Roland Beginner

7 1 Metaphorical planning

7.1 Metaphorical planning
Contents list

Feminine legs

A metaphor carries an idea from one area of thought to another. Furniture can have feminine legs (Figure 7.1); a flower is the days eye (daisy); an error
glares at you; drinks are soft; cash is hard; our lives have a spring and an autumn. Metaphor derives from meta (Greek, after) and phero (Greek, carry).
In literature and the arts, in planning, architecture and design, metaphors have a supremely creative role. They provide a system of thought that can supplement
or bypass logic. Creative fusion of two entities takes place in a metaphor, as in sexual reproduction, to produce new entities taking genetic characteristics
from each parent. Things are transformed into other things. Hybrid vigour can result from dissimilar parents. This, a constructive view, is the poets
and the artists traditional opinion of metaphor. Metaphor constructs meaning and is an essential part of creativity. "The greatest thing by far is to
have a command of metaphor, wrote Aristotle in The Poetics.

An opposite view of metaphor is associated with the empiricist--scientific tradition. Hobbes wrote that "when we use words metaphorically; that is in other
senses than that they were ordained for; ... [we] thereby deceive ourselves (Hobbes, 1651). According to this view, which may be described as non-constructive,
metaphors are "fuzzy and vague, unessential frills, appropriate for the purposes of the politician and of the poet, but not for those of the scientist,
who is attempting to furnish an objective description of physical reality (Ortony, 1979). Scientists often see metaphors as literary devices that obstruct
the icy logic upon which scientific progress depends.

With declining faith in the objectivity of science there is a rising tide of enthusiasm for metaphor. Instead of joining a debate on the philosophy of science,
this essay will focus on the use of metaphor in planning, architecture and outdoor design. An interesting literature is developing on the constructive
use of metaphor in the natural and social sciences. Nineteenth century social science, for example, is seen to have been based on the metaphor of an engine,
while twentieth century social science is seen to be based on a systems view of reality, resulting from an electrical metaphor.

An essay by Donald Schön, in a book on metaphor (Schön, 1979), highlights the use of metaphor in social policy. He quotes an American judge who described
a slum area as being so badly "possessed of a congenital disease that it must be completely replanned and redesigned

to eliminate the conditions that cause slums -- the overcrowding of dwellings, the lack of parks, the lack of adequate streets and alleys, the absence of
recreational areas, the lack of light and air, the presence of outmoded street patterns.

The health/disease metaphor was used to define a "problem, which could then be "solved by a modern remedy. A later generation of planners, led by Jane
Jacobs, became disenchanted with the slum-clearance "solution. Schön argues, correctly in my view, that the importance of the health/disease metaphor
was in setting the problem, not in solving the problem. Metaphors construct, or frame, views of "reality, which can be used in policy-making and planning.
They highlight structural characteristics of the world. It is dangerous if those who frame metaphors believe there is only one reality. But if metaphors
are recognized as creative constructs, they can have immense value.

The Eye of the Day

7.2 Metaphorical Design
Contents list

Winston Churchill relished large-scale metaphors, and used them to manipulate large-scale concepts. In 1942 he saw the south shore of the Mediterranean
as a springboard for an attack on "the soft underbelly of Europe (Figure 7.2). The idea was almost sexual. In 1946, he told an American audience that
"An iron curtain has descended across the Continent. This metaphor framed the Cold War period, from 1946 to 1989, and may have inspired the Berlin Wall.
Churchill, like most English authors, admired the master of metaphor, William Shakespeare. Shakespeare often created new words by fusing older words, so
that the meaning "carried over from one to the other, as in "homekeeping. Of Anthony and Cleopatra, he wrote that "he ploughed her and she cropt (II
ii 232). Shakespeare also created metaphors that coloured Churchills, and many others, view of their native land:

This fortress built by Nature for herself
Against infection and the hand of war,
This happy breed of men, this little world,
This precious stone set in the silver sea,
Which serves it in the office of a wall,
Or as a moat defensive to a house,
Against the envy of less happier lands,
This blessed plot, this earth, this realm, this England,
This nurse, this teeming womb of royal kings.

A fortress; a precious stone; a blessed plot; a nurse; a mother: these metaphors have had a profound influence on Britains strategic planning.

