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“... in the company of other English artists who dipped into abstraction and then out again (as John Piper did) or who abandoned impressionistic realism of a traditional sort for it (as Victor Pasmore did). None of them in doing this lost a craftsmanlike pleasure in things well and carefully made. That may be why it is almost as easy to relate the look of ...”

“... English housing and town planning. In other English buildings the influence is direct. Colin St John Wilson was a friend and admirer. Sources for the steep roofs, the vertical accent (the clock tower), the plain brick walls, wave-profiles in entrance hall ceilings and the careful modulation of light in the reading rooms of his British Library can be found ...”

“... I begin to write about John Martin: Apocalypse (at Tate Britain until 15 January) before looking at the pictures. Maybe, I say to myself, if I set memories of Martin’s pictures against the words in the catalogue (Tate, £19.99), if I learn what he achieved in more than a century and a half of (variable) success, I’ll find that we owe his memory some kind of apology ...”

“... draughtsman whose main income came from rendering the designs of others, or rather of one other: John Soane, who first employed him as a draughtsman and later gave him individual commissions and other financial support. He seems to have been difficult and touchy. He had trouble making enough money to keep himself and a large family, and died ...”

“... John White is famous for the drawings he made in the late 1580s which record aspects of the North American littoral: its geography, its inhabitants, their dress, customs and dwellings, and the birds, plants and animals found there. Seventy-five of White’s drawings, along with navigational instruments, maps, books and relics of 16th-century exploration are on show in A New World, an exhibition at the British Museum until 17 June ...”

“... of William Blake intoning ‘Ah, Sunflower’ to him ‘like God had a human voice’. James Campbell, who introduces a note of irony into his reworking of twice-told Beat tales, refers to Ginsberg’s historic undergraduate illumination as ‘hand-held’ – perhaps an allusion to a key detail in what he had said to me: the fact that an act of ...”

“... the Messenger, a title rich in ‘poor me’ implications; this one is called The Wages of Spin (John Murray, 261pp., £18.99, March, 0 7195 6481 6), the implication of which is that Sir Bernard wants to impose a buffer zone between himself and those who now do the bullshitting job he once did: they being headed, it seems, not for a knighthood but for the ...”

“... intelligence wordings in the worrying sense. It’s quite extraordinary that the ghastly Alastair Campbell, Blair’s PR man now turned vaudevillian, was not even asked to give evidence to Butler’s committee. The incriminated dossier of September 2002 was of course presented as the work of the Joint Intelligence Committee but – Butler p. 154, and this is ...”

“... 19th centuries was also brisk. Some transformations teetered on the brink before falling back. John Thomas Smith’s 1680 plan of Whitehall Palace shows a confused warren of a building; only the ‘modern’ Banqueting House stands broad, thick-walled and symmetrical. This could have been the ‘before’ for a spectacular ‘after’, adumbrated by a view ...”

“... how things should look breaks down. Maverick architects then indulge in all kinds of impropriety. John Nash’s excursions into an exotic vernacular with his Oriental pavilion at Brighton was to the received style of late 18th-century architecture what Gehry’s Guggenheim Bilbao was to minimal white-box museum design. Innovative buildings are ...”

“... had passed as a subject ‘out of the orbit of landscape into that of Victorian genre’, as John Gage says in his book about Turner’s picture. The Railway Station shows a train about to leave Paddington; the detail of the architecture is correct – Frith had photographs taken for reference – but it is the partings and greetings you look at ...”

“... definition of Post-Impressionism includes other painters who treat the viewer in this way – Gwen John, for example. Hammershøi, who looks back to Vermeer (he made his own version of a Vermeer letter-reader) and to Caspar David Friedrich’s woman at a window, painted in subdued greys, blacks, browns that owe something to Whistler. Gwen ...”

“... In 1738 John Rocque, a Frenchman, began his survey of London. His map (engraved by John Pine) covers an area from Marylebone and Chelsea in the west to Stepney and Deptford in the east. It was finally published in 1747. Pasted together, its 24 sheets measure 13 x 6 ½ feet – that is how it is shown in the exhibition London 1753 at the British Museum until 23 November ...”

“... nicknamed for his habit of wearing a long black cape. He is the subject of one of Duncan Campbell’s 23 interviews. The other subjects ‘on the right side of the law’ are a judge, a barrister and a solicitor; three policemen and a prison officer; an Indian victim of crime, a (female) ‘victim supporter’ and a (black, female) probation ...”

“... sex or ability, they came and went when they chose, working-class mothers were admirably assisted. John Pounds, a crippled Portsmouth cobbler, ran one such, carrying on his trade while his pupils did the work he set them. A visitor suggested that he needed some new books – ‘those under that birdcage seem to be coming to pieces.’ Pounds: ‘So much the ...”