 Depiction verbs, such as ‘draw’, ‘sculpt’, and ‘imagine’, resist substitution in their syntactic objects, at least if the clausal ‘imagine’ does: if imagining that Superman rescues you is not the same thing as imagining that Clark rescues you, it is hard to see why imagining Superman would be the same thing as imagining Clark. A specific/unspecific ambiguity is also possible, as is attested by the wall label for Guercino’s The Aldrovandi Dog (ca. 1625) in the Norton Simon Museum, which states ‘this must be the portrait of a specific dog’, thereby implicating an alternative, that ‘Guercino drew a dog’ could be taken to mean that he drew a dog, but no particular dog — he just made one up. And we can clearly draw or imagine that which does not exist (as opposed to, say, photographing it). Braque’s Little Harbor in Normandy (1909) is an example, according to the curators of the Art Institute of Chicago: ‘it appears this work was painted from imagination, since the landscape depicted cannot be identified.’