Dinocrates, according to Vitruvius, greatly impressed Alexander the Great with a metaphorical planning concept:

I have made a design for the shaping of Mount Athos into the statue of a man, in whose left hand I have represented a very spacious fortified city, and
in his right a bowl to receive the water of all the streams which are in that mountain, so that it may pour from the bowl into the sea.

Alexander, readily perceiving that there was no agricultural land in the neighbourhood, replied:

For as a newborn babe cannot be nourished without the nurses milk... a city cannot thrive without fields and the fruits thereof pouring into its walls,
nor have a large population without plenty of food, nor maintain its population without a supply of it. Therefore, while thinking that your design is commendable,
I consider the site as not commendable; but I would have you stay with me, because I mean to make use of your services.

Together, they founded the city of Alexandria, because of its harbour, its cornfields and "the great usefulness of the mighty river Nile. Good metaphors
attract good patrons and may produce great cities.

John Bunyan, in the Pilgrims Progress, used landscape as a metaphor for life (Bunyan, 1678). The hero, Christian, has a dream in which he learns of his
hometown becoming a City of Destruction. This caused him to depart on a pilgrimage through a series of metaphorical landscapes: the Slough of Despond,
the Palace Beautiful, the Valley of the Shadow of Death, the Doubting Castle, the Delectable Mountains and the Celestial City (Figure 3). Artists have
transformed these images from poetry to pictures. Finding Cities of Destruction all over nineteenth century Europe, idealist planners dreamed of replacing
them with Celestial Cities. Then they looked for sites.

The Garden City, as devised by Ebenezer Howard, fused the ideas of garden and city to create a practical proposal for making Celestial Cities in Englands
green and pleasant land. Howard dreamed of:

...so laying out a Garden City that, as it grows, the free gifts of Nature -- fresh air, sunlight, breathing room and playing room -- shall be still retained
in all needed abundance, and by so employing the resources of modern science that Art may supplement Nature, and life may become an abiding joy and delight.
(Howard, 1946)

A garden is a place of safety, of beauty, of production, of harmony between man and nature. A garden city should, therefore, have these qualities and also
the urban advantages of clean streets, good pay and access to education and culture. This idea was illustrated with the Three Magnets metaphor (Figure
7.4). In Shakespeares time, cities were centres of trade, power and defence. Howard dreamed of Garden Cities in which people could live, work, play and
grow food. His arguments have been accepted to the extent that planners have tried to make cities more like gardens, by making open space planning an aspect
of city planning.

Another famous town planning concept, the Finger Plan for Copenhagen, was based on a metaphor and shown by a diagram, of a great hand resting over that
city (Figure 7.5). Since 1947, that great hand has guided Copenhagens development. The merchants harbour, after which the city was named, sits in the
palm of a guiding hand. Fingers point ways to new development. Power lines, telecom lines, and rapid transit lines follow the bones, arteries, veins and
nerves of the fingers. Between those fingers we find the green land of Denmark. Copenhagen was made into a garden city but the hand itself, of urban development,
was grey.

Geometrical metaphors have been important in city planning and regional development. Planners speak of grid cities, radial cities and organic cities, though
it is only the street patterns that have these characteristics (Figure 7.6). The low part of Holland is seen as a ring city, or randstadt, with a green
heart. Transport corridors are seen as growth poles. The benefit of these metaphors arises from the help they give to planners in thinking about large
and complicated issues. Disbenefits can arise when issues become over-simplified. A city should be so much more than a street pattern; surrounding countryside
should be so much more than a "green belt. Road plans do not show the city structure: they show one of many structures.

7.2 Churchill used the ‘iron curtain’ and ‘springboard’ metaphors for strategic planning.

7.3 Metaphorical architecture
Contents list

Vitruvius believed "a wide knowledge of history to be an essential part of the architects education, and explained his point with an example (Figure 7.7):

For instance, suppose him to set up the marble statues of women in long robes, called Caryatides, to take the place of columns, with the mutules and coronas
placed directly above their heads, he will give the following explanation to his questioners. Caryae, a state in Peloponnesus, sided with the Persian enemies
against Greece; later the Greeks... took the town, killed the men, abandoned the State to desolation and carried of their wives into slavery... Hence,
the architects of the time designed for public buildings statues of these women, placed so as carry a load, in order that the sin and the punishment of
the people of Caryae might be known and handed down even to posterity.

