XVIII/3 We see here the crafty Jason, half-masked by the image of Hypsipyle fading in his mind after he had abandoned her (the model for this figure drawn from the life onto the original etching plate was Anthea Toorchen). Once again the head is taken from the dramatis personae of III/1. The arrows are overlaid by what is now a distant cousin (a photographic offset reproduction of an etching of a transparency of an offset reproduction of an original photograph after nature) of a magazine illustration of a freeway in Los Angeles.. The very deviousness of such a procedure seems appropriate to the image of Jason, whose seafaring and convoluted artfulness are also indicated by overlaying wave patterns on the road-system. The directional arrows (cf. Canto X/4) refer to what must be the first mention in literature of traffic-control; a simple prelude, in Dante's description of what is nowadays called a contraflow-system operating on the Sant Angelo bridge in the Jubilee year of 1300, of the hectic spaghetti-time to come. The R points to Rome which, according to Aroux, is to Malebolge what Florence was to Dis. -- Source of annotation: Marvin or Ruth Sackner.