When two English greats – William Morris and Barbour– are brought together, the results are picture perfect

I visited New York and found, to my great delight, that the city really did feature large chimneys funnelling steam out of the pavement.

Cosmology and traditional astrology are ostensibly the themes of this sparky group show at experimental residency centre Wysing in Cambridgeshire, titled after a line in Milton's “Paradise Regained” (in which Satan describes to Jesus that he sees for him a future of pain, sorrow and death, as well as a kingdom of sorts, but he cannot tell the real from the allegorical and cannot see a timeframe). This inability to place the future in time perhaps offers more of an explanation to this exhibition than anything relating to Aquarius or Virgo, though images of constellations do draw many of the works together aesthetically.

I recently moved from a rented office to one at home – and so daunting was the proliferation of stuff I had accumulated that I just bundled the lot, unfiltered, into the garage. I now flinch at the thought of it. Clutter already impinges on the harmonious interior of my dreams. But how does a hardcore hoarder start to sift?

The story of the Chilean miners who were trapped underground for more than two months is on its way to the big screen.

Pope Benedict XVI has sacked an outspoken Australian bishop who had called on the Church to consider ordaining women and married men.

Pope Benedict XVI has sacked an outspoken Australian bishop who called on the church to consider ordaining women and married men.

William Morris prints were very big in the 1970s. Households up and down the country were gripped by the trend for co-ordinating wallpapers and fabrics. It wasn't enough to have a swirling floral print on the walls, to get the complete look you needed to cover your curtains, chairs and bedspreads in it, too. At its peak the Morris & Co fabric "Golden Lily" was selling 5,000 metres a month in tasteful shades of brown and orange.

Lucien Pissarro was the eldest son of the Impressionist painter, Camille Pissarro. This pleasingly informative exhibition, on display in a single large gallery at the Ashmolean, tells the story of how Lucien, packed off to England to rid him of the perennial itch to be an artist did not quite do what his mother so fervently desired.