this dramatic stair called the Scala Regia, which basically means the royal stair. And he designs it in a theatrical way. What would we expect from Bernini? We would only expect that he would design it in a theatrical way. So this is where you enter the system and you move up. And as you move up, you have these landings that are bathed in light from hidden light sources. You can see the rhythm of light coming into it from this drawing down below. There is a bridge where you have an opportunity either to move into church or move into some private quarters and then you continue up. How's he designing this? You can look at the section, you can look at the plan and you should immediately notice that he's taking ideas about perspective or ideas about trompe l'oeil and building them into the plan. The walls taper. And not only do the walls taper, but the relationship of floor to ceiling tapers. So it's a taller space here than here. He's building a fake perspective. He's building a trompe l'oeil that you walk through. And he's being very careful to manipulate not simply the shape of the space, but even the dimension of the columns and the inter-columniation between the columns and the amount of light that comes in. So you get this thoroughgoing sense of being carried away by the illusion of the space. And that this long march up to the top seems easy because it's so well orchestrated.  He has like three people who ever want to give him work. One guy is a cardinal called Virgilio Spada. And this is the Palazzo Spada, a manorist building. Unfortunately, Spada already had a palace, but he got Boramini to do this little addition, the Galleria Spada. Here's a plan of it. And you see here where it's situated. This is a courtyard. This is the Galleria Spada. And this is the main courtyard of the Palazzo. This is a funny shape also. It's a little tapering cone similar to the tapering cone that we saw being used by Bernini. But now at a much smaller scale. You see there's a little statue at the end of the line. And you have some sense looking at this thing of how big the statue will be. Statue is more or less half a column height, slightly less than half a column height. A person is slightly less than half a column height. So all of the visual cues of the receding lines of the coffering of the columns make you think the little statue is going to be person height. But actually, ha, he tricked you. The little statue is like this big at the end of the line. And it is this trompe l'oeil. It's, I think, more effective than the Bernini trompe l'oeil. But the Bernini trompe l'oeil is really in prime real estate, which is to say the Vatican. And at a scale that's much, much greater. This is a little drawing showing you the details of how this illusion is created. By stepping down the ceiling, by stepping up the floor, and by shrinking the scale of the columns, the inter-columniation, and the bays that introduce light into the system. Fabulous. So now I want to talk about this moment in 6th to 5th plan, the four fountains, the quattro fontane. Because it's an interesting place where works by Boromini and Bernini come into direct confrontation with each other. Here we have the four fountains, right over here. One way that Domenico Fontana marked that special moment within the plan was to chamfer all the corners at 45 degrees and stick a fountain there. Hence the four fountains. So we have this funny intersection. And at this juncture, we have a little church stuck in the corner by Boromini, San Carlo alle Quattro Fontane. And along this road leading to the Quirinale Palace over here and Piazza del Quirinale, obelisk at the end, we have a Bernini church, San Andreao Quirinale. So both of these architects have a challenge. And this is really one of the big challenges of the Baroque. Renaissance didn't care so much about it, but the Baroque does. And that is, how can you conserve the continuity of fabric and edge? How can you knit together the city and still identify monuments within the city? How can you make the monuments stand out from the edge without rupturing the edge? And they both have different strategies for doing this. We'll look first at the Bernini. This is the long sleeve, it's called, of the Quirinale Palace, just a thin little bar of program with gardens behind it. But still, it's the Pope's Palace. So it has a certain hierarchical significance within the structure of the city. How will Mr. Bernini deal with that? And the answer is here. Mr. Bernini will deal with it by allowing the fake facade edge, the wall that defines the edge, to remain consistent, but to scoop a little concave circle out of it. It's kind of like what we saw Madeirno doing at the Barberini Palace, where he sets his building back a little bit to create a forecourt to carve out a space within the city that his building can become object-like in. But here there's a more complex game of inner penetration going on. He carves out a space, but no sooner does he carve out a space than he pulls out a facade, a temple facade, to occupy that space. And no sooner does the plane of the temple get established than he pulls out an etiquule, this little round porch. There is a kind of inner penetration of concave and convex spaces that really animates the whole system. Here you can see the wall sliding behind the facade, the ovalized volume of the church pulling back here and the little etiquule popping forward. And maybe this is a better view of it. Here's a plan. And this is an example of how the Baroque architects are sly about centralized churches. You must not have a centralized church, Bernini. Ew, don't worry about me. It won't be centralized because it's an oval. And so an oval gives you a pretty good idea about the circle, but it's not a circle. It's longitudinal. So Bernini succeeds in not having a centralized church and is allowed to build this. It's even slier than that, though, because you kind of want it to be centralized anyhow. So the long axis, strangely, is not the processional axis. So even though it has a long axis and isn't centralized, it's not like it's ideal for processions. There's an apse over here for the altar and the length from the entry through the apse and the length from pier to pier on the long axis is the same. So he's kind of insinuated centrality within the ovalized space of the church. He is clever. But just look at the interplay between these different volumes. It's really, really powerful. You know, in Manorist architecture, tensions are set into play and they become