“... for your dinner. Let her get everything ready to make you happy and then see the look on your stone face when you come in at night and sit down at the table. A surprise for dinner? Oh, my girl, that is merely his due for a miserable day of bad writing. Z/R’s seriousness about the art of writing, and his reverence for writers, including himself, is one ...”

“... is missing, but anxious that people should not suspect that it is his integrity. The career of Richard Crossman refuted these stereotypes rather in the manner that Samuel Johnson, by stubbing his foot against a rock, claimed to refute Berkeley: what was lost as a formal exercise was pure gain as an object lesson. For Crossman remained incorrigibly attached ...”

“... of future troubles. A baby brother died when she was six, and within the year another brother, Richard, died from scarlet fever. As Susannah Clapp put it in her review of Fitzgerald’s biography (LRB, 20 December 1984), Mew liked to play the child, but child’s play was always a peculiarly fraught affair. In one poem she addresses Sorrow and remembers ...”

“... when ancient dames chose forth brocade) Modern chalk drawings, studies from the nude, Samples of stone, jet, breccia, porphyry Polished and rough, sundry amazing busts In baked earth, (broken, Providence be praised!) A wreck of tapestry, proudly-purposed web When reds and blues were indeed red and blue, Now offered as a mat to save bare feet . . . The book ...”

“... this fellow declared his own outlaw ethic in words that for me will always be cut into the stone of Hawksmoor’s building: ‘I’ve never raped. I’ve never mugged. I’ve never robbed a working-class home.’ As he sank away towards the underworld of the crypt, we ascended the hierarchical steps to hear music by Messiaen and Hans Werner Henze. The ...”

“... unashamed fan of minor Hollywood pictures. Breathless, as Godard readily admitted, was inspired by Richard Quine’s Pushover and could be seen as the direct sequel to Otto Preminger’s Bonjour tristesse. The central character of the film, the petty criminal played by Belmondo, modelled his self-image on that of Humphrey Bogart in Mark Robson’s The Harder ...”

“... press sensation, and the city’s dissident intelligentsia – Allen Ginsberg, Amiri Baraka, I.F. Stone – flocked to the Theresa’s ballroom, with Henri Cartier-Bresson on hand to capture it all. Other Third World leaders in New York that week could only complain of stolen limelight. Kwame Nkrumah, who had worked in a soap factory in Harlem in his ...”

“... the magazine profiles. That on Temple Bar, for instance, makes the strange statement that in 1866 Richard Bentley was the publisher of ‘over 127 volumes of novels’. (About a thousand over, I imagine.) In the entry on Punch we are told that Thackeray was ‘a man of tremendous output, producing four of his novels while writing regularly for Punch and ...”

“... it is as if Shakespeare at the time of The Tempest had been forced by an old contract to rewrite Richard III.) One way out of this quandary – for it does not feel right to historians that the golden years of the High Renaissance should leave behind such a central, equivocal instance of ‘progress’ – has been to doubt that what we see in London is ...”

“... such as the Mies van der Rohe-inspired Hunstanton School (1954) in Norfolk; the three chamfered, stone-clad towers of the Economist Building (1959-65) in Piccadilly; and the timber-screened Garden Building (1967-70) at St Hilda’s College, Oxford. They were, in Mark Crinson’s description, ‘writerly, artistic-minded, avant-garde and unabashedly ...”

“... as if with an eye to leaving a crisp morsel for the historian. In his 1974 biography of Pepys, Richard Ollard said that there clings to him ‘an irresistible air of bedroom farce’, with ‘furtive lecheries so vivaciously pursued’. The earlier multi-volume life by Sir Arthur Bryant had done much to rescue him from his popular reputation of Slippery ...”

“... it begins where the troubadour canon leaves off. Along with a handful of lyrics by Chaucer, Richard Rolle, and some less familiar names, it includes fifty anonymous poems of immense variety. Genres are defined loosely, if at all, and even such basic categories as ‘sacred’ and ‘secular’ prove to be thoroughly intertwined. In place of the ...”

“... speculation’. Its style and approach, it’s true, bring Kitty Kelley to mind more often than Richard Ellmann: it is aimed squarely at an audience conceived as wanting its close readings of ‘Pike’ and ‘The Thought-Fox’ leavened by details of Hughes’s ‘vigorous’ love-making, and likely to be impressed by pseudo-profound sentences such as ...”

“... light within them is the same sort of light that would be found in the rooms where they hung. The stone colour that he repeatedly used as a foil for linen, an egg or a duck’s wing, for red wine, offal or an orange, also contains traces of almost any colour likely to be chosen for the wall behind the picture. Chardin must have chosen the colours in his ...”

“... lingers on a 13th-century bas relief of demons taunting the soul of King Dagobert, a drama in stone whose protagonist she dignifies, like the prisoner under duress in Monangambeee. In the voiceover, we hear the words of the Abbé Suger, the first abbot of Saint-Denis, and funeral orations by Jacques-Bénigne Bossuet; the score consists of plainsong and ...”