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“... on the Kinetoscope in 1895 by combining camera and projector in their Cinématographe. In Britain Robert Paul produced his own camera and projector when Edison refused to supply him with films. Paul also patented a design for a time machine based on H.G. Wells’s short story, in which a series of moving platforms would ‘transport’ an audience to ...”

“... a ‘shock effect’. Thus William Hogarth’s first encounter with Johnson at the home of Samuel Richardson: While he was talking, he perceived a person standing at a window in the room, shaking his head and rolling himself about in a strange ridiculous manner. He concluded that he was an idiot whom his relations had put under the care of Mr ...”

“... the grateful monarch would abdicate in his favour, can only be attributed to plain lunacy. Robert Darnton reports on the autobiography of an itinerant glazier, born in Paris in 1738, a low-life Lovelace who outstrips all the window cleaner/travelling salesman jokes with his 64 seductions. If Jacques Ménétra is so extensively successful that he seems ...”

“... 11, leaving the family $8 after funeral expenses had been paid. Frost’s mother, Isabelle, took Robert and his sister east from San Francisco to Lawrence, Massachusetts, where they lived initially with her parents-in-law before Isabelle tried – with mixed results – to hold down a job as a teacher. Frost was many things before he was a poet; by the time ...”

“... it comes at the weary end of a line that stretches through books by Peter Blake, Brent Brolin, Robert Venturi and others right back to Jane Jacobs’s epoch-breaking attack on Le Corbusier in The Death and Life of Great American Cities, over twenty years ago. Of course, all this has guaranteed Wolfe a readership whose anti-modern reflexes had been well ...”

“... praise of the English constitution in The Spirit of the Laws, like Diderot’s for Samuel Richardson (‘O Richardson, Richardson ... I will keep you on the same shelf with Moses, Homer, Euripides and Sophocles’) caused French hearts to beat even faster. A steady supply of ...”

“... There were fellow poets such as Felicia Hemans, Tom Moore, Samuel Rogers, Sir Walter Scott and Robert Southey; artists of various kinds including the gifted amateur Sir George Beaumont, Francis Chantry, John Constable, Thomas Lawrence, James Northcote and John Soane; and from the theatre, Jack Bannister, George Colman the younger, various Kembles, the ...”

“... its inversion of perspective as Gulliver’s Travels; and as sentimental as the novels of Samuel Richardson, a patron for whom Pilkington provided inside information on the workings of the female heart and the doings of London libertines, and from whom she learned to write to the moment, and to keep in mind new possibilities for a woman’s story. Clarke ...”

“... the naturalist away from home, Godwin asked Darwin’s wife for a letter of introduction to Robert Bage instead. To his surprise, Mary Darwin said she could not properly provide one since, though Bage was her husband’s ‘very particular friend’, she wasn’t sure she had ever set eyes on him. Undeterred, Godwin determined to introduce himself to ...”

“... in order to encompass the ‘life of the books’ as well as the ‘life of the man’? Joanna Richardson, the last chapter of whose biography was entitled ‘Stendhal and Posterity’, evidently thought one should. (Her book, incidentally, appeared only six years ago; and ‘thick and fast they come at last,’ like Lewis Carroll’s oysters.) ...”

“... the colours, respectively, of the Orders of the Garter, Bath and Thistle – coveted prizes in Robert Walpole’s repertoire of patronage and sleaze.This didn’t deter the hack who blustered that Swift’s intention ‘could be no other than to ridicule our three most noble Orders’, abuse of which by kings or ministers, he added, could never happen ...”

“... in their entirety and prefaced by informative and intelligent essays by eminent scholars (Robert Rosenblum in one case, Theodore Reff in the other). Nowhere else in the exhibition do we encounter the concentration of these sheets from the 1916 sketchbook, except perhaps in the near-abstract Cubist drawings in a sketchbook of 1918. But severe ...”

“... most responsible and unexpected use of Emily Brontë and of Elizabeth Barrett Browning. But it is Robert Browning who fails to furnish the one thing needed, and this is where the novel fails. The dramatic monologue, after all, grew out of the epistolary novel. Forster is writing essentially an epistolary novel for the age of the telephone, and what is needed ...”

“... her story can be looked at in another way, placed in a literary lineage running back to Dorothy Richardson, Virginia Woolf and Anaïs Nin. In Self-Impression, his remarkable study of Victorian and Edwardian autobiography, Max Saunders discusses the vogue for fake memoirs, a genre he calls ‘autobiografiction’, that is books in which the ‘I’ is an ...”

“... Sequence, he co-founded with Lindsay Anderson and Gavin Lambert. Along with Anderson and Tony Richardson, Reisz aimed to bring a version of auteurism to British film, and they did as much with the documentary movement Free Cinema. In 1959, Reisz directed We Are the Lambeth Boys, and he made his first feature film a year later, Saturday Night and Sunday ...”