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The question of the representation of architecture immediately raises the issue of the relationship between the arts. The point is no longer architecture as such, nor the various media used to represent architecture—drawings, paintings, stage sets, sculpture, architecture itself, or even photography and digital technologies. Rather, it is the transition, the trajectory, the relationship between these media that must be examined. In other words, it is the “re” of “re-presentation” that has to be grasped in its temporal, artistic, social, political, and media-related complexity. This article addresses the special status of architecture in the realm of gardens, and more specifically the way that architecture is “fluid” or “liquid” in a metamorphic sense, moving through a variety of media, varying in scale, effecting a complex process of “transfiguration.” From rustic or topiary constructions during the Renaissance through Baroque concepts of metaphor up to the eighteenth century’s optical experiments, the author shows how Renaissance, Baroque, and picturesque gardens were forerunners of the virtual spaces of digital architecture that establish a new relationship to the senses and the imagination.