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“... between them, as if Adrift on some superannuated schooner. Nearby, on another Kind of scaffold, John Stubbs gallantly raised his hat to the cheering crowd With his left hand, and blessed the Queen, while her Executioner held aloft his right.                            Then he fainted. I’ve the taste Of azure and wind in my ...”

“... title is presumably a market pitch. The subtitle, perhaps another pitch, lays bare a problem which John Stubbs never grips. We are two-thirds of the way through before we reach ‘the English civil war’ of the 1640s. The bulk of the book is set in the generation before it, from the years around the accession of Charles I to the outbreak of fighting in ...”

“... pretension. Swift’s jailbirds and chimney-sweeps took the place of shepherds and milkmaids; in John Gay’s mock-pastoral The Shepherd’s Week, published a few years after ‘A Description of the Morning’, unpoetic swains and maids sing about turnips, potatoes and the intricacies of cheesemaking. The centrepiece of the second book of Alexander Pope’s ...”

“... and finding one’s balance, and then wondering if one has really grasped the thing after all. JohnDonne’s poems in particular are extremely unstable. Critics have often got into a sweat about the way that they argue implausible cases, and very often, too, things happen in the course of them which make it quite clear that while the speaker is ...”

“... in general. The past itself is alterable, since the future casts it in a new light. Whether John Milton belonged to a species which ended up destroying itself is up to us and our progeny. The future possibilities of Hamlet are part of the play’s meaning, even though they may never be realised. One of the finest English novels, Samuel Richardson’s ...”

“... their pictures; of others, we know their names but nothing by them; of very few, other than John Wootton and George Stubbs, do we have the materials to begin to construct a life. This is partly because sporting artists were often itinerant, and worked largely in the provinces, but it speaks also of the lowly status ...”

“... turn the matter into a stamping-ground for weird fancies and fantasies. This has been a tendency. John Heath-Stubbs called West Penwith         a hideous and wicked country, Sloping to hateful sunsets and the end of time.A painter friend of Marsden’s ‘watched low clouds drift in over the sea and felt that each ...”

“... Its distance from FitzGerald can be nicely gauged now from the excellent literal translation by John Heath-Stubbs and Peter Avery. Yet Omar and FitzGerald have one important thing in common: they are both deadpan, using the form, however different its effect in Persian and English, to conceal as much as to reveal. As a ...”

“... The first volume of John Lehmann’s autobiography, published in 1955, starts: When I try to remember where my education in poetry began, the first image that comes to mind is that of my father’s library at the old family home of Fieldhead on the Thames. It is an autumn or winter evening after tea, for James the butler has been in to draw the blinds and close the curtains, and my father is reading under a green-shaded lamp ...”

“... is, or was, recognised by one kind of how-to-draw book. I have before me How to Draw Horses by John Skeaping, first published in 1941; this seventh impression is dated 1946. In the same series of twenty or so titles were How to Draw ‘Planes by Frank Wootton and Tanks and How to Draw Them by Terence Cuneo – both highly successful workers in long-lasting ...”

“... itself for this neglect. Macaulay will presumably not lack readers for a good while to come, and Stubbs will enjoy affectionate and respectful remembrance in the small circle of medievalists. But on the whole the great Victorian histories now seem like the triumphal arches of a past empire, their vaunting inscriptions increasingly unintelligible to the ...”

“... as the Lucas van Leyden, a painting I find ravishing but can’t find much to say about, is John Sell Cotman’s Greta Bridge, a watercolour in the British Museum. I was brought up on Cotman, in that they have a very good collection of his work in Leeds, most of it bequeathed by Sidney Kitson, who was so fond of the artist he was said to suffer from ...”

“... in important ways, anti-academic, or ‘English’: Hogarth himself, Zoffany, Wright of Derby, Stubbs, Gainsborough, Rowlandson and Blake. The second group all shared something of Hogarth’s anti-authoritarian scepticism. Turner acknowledged his allegiance to it when he donated Hogarth’s palette to the Royal Academy, while Constable donated ...”

“... and the latest drug culture. It was to cocaine (the snuffed, not the smoked variety) what John Barleycorn was to booze, what Naked Lunch was to heroin and what Dog Soldiers was to hallucinogens. Anyone who read Bright Lights, Big City could feel an expert on the modish drug of choice, even if he had never put anything stronger than Friar’s Balsam up ...”

“... early 19th-century British artists held at the Tate in the last seven or eight years – George Stubbs in 1984; Manners and Morals: Hogarth and British Painting in 1987; Wright of Derby last year. None of these was quite as blandly factual as Constable, nor so studiously innocent of the desire to situate the objects on display within a context wider ...”