I am particularly grateful to Sir Roy Strong, Sir Hugh Willatt, David Aukin, Christopher Sinclair-Stevenson and many others who have read these studies and given me the benefit of their opinions, although I remain wholly responsible for the present text. I am indebted on three counts for permission to quote extracts:
Faber and Faber Ltd ( Notes Towards the Definition of Culture by T. S. Eliot), Garamond Publishers Ltd( The Anglo-Saxon Chronicles, 1982) and Harper and Row, Publishers, Inc. ( Howl by Allen Ginsberg , 1956 and 1986).
I also acknowledge the following references: p. 22, translation by Katherine Watson of Ernst Kuhnel, Islamic Art ( G. Bell & Sons, 1970); p. 29, translation of Durham Cathedral MS in D. Talbot Rice , English Art 871-1100 ( Oxford University Press, 1952); p. 120 and p. 139, translation by Jack Hirschmann of "Shit to the Spirit" from the Antonin Artaud Anthology ( City Lights Books, San Francisco, 1956); p. 121 and p .182, Dr Thomas Jones, quoted in Harold Baldry, The Case for the Arts ( Secker &Warburg 1981); p. 127, Henry Moore to Walter Hussey in his Patron of Art (Weidenfeld, 1985); p. 130, John Lane, Arts Centres: Every town should have one (Elek, 1978); p. 154, Lewis Mumford, The Culture of Cities (Harcourt Brace, 1938); p. 173, Jacques Barzun, The Use and Abuse of Art (Bollingen, 1974) (A. W. Mellon Lecture in the Fine Arts); p. 182, Peter Stark quoted in Harold Baldry, The Case for Arts ( Secker &Warburg, 1981); and p. 186, Hans Haacke, quoted in Susi Gablik, Has Modernism Failed? ( Thames &Hudson, 1984).