This book is identical to the edition published by Frankfurter Kunstverein except that the colophon is printed in English rather than German. Both editions are held by the Sackner Archive. The poems, printed one to a page, are left in white on different colored backgrounds of narrow rectangles. Some of the poems have also been issued as cards or prints. -- Source of annotation: Marvin or Ruth Sackner.

The eight colored prints play off the image of the Pansey, the flower as a camouflaged image of Panzer, the German armored tank. A section of this book is entitled, "Detached Sentances on Camouflage: In the Manner of Shenstone. William Snenstone (1714-1763) was a poet and gardner. This list aphorisms about floral and military tank camouflage. -- Source of annotation: Marvin or Ruth Sackner.

This proposal for a revolutionary garden in Versailles was never carried out owing to a political perception in France that Finlay espoused pro-Nazi, anti-semitic views (this opinion is not shared by the Sackners). -- Source of annotation: Marvin or Ruth Sackner.

This finely printed book consists of a listing of aphorisms such as 1) Vengeance is an act of good faith, 2) Concrete poems were thought childish because they were seen but not heard, 3) Schemes for making a great deal of money usually cost a lot. -- Source of annotation: Marvin or Ruth Sackner.

The photographs consist of images of tree trunks and branches painted by Janet Boulton and photographed by Robin Gillanders. The images satisfy the caption on the first page, viz., HIGHLIGHT, n., a mark, sign, or medal, awarded by the light. The book was printed and bound by Colin Sackett. One copy of this book was given by Finlay to the Sackners as a Christmas gift. -- Source of annotation: Marvin or Ruth Sackner.

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 essay written by Stephen Bann on the back inside folder explains the metaphor of grouping designs of hulls of sailing ships like sea shells in a display case. Proctor is a ship designer and Costley the artist who made this print. -- Source of annotation: Marvin or Ruth Sackner.

This anthology includes a poem by Edwin Morgan that Houedard retyped, 'Dogs Round A Tree.' -- Source of annotation: Marvin or Ruth Sackner.

Depicts a reproduction of Finlay's silkscreen poster/poem. -- Source of annotation: Marvin or Ruth Sackner.

Flyer advertising a series of exhibitions entitled "The Forest and the Revolution" held from May-October 1981 in Stonypath Garden and the Garden Temple in Finlay's Little Sparta in Lanarck, Scotland. Exhibitions included "Souvenirs of the French Revolution", "Nine Columns", "Names on Trees", "Talismans and Signifiers", "Classic Landscapes", "Pantheon of the Revolution", "Zeno and Epicurus", "Raspberry Camouflage", and "Spartan and Old Roman Promenades", as well as other publications and plantings.

The photograph appears to be a distorted image of the repeticious title placed on a loose fabric. -- Source of annotation: Marvin or Ruth Sackner.

The photograph appears to be a distorted image of the repeticious title placed on a loose fabric. -- Source of annotation: Marvin or Ruth Sackner.

This poem was composed after a work by Tom and Laurie Clark. -- Source of annotation: Marvin or Ruth Sackner.

A wash-like painting of the sky, the sea, a road, a desert, with "Ulysses Was Here" printed on the road in classical typography. -- Source of annotation: Marvin or Ruth Sackner.

The cabin of an aircraft carrier above the landing field is used as a metaphor for the accompanying poem by Finlay, "At the field's edge, on the vertiginous cliff-top, stood a solitary hut." The poem is printed on the bottom of the back page. -- Source of annotation: Marvin or Ruth Sackner.

The cabin of an aircraft carrier above the landing field is used as a metaphor for the accompanying poem by Finlay, "At the field's edge, on the vertiginous cliff-top, stood a solitary Hut." This copy is neither signed nor numbered and probably represents an acceptable proof copy. -- Source of annotation: Marvin or Ruth Sackner.

The cabin of an aircraft carrier above the landing field is used as a metaphor for the accompanying poem by Finlay, "At the field's edge, on the vertiginous cliff-top, stood a solitary Hut." The drawing is structured over a Finlay work "sea ms." -- Source of annotation: Marvin or Ruth Sackner.