irreconcilable. Like, ah, how can you put these two things together and all you feel is tension? And I think what's amazing about Baroque architecture and maybe specifically Baroque architecture in the hands of somebody like Bernini is how oppositions are set into play. Here's a plane. Here's a volume. Here's an edge of the city. Here's an object building. What are you going to do? No problem. I'll just synthesize. It'll be fine. I'll rip them up all together. So these things are reconciled in a way that seems harmonious, that seems to dissipate the idea of tension and give you something more like a counterpoint than dissonance. Just fabulousness of the stair pulling out, pushing you away as you're trying to move forward and fabulousness of the etiquule, this little volume pulling out and for a moment at least giving you an idea about the idealized, centralized pavilion that is denied when you come onto the inside. On the inside, things are going on that we're familiar with because we looked at the Coronaro Chapel. So we're familiar with polychromy. We're familiar with all of the arts marshaling their forces together to create this really strong theatrical experience. So we have little angels crawling off the dome and crawling into the space of the church as though they have liberated themselves from heaven and they're coming down to meet you. You can see them, you know, coming out of here, this is no good, happening up here and the colors are these rich marbles, these gold leaves, these saturated tones, quite different than the kinds of things we've seen before. If we go down here to the corner of the Quattro Fontane, we find the solution put into play by Borromini, where he's trying to do the same thing. How can I put a building in a dense urban fabric and simultaneously hold the edge and define the urban space of the city and still individuate the objectness and therefore mark the hierarchy of my building? He does it in this subtle and sly way. What's going on is this strange attitude about the façade. Here, by the way, is one of those fountains, one of those four fountains put at the intersection of the two Sistine Roads. The façade seems to have a life of its own. The façade undulates. The façade wobbles away from the wall and disengages an autograph drawing. By autograph, I mean Borromini's drawing. You can see in this drawing something funny happening, and that is the axis of the façade and the axis of the church are misaligned. What that means is that the façade is in fact peeling away slightly from the line of the street and lining toward the line of this octagonal crossing that we have here, as though the façade wants to march away from street edge and occupy corner. And this autonomy of inside and outside is something that we already saw in the Jezu Church by Vignola, which more or less set the ground rules for subsequent Baroque churches. That is to say, the façade's doing one thing. The façade is a billboard. The façade is rhetorical and promoting messages to the church in Borromini. It becomes more animated and the façade begins to take on the freedom to move anywhere it wants. This is an early expression of this theme that we'll see developed in subsequent Borromini works. This is the undulating façade, really exaggerated here in this drawing. And in its undulation, it begins to inflect toward the square of the four fountains so that it can begin to, at least symbolically, occupy the space of the four fountains as its piazza, even though it's on the flat edge of a street. And here's the fountain, the fountain embedded into the corner. This is what the plan looks like, and the plan is not ideal. The plan is dealing with all of these contingencies, and it's a tiny little site. Remember, Borromini is grumpy. Nobody's going to give him a good project. This is a project for a order of monks called Spanish Trinitarians. They dressed in outfits that were these kind of black, rough cloths. And Borromini liked the way they dressed so much that he dressed like that for the rest of his life. It was like, I don't know, somebody dressing like a 19th century gentleman. It was like a hundred years out of style. But he thought this was correct. People were too pompous. People were too decorative. Let's reign it in. Here again, we see an idea about, can I make it centralized? I would like to make it centralized. And so it's an oval. And the oval takes the idea of center and meets the brief. But it's not simply an oval. Borromini is always more complex and will never give you simply one reading when he can give you multiple readings. If you look at this plan, it's almost a superposition of multiple plan geometries. It's an oval or circle. We could say it's a version of a circle. It's an octagon. It's a cross. So there are three plan types superimposed. And if you think that the client is an order of Trinitarians, Trinitarianism is important to them. A very important art historian called Leo Steinberg wrote his dissertation on this church in like 1960. And goes through quite meticulously showing you that everything in the church can be read three ways. This notion of tripleness doesn't simply happen to the plan, but it happens at every point. So look here at the cloister. If we look at the cloister, we also see the idea of cross. We get cross by the columnation and we get octagon. And we have circles coming out from the side. You look at this plan and if you're like everybody in the 18th century, you would say, oh my God, what is this guy up to? There was a famous 18th century critic called Militia. And he talks about Boremini and he says, he's just indulging his whim. There's no logic to this. He doesn't want to shape things because he can get away with it. He's talented, but he's completely undisciplined. He's the worst guy ever. People were really inclined to think that maybe this was the case. Maybe he in fact was completely undisciplined and making up shapes. Art historians didn't have access to his drawings really until after World War II. Very briefly, people saw drawings that Boremini did. They're held in a museum in Vienna called the Albertina. And nobody's looking at drawings in the Albertina. Instead you're having wars. And so finally after the war people began to examine the drawings and saw that in fact there are these geometrical structures going on. That these things are tightly constructed. In fact it was Leo Steinberg in his dissertation that began to say you have this trinary expression of geometry. Not one thing, but three things superimposed on each other. The