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“... Toward the end of their correspondence, which spanned years 1851-79, John Ruskin, who hitherto had addressed Thomas Carlyle more or less in terms of deferential formality (‘Dear Mr Carlyle’), suddenly shifted to ‘Dearest Papa’, signing himself ‘Ever your loving disciple-son’. Whatever the immediate reasons for the change, it simply made explicit Ruskin’s steady conception of his relation to Carlyle, the older man by 24 years ...”

“... The unseen spectator who was most involved in Pope John Paul’s progress through Britain, formerly in partibus infidelium, was the spirit of John Henry Newman, dead these 92 years, who doubtless observed the proceedings with mixed feelings. Surely Newman, a man of retiring temperament, would have been horrified by the crowds and the publicity which for the moment turned the search for a Via Media into a media event ...”

“... The celebrated Victorian solicitor George Lewis began his career of more than half a century in the law shop of his father, whose waiting-room was constantly crowded with supplicants for his services. As John Juxon suggests, the elder Lewis could have served as a model for the abrasive Mr Jaggers in Great Expectations, who suspended his moral judgment when dealing with his greasy, grimy riffraff of clients – cracksmen, fences, thieves – and then, in revulsion, went to a washbasin and scrubbed his hands with water and scented soap and even, in extreme cases, gargled ...”

“... size. The architect the duke commissioned was Pierre-François Fontaine, and it is the premise of Richard Sennett’s attractive novel that he chose for his assistant a young Englishman who was just finishing his studies at the Ecole des Beaux-Arts. Frederick Courtland was the son of an architect who had learned his profession under the comfortably ...”

“... But from then on, he was increasingly beset by money troubles. When, twenty years later, Professor Richard Owen promised him a guinea a week to sketch anything he liked in the British Museum, it was a transparent gesture of charity. Scharf recorded the ongoing life of London as a labour of love. He never made any profit to speak of, and until recently even his ...”

“... Most conscientious biographers are aware of their subjects’ shades vigilantly or solicitously hovering over their shoulders as they write. The biographer of Thomas Carlyle is supervised more severely than most: the irritable, brooding Scotsman, the would-be redeemer, and, failing that, the scourge of Victorian England, seems to breathe flame down his neck ...”

“... Anthony Trollope was a self-confessed workaholic. ‘If my success were equal to my energy,’ he remarked at the age of 55, ‘I should be a great man.’ He was also a compulsive writer. Ten years later, aware of advancing age, he told his son: ‘I finished on Thursday the novel I was writing, and on Friday I began another. Nothing really frightens me but the idea of enforced idleness ...”

“... Erotica are the non-books of the bibliographical world. In most, if not all, of the standard records of book production and book possession their existence has gone unnoticed. They have seldom been recorded in the lists of books entered for copyright at the British Library or the Library of Congress, for the understandable reason that their secret publishers did not wish to bring them to any form of official attention ...”

“... milieu of the hacks whom Pope had skewered with malicious wit in the Dunciad. Their archetype was Richard Savage, whose profligate life Dr Johnson – himself an industrious, ill-paid hack in his earlier years in London – had narrated in 1744. The Grub Street the Victorians knew was the far-off one described by Smollett in his novels and, in their own ...”

“... The thing arose slowly and let the blanket that covered its head and back fall to the ground. There stood revealed the most disgusting specimen of humanity that I have ever seen. In the course of my profession I had come upon lamentable deformities of the face due to injury or disease, as well as mutilations and contortions of the body depending upon like causes; but at no time had I met with such a degraded or perverted version of a human being as this lone figure displayed ...”

“... There’s no art to find the mind’s construction in the face,’ said King Duncan in the fourth scene of Macbeth. But there was, and Shakespeare knew this. Almost at the moment he was writing the play, a new law required that anybody who professed ‘a knowledge of phisnognomie’ – one version of the name by which the practice of reading character in facial features was known to the learned – was to be ‘openly whipped untill his body be bloudye ...”

“... Once convicted, the greatest forgers of English literary documents have stayed convicted. In two famous cases, those of the 17-year-old Thomas Chatterton, who fabricated poems he attributed to a mythical 15th-century Bristol monk, and the equally immature William Henry Ireland, who forged manuscripts by Shakespeare before which Boswell knelt in adoration, apologists have found a degree of extenuation in claiming that theirs were the follies of ambitious but misguided youth ...”

“... The need was pressing, and the answer promptly came, trailing clouds of ectoplasm. Tennyson’s In Memoriam, an instant best-seller in 1850, won him the laureateship largely because its long sequence of troubled, plaintive lyrics, written over a span of 17 years, told a story and described a situation that struck home to countless readers: the sudden death of a beloved friend and the questions it raised about the immortality of the soul and the possibility of spiritual communion now and physical reunion in the hereafter ...”

“... It was the muddiest fiasco since the flooding Avon put paid, just seventy years earlier, to Garrick’s Shakespeare Jubilee extravaganza at Stratford. In 1839 the 26-year-old Earl of Eglinton held at his Scottish estate a magnificent chivalric entertainment, complete with chain-mailed jousters on caparisoned horses, a court of noble women attending the Queen of Beauty, and all the pageantry and bloodless combat proper to Medieval entertainment ...”

“... tackle aspects of British history which would be spurned by British publishers. Without a doubt, Richard Altick chose the best decade of Punch to study, for in many a later period momentous events went unnoticed in its pages and a social conscience was not easy to detect in the weekly output of ‘subsistence journalism’ (...”