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The British Museum curator Ian Jenkins and I were unlikely allies. I remember, as a postgraduate student, thinking him terrifying – not just academically conservative (everyone whose heels I was snapping at in those days was liable to that charge) but potentially disapproving. Sixteen years later, he and I were going through the draft of my book Classical Art: a Life History in his tiny office in the British Museum, paper everywhere. He was the only specialist in Greek art, other than my husband, whose (dis)approval I had sought on the whole book – and his advice was invaluable. He was a treasure trove of information, and gloriously irreverent with it. I gained more expansive vistas on all sorts of things – from classical sculpture to Hadrian’s hellenism to classicism in China, not to mention the merits of my typescript vis-à-vis others he was reading, and was ticked off for my ‘mild tendency to construct complex sentences’. I often think of Ian when I write, and was

United kingdomFrance generalAl bu ayrahNile deltaEgypt generalIan jenkinsSamuelh kressGrayson perryBritish museumTrustees of the british museumSir john soane museumSculpture galleries of the british museumMuseum of classical archaeology in cambridgeClassical artLife historySir john soane