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“... than bad taste. In Pugin’s youth the Gothic Revival had moved on since Walpole’s Strawberry Hill, but had scarcely developed. It remained a novelty style. Pugin’s father, the French émigré artist and self-styled count, Auguste Charles, had published books of Gothic details, drawn to scale from medieval buildings, that contributed to a better ...”

“... and then murder one’s mistress – I don’t understand it.’At his own house, Strawberry Hill, Walpole arranged things more artistically. He hung his ill-assorted selection of old armour in the dark stairwell so that it would pass more easily for an ancestral collection. He had battlements made of cardboard which had to be changed after heavy ...”

“... Strong was a child of interwar Metroland, which he hated. Born at 23 Colne Road, Winchmore Hill, into a landscape of privet hedges, crazy paving and hanging baskets, he was one of three sons of George and Mabel Strong. George was a travelling salesman selling hats along the south coast for the firm of Ayres & Smith. He had served in the First World ...”

“... Beginning in the middle, as she announces at once she intends to do, Sybille Bedford starts her memoir in 1953, the middle, more or less, of her long life and of ‘our frightful century’ whose history is as much her subject as her own peculiar story. Her opening scene is a summer morning in Geneva, where she passed a few hours between trains, a woman in her early forties, ‘free to live where, if not how, I chose’, a neutral observer in a neutral country ...”

“... On the field of Waterloo​ the corner that is for ever England is the Château-Ferme de Hougoumont. Here, on 18 June 1815, 2500 British soldiers held off 12,500 French, nearly a quarter of Napoleon’s army, for most of the afternoon. By the time fighting petered out in the early evening the battle was almost over, leaving about five thousand men dead or seriously wounded at Hougoumont ...”

“... In the chilly spring of 1958, with war still a vivid memory and rationing an even more recent one, queues were a familiar sight. But the line that formed in front of the railings of Buckingham Palace on 18 March was peculiar enough to attract a small crowd of onlookers. There, shivering in silk and chiffon, the debutantes waited with their mothers and fathers to curtsey to the queen ...”

“... The first impression​ of Lucie Rie’s work is of circles. Spirals, rings and discs characterised her ceramics from the beginning and although the exhibition at Kettle’s Yard (until 25 June) is arranged, with admirable clarity, in a chronological sequence, that too suggests a circularity, themes revisited and variations played out over time. One of the most beautiful pieces, a pink porcelain bowl with a golden manganese rim and turquoise bands, was made in 1990, when Rie was 88 ...”

“... In the 15 years her memoir covers Emma Tennant transformed herself. The poised, if slightly stolid-looking debutante of 1955 was, by the end of the Sixties, a three-times-married, chronically hard-up, left-wing novelist. There was little more to wish for. Given the temper of the times and the Tennant family’s established bohemian tendencies it was not such a surprising trajectory ...”

“... An artist who becomes an adjective is difficult for the biographer. The Hogarthian world of teeming streets, lubricious drawing-rooms and earthy taverns has been softened by censorship and repetition until Gin Lane has, somehow, come to seem part of Merrie England. The occasion for this book was the 1997 tercentenary of Hogarth’s birth, which was also marked by several small exhibitions ...”

“... In the early Eighties an Italian family in North London was successfully prosecuted and fined £100 for putting flowers on a relative’s grave in contravention of cemetery regulations: they had impeded the cutting of council grass. The grim reaper had, it seemed, finally given way to the municipal mower as ultimate authority. It is hard to imagine the bewilderment and unhappiness the family must have felt, and impossible not to be ashamed of the nadir in English culture that this episode represents ...”

“... In the mid​ -1990s, I bought a watercolour from a pleasantly ramshackle antique shop I used to frequent in Walmer. It shows two boats, a yacht and a two-funnel liner on a choppy sea, and has a hefty but cheap gilt frame. The painting is done in a flat, naive style, reminiscent of Alfred Wallis, though the colours are not like his and anyway it is signed ...”

“... the acknowledgments, from R.W. Wailes, expert on the windmills of Nottinghamshire in 1951, to Rosemary Cook, who rubbed the brass of Sir Edward Grey for the Staffordshire volume.So as the series developed it took on some of the colouring of the local antiquarian tradition. It was a successor not only to Dehio but also to Britton and Brayley’s early ...”

“... Tom Kitten, Jeremy Fisher and Jemima Puddleduck. She also bought, with her royalties and a legacy, Hill Top Farm at Near Sawrey in Lancashire, where she contrived to spend as much of her time as possible, away from hated Kensington and her ‘exacting’ mama. Eventually her story did come right. In October 1913, at the age of 47, and in the teeth of ...”

“... born, but it was an excuse to play with a new archive. I found him straight away. Edward Reginald Hill was just where I expected him to be, in Eltham, South London, an only child living with his parents. It was a bigger household than I had realised. His maternal grandfather and great-grandmother were living with them, but the address was more surprising: 11 ...”

“... The lives of Christopher Wood and Barbara Hepworth are case-studies, each in its way unhappy, of the artist as a product of his own creation. For both the idea of art, the lure of fame, the wish to escape from the stolid Northern middle class into which they were born, were motivating forces as powerful as the desire to express a vision through painting or sculpture ...”