The heritage industry: Britain in a climate of decline 0413161102, 9780413161109

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T H E H E R I T A G E I N D U S TR Y Robert Hewison published his first book, fohn Ruskin.- The Argument of the Eye, in t53

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I. W i gan Pier and Heritage Centre ~ I9 8 7 2. W igan Pier: Wakes Week, I9oo 3. L andscape, I987 Townscape, E987 ' gs M odern architecture: Kin ' W a l den Bury 6. Wealth Tax Column, West Green IronbridgeGorge Museum h , s 'rine of the h industrial rev 8 . Beamish Museum Geeor d i e' s Heritage H Day, I987 9. Beamish Museum, ex-miner ner, I9 87 Io. Consett Steel Works, I98 7 I I. H e r itage slagheap: Cutacre Clough, I987 I2. H e ritage culture: Glyndebourne, I987

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his book grew out of hearing it regularly asserted that every week or so, somewhere in Britain, a new museum opens. The statistic seemed so astonishing that it needed checking. When it turned out to be more or less accurate, it seemed appalling. How long would it b e b efore the United K ingdom became one vast museum? And therein lies the paradox of this book: individually, museums are fine institufions, dedicated to th e h igh values of preservation, education and truth; collectively, their growth in numbers points to the iinaginative death of this country. Most of the organisations which I c r i ticise in t his book have similarly worthy aims, but viewed together they present a picture of a country obsessed with its past, and unable to face its future. We like to think of our great cultural institutions as somehow neutral, mere facilities for the presentation of individual acts of creation, yet they profoundly affect our perception of what is judged to be history or art. As institutions they help to form the culture which they are assutned merely to reflect. A display in a museum may simply be telling a story, but the existence of a inuseutn has a story to tell. The story of this book is of the growth of a new cultural force of which museums are only a part. I call it the 'heritage industry' not only because it absorbs considerable public and private resources, but also because it is expected more and more to replace the real industry upon which this country's economy depends. Instead of manufacturing goods, we are manufacturing heritage, a commodity which nobody seems able to define, but which everybody is eager to se!.I, in particular those cultural institutions that can no longer rely on government funds as they did in the past. Which means every single one, from the universities to the Arts Council. The reason for the growth of this new force is suggested by my subtitle: whatever the true figures for production and employment, this country is gripped by the perception that it is in decline. The heritage industry is an attempt to dispel this climate of decline by exploiting the economic potential of our culture, and it finds a ready market because the perception of decline includes all sorts of insecur-

ities and doubts (which are more than simply economic) that makes its products especially attractive and reassuring. Looking at a Laura Ashley catalogue, it is possible that we imagine ourselves living in a museum already. At best, th e h eritage industry only d raws a screen between ourselves and our true past. I c r i ticise the heritage industry not simply because so many of its products are fantasies of a world that never was; not simply because at a deeper level it i n volves the preservation, indeed reassertion, of social values that the democratic progress of the twentieth century seemed to be doing away with, b ut because, far from ameliorating the climate of decline, it i s actually worsening it. If the only new thing we have to offer is an improved version of the past, then today can only be inferior to yesterday. Hypnotised by images of the past, we risk losing all capacityfor creative change. It may seem odd for a historian to criticise an obsession with history, though it is not so odd for a cultural historian to criticise the institutions upon which the maintenance of culture depends. My second chapter is intended to make clear a firm belief in the need for a past and for an understanding of history. Nostalgia, though a sickness that has reached fever point, can have an integrative effect by helping us to adjust to change. My appreciation of the fact that you don't know where you are unless you know where you have been is demonstrated by the amount of history there is in this book. But heritage is not history, and my worry is where we are going. The growth of a heritage culture has led not only to a distortion of the past, but to a stifling of the culture of the present. Thus the narrative at the centre of the book moves forward from the origins of the conservation movement, through the post-war growth in museums of all kinds, but particularly industrial museums, to the present position of the Arts Council, an institution nominally concerned with the encouragement ofcontemporary culture, but more and more the victim of the economic and political pressures which stimulate the growth of the heritage industry. I say economic and political pressures, but economics and politics are themselves culturally conditioned. We have a heritage politics as well as a heritage culture; their inutual influence on our economic situation is such that all three can be seen as the products of the same deep social convulsion caused by the twin disruptions of modernisation and recession since t945. The urge to preserve as much as we can of the past is u nderstandable, but i n t h e end our c urrent obsessions are entropic; that is to say, as the past solidifies around us, all creative energies are lost. Through entropy-all things become equally inert; in thermodynamics it means the end of heat and light,

