This article deals with Finlay's garden and the problems he had with the tax collectors for Little Sparta. -- Source of annotation: Marvin or Ruth Sackner.

The watercolor depicts four ceramic, varied colored sail shapes with numbers from Scottish sail boats. The signature is Michael Harvey's but he has also printed Susan Goodricke's name adjacent to his. -- Source of annotation: Marvin or Ruth Sackner.

The ink drawings provide construction details of four ceramic varied colored sail shapes with numbers from Scottish sail boats. One drawing is vertical and one drawing is horizontal. -- Source of annotation: Marvin or Ruth Sackner.

This depicts two adjacent, brown colored, ceramic or concrete, vertical slabs lettered The Water's Hours with levels drawn in blue & denoted with Roman numerals and The Sky's Hours with strokes of a sundial drawn in blue & denoted with Roman numerals, respectively. In Oct 1973, Harvey writes to Finlay with descriptions of proposals for the Portsmith City Art Project, viz., Water's & Sky's Hours and Numbered Sails. Finlay replied within a week with minor modifications prior to their submission into the competition. He adds a note of encouragement to Harvey, "So the question is, who will get the Third Prize (As we have won the First and Second)." -- Source of annotation: Marvin or Ruth Sackner.

The print depicts a landscape viewed from above with a classical Greek temple and trees. The path in the center has the shape of an axe. -- Source of annotation: Marvin or Ruth Sackner.

This is a proposal for a garden path of bricks stamped with names of trees taken from Sir William Temple's book "Gardens in Virgil's Time," viz., 'The trees were the elm, the pine, the lime-tree, and the Platanus, or plame-tree, whose leaf and shade, of all others, was the most in request...' -- Source of annotation: Marvin or Ruth Sackner.

This proposal calls for installation of calligraphic plaques within a stone walls enclosed garden. -- Source of annotation: Marvin or Ruth Sackner.

This proposal calls for installation of lettered benches in Latin and German within a garden. -- Source of annotation: Marvin or Ruth Sackner.

Printed by Stellar Press. Deals with the ideas of Rousseau on nature that formed the ethical and political behavior of the leaders of the French Revolution. -- Source of annotation: Marvin or Ruth Sackner.

This is the plan for a new neo-classical temple at Finlay's Little Sparta. The image in the photograph is a photomontaged building to be erected against the landscape of Finlay's garden. -- Source of annotation: Marvin or Ruth Sackner.

Stephen Bann contributed an essay on Finlay's proposal, "A revolutionary garden in Versailles." In it, he explains Finlay's choice of trees and bushes and their arrangement in terms of metaphors for the French revolution and the rights of man. -- Source of annotation: Marvin or Ruth Sackner.

The columns are inscribed with the name of six persons prominent in the French revolution and they are coupled in pairs because of a relationship. They include LeBas & Saint-Just, Camille (Desmoulins), a revolutionary journalist & Lucille, his wife, and Marat & Charlotte (Corday) his assassin. -- Source of annotation: Marvin or Ruth Sackner.

This reproduces a photomontaged drawing of a neo-classical temple with a landscape background built in Finlay's garden. The accompanying poem makes reference to Claude [Lorain?]. -- Source of annotation: Marvin or Ruth Sackner.

Commemorates Joseph Bara, the little drummer boy who was shot by Royalists for shouting "long live the revolution" instead of "long live the king" during the French revolution. The image is a post-modern temple or bandstand in which the columns are composed of interrupted side drums in relief. -- Source of annotation: Marvin or Ruth Sackner.

John Hunt comments and prints photographs of Ian Hamilton Finlay's installation with Ron Costley, Unda/Wave at the Max-Planck Institute in Stuttgart. The Archive for this project is held by the Sackner Archive. Photographs of installations in the churchyard of St. Michaels' Church in Bristol, England also illustrate the text. -- Source of annotation: Marvin or Ruth Sackner.

The sculpture utilizes the word "cloud" in five languages. -- Source of annotation: Marvin or Ruth Sackner.