cross, the octagon and the oval. And he even goes farther to explain why you need the cross, the octagon and the oval. You need the cross because the Latin cross, the Greek cross, it represents the body of Christ. It represents the shape of a church. It's the symbol of Christianity. You need the oval because the oval is basically a stretched circle. And in that it becomes a microcosmic reflection of divine order. And the octagon, represents the piers that support the dome at St. Peter's. The octagonal crossing of St. Peter's is reprised here in the church. This church is so little that if you read guide books at least let's say old guide books, guide books that were written 50 years ago it might say San Carlo is so small you could fit the entire church in one pier of St. Peter's. That's a little topos that gets connected to the church. And I think a lot of that might have to do with the idea that there is this referencing of the church in the geometry of the building. So it's tightly geometric, it's not willful, it's not whimsical but it is densely loaded up with a symbolism. And this dense engagement with multiple readings and not simply a singular reading creates the complexity of the edge. You get all kinds of complex readings going on here. Like you look at the wall that's such a bad plan. You look at the wall and you see a couple of things. Here's the octagon and every time you have the octagon you have a column there and those are structural column capitals. So Bormini wants you to know that they're structural column capitals. So what does he do? He takes the volume of these composite column capitals and holds and curls them upward as though they're supporting the roof. Over here inside these little curved niches the columns are not structural. They're not holding up the dome and Bormini marks them by curving the volumes downward. As if to say no structure here, pay no attention to the structure. So it's an amazing amazing wall on the interior. Not only because of its plasticity but also because of the way it codes information about architecture. We looked at the plasticity of the surface on the exterior early on and again our discussion of Baroque and I just want to show you again how this facade operates how it undulates and peels forward as if to suggest that within this street edge there is also object also volume pushing out and expressing itself. And here where it hits the corner it peels away and becomes just as thick as a column which suggests to you a sense of the facade toward a different condition. Look at the way the wall goes. It's kind of a running triumphal arch motif it's constantly destabilizing itself in one sense it wants to organize itself around the arch and then the little traviated piece on either side and then in another sense it wants to organize itself around the dome. So there's carving, there's pulling out there's renegotiation for center fabulous. In fact there's all kinds in the interest of full disclosure I'm a big fan of Boromini.  You could have other opinions it's absolutely fair you could like Bernini that's okay, Michelangelo and Boromini are the best. Because look at this it's so loaded with meaning even looking back here this is a tiny church this church would fit in this room very nicely you get fake perspective and so you get the sense that the thing is bigger than it is. Or look at the dome this is incredibly complicated no wonder the 18th century critics were screaming about it. But it's complicated in a really precise way we know that the closer you are to earth the more contaminated the world is. It's full of decaying matter time happens you can't have an ideal condition when you're trapped in earth so the building becomes incredibly complex when it touches the ground but the higher up it gets the more the building sorts out its geometry so by the time we have the springing of the dome all of this kind of craziness has contracted and resolved itself into an oval. By the time we come up to the lantern this area with light coming into it all that craziness has resolved itself into a circle with a triangle inside. The circle with the triangle inside is the symbol of the trinity. Even look at the coffering. You gotta love the coffering. We've admired the coffering in things like the pantheon because the coffering is great structurally and it marks out perspective in an interesting way. Here we not only have coffering giving us depth to the edge of the ceiling but we also have that same set of symbols that we saw superimposed in the plan individuating themselves here. We have a circle we have an octagon and we have a cross. We have all of these elements knitted together in this amazing manipulation of field. Even if you look at the courtyard over here you see some of the similar themes going on we saw the undulation of the facade and thought great look what happens in the courtyard he uses a flipping of the balusters so that one has the fat part at the bottom the other one has the fat part at the top and the space in between becomes S shaped he's designing the interstitial space between the balusters to mimic the undulating form of the facade. Very clever. In his dissertation Leo Steinberg also points out that if you were to take sections through the balusters and draw plans of them at different levels at one level you would have a circle at another level you would have a cross and at another level you would have an octagon so thorough going is this desire to make triple symbolism and to make form complex not through willful random acts of compositional frenzy but through layering on the symbolic value of each form if you liked that church stay tuned because you're really going to love this church this is another little church by Borimini a little bit later 1642 begun completed more or less in 1660 and this is Saint Ivo a la Sapienza La Sapienza is the university the Catholic University and this is a church for that university it has a very specific program a very specific site and the specific site is here the university buildings wrap it and form a courtyard and when Borimini got the project it had already been initiated he was given more or less a round foundation he didn't have a lot of freedom in terms of whether he would overlise the church whether he would make it longitudinal the foundation was there and he was stuck with the idea of a centralized church what did he do and we already have an idea that if you're Borimini you're going to be superimposing symbols together like crazy because why wouldn't you you're Borimini