AIn the early 1975 Afro began to devote himself to small tempera on paper to use as blueprints for a series of aquatints that he had thought of composing in a book once he found the right text. These works were born with extreme happiness, they lived very well together. At this point it became important to find a text that linked them in some way. Searching for the text wasn't easy; these projects clearly maintained the heraldic tone that had characterized Afro's pictorial production in the last year. The research was therefore oriented towards the Italian and French chivalric poems, but there was always something that did not accord with Afro, with his poetics and his person. Continuing to read and discuss, jumping from one century to another, from one country to another, the choice stopped on Baudelaire because, despite not having a specific connection with these latter works, he was the closest poet to Afro vista painting. throughout the  its production. A classic painting in which, as Afro himself says, the out of tune note is inserted, the violent contrast that serves to stamp, to tune, thanks to this out of tune note, the Vinsìeme of the work.

These works are not presented as a book, intended as an object bound together, but composed with the texts that came closest to the single engraving, in some cases making a kind of story when, as in the case of the " Invitation au Voyage ", the poem is was divided into three parts. As Afro worked on these tempera paintings he thought that some subjects could be translated instead that in graphics in tapestries. As early as 1 he had provided his own sketches which have been used in this sense.

The contemporary origin of these works has suggested presenting together this series of ten engravings and eight tapestries; of the latter, only four are part of the 1975 projects.