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“... clubs and coffee-houses of London’s blossoming West End, and the perfect clownish counterfoil to David Garrick’s smouldering tragic hero. In his heyday in the 1760s, a summer season at the Haymarket theatre earned his company up to £5000, which may be multiplied a hundredfold for its value today. He had a townhouse on Suffolk Street, round the corner from ...”

“... this time stole the surname of a classmate – formed a two-tone band called the Executive with David Austin (who would become a lifelong collaborator) and Ridgeley’s brother Paul. Michael was lead vocalist but hadn’t yet found the right style: his attempts at a Jamaican accent fell flat. A fifth member, Andrew Leaver, directed homophobic slurs at James ...”

“... can be tolerated, and might even be enjoyed, as piano-players in the funhouse of letters. Early in David Plante’s diaries, we find him tinkling away, dropping names in basso profundo, as if knowing people and knowing what they do in private can be the thing that makes one special. He is 28 years old when he comes to London from the US (a little younger than ...”

“... the most sympathetic and beautiful portraits of blacks ever made by Europeans. One of these is Reynolds’s incomplete and undated study of a young black man listening (it seems) to the winds that disturb the sky behind him, a painting long believed to be a portrait of Dr Johnson’s beloved black servant, Frank Barber. Houdon’s radiant patinated plaster ...”

“... critic, even of works he found distasteful. When he was in France he joined in the execration of David expressed by most British artists. They found it unthinkable that a regicide could be a good painter, and preferred minor figures such as Guérin and Gérard to the great master of French Neo-classicism. Yet Farington could still pinpoint the salient ...”

“... with angelic grace and with a formal complexity which is delightfully difficult to disentangle. David Ekserdjian’s book illustrates all of Correggio’s paintings, great and small, superbly well, together with many of his drawings. In the latter we can watch him weaving his compositions with a nervous pen line; giving them more unity, more softness and ...”

“... Ecstasy can create in a club the sense of community often lacking in such towns, what Simon Reynolds has called ‘collective intimacy’.From these pockets of activity in Britain, dance music and Ecstasy found new territories. At the fall of the Berlin Wall a generation of Berliners embraced techno; R&S, one of the key record labels of the period, was ...”

“... Land became, within two years of settlement, a hospitable refuge.’ The seasoned and sensible David Collins, once the right-hand man of Arthur Phillip, the governor of New South Wales, in Port Jackson, now lieutenant governor of the Van Diemonian settlements, responded to diminishing supplies by ordering the purchase of kangaroo meat ‘at 6d per pound ...”

“... Constable grew increasingly preoccupied with printmaking and collaborated with the young engraver David Lucas to translate his oil sketches and paintings into 22 mezzotints, part of what would become known as English Landscape Scenery. Proofs survive, and are covered with the handwritten revisions and instructions with which Constable besieged Lucas: ‘two ...”

“... The Case of Peter the Lett. In 1963 it was newly translated as Maigret and the Enigmatic Lett. David Bellos’s recent translation is the first with the confidence to call the book in English what it is called in French: Pietr the Latvian. Similarly, the second Maigret, another of my favourites, Le Charretier de ‘la Providence’, also from 1931, has ...”

“... introduced him to London society, and he soon became a must-see metropolitan attraction. Joshua Reynolds painted his portrait and William Parry did an ensemble piece of Mai, Solander and Banks. Mai met the king, Dr Johnson and Fanny Burney; a play about him was performed at the Theatre Royal; he learned to play chess and backgammon, and many agreed with Mrs ...”

“... with aberration and divergence. In his brave and inventive reconstruction, Wild Diversions (1972), David Thomson found a good image for it: ‘He did not live in the conventional order from day to day, but grew strong or weak like the wind.’ Obviously this has something to do with the vacillations of his physical health – Arthur Cash brings this out ...”

“... Just under forty years ago David Erdman provided for William Blake historical contexts in abundance in Blake: Prophet against Empire (1954). It was a remarkable work of literary detection, which still dominates the field. Some Blake readers have felt that his attribution of correspondence between text and contemporaneous events was over-literal (as well as hazardous), and Jon Mee is one of these ...”

“... tradition of 18th-century theory, as produced by Shaftesbury, Jonathan Richardson and Sir Joshua Reynolds. He can also be argued to have challenged, more directly than anyone else, the supremacy of history painting in the hierarchy of genres adhered to by that official theory. He was always willing to turn his hand to history painting, in his version of the ...”

“... my heart.’ Often, however, her formality couldn’t be improved upon – for example, to David Garnett: ‘I was grateful to you for your letter after Valentine’s death, for you were the sole person who said that for pain and loneliness there is no cure.’ It enabled her to deal with publishers, and, most difficult of all, to give away money ...”