this church is the Sapienza and Sapienza in Italian means wisdom and somebody at least in biblical law and to be incredibly wise is Solomon the wisdom of Solomon on one level you have this star of David who is related to Solomon becoming the plan of the building kind of clever but not simply a star of David representing wisdom but the star of David that gets manipulated with his inner penetration concave and convex spaces that you come toward it scoop of space the area in which to act then the volumetrics begin to reveal themselves these bulging lobes come out at you and so forth you come inside some lobes are convex some lobes are concave and the whole envelope of the building twists and turns you could say that a diagram is kind of like this your basic star of David that then becomes interpenetrated with circles another way to think about the plan and Borimini would probably be thinking about it this way is that he's trying to make a heraldic symbol that will flatter the pope and at the time that he initiates the commission the pope is Urban who is a Barbarini and the heraldic symbol of the Barbarini is the bee these are early drawings of the building and right here in the middle of the whole thing there's a bee and if you look at the bee and you look at the plan of the church it's almost as if the plan of the church is the architectural representation of the Barbarini bee hilarious sadly there were like three popes that he had to go through before this thing got built so he constantly keeps shifting the iconic program the last pope that was here was Pamphili and his heraldic symbol was the dove but it's easy enough to get a dove in there too I could certainly draw that dove and persuade Mr. Pamphili that it was innocent that that was all about him however look at the section even the section kind of looks like a beehive if he's trying to flatter Mr. Barbarini Pope Urban beautiful church strange church in every sense of the word just let's look at it from the outside for a moment what does it even look like what's the facade doesn't seem to have a facade or it's playing this game so that edge of the university wrap wrap wrap wrap continuous and then suddenly the dome appears and unlike say the dome of St. Peter's which is so far back that you basically have to be across the river in order to see it this dome touches the edge of the building you have immediate confrontation between the space of the dome and the edge so they all constellate together but they don't constellate together as a thing it really becomes a kind of radical stacking here's a thing here's a thing here's a thing and you might be inclined to say what is he thinking about with all this stacking in the collection of the thousand books that Barbarini had he had one book called Ecologia by Rippa a Jesuit and this book was a book of symbols and so there are symbols that literally look like bits of this thing like this bottom part down here are a series of steps which represent in Rippa's Ecologia the steps of grammar the seven steps of grammar the little Dairy Queen element at the top of the building swirly swirly swirly looks like the Tower of Babel that this is the risky run when you try to know too much the biblical story tells you that way back way back when everyone spoke the same language and people had the ambition to build a tower that would reach reach to heaven and they were building this thing and it was like Dairy Queen it was swirly and they had so much pride in their own abilities to accomplish things that ultimately God smote them they went crashing to the ground the Tower of Babel fell and languages became multiple instead of unified so people couldn't communicate very well this is a risk the idea that if you become too prideful in your knowledge of the world you will have that fall so it's surmounted of course by a cross and I'm only giving you a few of the symbols there are maybe about 40 different symbols from Rippa that can get mapped on to this thing look at the interior this is another game that Boremini is playing that we haven't seen played in a long time and that is he's manipulating the dome in a way that's really frenetic we saw in San Carlos that the footprint of the building depending on where you cut the section changed from something quite complicated to something ovalized and something circular but everything kind of resolved itself in San Carlos at the springing of the dome here the springing of the dome directly reflects this weird little diagram of concave and convex incursions onto the geometry of the Star of David that's where the dome springs how do you resolve that and luckily Boremini was trained on the job side of the Milan Cathedral cutting stone with masons who were building a Gothic church so he had the same ability to conceptualize complex curvature and by complex curvature I mean something curving in multiple directions hard enough to build a dome but a dome is pretty rational you have that same arc all the way through if you're making a nice Roman dome but to make a dome where the curvature is changing constantly that is rather complicated but Boremini manages to negotiate this fabulous these little mountains that you see over here that look like pediments, heraldic symbols of the second pope, the Kiji pope in the middle there, the stars that we see all over here, heraldic symbols from the pope so he's really desperately trying to make popes like him but he has a hard time with that because he is a grump and he has a bad temper and he's smug so you guys, rain it in but isn't this great, look at that, wow you look at this thing from a distance and you get one sense of what it is you look at it close up and you get quite a different sense of what it is I want to show you another building by Boremini maybe not a spectacular St. Ivo in San Carlo but incredibly interesting and certainly a development of themes that we saw put into operation at San Carlo and that theme is the wandering façade this is the oratory of San Filippo Neri and San Filippo Neri is one of those Baroque saints that was canonized following the Council of Trent San Filippo Neri had the idea of musical performance as something that was very central and so the task that Boremini has here is not really to make a church but to make an oratory for musical performance but it's a funny project because here's the church in Nuova, new church and Boremini has to basically put a church right next to a church which is odd, right? how do you do that? and one answer is you begin to coat it materially