Five prints were adapted by Hinks from drawings by Claude Lorrain (1640, 1642, 1643, 1649). The texts of the tree plaques for this proposal were taken from classical sources in Latin and Greek literature. -- Source of annotation: Marvin or Ruth Sackner.

The print depicts an image of a sheep and lamb. -- Source of annotation: Marvin or Ruth Sackner.

Depicts a sheep peering through a window with the fields in the background; according to a letter from Furnival, this print is a companion to Bright Patches. -- Source of annotation: Marvin or Ruth Sackner.

This photograph depicts a sundial sculpture, "The Four, Seas, -Ons In, Sail. A sail is placed in the center to deflect the sun and cast a shadow. -- Source of annotation: Marvin or Ruth Sackner.

The Sackner Archive also holds the card and the drawing with the same title. This work is also depicted in Bulletin of the National Galleries of Scotland No.3, a pamphlet periodical held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Temple denotes the exhibition space at Finlay's residence. The caption under an image of a Greek temple includes a definition, a quote from The Metamorphosis of Ovid, and the storming of Finlay's Temple by the Strathclyde region tax collectors who launched a surprise attack on Budget day, March 15, and successfully looted the garden TEMPLE. The definition is "a marbled edifice, a veined edifice; the seat or summit of reason." -- Source of annotation: Marvin or Ruth Sackner.

The leaflet provides an explanation for the image on the medal. Virtue is signified by two classical columns and terror by the two posts of the Guillotine. -- Source of annotation: Marvin or Ruth Sackner.

Each poem is presented both conventionally and visually with calligraphic text on opposing pages. -- Source of annotation: Marvin or Ruth Sackner.

The medal depicts an automatic machine gun as a metaphor for a flute; commemorates first episode of an assult by the Strathclyde Region tax collectors on Finlay's home. The leaflet accompanyimg this medal commemorating the incident is a visual pun on Virgil's flute, with the vents in the barrel-sleeve as the finger-stops. -- Source of annotation: Marvin or Ruth Sackner.

The print depicts a blue pointillist image of the harbor. -- Source of annotation: Marvin or Ruth Sackner.

This depicts two nuns holding hands while lying in bed; It is collaged onto a page of Furnival's "Liber Amicorum 1964-1984," a book held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Depicts a sail boat with the tip of its mast in juxtaposition with the horizon like sewing the horizon as it sails. -- Source of annotation: Marvin or Ruth Sackner.

The card is shaped like an arrow and has been made from marbled paper, a pun on the poem printed along an inside fold, "The Marble Arrow Always Hits Its Mark!" -- Source of annotation: Marvin or Ruth Sackner.

Each leaf of the fan depicts the same atomic explosion and a single word caption. The words form the following sentence, "This is only a test." -- Source of annotation: Marvin or Ruth Sackner.

The first five cards provide documentation of this project that deal with line drawings of "Wakest" creatures on the recto with a two word caption on the verso. -- Source of annotation: Marvin or Ruth Sackner.

Stephan Bann provides an explanation of the poem in the accompanying leaflet as follows. Thermidor was the month in the French Revolutionary calendar when the summer heat was its most intense, and the grain at its ripest. It was also the month, in 1794, when Robespierre and his followers met their deaths at the guillotine. In the image of this poem, the abrupt cleavage of the word, THER MIDOR, and of the figured sheaf of flowers, suggest the termination of the revolution in its Jacobian sense. -- Source of annotation: Marvin or Ruth Sackner.