opy will leave us frozen i t r and forni matter an mot on. In culture,eentro dead moment of stoPP th h erii tag age industry is exacerThe answer to thee problems which the f 11 t r e alise what is going is first o a ba» t tlg rather than relievmg» o many things ere are to which the ted how on. Once it is aPPreciate ' to garage doors, d from nationa1'ins utuuons ' ord 'heritageisattac e, en, is to describe the absurd. My chief aim, the word becomes a sur . ' e 'ev is the substitution d' ed I believe which afflicts us. The remedy condition w 'c of a critical, for a heritage cult re. last chapter, even e ra ' p S~nce as I argue i n my la ee i f parodic, obsession wi ,Thee focus of this book, 1 fra e n t arily in being, k f a n i n' d'iv d 1 e eneral culture ra e r th as rti 1 t p o g ect the workk o f contemp as ut w i 1 institutions I criticise. describe bad history, hee cannot prescri e goo ar . erge all the cultural have changed suffi cient1y for a new artto emerge, historian can do, like the poet, is warn.

While the analysis II off o er h e r e has not been presented before, d conversation of Patrick acknowledge my debt to the ' writings» ed Old Country (Verso, t985) aPPeare Wright whose O L ™ g 1 t l g i a m 7 00 1VIuch, the rin the idea of nationa nos a just as I was exploring a' since t939. I look conclusion « m y t o}o " ~ o n t h e arts in Bri'tain f dechne, I also received a book oo on the culture o forward to his new friend Chris Orr, and I an great dealof enco g m." d 1 ed m t o a collaboration in defighted that our have both enlarged the possiblllt'es sbook H e » d A l lan Titm of my argument greatly. a r e ciate the use I have made of their Although they may nott app st r ateful to the countless press andi informauon ' som e t imes obscure, someofficers who havee patiently answered my som ' ' s. The book wo uld n ot t haa ve been completed on times banal enquiries. i eCentre at Annaghitalit of the Tyrone Guthrie ed to d. its director Bernar d L oughli h m so ' u e ' hich reativit a nd solitud i n ombination of sociability an actueve a corn can flourish. '

k. Th fi r ocumen a d me to present a e Past', whic gave me um world in t his country. T }1e survey the museum

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Burgess of BBC Newcastle, who then enabled me to explore the concept of the industrial museum in a film, 'The Man Who Made Beamish', and with whom I have been conducting further investigations. The third is John Whitley, reviews editor of the Sunday Times, who has sent me all over the country to review plays, and in the process enabled me to see a great deal more of Britain than is caught in the bright lights of the West End. The fourth, and most important editor, is Geoffrey Strachan, who commissioned this book and saw it through both the technical and creative difficulties produced by the telescoped production schedule we imposed upon ourselves. I thank him for his patience, and his commitment. Lastly, I want to thank my wife Erica, who has had to put up with all the pains of writing a book against the clock,.without any of the rewards. She has been more than an editor, but rather a muse — even if it is a bit heritage to say so. Fetter Lane, June t987.

