The most populated work in the entire collection — a large horizontal watercolor in which the picture surface is covered edge to edge with creature forms, color events, and abstract marks, no single zone of ground left empty. This is Sidney at maximum density, the compositional principle of the creature works pushed to its furthest extension.
Counting the individual elements is impossible — there are certainly fifty or more discrete forms, ranging from fully described creatures with eyes and mouths to barely resolved color pools. The variety of species is extraordinary: at lower left, a pink fish-creature with visible eyes; at center, a large yellow ringed form containing internal patterns; at right, a yellow circular form on a gray ground; throughout, worm-like, blob-like, feathered, spotted, striped forms in every orientation.
The color temperature across the composition shifts deliberately: warm yellow and pink at center and lower zones; cool lavender, blue-gray, and teal at upper and right zones; green throughout as a mediating color. This color temperature organization gives the otherwise maximally complex composition a structural coherence — the eye can follow the warm to cool gradient even when it cannot parse the individual forms.
At center left, one form is distinctly facial — two circular eyes, a suggestion of nose and mouth — the clearest face-in-creature form since the Grinning Mask (573). It looks out from the midst of all this biological abundance with an expression of mild surprise, as if it too is noticing how crowded things have become.