THE STUDY

A historical account of the origins of the personal library as portrayed in the paintings, plays, drawings, and novels of the Renaissance.

In the 15th and 16th centuries, an emerging group of scholars retired to their studios to converse with the texts of antiquity (as did Petrarch), embrace sanctity through biblical scholarship (as did St. Jerome), or explore their inner lives (as did the essayist Montaigne). The studio was a “living, breathing crucible of thought” that served as a sanctuary for self-contemplation. “Renaissance humanists [had] created an intimate place of the soul.” (Of course, these spaces were affordable only by those wealthy enough to have spacious homes, hire booksellers such as Vespasiano da Bicci, and purchase books.) Hui, humanities professor at Yale-NUS College, Singapore, and author of A Theory of the Aphorism: From Confucius to Twitter, also notes that the bibliophilia that motivated these scholars could become bibliomania. Here he turns away from real people to fictional ones: Don Quixote in Cervantes’ novel of the same name, Prospero in Shakespeare’s The Tempest, and Doctor Faustus in Christopher Marlowe’s famous play. Reading books in the solitude of their studios detached these men from reality. The pivot between the love of books and their power to derange, Hui claims, was Rabelais’ exercise in “unruly excess.” Throughout, Hui offers close, interpretive readings of the many representations of personal libraries and the scholars portrayed there. Notably, he does not confine himself to the architectural space of the studio but points to how books were central to and came to symbolize humanism and modernity. Impressively erudite, Hui has produced a substantial piece of scholarship.

No avid and self-respecting bibliophile should be without this book set snugly on one of their study’s many shelves.