Furthermore, Vitruvius believed that: "Music... the architect ought to understand so that he may have knowledge of the canonical and mathematical theory,
which is useful in the design of catapults, theatres and water organs.

If architects fail to create legible metaphors, critics and viewers will do the job for them. When classical architecture was revived during the Renaissance,
every educated person knew that it symbolized admiration for the achievements of the ancient world.
Architecture had become a metaphor for civilization. During the seventeenth century, "classical came to mean "of the first class, as proved by use in
Greek and Roman times. Other architectural styles were adopted during the nineteenth century, symbolizing admiration for medieval Christianity, Italy,
Switzerland or whatever. The Modern Movement, demanding a new architecture for a new age, swept away these "styles. That new architecture was supposed
to be metaphor-free. Puzzled viewers soon began to invent their own metaphors. They spoke of cardboard boxes, matchboxes and filing cabinets. Despite designers
outraged protestations, these boxy buildings were metaphors and had meaning. The messages they carried were "modernity and "functionalism.

More attractive metaphors create more popular buildings. Le Corbusiers chapel at Ronchamp can be seen as a crab, a duck, a hand, a hat and much else. Utzons
Sydney Opera House can be seen as shells, a flower, or sails. The soaring curves of Saarinens TWA terminal in New York symbolize flight. The Archigram
building concepts of the 1960s were described as pods. Significantly, all these buildings were curvilinear. Curves "carry ideas from the natural world.
Rectilinearity is a metaphor for intellectualism and the works of man. Renaissance architecture was a metaphor for reason and delight, restoring order
after the chaos of the Middle Ages. Thoreaus house, by Walden Pond, was a New Englanders protest against materialism. Hundertwassers Viennese architecture
is a metaphor for the reassertion of nature and emotion, after the brutalism of the twentieth century.

7.7 Caryatids on the Acropolis, Athens

7.4 Metaphorical space
Contents list

"
Landscape was coined by adding the suffix -scape to the noun land. This converted a concrete noun into an abstract noun. Always, landscape is abstract.
It is delimited by boundaries but it has no substance. Space is continuous extension, emptiness, void. So how can space be designed, planned or structured?
By the use of metaphor. Painters once spoke of "taking a landskip, as we speak of "taking a photograph. The verb "take is used metaphorically. Taking
a photograph removes not one atom from a site, though painters and photographers do practice the arts of selection, composition and invention. Planners
and landscape designers, in making spaces bounded by hills, trees, buildings, sky and water, need structural metaphors.

Gordon Cullen, a great analyst of space in towns, conceived Serial Vision as "a tool with which human imagination can begin to mould the city into a coherent
drama. This is a structural metaphor for use in spatial design. After describing an example of serial vision, Cullen invites us to examine what this means:

Our original aim is to manipulate the elements of the town so that an impact on the emotions is achieved. A long straight road has little impact because
the initial view is soon digested and becomes monotonous. The human mind reacts to a contrast, to the difference between things, and when two pictures
(the street and the courtyard) are in the mind at the same time, a vivid contrast is felt and the town becomes visible in a deeper sense. It comes alive
through the drama of juxtaposition. Unless this happens the town will slip past us featureless and inert. (Cullen, 1971)

Notions of "pictures, "drama and towns being "alive contribute to the serial metaphor. Walking through a town can be like flicking through a dramatic
picture book. Cullen also spoke of the spaces that contained the pictures as being "articulated:

... instead of a shapeless environment based on the principle of flow, we have an articulated environment resulting from the breaking-up of flow into action
and rest, corridor street and market place, alley and square.

"Articulate comes from the Latin for "jointed. Designers have found the idea very useful. But it is only a metaphor. Patently, it is not possible to design
a town without having a series of views, or joints, between successive spaces.

The Tree of Life has been a significant symbol since ancient times, and can still guide spatial planning. Jung believed that the tree symbolizes the growth
and development of psychic life, as distinct from intellectual life (Smith et al., 1989). The Tree of Life represents humanitys undying sense of being
part of a continuous process, which extends from our distant past into the life hereafter. One finds the Tree of Life in manuscripts, in textiles and in
architecture. In the Bhagavad Gita, for example, "They speak of an imperishable tree with its root above and branches below. It leaves are the Vedas; he
who knows the tree, is the knower of the Vedas (Smith et al., 1989). A good king was one who planted trees along the sides of the roads to provide shade.
Abercrombies open space plan for London might have gained strength from being conceived as a Tree of Life. Individuals and community groups could think
that they were adding branches, leaves and roots to the tree.

