58                                Roland Baughman

by Harry N. Abranis, New York. There is a fine essay on
the Rauschenberg approach by Dore Ashton. As John Canaday
reported in the New York Times of December 19, "Rauschen¬
berg's Dante wanders through a nether world filled with sym¬
bols of our 20th-century hell, and is sometimes girdled in a bath
towel or capped by a space helmet." (Dante, as depicted, is
Rauschenberg himself.) Canada\' concludes with the comment
that the price asked for the set "is a lot of money, but on the
other hand, this is a lot of Rauschenberg."
 

PICTURE CREDITS

Credit for some of the illustrations in this issue is acknowledged
as follows: (i) Article by Carl Woodring: The drawing of
Byron is from W. Teigmouth's D'Orsay or the Complete Dandy
(N.Y., Brentano's, 1911); The portrait of Lady Byron is from
G. Wilson Knight's Lord Byron's Marriage . . . (London, Rout-
ledge and Kegan Paul, 1957); and the sketch of Augusta Leigh
is from Ethel Colburn .Mayne's Byron (N.Y., Scribner's Sons,
1913). (2) Article by Dallas Pratt: The portraits of the Duchess
of Marlborough, of the Earl of .Marlborough, of Lady Masham,
and of the Old Pretender are from Winstim Churchill's Marl¬
borough: His Life and Times, 16^0—1688 (N.Y., Scribners,
1933); the portrayal of Princess Anne with family group is from
Ralph Dutton's English Court Life from Henry VII to George
II (London, B. T.Batsford,Lrd., 1963).