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This booklet reproduces signs beside the pool at Little Sparta, "Please Do Not Feed The Boats," and to be placed near the pool at the Royal Botanical Gardens, Edinburgh, Please Do Not Sink The Flowers." -- Source of annotation: Marvin or Ruth Sackner.

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Finlay notes that "Spaces" are poems of two lines and a title, with an unusual space between the lines. This poetic structure was devised by Gael Turnbull. -- Source of annotation: Marvin or Ruth Sackner.

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The theme of this card deals with the French revolution by quoting from J-J Rousseau Confessions. After reading a question proposed by the Academy of Dijon for a prize in the next year, he notes that he seemed to behold another world and became a different man. The question was "HAS THE RESTORATION OF THE ARTS AND SCENCES HAD A PURIFYING EFFECT UPON MORALS?" -- Source of annotation: Marvin or Ruth Sackner.

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The print is a photocopied colored reproduction of a bank check written by Graham Rich to The Wild Hawthorn Press. -- Source of annotation: Marvin or Ruth Sackner.

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Provides an illustrated description of Finlay's garden at Stonypath where he has lived since 1967. -- Source of annotation: Marvin or Ruth Sackner.

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The poem deals with a sailing ship, overgrown with weeds, in an abandoned ship yard. -- Source of annotation: Marvin or Ruth Sackner.

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The poem deals with a sailing ship, overgrown with weeds, in an abandoned ship yard. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Amazon.com "It doesn't greatly matter to me whether I'm using plants or trees or stones or words or events," the artist, poet and gardener Ian Hamilton Finlay (1925-2006) once told an interviewer; "the impulse is always to make a coherent order out of things." Through a carefully edited selection from a voluminous correspondence, A Model of Order tracks the unique arc of Finlay's development, from poet writing in Scots dialect, to Concrete poet, toymaker and deviser of poems and inscriptions in glass, wood and stone, installed in parks and gardens. The title derives from Finlay's famous definition of Concrete poetry as "a model of order, even if set in a space which is full of doubt," a definition conceived in correspondence with poet Pierre Garnier. Poet and editor Thomas A. Clark's selection of Finlay's letters-to Louis Zukofsky, Robert Creeley and Ernst Jandl among others-explicates a rigorous and moral vision of the act of making." -- Source of annotation: Marvin or Ruth...

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The illustrations were adapted from drawings made by Claude Lorrain. The project was proposed for Dinah Thompson. -- Source of annotation: Marvin or Ruth Sackner.

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Finlay explains the poem in the print Neoclassical Thaumaturgy as follows. Thaumaturgy means wonder working; an aspect of the old classical religion. the 'gods' which fly faster than sound are present-day warplanes. -- Source of annotation: Marvin or Ruth Sackner.

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This proposal is based upon the signature of the Swiss artist, Ferdinand Hodler, inscribed on a stone. A critical essay on this proposal by Wouter Weijer comprises most of the text of this print. -- Source of annotation: Marvin or Ruth Sackner.

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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.

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These are preparatory drawings for an unrealized work. -- Source of annotation: Marvin or Ruth Sackner.

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Issue contains photographs taken by Stuart Mills of Stonypath, the home of Ian Hamilton Finlay. -- Source of annotation: Marvin or Ruth Sackner.

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The prints are tipped onto the papercard folder on its inner covers. One of the prints that is colored depicts a landscape surrounding the Temple of Fame, Studley Royal. The other print lists ancient dictionary definitions of dove; Dove, n. a flute-haunting bird; East, n., one of the four corners of the sphere; Fame, n., an effervescence; Gnomon, n., a rod, astaff, the shepard of hours; Horizon, n., a liberation, a bound. -- Source of annotation: Marvin or Ruth Sackner.

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The page, torn from a notebook, consists of handwritten lists of names of barges by Finlay for card printed in collaboration with Margot Sandeman. The drawing of the barge was later printed on the card in red ink. There is also a proof copy of the card with corrections in this Archive. -- Source of annotation: Marvin or Ruth Sackner.