to look different so the chiesa nuova is made of white travertine and this is the stone of Rome this is the stone of Roman antiquity and this is the stone out of which most significant buildings in Rome are constructed already there's a little gesture of decorum here saying I am secondary I'm using this lower material you are primary, you have this fancy material and there's also this idea of negotiating the urban fabric we have this wrapper of urban edge that translates through the building and then you get a series of layers piled up on top of it big layers peeling away peeling away the façade instead of becoming a thin on one surface you really think it's several lamina of façade that are together there's the five bay lamination there's the three bay lamination and then there's the one bay lamination of course out of which an edicule pops and even the pediment that we have here in a sense registers the multiple origins from which it comes by having this kind of compromised or let's say conflicted geometry but that's not the only way that façade wanders or behaves strangely here's Kies and Nuova fabulous here's the oratory little so already there's this kind of baroque exaggeration of scale or rhetorical gesture to make things seem grander than they are this little thing has a façade that's almost as big as the façade this big thing and how does he accomplish that and the answer is the façade in no way engages the volume of the church it's just there or let's say in some way it does these are the limits of the façade of the oratory by Boromini and you come inside and you enter a vestibule so that's kind of clever it's rhetorical it's act one of a drama of the senses the rest of which will unfold in different ways once you've entered the building at the same time the local lie not telling you the truth about the organization of the oratory does tell you the truth about the organization of the monastic compound so the façade centers on a series of courtyards but slips away from the lineament of the oratory itself fabulousness the language is crazy I just think not since Michelangelo have we seen someone so playful like look at this portal this is on the second story where you might come out and greet the people what is going on here you get this kind of wobbling as something seems to be transforming or transmogrifying before your very eyes the columns slip up and begin to well out into this like ear like lobe that suggests a column capital in the process of formation but not succeeding in forming because things are translating to the vertical things are moving up with this holy fire crazy and on the inside we see more of this legacy of Gothic masonry that Bormini had up his sleeve in that the entire vaulting of the oratory is ribbed that's strange Brunelleschi used rib vaulting but Brunelleschi sort of used rib vaulting by default he was trying to figure out how to put a dome up and that was what was available by now Bormini is going back and pulling up something that had been discarded and he's doing it to begin to get a continuity of reading between the pilasters that wrap the wall and the articulation of the ceiling and he's also doing it to come up with a crafty corner solution where instead of having one of those bad Brunelleschi corners or let's say difficult to resolve corners he simply puts one of these wrapping things along the corner and pulls it up so that it becomes a kind of seamless transition of the continuity of the wrapper great this technique of slippy slidey facade happens again and again in Bormini this is a little church not quite finished facade but we can see his intention of the facade Santa Maria delle Sette Dolores St Mary of the Seven Sorrows this is a nunnery across the river in Trastevere and here there's an idea about a facade there's an idea about a center but when you actually look at what's going on this is the church the facade has moved away to set up the first event in a series of events that you will experience and here's another building by Bormini called Propaganda Hide and you might say what does that mean and it means propagate the faith the word propaganda really comes from the Jesuits this idea that you go forth and you proselytize so this was the headquarters over the world to propagate the faith here too there is this kind of slippy slidey facade here is the church and here's the facade he's just pushing it away and beginning to play different themes and if you look at details of Propaganda Fide you can see some of this crazy language that's going on with Bormini where the peers seem to taper they're really skinny down below they get fatter and then they get skinny again, like stretching like gum and they rotate out of the alignment here and everything begins to crank as you read and register these pressures and these forces within the line of the building and here too Bormini is playing around with these basket weaves with this different idea about what it is to make a vault and taking the pilasters that you have down below and wrapping them up it's got a different idea about the corner here in the oratory there was a solid there was a plaster in the corner that peeled up here there's a void in the corner and so he never even has to solve the question of the corner the corner is voided the corner is not even there it's just the space between the ribs so clever this is Piazza Navono, the greatest square in Rome and this is one more point at which Bormini and Bernini are both operating in close adjacency Bernini has the charge of making three fountains in this long space and Bormini has the charge of completing this church the church is Sant'Agnese this also is a church that had been initiated by another architect and Bormini is given the commission to complete it the idea of Piazza Navono is kind of amazing it's the sort of thing we've seen in city plans before when we looked at Florence we saw the trace of an old arena in the city of Florence and this was once a horse racing stadium it was the hippodrome of the emperor of Domitian as in Florence where the old Roman walls were encrusted with buildings the same thing happened here too the actual structure of the racing theater was reused to make all these building edges but they kept the center void fabulous Noly map shows us it right over here so what are these interventions what is the strategy deployed by Bormini to make his fountains what is the strategy deployed by Bormini to make his church the name of the church that Bormini is designing is Sant'Agnese in Agone the