A wall covered in spines, shelved from floor to ceiling, recognises the correspondence between bricks and books.  It is the point at which knowledge becomes embedded in structure and the appearance is of books holding up the ceiling.  The implication is that enlightenment, the journey towards the sky or the sublime is available within these pages.  It is a metaphor made clearer by the special pieces of furniture, the chairs and stools which ingeniously convert to become ladders or in the sliding steps which glide along the floor scanning the shelves.  And just as bricks humanise the scale of even a vast wall by introducing an element of human scale – a solid unit designed to fit perfectly into the hand, so books define the space and give scale to even the largest the wall.  They are endlessly reproduced and faked in a game of trompe l’oeil in which their symbolic role alone is invoked.  There are bookish wallpapers, there are rows of fake books spines, there are hidden jib doors hidden amongst the bookshelves which open, just as do books themselves to reveal another world and there are dealers who specialise in slightly-worn, leather-spined books by the yard, not for reading but for recreating a country house effect, the impression of history and wisdom.    Already in the 1st Century AD Seneca swore by a small library, for knowledge rather than vanity, not ‘endless bookshelves for the ignorant to decorate their dining rooms.’