Anthropomorphic metaphors can also be used to plan spatial relationships. A path can be thought of as kissing a hill. The hill can hold a conversation with
another hill. One of the two hills can be clad with a forest. The edges of the forest can be frayed or cut on the bias. A town might crown the hill or
march through a valley. Anthropomorphic metaphors help people relate to places. Longer metaphors, in the form of stories, allow more sophisticated relationships:

The Smugglers Path, after dawdling in a Tolkienesque wood on the hills flank, descended into the bowels of the earth, breasted the mountain wall and plunged
towards the sea. It then doubled back, clung to the cliffside for two furlongs and came to rest in a secret harbour.

Since the coast was a place of danger, the farmers had chosen to build their village on the plain. After a long search the founding fathers came across
a slight knoll which they appointed the site for a church and meeting house. All later buildings nestled beside the church. The village became a ship,
billowing across the open wheatfields with a church spire for a mast and trees for sails.

In planning, the boundaries between myth, history and fiction are not so consequential as one might think. Beauty may reside in the eye of the beholder,
but what we see is determined by what we expect to see.

7.5 Metaphor and Forestry
Contents list

In the 1920s, Britains Forestry Commission embarked upon the planting of what was said to be the largest man-made forest in Europe, in the Scots-English
borderland. The Commissioners imagined that "by taking a little thought and possibly incurring a little additional expenditure... it might be possible
to provide, for the future, areas as highly prized by the public as is the New Forest today (Forestry Commission, 1934). Maybe that "little thought was
never taken; maybe the "little additional expenditure was never incurred. Certainly, the Forest of Keilder cannot stand comparison with the New Forest.
Later, the Northumbrian Water Authority created what they claimed to be Europes largest man-made lake amidst Europes largest man-made forest. If correct,
the statistics may be impressive, but what was the result? An unbelievably dull place.

Conifers "march over the Kielder hills, subjugating the land to their authority. "Extraction routes and "fire breaks criss-cross the forest with the
delicacy of armoured columns. The lake is a sullen prisoner. Only an occasional yacht, or a visitor being chased by midges, animates the gloom. Keilder
was designed by single-purpose authorities, one thinking about making wood and the other about making water. Design and planning ideas have changed since
Kielder was made. But what would happen if current ideas were applied to the place? Probably, it would be planned to "minimize environmental impact and
the result would be even more boring. It was a dull place before the lake and forest were made. Respecting the genius of the place would make it duller
still (Figure 8).

What Kielder needed was creativity. This does not require a Salvador Dali of the landscape, yearning to impose an egotistic will. Nor is it simply a matter
of visual design. Such a great project needs serious, multifaceted and ambitious deployment of the human imagination. Besides the host of functional benefits
that properly form part of the calculated yield, a forest should be an altruistic investment in the future. Great art embodies a view of mans past and
future. This requires group and individual creativity.

Our ancestors, who were forest dwellers, bequeathed us a legacy of wonder tales in which forests have a significant role (Figure 7.9). Typically, a foresters
son sets out to make his way in the world. Lost in the dark forests of life, he meets danger. A wise old person, in disguise, is encountered sheltering
beneath a tree. After many tribulations, our hero emerges from the forest, marries a beautiful princess and lives happily ever after. This tale could be
remade through forest design, as it is through ballet. One route could start from a refuge in a clearing. The path would set forth in a bright and optimistic
manner. Difficult choices would appear. Divergent paths would become stony, enter dark woods and descend through sloughs of despond. Beautiful clearings
with pools of fresh clear water could be made in those dark woods. The Slough of Despond should be used as a creative metaphor in forest design. The Valley
of the Shadow of Death could be braved with hope if it led on to the Delectable Mountains: a gloomy route through a wild valley would lead the explorer
to sunlit uplands. A Celestial City would rise above the waters of the lake. Kielder Water does in fact have a peninsula, which could be used as the site
for a walled settlement. Such a place would attract a more soulful type of visitor than the holiday beaches of Southern Europe, and could be romantically
spectacular. This would help in interpreting the whole forest as a mountain fastness, a lost kingdom waiting to be explored, a Shangri La of the Scottish
Borderlands.