name does not refer to Agony of her martyrdom which must have been excruciating but rather to the fact that in Greek the kind of athletic competitions that were taking place in this stadium were called Agone or Agonese the name in Agone like so many of his projects he was not able to conceptualize this from the ground up but came into a project that was already underway initiated by very good architects Girolmo and his son Carlo Avinaldi Bormini came into it after the foundations were in so the plan for the most part is not the work of Bormini and the part that seems most characteristic of Bormini is the façade and the urban strategy to wit how do you put a building in a square as important as Piazza Navona and simultaneously maintain the coherence of the fabric edge and yet emphasize the monumentality of the church and this was particularly important because the client was Pope Innocent Pamphili and the Pamphili palace was directly adjacent to the church and the church was to be the place for the tomb of Pope Innocent it kind of reminds you of something we've seen before for example San Andriel Quirinale not that you would want Bormini to hear you saying that but what's happening is there's a little scoop edge edge edge he's holding the edge of Piazza Navona he's wrapping the edge of all the buildings the domestic buildings translating it through here scooping out and then popping forward with a temple front so it's kind of consistent with the strategy that San Andriel Quirinale and here too he's putting a dome and the dome is right here right at the foreground so that there's no question about the fact that you read the dome as part of the church so we get a kind of interpenetration of concavity and convexity configuring the church it's also possible and I would say probable given the filial relationship between Bormini and Maderno Bormini's strong Michelangelesque sensibility that in building this church for the Pope for Pope Innocent albeit not at the Vatican he took it as a private task to rebuild Saint Peter Saint Peter's that had been spoiled by the addition of the nave to Michelangelo's church and by the failure of Bermini to complete the towers here to the left we see Saint Peter's funny looking Saint Peter's with its silly little dome and here's a drawing of what Saint Peter's would have looked like so many of the strategies deployed here by Bormini seem to do a double task on one hand they hold back the pressure of the edge and permit the insertion of an object into the fabric and at the same time make visible the immediate proximity of the drum and the dome on the temple-fronted portico bracketed by towers dreams for Saint Peter's that were never realized so now we have towers and that works really well almost like bookends stopping the march of edge that we have coming in along the edge of Piazza Navona bracketing it away and allowing the object of this church to be instituted here this church was done for the Confili family when Pope Innocent was reigning and that was really lucky because one of the craftsmen that was working on the church was sloppy and so Bormini killed him craft, come on, think about it people look really sharp the guy had bad craft so Bormini killed him luckily he beat him with a hammer it wasn't like he took a gun out or anything the hammer was right there craft is really important if you have any trouble with craft in studio I want you to get better fast this could still happen Pope Innocent got him out of trouble and so he was able to continue practicing but that was considered to be a black mark in Pope Innocent's record and just one of the indications that he's a little bit out of control right in front of the church of Sant'Agnese we have a Bernini fountain of the Four Rivers and this is kind of a great thing this is one of those obelisks that gets placed, Hitherinian in the Baroque city of Rome and we know from our discussion of the obelisk at St. Peter's that obelisks are heavy this is a small obelisk compared to that one Bernini situates it the theme of the fountain is the Four Rivers and so you have river gods of Asia, Europe America and Africa lounging about and this frothy whipping up of waves all around them and then real water down below and what Bernini actually does is he has a void underneath this heavy obelisk so that it's miracle enough that these obelisks are moved but if you situate one in this kind of precarious place kind of fad these are some of the different river gods down here and you might notice that on the church there's a statue of the virgin and guide books will tell you that this character river god who's going like this is afraid that the Bormini church will fall down this is a little joke being made by Bernini because he's full of life here you have the virgin blessing him saying don't worry Bormini built this church it'll be fine towers won't be falling here we're going to continue next time talking a little bit more about pietra.cortona and also urban space and the deliberate design of urban space in Baroque Rome


Everybody for Sean and Jeff here. We got 23 24 boom the chrome you basketball delight 12 bucks case number 12 PYT Let me go ahead and read off here Andrew T with Kentucky Benjamin P Marquette's Brandon S Texas Norfolk State Oklahoma State Shinta would Duke David v. USC David H Purdue UCLA Louisville Greg H Michigan State Hunter with Tennessee Jacob M Ohio State John G Arkansas Villanova Virginia Virginia Tech Jonah with Colorado Alba, Michigan Jonathan L Illinois Memphis K State Joshua G Stanford Matthew B Creighton Gonzaga, Florida Nathan T Yukon Nick P Indiana Providence Weber State Nick M BC Pitt Notre Dame Paul B Iowa Peter a UNC Ricky S Kansas Robert S with Arizona and LSU Robert M Maryland Scott K, Oregon Sung in each Iowa State Taylor D Auburn, Florida State Baylor Tristan with Houston and Miami St. John's FAU Good luck everybody Again, you can only guess a super when I prompt you to Guess a super now guess to start now 101 super everything going to hit a certain player guys guess right now We're gonna have less than 20 seconds to do it. It applies to anybody in the chat. So don't lose out Anybody the chat you the one-on-one out of Bowman Chrome Let's get it.  