Normandy’s English connection
The region combines ancient and modern splendours with an eye turned ever northwards
Studio: Victorian graveyards in London
The Magnificent Seven: a testament to the eclectic pomp and sometime mawkish piety of Victorian good taste
Studio: The English Baroque
Great architecture emerges as much from tension as coherence
What’s gone is here again
Video game technology has reconstructed the lost gardens of Alexander Pope
Studio: UNES-GO
Liverpool in the wake of losing its UNESCO world heritage status
The Critic’s new home
Ecclesiastical textiles, Regency architecture and relief carvings: welcome to The Critic’s new address
Crisis, what crisis?
The Spring Budget was a shameless manifesto of complacency and managed decline
The false prophets of war and turmoil
All eight of Whatmore’s subjects would have been astounded by the
stability of the British state through the 19th century
Women MPs should be representing women’s interests
It was ludicrous to talk about microaggressions in the aftermath of an alkaline attack
The age of the news influencer
TikTok reveals a broader existential crisis facing the media and our consumption of the news
Don’t forget Armenia
Armenians, once the target of genocide, are under threat again
How NatCon was saved
An attempted cancellation flopped in Brussels — but the bad taste remains
When classicists attack classics
Sanskrit isn’t the only ancient language to be affected by academic imperialism
Out with the old and in with the new
People are asking why the classic art market has declined — and will it recover?
All in the family
Most likely, we live in a comfortable nest of light fictions
Well, well, well
The amazing discovery of a thousand Orvieto pots in a water shaft
The conversion of St Lee
Never mind migrants converting, what about the MPs?
