Olla by Crowley Aleister

By Crowley Aleister

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Even larger architectural ensembles have been traced back to a vegetative paradigm. 4 An alternative vision permeates the roughly contemporaneous Encyclopédie which defines the city as ‘an enclosure surrounded by walls’, containing several districts, streets, public squares and other buildings, like an enclosed garden (Diderot and d’Alembert 1751–1772). The idea may ultimately come from the Bible. As Abraham Cowley wrote, ‘God the first garden made, and the first city, Cain,’ after His example (Rabreau 1991: 305).

Where she (Nature) used to give us Corots and Daubignys, she gives us now exquisite Monets and entrancing Pisaros (sic)’; however, in imitating art nature can also commit an error and deliver ‘on one day a doubtful Cuyp, and on another a more than questionable Rousseau’ (Wilde 1923: 48–49). It is fair to conclude that the constitution of nature reflects perceptual habits more closely than aesthetic or other values. The idea that the world is constructed and not discovered was formulated with more precision by Eddy M.

This vital principle of ‘contrariety’ or ‘discord’ must not be suppressed but rather regulated by art (Vérin 1991: 136). Contrariety may not impossibly be one of the essential characteristics of gardens. At the most basic level, this applies to the relationship between the garden and its surroundings. As a utopian ideal, paradise has always been represented by that which was scarce or absent, the other. In the south, the paradise was a grove or an oasis, while in the north, where forested landscapes existed, the exceptional scene was the absence of trees, as evidenced by the fact that the Anglo-Saxons used the word for meadow to signify paradise.

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