Alexander Pope,
who spent his childhood in Windsor Forest, used forests in his poems and his garden. When buffeted by the winds of adulthood, he remembered the peace and
beauty of his childhood fastness. Recalling that Horace had sojourned in the rural peace of the Sabine Hills, Pope determined that his Twickenham garden
should play a Sabine role in his own life. Rural retreat became both a poetic theme and a garden theme. His Ode on solitude was Horatian:

Happy the man whose wish and care
A few paternal acres bound
Content to breathe his native air,
In his own ground.

Pope did not see the formal gardens of his day as peaceful forest retreats. His Epistle to
Lord Burlington
laughs at the conceits of the enclosed style:

Grove nods at Grove, each Ally has a Brother,
And half the Platform just reflects the other.
The suffring Eye inverted Nature sees,
Trees cut to Statues, Statues thick as Trees,
With here a Fountain, never to be playd,
And there a Summer‑house, that knows no Shade.

Popes mockery of formal gardens, and praise for nature, made him an important influence on the genesis of the
Forest Style
of English garden design (Turner, 1986). Poetry, which Coleridge defined as "the best words in the best order (Coleridge, 1835) can inspire planning.

7.9 The hero enters a forset (illustration to a wonder tale, by Gustav Dore).

7.6 Metaphorical rivers
Contents list

It takes a poet to read a river and a community to make a response. T.S. Eliot wrote the third of his Four Quartets in 1940--41, when living in London and
recalling his far-away childhood on the Mississippi. It opens:

I do not know much about gods; but I think that the river
Is a strong brown god -- sullen, untamed and intractable,
Patient to some degree, at first recognized as a frontier;
Useful, untrustworthy, as a conveyor of commerce;
Then only a problem confronting the builder of bridges.
The problem once solved, the brown god is almost forgotten
By the dwellers in cities -- ever, however, implacable,
Keeping his seasons and rages, destroyer, reminder
Of what men choose to forget. Unhonoured, unpropitiated
By worshippers of the machine, but waiting, watching and waiting.
His rhythm was present in the nursery bedroom,
In the rank ailanthus of the April dooryard,
In the smell of grapes on the autumn table,
And the evening circle in the winter gaslight.

How should one treat a strong brown god? With the greatest respect. To prepare for "seasons and rages, land, which otherwise might be assigned a use, must
be sacrificed to the waters. Such areas should be brought to a pitch of ecological health and then abandoned, below the flood line, allowing them to be
ravished by floods. Rivers should be honoured and propitiated in other ways too. Monumental structures should be placed here and there, to mark important
places and for people to rest as they revere the waters. Large tracts should be left in states of nature.

This is not how Londons rivers have been treated, alas. The general policy has been for small rivers to be buried and large rivers to be raped. By 1940,
the shores of the London Thames were industrialized, except for short Sections: near regal and episcopal palaces ( Westminster, Greenwich, Lambeth, Fulham).
Since then, some reaches of the river have been commercialized and recreationalized. Often, this has been done by building a riverside walkway with ugly
blocks of apartments or offices peering at the water (Figure 7.10). It has not been done in a reverential manner, and no effort has been made to provide
habitats for swans. These royal birds once made the Thames famous. Metaphorical planning could have achieved superior results, remembering always that
the river is "a strong brown god to be honoured, garlanded and placated. John Denham, who once employed Christopher Wren as his deputy, had a poetic vision
of the Thames, to inspire future planners:

O could I flow like thee, and make thy stream
My great exemplar as it is my theme!
Though deep, yet clear; though gentle, yet not dull;
Strong without rage; without oerflowing, full.

What should these building say to a river?

7.7 Metaphor and Gardens
Contents list

Were Europe sinking beneath the waves, like Atlantis, and only two gardens could be saved for posterity, which should be chosen? I would ask for the Villa
dEste and for Stourhead. Both come near to perfection and both achieve a harmony between the four noble elements of landscape design: land, water, vegetation
and buildings. Significantly,
Stourhead
and the
Villa dEste
are based on metaphors. Every visitor acknowledges them as great works of art, though only the learned will know the role that stories played in their generation.
Metaphors raise gardens to higher planes. Instead of being mere places of display, these gardens partake of literary and philosophical values. A book can
be well written, well illustrated and well bound, but devoid of literary or artistic merit. Most large gardens are like this. Only a select few appeal
to the soul, as works of art.

