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“... Richard Evans’s history of the Third Reich – it will be completed by a third volume covering the war – is an invaluable work of synthesis. The mass of specialist studies we now have makes a general history all the more useful, and not only, as Evans suggests, for those who know little about the subject. Evans, a social historian, aims to cover ‘not only politics, diplomacy and military affairs but also society, the economy, racial policy, police and justice, literature, culture and the arts ...”

“... about the Jesuit ethos that is impatient of history as it is impatient of attachment to place. Jonathan Wright is a young historian and seemingly an outsider, and his attitude to his subject is placid but sympathetic: notably sympathetic to contemporary Jesuits pursuing social and political justice, but unfussed by reactionaries, and agreeably ...”

“... balloon full of feathers’ into the night air. The sheet descends on the river below. Jonathan Wright (with whom I worked briefly at Reuters in Cairo) keeps the ribaldry of these moments alive in his English translation. Likewise, Marilyn Booth captures the starkness of Voices of the Lost, in prose stripped of almost all sensory details and ...”

“... In 1867, the British Government bought the V&A a cabinet, made by Messrs Wright and Mansfield, which had won the highest award at the Paris Exhibition of that year. It was 12 feet high, and made of satinwood, with an elaborate marquetry of coloured woods, gilt mounts and mouldings and Wedgwood plaques. It was an impressive piece, but more for its enormous size and laborious attention to ornate detail than for its gracefulness ...”

“... the flotations (with some reason, until the inevitable collapse). And there was Whittaker Wright, who used Lord Dufferin, the most urbane and plausible diplomat of his generation, in the same way, trotting him out to reassure investors in his rickety mining company, until the bubble burst, ruining Dufferin’s wealth and health with it. (The joke ...”

“... paintings were, 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 ...”

“... a clock-like rhythm to this description of a daily routine, written by a man obsessed with time. Jonathan Richardson (1667-1745), the son of a London silk weaver, rose to prominence in the early decades of the 18th century as England’s leading art theorist and portraitist. Abandoning a career as a scrivener, he went on to paint writers ...”

“... attempt to establish a single English tradition as the work of a ‘blood and soil’ nationalist. Jonathan Clark has likened his anthology to the ‘emotional core’ of the core curriculum. But in that overgrown rectory garden the book seemed elegiac and, despite Mr Baker’s recent use of it in a Moscow school, most unlike a modern textbook. Indeed, his ...”

“... and, interpreting ‘poets’ generously, Constable, Thoreau, Conrad, Calvino and Frank Lloyd Wright, whose Fallingwater is Harrison’s model house, built on the Ruskinian principle of ‘not only coming to rest in its environment but also embodying an extension of the foundation upon which it rests’. Harrison’s book begins with a quotation from The ...”

“... 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 than the work of the artist himself. But together they produce the sense that a ...”

“... begs importunately and steals. Its leader (played by a choice cut of period beefcake called Tony Wright) is a murderer. They might be revenants from a Neue Sachlichkeit painting. Fog permeates every shot. It seeps into houses. According to Nead: ‘The fogs of the 1950s were different … from the fogs of Conan Doyle and Henry James. They drew on the ...”

“... the way to achieving his childhood dream of becoming the greatest aviator since Orville and Wilbur Wright. But he hesitated. He had been reading Gottlob Frege and Bertrand Russell in his spare time, and believed that their inquiries into the foundations of logic heralded a revolution even more exciting than the invention of powered flight. He wanted to be part ...”

“... to configure a sensibility and vindicate her choice. Best of all, she gives us 16 pages of Charles Wright. His compact lyrics gleam and smoulder. Their differential, not random, variety offers more to the anthologist than can be cancelled by Wright’s conviction that ‘the New Poem ... will not be photogenic.’ Whether ...”

“... and experiments of European Modernists (architects and others) and the example of Frank Lloyd Wright are all evident. The 1947 show seems, with hindsight, to have been planned to provide a podium on which reductive structures with temple-like geometry (that’s to say, Mies’s American work: the Illinois Institute of Technology buildings, the Lake Shore ...”

“... who helped maintain the minority Labour government in power was fair game. Thanks to Peter Wright’s revelations we are more or less familiar with what went on in this period, though it is important to say that Wallace was the first to make public admission of these campaigns, well before Wright. Homosexual smears ...”