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Cover: A Marvelous Solitude: The Art of Reading in Early Modern Europe, from Harvard University PressCover: A Marvelous Solitude in HARDCOVER

A Marvelous Solitude

The Art of Reading in Early Modern Europe

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HARDCOVER

$39.95 • £34.95 • €36.95

ISBN 9780674660236

Publication Date: 12/05/2023

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  • List of Illustrations*
  • Introduction
  • 1. Petrarch and the Magical Space of the Library
  • 2. The Text as a Body and the Resurrection of the Ancients
  • 3. Portraits, or The Desire to See the Author
  • 4. Reading, Writing, and the Construction of the Self
  • 5. Machiavelli’s Letter to Vettori
  • 6. Montaigne’s Tower
  • 7. Tasso and the Dangers of Reading
  • Epilogue: Ruskin, Proust, and the “Miracle of Reading”
  • Notes
  • Index
  • * Illustrations
    • Figure I.1. Teodoro Wolf Ferrari, advertisement poster for the Olivetti M1 typewriter, 1912.
    • Figure I.2. Bronzino, Portrait of Laura Battiferri.
    • Figure I.3. Anonymous artist, sixteenth century, Portrait of Sir Thomas Bodley.
    • Figure 1.1. Anonymous artist, Portrait of Petrarch at his desk.
    • Figure 1.2. Francesco Petrarca, De remediis utriusque fortunae.
    • Figure 2.1. Roman girl discovered under the Via Appia in Roma in 1485, in Bartolomeo Fonzio, Liber monumentorum Romanae urbis et aliorum locorum.
    • Figure 2.2. Giovanni Boccaccio, Genealogie deorum gentilium.
    • Figure 2.3. A genealogical tree, in Giovanni Boccaccio, Genealogie deorum gentilium.
    • Figure 2.4. Poggio Bracciolini, Florence, translation of Xenophon’s Cyropaedia.
    • Figure 2.5. The burning of Jerome of Prague, in John Foxe, The Book of Martyrs.
    • Figure 3.1. Angelo Decembrio, De Politia literaria, frontispiece.
    • Figure 3.2. Justus van Ghent (or Pedro Berruguete), Portrait of Federico da Montefeltro with His Son Guidubaldo.
    • Figure 3.3. Piero della Francesca, Portrait of Federico da Montefeltro and Battista Sforza.
    • Figure 3.4. Piero della Francesca, triumphal scenes on the back of the portraits of Federico da Montefeltro and Battista Sforza.
    • Figure 3.5. The wood inlays in the Studiolo di Urbino, Palazzo Ducale.
    • Figure 3.6. The portraits of illustrious men in the Studiolo di Urbino, Palazzo Ducale.
    • Figure 3.7. Justus van Ghent, Gregory the Great.
    • Figure 3.8. Justus van Ghent, Pope Pius II.
    • Figure 3.9. Justus van Ghent and Pedro Berruguete, Pope Sixtus IV.
    • Figure 3.10. Justus van Ghent, St. Ambrose.
    • Figure 3.11. Justus van Ghent and Pedro Berruguete, Augustine.
    • Figure 3.12. Justus van Ghent and Pedro Berruguete, Cardinal Bessarion.
    • Figure 3.13. Justus van Ghent and Pedro Berruguete, St. Jerome.
    • Figure 3.14. Justus van Ghent, Duns Scotus.
    • Figure 3.15. Justus van Ghent and Pedro Berruguete, Saint Thomas Aquinas.
    • Figure 3.16. Justus van Ghent and Pedro Berruguete, Albertus Magnus.
    • Figure 3.17. Justus van Ghent, Cicero.
    • Figure 3.18. Justus van Ghent and Pedro Berruguete, Ptolemy.
    • Figure 3.19. Justus van Ghent, Euclid.
    • Figure 3.20. Justus van Ghent, Moses.
    • Figure 3.21. Justus van Ghent and Pedro Berruguete, Plato.
    • Figure 3.22. Justus van Ghent and Pedro Berruguete, Seneca.
    • Figure 3.23. Justus van Ghent and Pedro Berruguete, Solon.
    • Figure 3.24. Justus van Ghent, Bartolo da Sassoferrato.
    • Figure 3.25. Justus van Ghent and Pedro Berruguete, Aristotle.
    • Figure 3.26. Justus van Ghent, Solomon.
    • Figure 3.27. Justus van Ghent, Homer.
    • Figure 3.28. Justus van Ghent e Pedro Berruguete, Virgil.
    • Figure 3.29. Justus van Ghent and Pedro Berruguete, Vittorino da Feltre.
    • Figure 3.30. Justus van Ghent and Pedro Berruguete, Peter Abanus.
    • Figure 3.31. Justus van Ghent, Hippocrates.
    • Figure 3.32. Justus van Ghent and Pedro Berruguete, Dante.
    • Figure 3.33. Justus van Ghent, Boetius.
    • Figure 3.34. Justus van Ghent and Pedro Berruguete, Francesco Petrarca.
    • Figure 3.35. Albrecht Dürer, Portrait of Erasmus.
    • Figure 3.36. Quentin Matsys, Portrait of Erasmus.
    • Figure 3.37. Quentin Matsys, Portrait of Peter Gilles.
    • Figure 3.38. Thomas More, Peter Gilles, and Raphael Hythlodaeus in Gilles’s garden, in Thomas More, Utopia.
    • Figure 3.39. Raphael Hythlodaeus shows Peter Gilles and Thomas More the island of Utopia, in Thomas More, Utopia.
    • Figure 3.40. Portrait of Ariosto and motto pro bono malum in Ludovico Ariosto, Orlando Furioso.
    • Figure 3.41. A ewe suckling a wolf cub, in Ludovico Ariosto, Orlando Furioso.
    • Figure 4.1. Gorgo dell’artificio, in Giulio Camillo, Trattato delle materie.
    • Figure 6.1. Montaigne’s tower, Dordogne, Saint Michel de Montaigne.
    • Figure 6.2. Montaigne’s tower, inscriptions on the beams.
    • Figure 7.1. Parmigianino, Portrait of a Man Reading a Book.

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