I feel Our MSU guys. I'm also gonna have you do master So Yacobitch for Kia Jackson and high with a Cameron Brink Lava auto Cougal for Florida number to 199 That's a thick sleeve Arkansas auto Trevon Brazil for I already said at Arkansas base auto first Bowman and For BC a refractor auto Prince at League Bay to 250 Numbered cards here. You got Wuga for Miami out of three ninety two ninety nine Three ninety nine Spencer Jones Stanford to one ninety nine Baycott UNC Baba to two ninety nine Florida State and at a three ninety nine to Yacobitch for Stanford Come on, Devin. You be watching the stream. You know, you can name a college basketball player Diamond Johnson Cody Williams Johnny Broom and Ria Shay there Lava auto Texas max a miss 199 famous a miss Yukon base auto that is Aliyah Edwards No market, but Maryland refractor autograph to 250 is to Sean Harris Smith. There's markets gold auto Tyler collect That's a nice one to 50 gold Eagles gold color match. I like it There we go, there's brawny purple at a three ninety nine Ronnie green out of ninety nine Freddie D Leon for Tennessee The only only only two ninety nine Devin Williams UCLA at a three ninety nine Mookie Cook, Oregon and a one ninety nine Jamir young Maryland You would just split the bounty with yourself shady Come on If you guess differently, that's that's that's it dude. I'm cracking down I'll time you out every time we're about to do the guessing Fractures of Chapman Brink inventors. I'm like, oh, hang on. Don't don't guess yet. I got a time shady out Mookie Cook ray wave sharpshooters, Oregon to 150 That's it. That's that's it. That's a thick sleeve again. I keep doing that. Heck. Yeah, Danny That was sick. That's the biggest page I've pulled so far Lava Diamond Johnson a one ninety nine auto for Norfolk State Connect auto for Tennessee Dalton connect What does that mean Sean? Can you say it on stream? I figured I figured I knew what was what was being said Mackenzie. I'm Gakbo Indiana nice on the auto Justin Edwards on the yellow autograph for Kentucky. Nice one is 75 It's 150. We've got Garvey dual to one ninety two ninety nine Bryce Hopkins three ninety nine eighty It's one ninety nine mom Shalovitch and the two ninety nine wheelchair for St. John's Jordan Dingle Royal Spencer Jones and Gakbo to 150 going to Indiana Okay, the Williams LSU on the auto sorry sorry Come on panini Green sparty color match Jeremy fears auto to ninety nine Pompeo Evans base auto for Oregon three ninety nine. We got BC Prince of League Bay Number to 150 Garvey dual for Providence to one ninety nine abemus for Texas Bradshaw to three ninety nine Kentucky Fears again to two ninety nine this time for Michigan State and gold Zach Eadie for Purdue 32 of 50 And box Tuesday tomorrow y'all Where are you? Lauri Kugel Strowmer Hidden gems brawny This guy did he did say it he did say USC. That's David V with the brawny hidden gems Not hidden any longer big congrats. We'll get that mags Brawny first woman out of Spencer Jones for Stanford Oregon Kwame Evans auto to ninety nine on the throwback like the throwbacks Juwan Roberts first woman auto for Houston La not lava ray wave Spencer Jones to 100 Stanford Hoggered out of one ninety nine Michigan State Javante Taylor to two ninety nine Memphis Chapman a three ninety nine Ohio State and Dillingham to two ninety nine for Kentucky Jake's ready to hear all about this. I miss you song Baycott Miller Shelfstad and Angel Reese SP image variation Tennessee base auto Freddie D Leon Everybody at the end is a refractor Otto's accurate. Shea number to 250 Look on that one in the end everybody Jack did top five ish pig. I think first auto Tyler Burton for Villanova I want to get someone's bounty. I want someone to guess it right too to Two ninety nine Harris Smith for Maryland to three ninety nine Dillon, Tennessee to two ninety nine proctor for Duke Cook to three ninety nine Oregon and Green to ninety nine visco visco V for Tennessee I think it is puff probably I haven't seen many of his autos until I've seen a few before this but a lot tonight Fracture of Hinson Dillon Norman and Clark first auto mom to love it for Iowa State Lava auto Armando Baycott number to one ninety nine UNC Virginia Tech base auto is Georgia Amore and here's brawny.  Yeah, I've never missed you Like that that's sick your brain and garrison prime six okay state the 50 Number to one ninety nine. They've got devil Williams UCLA the two ninety nine to you constipon castle the three ninety nine Filipowski Duke Train Norman to 100 Marquette and a blue Caitlyn Clark out of one ninety nine Wasani James come on Wasani James seriously Get out We're keep we're keeping half those hits you hit the break We're keeping the red refractor Shawn gets that now. Yeah Snooze you lose buddy refractor a league bay. I'm more of a color big kahuna rally coogle for Florida first auto wheelchair for st. John's McCain refractor auto number to 250 for Duke Sears base auto for Bama. Oh my goodness gracious I'm telling you it's like he comes in bunches this dude this dude this guy's calling a man yellow refractor brawny James auto 49 of 75 on Real hits David V This doing numbers this doing numbers Bananas that's it. Congrats boogie Alice the one ninety nine USC UK Dillingham three ninety nine Arizona Caleb love the two ninety nine deal the own Tennessee the three ninety nine and Shepherd to 150 Kentucky brawny's do seem to hit into light cases at least like if you see like one you're gonna see at least Refractors of billy you McNeely green and brawny miss you Nice brawny showcase on the table here Zach Edie on the base auto going to Purdue Green auto buffs. That's a sick one Cody Williams the ninety nine awesome hit 46 of ninety nine and Louisville auto Dennis Evans Kansas three ninety nine tomorrow McDowell Geez man, that's nuts moose Makes sense though Sears the one ninety nine for Bama and a three ninety nine Blocker to 150 Arkansas and can't look like again true blue to one ninety nine Two true blue can the Clarks now come on Think I'm ag that It's like it's like the signal. I was like what's going on? What's it? What's trying to show us? We just show you Williams Martin and Cody Williams out of no one down 150 Sometimes solid or something that was Show me maybe show me like wizzy t-shirt I First on auto for Oregon Jackson Celstad First on auto Michigan State refractory Xavier Booker to 1 to 250 Dennis Evans does look a little older than some of the guys in here Three ninety nine Florida Raleigh Cougal Booker to one ninety two ninety nine Michigan State Bradshaw three ninety nine Kentucky Abed miss to two ninety nine Texas bill you to three ninety nine for Iowa States gold Caleb love for Zona 37 to 50 We found love Ractors of Chris Johnson She to van lithen love nice okay state green auto here. That is Brandon Garrison 14 of 99 USC autograph muggy Ellis Lava auto