History

One of the puns that circulated the cultured elite of Italy during the Renaissance compared the potency of an artist’s paintbrush, his pennello, with his penis, il pene. Raphael, who by all accounts liked his women, perhaps embodied that duality best of all. The artist’s fascination with female kind, Antonio Forcellino suggests in his brilliant and lyrical biography of the artist, helped shape his genius. Not long before Raphael died, aged just 37, of a malady popularly believed to have stemmed from excessive sexual activity, he painted La Fornarina — a young, brown-eyed beauty (perhaps his last lover), semi-nude but for a diaphanous veil draped beneath her décolletage. Around this date he also painted a heavily veiled woman, La Velata.

If racism presupposes that different ethnic groups cannot live harmoniously together, then segregation puts that theory into practice. Carl H. Nightingale’s Segregation: A Global History of Divided Cities, teaches us that separating cities along racial colour-lines, has always concerned one commodity: real estate. Cities, Nightingale observers, are places where people of several races are meant to come together. But this has not been the case. Instead, residential segregation and city-splitting politics — across the globe — has ensured that by putting a coerced colour-line in place, white-power has remained the definitive norm.

Stanzas from ‘The Retirement’ Farewell thou busy world, and may We never meet again: Here I can eat, and sleep, and pray, And do more good in one short day, Than he who his whole age out-wears Upon thy most conspicuous theatres, Where nought but vice and vanity do reign. Good God! how sweet are all things here! How beautiful the fields appear! How cleanly do we feed and lie! Lord! what good hours do we keep! How quietly we sleep! What peace! what unanimity! How innocent from the lewd fashion, Is all our business, all our conversation! Oh my beloved rocks! that rise To awe the earth and brave the skies. From some aspiring mountain's crown How dearly do I love, Giddy with pleasure, to look down And from the vales to view the noble heights above! Lord!

Of the writing of books on the Second World War, and the reading public's appetite for them, seemingly, there is no end. And the past few months have seen a particularly rich crop from some of our finest and most senior historians of the conflict; their books representing the considered summation of their thoughts on the worst disaster humankind has yet to experience.   Of the quartet under review, David Edgerton's Britain's War Machine offers the boldest revisionist argument that seeks to overturn some of our most treasured assumptions about Britain's role in the war.

The most obvious — but far from the only — author to read when in Madrid must be Ernest Hemingway. For a man so fond of the laconic line, his rambling, enduring presence in the city is at once ironic and misplaced. It’s not only the guidebooks which are directing me to his erstwhile favourite watering-hole in the north, south, east or west of the city; it’s as if he left a tangible reminder of his presence — an extra shiny spot or cigarette burn burnished into the leather of an armchair — in each of the now rather shabby-chic establishments.

E-books are going to win. Anyone who’s seen a bus or a train carriage or a café lately knows that: Kindles everywhere, as though they’re breeding. And that’s as it should be. Stand in the way of convenient technology which people want, and you’re in the same position as every refusenik from the Luddites to the newspaper unions of the 1980s. But before the printed book takes its final bow, and retreats to its status as endearing novelty, let’s take a look at the sort of experience we’re going to miss. A friend recently came across a single volume from an 18th century Spectator series, and knowing of my scribblings for said organ and its website, gave me the book as a present.