XXIX/4 The painter now reappears, regressed to childhood, his painting (still one of my own Union Jack pictures) becomes even more irrelevant as the Bomb destroys Hiroshima. Around him also explodes another catastrophe, this time of his own finances as he strives to make a book of unprecedented lavishness and as he drives himself deeper into stupendous debt. The bank statement is genuine (being my own) and the bank's name is thinly disguised by an anagrammatisation (though its symbol has appeared before in Canto XVII/2). Here the extravagance of the lunatic spenders of the Sienese Club is joined to the strange prodigality of artists. Cappochio who ends this Canto was reputed to have painted exquisite scenes from the life of Christ on his fingernails, only to lick them off when requested to show them to anyone he felt unworthy to see them. The freedom of the printing process allows one to recall the splendid redness of overdraft statements in my student years (I have had an overdraft all my life). The collage elements include an excerpt from a Sunday Times Colour Magazine and a fragment of a card depicting my own flag images published by the Department of the Environment. -- Source of annotation: Marvin or Ruth Sackner.