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he first sound in the morning was the thumping of a British Rail InterCity rushing north to Blackpool, and the swish of tyres on wet tarmac. They don't wear clogs in Wigan any more, except at the Wigan Heritage Centre. It is exactly fifty years since George Orwell published The Road to Wigan Pier, and his naine still raises hackles in the town. He chose Wigan as the symbol of a civilization 'founded on coal', an went there to study the effects of the industrial recession of the t9gos on the lives of working-class people in the mining and manufacturing districts of the north. It was the 'wreck of a civilization' and its victims were the people of Wigan, the products of the ugliness o industrialism. The couple Orwell found most repellent were 'the Brookers', who kept a tripe shop and lodging house where he stayed. Waking to the sound of the mill-girls' clogs on the cobbled street, he reflected on the narrow lives of the injured miner, the elderly surface worker, and the floating population of coimnercial travellers, newspaper-canvassers and hire-purchase touts with whom he shared the fetid room. He observed the habits of the unemployed derelict an the two old age pensioners who also lived in the Brookers' house, But hi true horror was reserved for this complaining, self-pitying couple, she a gross invalid who lay on a sofa in the kitchen, he a resentfu 1 scrounger who was always dirty. But it is no use saying that people like the Brookers are just in tens and hundreds of thousands; they are one of the characteristic by-products of the modern world. You cannot disregard them if you accept the civilization that produced them. For this is part at least of what industrialism has done for us. Columbus sailed the Atlantic, the first steam engines tottered into motion, the British squares stood firm under the F h at W ate r l o o the one-eyed scoundrels of the and nineteenth century praised God and filled their pockets; an this is where it all led — to labyrinthine slums and dark back

kitchens with sickly, ageing people creeping round and round them like blackbeetles.' Whatever Wigan thinks of Orwell, he wrote that he liked Wigan disappointment was that the Wigan Pier he had set his heart on seeing ad been demolished. He did not know it but the ori i ramway t at is believed to be the source of the music hall joke with which George Formby Seniorhad made h' h f e ore Orwell made it infamous, disappeared around t9zo. Nor was it in t e Wigan canal basin, but at Newton two mile .B m th stuck, and by the th h myt os the name was attached, not to a pier in the seaside sense but t o a small iron frame used to tip up coal t ks to empty them into barges on the Liverpool-Leeds canal. Thereruc were several such ti'pplers alon g the canal, but the name was particularly a ssociated with Bankes's Pier in the can I b ' a sin. . Th e actual tippler disappeared in t9z9, sold for f34 worth na of scrap. And then in t984 it reappeared again. A group of students from Wigan College of Technology — no longer called the Minin Technical Colle o ege now that the mines had gone — reinstated the two m etal rails curved up like tusks that had t d was all part of a decision by the Labour-controlledthWigan Metropolitan Borough Council to turn it s back on t he i n du strial past, by restoring its features. The decaying nineteenth-centur opposite t e pier were refurbished, the site cleaned ury warehouses cane up,Centre. arc h'itected andplanted, and re-opened as the Wigan Pier Heritage d an t the heart of thee ssite, which covers eight acres along either side of the canal, including a branch arm that leads to a fine stone w arehouse, is the exhibition 'The W y W W ay e h e Brookers do n ot feature. Instead, on the outside of th b ' lere d i '.. Th o e u i ' n g is a sepia portrait p hoto otograph ra h as big as an advertising hoarding, that shows a solid Wigan family, confronting the camera on the cobbles i f a n e co in ront ouse. e at er in K i t chener moustache wears es a suit stiffof their c oIIa r and tie the mother wears shot silk, the daughter is i , 's i ez is in ring Iets,, the eldest k ' es bo oy iin knickerbockers and an Eton collar his h o si'bl' lings wear versions of sailors suits. A local graffiti r, is younger an s o two of the boys to bleed with milky stigmata,h and the wind has picked at the hoarding. ' The famil yar e inviti ting us to Wigan, t9oo, a neat time shift tha both avoids Orwell' at Orwell s t93os, and places us at a moment when Wigan was doing well, 'a prosperous year, one of the few in this century not mar ed y economic depression or international st I e, ' as the tour gui uide e has has it.' ' f r .25 buys a ticket for a journey th rugg d e at oe s notbegin in igan at a , ut in an Ealing Comedy fantasy world of turn of the .

