Red roses are hardly a priority for people in a virus-wrecked global economy, and one day recently the world’s flower market pretty much collapsed. At the vast Aalsmeer auction in Holland, there were scented mountains of unsold roses, gerberas and tulips. Some last stems still find their way into bouquets across a world that has cancelled all gatherings except funerals. But in the coming months, cut flowers might become a sight as rare as bananas were for children in the Blitz.

Sometimes The Spectator goes to press very shortly after election results have been announced. In those instances, Morten Morland, our brilliant cover artist, creates multiple versions so there is a cover for any outcome. These have since been framed and hung at Old Queen Street in the lavatories. Here are three, unseen by the wider public — until now.

The Spectator has always known when and how to wield the scalpel. A tour through its history reveals how, from the get-go, it mercilessly parodied the world in which it lived. When still six weeks young, The Spectator savaged the morbid obsessions of late-Georgian society. The caricaturist George Cruikshank exposed the press’s fetishisation of a contemporary murder: the accompanying article, ‘Points of Horror!!!!’, tartly noted that ‘the taste for murder in the enlightened public’ was ‘so extravagantly eager, that murderers will come to be held in the light of public benefactors’.

The Spectator is a child of the 19th century, and damned proud of it. First published in 1828, the link provided by its 10,000 issues to a long-vanished age of Regency waistlines and Romantic poets is one of the great wonders of journalism. Its success was built upon Victorian foundations, yet it is a peculiarity of the current media landscape that The Spectator, the only current affairs magazine actually to have been published in the 19th century, should in many ways seem the least Victorian of the lot.

When Graham Greene impulsively took up film reviewing for The Spectator in 1935, he was not yet the renowned literary figure he was to become, and thus, like so many other writers in those parlous economic times, prosaically in need of cash. As it happened, the confluence of interests between a 30-year-old novelist of modest commercial success and Derek Verschoyle, The Spectator’s literary editor from 1932 to 1939, resulted in something extraordinary — for there is nothing prosaic about these reviews.

It was the week after New Year’s Eve, strings of fairy lights still dangling from the trees and silver stars decorating the windows, when they discovered the dead birds. Dozens, at first. Then more. Four thousand, six hundred and twenty-eight in total. Goldfinches, greenfinches, bullfinches, skylarks, reed buntings, yellowhammers, grey wagtails and red-throated pipits — those long-distance migrants with their rusty breasts and high-pitched songs, cut short.

Viewers of the BBC News channel, now that Zoom shows talking heads in their own homes, want before anything to have a good look at the sitting rooms or study shelves of daily newspaper reviewers. But often this important task is distracted by disturbing face-foliage grown during lockdown. Jack Blanchard from Politico presents a face mottled with brown and grey like lichen on an old wall, and the curvaceous chin of James Rampton from the Independent bursts out with stubble like a ginger Desperate Dan.