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“... ever to accompany an exhibition of the work of a British artist. It is also one of the dullest. Leslie Parris and Ian Fleming-Williams have resisted the tendency of the last fifteen years or so by which the catalogues of major exhibitions have often been presented as major interpretative studies of the artist and his times. Constable is a ...”

“... Castle, the work described by the selector-cataloguers of his panoramic exhibition at the Tate, Leslie Parris and Ian Fleming-Williams, as ‘for later generations the very epitome of Romantic landscape painting’. It was the most derelict, most desolate scene Constable ever pictured, with its ruined pair of towers set beside an endless flat expanse ...”

“... of Arthur Miller’s The Crucible. It began when the minister’s nine-year-old daughter, Betty Parris, and her cousin, Abigail Williams, complained that they were being tormented by invisible beings. Three local women, convicted of bewitching them, named other witches; then more girls – as well as adults of both sexes – accused their neighbours of ...”