This book and the commission to Finlay were dedicated to Diana, Princess of Wales by the Board of Trustees and Staff of the Serpentine Gallery. The first fold-out page consists of the architectural layout and the second a print enumerating trees in the area arranged as a mandala dedicated to Diana in its center. The commission itself consisted of poetic engravings for eight benches and a tree-plaque placed in the meadow around the Sepentine. The captions on these objects are brief sentences adapted from writings, rendered in Latin and English, on Arcadia by Virgil. -- Source of annotation: Marvin or Ruth Sackner.

Finlay's proposal for inscription of a bench in Shenstone's garden (1714-1763) is based upon Didsley's (1764) description as it was in Shenstone's time. The inscription reads, "Here the path begins to ascend beneath a depth of shale, by the sideof which is a small bubbling rill, either forming little penisulas, rolling over peebles, or falling down small cascades, all under cover, and taught to murmur very agreeably." Finlay adds the following comment, "A bench, in our modern gardens, is a thing to be sat upon; in Shenstone's Leasowes it is a thing to be read." -- Source of annotation: Marvin or Ruth Sackner.

The poem to be inscribed as "A Man of Letters R.L.S." on a formal stone with irregular edges is inscribed with a 'one-word poem' and set in the grass within a small grove of birch trees" -- 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.

This project makes use of one of the giant blocks of stone that lie abandoned in Tout Quarry Portland. The inscription is derived from Virgil's Aeneid Book III: "Gods of the Earth, Gods of the Sea, Gods who rule over storms, give us a wind to help our voyage, and may your breat bring us aid." -- Source of annotation: Marvin or Ruth Sackner.

This memorial to Robert Louis Stevenson takes the form of a sacred grove bounded by an ashlar wall on a half circle and by five silver birch trees (Betula pendula) across the diameter. At the foot of the tree trunk is a stone tree column base inscribed with R.L.S. and Stevenson's dates beneath (1850-1894). The site is a Stevenson sanctuary, an area for reflection that is half private and enclosed and half open to the world, just as are Stevenson's writings. -- Source of annotation: Marvin or Ruth Sackner.

The print depicts a sailboat with yellow sails (rose) passing rocky shoals (rock). -- Source of annotation: Marvin or Ruth Sackner.

The cover depicts the Flower Class corvette, Migonette, at sea during WWII with red markings on its hull signifying rust. -- Source of annotation: Marvin or Ruth Sackner.

The sentence printed on this card, "The smashed canoes of the Salix fragilis," is dedicated to the Soviet Poet Mayakovsky. -- Source of annotation: Marvin or Ruth Sackner.

The image on the card depicts a watercolor of a sail boat. -- Source of annotation: Marvin or Ruth Sackner.

The further adventures of the young Lady of Clare now at last revealed with graphic extrapolations from Lear's drawing by Sheila Bourne with yet further apoligies to Edward Lear. -- Source of annotation: Marvin or Ruth Sackner.

The stanza on the card was taken from "Poem in October." The image with the poem is a green leaf. -- Source of annotation: Marvin or Ruth Sackner.

This is a suite of prints assembled from single prints that numbered from 34 to 50 copies that dealt with the theme of tea. -- Source of annotation: Marvin or Ruth Sackner.

The poem printed on this card relates to color of sails. -- Source of annotation: Marvin or Ruth Sackner.

This depicts a tree with a locked chain wrapped around it; the caption indicates that it had been planted by the individuals (named) hostile to Finlay's proposed commission for the city of Paris. -- Source of annotation: Marvin or Ruth Sackner.

Phillips draws a minotour while in Crete that is the central image in this drawing. He writes that "while I draw Minos, Pella [Erskind-Tullock] plays Parsiphae." A torn drawing of a red heart, as might depicted on a playing card, is collaged onto the lower right corner. -- Source of annotation: Marvin or Ruth Sackner.