page buckets to one ninety nine Yukon For Nathan I said Nathan. No, Nate. Oh, hey, it's a big time-paid becker's artist tonight Zona the 150 is Boswell Boogie Ellis for USC to two ninety nine BC got a league beta three ninety nine Florida State Darren Green to one ninety nine UK Justin Edwards to three ninety nine and yellow Elijah Martin for the FAU owls of 75 missing Cameron tonight He showed up go Cameron break or Cameron that's in chat. Yeah, we haven't had a break on it tonight I only pulled like one of her autos Ractors of vulgar poplar Ryan and call Craner. There's a sharpshooter's a cookie cook Bradshaw base auto for Kentucky Layton blocker Arkansas refractor auto to 250 a base auto of Garvey dual for Providence 399 for BC. We've got Quentin post Tennessee connects to two ninety nine Zona Caleb love to three ninety nine a miss Texas to one ninety nine and McCuller Kansas to three ninety nine Oh super the bounty rolls on a random time for Rishay This one's PYC So two spots this random top spot gets the auto second spot gets any non-auto of That's already adjusted for that for a way we can switch Okay, okay, so we're on number 12 of 2020 right here. I got you got you. That is a four way over there It's you just had the wrong break. All right five times on the randomizer here again top two One two three four and five Michigan State gets the auto Yukon will get the non-autos. There's one non-auto machine. I think there may not be anything I think it was one auto recap. We got dual Bradshaw blocker Becker's Garrison Ellis Booker Shellstad Cody Williams Evans Edie Wilshire McCain Sears Got a garrison in sir. I was a cool one Okay, they combed it good. I'm Shalovitch Baycott Amor De Leon Burton Jones Kwame Evans Roberts Evans fears Williams Edwards And Gakbo Connects Diamond Johnson Edwards Sean Harris Smith co-leck a miss Cougal Brazil and a League Bay. There was a base auto of Riosche that was what the rent was for the hidden gems brawny James Yellow auto brawny James a 75 in the insert auto as well brawny James Wow good stuff. Thanks everybody moving on now to last few breaks of the night


Welcome to JSA TV, the newsroom for tech and telecom professionals and JSA Radio, the voice for tech and telecom on iHeart Radio. I'm Jamie Scott of JSA here at beautiful Honolulu, PTC 2017 with my dear friend, Mr. Dan Lundy. He is the managing director over at 1025 Connect. Dan, welcome to JSA TV. Thank you. Thank you. Thank you. Glad to be here. There are many of us here in the telecom world as one of our thought leaders particularly with a keen eye on the Long Island, New York Metro market. So can you tell us what's going on with 1025 Connect and what you're seeing? Well, we just announced today that D-Kix is putting in a switch at 1025 Connect. So it's going to be Long Island's first peering hub, which is amazing. We're seeing trends with the Manhattan Bypass fiber routes and the content providers buying submarine capacity and coming to Long Island as well. And yep, everyone's talking security, security, security. So when you say bypass routes, you can literally circumvent the island of Manhattan? Correct. Currently, there are five routes that go around Manhattan. It's a great thing to have. It builds diversity and redundancy. And we're seeing it with people from the content providers to the carriers taking advantage of these routes. Yeah, diversity, redundancy, absolutely on the minds of every network operator out there. Can you tell me, do you have subsea routes that are coming right into Long Island? There's seven submarine cables that come into Long Island. Currently, 1025 Connect has five of them. We're working on the last two. Location, location, location. That's certainly the mantra for real estate and for you guys, absolutely where it's at with those five subsea cables. It makes sense. So you're seeing more and more everything go into the continental edge. So with the submarine cables in the Manhattan bypass fiber routes, we're a great location. Great location. Talking great locations, here we are in sunny Honolulu at PTC 2017 and where it has it, you will also be at Telecom Exchange New York City in June, New York City, of course. So what can we expect in terms of news that we might hear from our friends at 1025 Connect then? There's a lot going on, but we will be the mint sponsor once again, because we do like our lifesavers. There will be some exciting things going on, and we're actually building out more meet me room space and we're growing. And we can't wait to hear how this Long Island pairing fabric is, it's really, that's hot news. So I'm sure you'll have a growth story there too. We're excited about the e-kicks. It's just a natural progression and where the market's going. For sure. For sure. All right. Well, Dan, thank you for joining us. Where can our viewers go to find out more about 1025? At 1025connect.com or just go to 1025connect.com. Thank you for joining us, and thank you viewers for tuning in to JSA TV.


Ice storm hit Denver. Come on. Hey good morning, you too! Okay, just leaving Pablo's great little coffee shop in Capitol Hill Denver area. Nice little coffee shop. All right, it is cold out. It's cold. Freezing morning scraping the ice off the car, but we're gonna squeeze the run-in today. In fact, I might just park here. Perfect. We're gonna squeeze the run-in today, even though it's chilly. I know a lot of folks that transitioned to the treadmill in the winter, and I haven't quite learned the art of treadmill training slash running, so, I don't think I ever will. Starter jacket. Remember these? I'm telling you, this thing is worth major bucks. Okay, it is pretty big. Okay, I need to put your arms through here. It's a starter jacket. By the way, I'm back at the house. Great day at work. That's a starter jacket, and I bet that would sell 100 bucks on eBay, would be my guess. Those were the thing back in fifth grade. You remember the late 90s? I'm telling you. They were the real deal. Starter jackets with your full-blown team logo on there. Real deal. The igniter in our oven just went out. And I've heard Bosch, am I saying that right, is a good brand. So, you know, maybe a smidge disappointed. There's the Bosch. But question of the day, this is more of a SOS help. Has your lighter or igniter ever gone out in your oven? The stove still works, but the oven is not lighting. So any smart people out there in the home maintenance department, this has never happened to us and it's not working. So we are cooking the salmon tonight and the toaster oven.