Little Sparta is a garden at Dunsyre in the Pentland Hills in South Lanarkshire, Scotland, created by artist and poet Ian Hamilton Finlay and his wife Sue Finlay, since 1966. The Arcadian garden includes concrete poetry in sculptural form, polemic, and philosophical aphorisms, together with sculptures and two temples. Altogether it includes over 275 artworks by the artist, created in collaboration with numerous craftsmen and women. History The garden was first established in 1966 and was originally named Stonypath. Finlay chose the name "Little Sparta" in 1983, in response to Edinburgh's nickname, the "Athens of the North", and playing on the historical rivalry between the Ancient Greek cities Athens and Sparta. Little Sparta survived numerous disputes, or "Wars" as Finlay termed them, regarding the rating of the Garden Temple. Finlay lived there until shortly before his death in 2006. The wars are documented in the papers of Graeme Moore, landscape artist who worked with Finlay, held by the University of Pennsylvania’s Kislak Center for Special Collections, Rare Books and Manuscripts. Over their 23-year collaboration Ian Hamilton Finlay and Sue Finlay established Little Sparta as an internationally renowned composition, a combination of avant-garden experiment, Scottish wit and whimsy and the English landscape garden tradition. It comprised the front garden, the most intimate space, with many examples of Finlay’s ‘garden poems’; a woodland garden extending around a small pool; and a series of paths, areas and sculptures in the wilder hillside landscape. Finlay conceived the garden as composed around inter-connected pools, burns and a small loch, Lochan Eck. Finlay later extended the garden in the 1990s, creating a small English Parkland in the former paddock. A walled garden, ‘Hortus Conclusus’, was added after his death. These areas were created in collaboration with Pia Simig and Ralph Irving. Concepts The key concept Ian established at Little Sparta was that of the ‘garden poem', sited within an ‘area’. Finlay defined the relationship between these poem-objects and their surroundings: "Usually each area gets a small artefact, which reigns like a small deity or spirit of place. My understanding is that the work is the whole composition – the artefact in its context. The work is not an isolated object, but an object with flowers, plants, trees, water and so on". Sue Finlay, who undertook the majority of the planting and cultivation, describes the generosity of this creative process in her memoir The Planting of a