This card depicts an off-centered red square with white stiches on an orange background. -- Source of annotation: Marvin or Ruth Sackner.

Lilly-cobbled refers to the abundant water-lilies that cover a section of the pool with their floating leaves in garden setting. This garden proposal was made for Alfred Richterich, Laufen, Switzerland. -- Source of annotation: Marvin or Ruth Sackner.

Foxglove, a bellshaped flower, is a basis for a grid inscribed on a stone panel that consists of a sequence of numbers to direct bellringers in 'change ringing.' Foxglove is the source of digitalis whose actions are to strengthen & regularize the he Finlay does not have this property in mind for he mentions that this grid sets out to complement the mixture of wild and formal views of the garden. Unlike a sundial, it alludes to episodic bouts of ringing that punctuate the ecclesiastical calendar. -- Source of annotation: Marvin or Ruth Sackner.

The book consists of photographic reproductions of Finlay's picture poem drawings and carvings on stone, viz., drawings by Finlay with Ron Costley & reliefs carved in Portland stone, with John Andrew. -- Source of annotation: Marvin or Ruth Sackner.

Printed by the Stellar Press. Each page depicts a picture poem some of which subsequently were made into prints and cards, e.g., Venus of the Hours and H)our Lady. -- Source of annotation: Marvin or Ruth Sackner.

This is a poster of the same image of the print in the Sackner Archive printed for the Cambridge Poetry Festival at the Kettle's Yard Gallery. The bottom edge contains details of the exhibition. Finlay cites two references to this image as follows: Ovid's Metamorphoses and Wittkower's The Sculptures of Gian Lorenzo Bernini, Historical Research Unit, Uniforms of the SS. -- Source of annotation: Marvin or Ruth Sackner.

In this version of the print the figures of Apollo in red and Daphne in green are combined into a green tree. -- Source of annotation: Marvin or Ruth Sackner.

In this version of the print the figures of Apollo and Daphne are outlined in black and are combined into an outlined tree all against the image of a drawn black brick wall. -- Source of annotation: Marvin or Ruth Sackner.

In Sep 1973, Finlay writes to Michael Harvey requesting that Harvey and Goodricke make a ceramic-concrete maquette, based upon a Ron Costley sketch, for the Stuttgart Max Plank project. Finlay provides detailed instructions on the lettering for the work. A month later, he comments on the Harvey efforts indicating that he wants a "Matisse'y" effect which depends upon a flat surface as opposed to a kinetic effect that looses the balance between the visual and the word part. -- Source of annotation: Marvin or Ruth Sackner.

The bee symbol in this drawing suggests the sea (bee) and hive symbolizing the aircraft carriers. The text is written in old English characters. This drawing served as preparatory drawings for a subsequently realized print that is also held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The card mentions that the poem was part of the series 'Epicurus at Chatou.' -- Source of annotation: Marvin or Ruth Sackner.

There is another card by Finlay held by the Sackner Archive with the same title but without an image. This card depicts an image of a furrowed field. -- Source of annotation: Marvin or Ruth Sackner.

The caption "Der Tag" (the day) in old German letters appears under a drawing of a steamboat. -- Source of annotation: Marvin or Ruth Sackner.

This is a colored photograph of figleaves overlying a curved stone inscription entitled "figleaf." -- Source of annotation: Marvin or Ruth Sackner.

The pages depict reproductions of different trees in watercolor that relate to the personality of four historic figures as explained on the card, viz., Couthon, Rousseau, Goethe, and Friedrich. -- Source of annotation: Marvin or Ruth Sackner.

Finlay uses the gourd as a metaphor for aircraft carrier based fighter airplanes. -- Source of annotation: Marvin or Ruth Sackner.

Finlay uses the gourd as a metaphor for aircraft carrier based fighter airplanes. -- Source of annotation: Marvin or Ruth Sackner.

In this book, Stephen Bann who wrote the text, provides a critical analysis of Finlay's Picture (Emblem) Poems, which are reproduced with commentary, one to a page. The poems include among others "Woodland is Pleasing to the Muses, Et in Arcadia Ego, Out of the Strong Came Forth Sweetness, Through a Dark Wood, Battle of Midway Fourth June 1942 (1) and Battle of Midway Fourth June 1942 (2). -- Source of annotation: Marvin or Ruth Sackner.