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century seaside piers, 'Happy Memories, %'akes Week I9oo'. In this n ostalgic holiday atmosphere you half expect the dmniny in t h e rai way signal box to be a young Alee Guinness, leaning down to another Alee Guinness dressed as 'the Card' in Arnold Bennett's nove. nly when you have strolled along the pier and turned the handles of th the picture-card Inachines do you confront a n otice, 'B akc o e a 'ty , an meet a cardboard diorama of Wigan station, black and lowering. The background tape of seagulls and pier-music gives way to hooters. You enter Wigan through a coal mine, with m ore, sweating ummies, though the main passage is high enough for even the exceptionally tall George Orwell to stand up in. The economy and geography of %'igan are introduced to us: 'Wigan Was Built on Coal', but cotton was also King, and there is brass, pewter and a display of agricultural machinery from the Albion iron works. Dummies are ar at work in the nailmaking shop and the tinsnuths. Elsewhere sac s are eternally suspended in mid-heave, and farm workers stare or ever into the fire in the fariners' bar of the Park Hotel, reconstructed here after this 'perfect example of a Wigan d' b' 1 in I9 5. u s sau s-like, an old man will never get off the lavatory the backyard close. Time is suspended — but it does not stand still. Outside the miner's cottage on the second floor one of the costuined figures has begun to move. It is Kitty, daughter of Harold Cooper, who lived there and w ose imaginary body now lies screwed down in the coffin in the front room. Kitty opens the back door to her father's cottage, shrugs up her shawl, and in assumed Wigan accents asks if we have come to pay our respects. She brings us in, and explains that her father was crushed in a roof fall a month before, but died out of the pit, 'so there's no compensation', The coffin is closed because he didn't look . too good when he died. The gas mantle is burning above the coffin and the atmosphere is oppressive as she informs us that the funeral wi be in the chapel in Scarisbrick Street. She invites us to share her grie and put a hand on the coffin as we file out. Implicated, even moved, we do so. This is not the only performance at the %'igan Heritage Centre, for the brochure tells us to 'Above all, talk to the people of I9oo'. A team of sevenactorsand a director are the fi rst professional performers in Britain to be permanently employed in bringing such a display to life. Each researchesa character and creates a scenario around one of the exhibits. The longest running performance is the schoolroom, where ate twentieth-century children are subjected to a nineteenth-century esson in arithmetic. 'Why should the weaver go deaf?' %'hy should the spinner go blind?' cries a young suffragette, standing on a cart

otherwise occupied by i m mobile, plaster workers. Her f eminist arguments are greeted gree with derisive cheers by anoraked visitors.

Had Orwell visited Wigan in I976 raper than I936, though much of the doinestic squalor he described has Been swept away, replaced by a squalor of a different order, the scenery of Wigan might well have app caredt o t h i m even e uglier and the possibilities of recovery more ' h: by t h e n t h'i rt y per. c ent of the area of Wigan was classified as slight: e n I9i I Ii i a nd derelict, more than in any other town in Britain. Between an I97o the number of collieries fell from four hundred to eleven; 350 miles of railtrack lay abandoned, I,ioo textile mills had closed since i95I, the polluted canal carried no goods. In the I98os the situation got even worse, with virtually no mining left, and the cotton trade gone forever.There were few service industries ready to replace coa or cotton, and by I983 unemployment officially stood at I8.8 per cent, though on some of the housing estates it was as high as ninety per cent. The houses around %'igan Pier had been deinolished, replaced by a so-called industrial estate of small garages, garment factories, tyre centres, carpet warehouses and the inevitable DIY superstore. Most of the mills around the canal stood empty. In I98o Courtaulds was preparing to close down its operation at the huge I907 Trencherfield Mill nearby when the Borough Council persuaded them to stay, y buying the building and leasing back enough space to secure three hundred jobs. In i982 British Waterways, who owned the warehouses opposite Wigan Pier, applied for planning permission to demolish t e decaying buildings and redevelop the site. In I973 Wigan Corporauon had actually offered to pay British Waterways most of the cost of ' demolition of these 'unsightly premises', and had been refused.4 But by I9 82 ac hange o fp er cept i o n had taken place, The oldest structure, a stone warehouse built in I777, though roofless and decayed, was now a Grade II listed building. