“... a self-disciplined and abstemious diner with an enthusiasm, years ahead of his time, for light white wines and salad. (His headquarters in Utrecht now house a passable restaurant.) This influential tract, which remained in circulation as late as the mid-17th century owing to its perceived application to the doings of subsequent favourites (as Perry’s ...”

“... which has sometimes won me the reputation of an eccentric,’ Graves writes at the start of The White Goddess (1948), his synoptic account of the history of Western myth. His eccentricity took many forms, as many as the mercurial goddess herself, yet Graves seems never to have doubted the central narrative to which his life and work were dedicated: There ...”

“... men were caught breaking into the headquarters of the Democratic National Committee in June 1972, Richard Helms, then director of the CIA, refused to help with the cover-up. In February 1973, after his re-election, Nixon fired Helms and replaced him with James Schlesinger. In an initiative to regain public trust as the crisis escalated, Schlesinger announced ...”

“... outlines, to an extreme position that is the essence of the dance step. Much of the catalogue by Richard Kendall (who also produced an excellent catalogue for the 1996 exhibition Degas: Beyond Impressionism) and Jill DeVonyar is about making images of things that happened too fast to be recorded by the most attentive eye or quickest hand. But the exhibition ...”

“... effect of the pieces at Gagosian is more fanciful and stylish than critical. The gallery – high white rooms, attendants in black – is itself a bit Ballardian, and the works, like old pictures of St Anthony taunted by devils and caressed by sirens, offer the eye lubricious, melancholy or violent bait that you can take without finding when you do that you ...”

“... bedrooms, or in desert cities such as Sana’a, with its towers of baked mud decorated with white scrolls and borders like piped icing. But on the whole, the freedoms of the flesh Pasolini dreams up take place in the open air, free of clothes or inhibitions – free of stone. It’s significant that Pasolini turned to the Orient to conjure his rather ...”

“... of Russians, Indians, Irishmen, suffragettes, anarchists and troublemakers of all kinds. He rode a white charger at the head of suffrage marches, and carried himself with such distinction that he was called the Grand Duke. To top it all, when I read his diary I discovered he was passionately and very problematically in love with his best friend’s wife. I ...”

“... Who can forget the moment in Chapter Six of Greenmantle when Richard Hannay penetrates the inner apartments of Colonel Ulric von Stumm and, with a thrill of horror, realises that there is something distinctly rum about the chief of Prussian Intelligence: Everywhere on little tables and in cabinets was a profusion of knick-knacks, and there was some beautiful embroidery framed on screens ...”

“... met his family there, while my eight-year-old daughter was marvelling at his masterpiece, Snow White and the Seven Dwarves. It seems strange that an artist such as Jeff Koons can include a gigantic puppy dog in his repertoire, to massive acclaim, while Sandaldjian’s minute Disney figures are admired only by a tiny group of cognoscenti. After all, as ...”

“... bloody escapes; middle-class students planted bombs and robbed banks. In August that year, Richard Nixon took a break from a four-day conference on crime control to address reporters. His subject was the spell that outlaw behaviour had apparently cast on the youth of America. In a characteristically sideways rhetorical manoeuvre, he began with a ...”

“... visible throughout Elizabethan culture. Night is conventionally regarded as ugly; Juliet the white girl is beautiful; the point of the remark is the incongruity of seeing someone so radiant against this sunless background. We should infer that Romeo considers the random Ethiope innately repulsive, unworthy of the bright jewel in his or her ear.This may ...”

“... The​ retrospective of Richard Estes’s work (until 8 February) is dazzling in more than one sense. From the late 1960s, when he established his mature style, his paintings of New York make use of hard, reflective surfaces like plate-glass shop windows, car bonnets, fenders and windscreens to fragment, distort and multiply images, replicating something of the visual complexity, speed and energy of the city streets ...”

“... being probed in the facility, but all that seems to happen in this line is that the agent, Richard Strickland, played by Michael Shannon with fabulously nasty relish, tortures him with a cattle prod – and loses two fingers in the process. The creature is referred to as ‘the asset’, indeed ‘the most sensitive asset’ the facility has ...”

“... For the last thirty years Richard Sennett – urban sociologist, historian, novelist – has been meditating on the culture and ecology of industrial cities: on how they evolved, on how their physical organisation and social structure related to the psychological and moral experiences of their inhabitants. More pointedly than his previous books, The Conscience of the Eye, he says, aims to show the interactions between the ‘architectural, urban planning, public sculpture, and the visual scenes of the city’ and its ‘cultural life ...”

“... His family had been established in Norfolk since the late 14th century; his father, Sir Richard, was a cloth merchant (or mercer), who had thrived first on the patronage of Cardinal Wolsey and then of Thomas Cromwell, and had been knighted for his success in procuring foreign loans. Richard even had the nerve to ...”