It is a cursory survey of the wide spectre of films by Peter Greenaway from the perspective of innumerable webs composed of events, symbols and figures. The whole Greenaway oeuvre, his collages - the reference to earlier and later works, the creation of imagery and installations or theatrical-opera spectacles which supplement his cinematic pursuits - enable the spectator to enter premises full of artifacts created not necessarily in a manner resembling the conditions and events transpiring in our world, and to cross the boundaries of a separate Universe. The article is an attempt at finding a key to this sophisticated multi-level world composed of a labyrinth of images, and at placing Greenaway's work within a certain framework of contemporary philosophical thought, together with the prime ascertainment that the world depicted by the author of 'The Pillow Book' ceased presenting something and became art 'solus ipse', part of the post modern current of multiplying Borgesian maps. The creative Universe, including every film, comprises maps of a new world, a new self-reference hyper-reality, a film model of simulation. The spectator - invited to take part in the game, to watch the film world, to celebrate the webs of connections, and to seek keys and open successive domains concealing myriad references and finely constructed mini-truths, enters a world of a schematic construction as subtly knit as Descartes' model of reality, a Magic World of a Creative Universe built by a certain Englishman.