The Villa dEste has inspired more wonder than any other garden in Europe. It was designed for this purpose, and it set the standard that Louis XIV wished
to surpass at
Versailles,
Peter the Great at the
Peterhof,
and Paxton at the
Crystal Palace.
Each is a visual spectacle. But after the show one hardly cares to read the book. From the Villa dEste, one comes away with a sense of mystery and power,
a desire to return, and an awareness of meanings that have not been penetrated. Cardinal Ipollito II dEste was the son of Lucrezia Borgia. He possessed
the legendary ambition of the Borgias combined with the pride of the Estes. The garden he made was no Sabine farm, no rural retreat from the pursuit of
power. It was a manifestation of wealth, power and ambition, designed by a great artist,
Pirro Ligorio.
Jellicoe wrote that

The importance of Ligorio in garden history cannot be overestimated. From his profound knowledge and understanding of Roman antiquity his brilliant imagination
evolved designs that were wholly original, individual to himself, and essentially of the virile period in which he lived. (Jellicoe, 1986)

The story of the Este Villa is the story of one of Italys oldest and most illustrious families. The Gods of Antiquity were summoned to help with the story,
many of them being excavated from the ruins of
Hadrians Villa.
Ligorio drew a plan of Hadrians Villa and advised on the iconography of the Este Villa. It was inspired by the story of Hercules eleventh labour, in which
he took the golden apples from the garden of the Hesperides. Hercules was seen as an ancestor of the Estes and a symbol of their strength and virtue. Scenes
from
Ovid
and geographical symbols embellished the story. Louis XIV and Peter the Great also used stories and classical statuary stories to manifest their power.
Louis garden at Versailles paid tribute to Apollo, the sun god whose power Louis compared with his own. The Peterhof garden celebrates Russias "recovery
of the Baltic states and a sea access to Europe, with a mighty cascade and a canal leading from the palace to the sea. In princely gardens, commanding
the waters symbolizes power.

Stourhead, by contrast, was designed as a rural retreat. No space beckons the crowds to gather on state occasions. Instead, there is a walk on which the
Hoare family and their friends might conduct a few learned guests before a hearty meal. The walk was rich in classical allusions, especially to Virgils
Aeneid. A Temple of Flora was placed above the Paradise Well, to honour one of the sources of the lakes water. The Grotto celebrated another source of
water, and an inscription associates it with the cave where Aeneas landed after his flight from Troy. Kenneth Woodbridge explains that the garden was designed
to be experienced sequentially:

Walking from his house towards the hillside, Henry Hoare could look down on a Claudian idyll, the lake and the Pantheon framed by trees. In his fancy it
could be Lake Nemi, where the nymph Egeria, mourning for her husband Numa, had been turned by Diana into a spring. Or Lake Avernus, traditionally the entrance
to Hades. The latter association is explicit in the inscription on the Temple of Flora, Procul, o procul este profani. "Begone! you who are uninitiated,
begone! These are the words from the sixth book of The Aeneid, of the Cumaean Sybil who is about to lead Aeneas into the underworld where the story of
the founding of Rome will be foretold. It seems that Henry Hoare saw the path through the Grotto as an allegory of Aeneass journey, for he wrote in a
letter, "I have made the passage up from the Sousterrain Serpentine & will make it easier of access facilis descensus Averno. ( Woodbridge, 1971)

Sir Geoffrey Jellicoe
is the most notable modern designer with an interest in literary themes, if not in stories. A memorial garden for President Kennedy, at Runnymede, was his
first venture into allegory (Figure 11). This project inspired his scheme for the most significant twentieth century garden in England: Sutton Place. The
scale of Stourhead and the Villa dEste might suggest that stories have a place only in large gardens. They can also guide the detailing of small gardens.
A London gardener found a carving of a childs head in an antique shop. The idea that she was a fallen angel suggested placing her at ground level. Now
she sits in a rim of begonias, as in an architectural moulding. Metaphors can inspire the great and the small:

The Kennedy Memorial landscape was inspired by the Pilgrim’s Progress, with the stones representing pilgrims.

Look to the Rose that blows
about us -- "Lo,
"Laughing," she says, "into
the World I blow".

(Rubáiyat of Omar Khayyám)

Villa dEste

Villa dEste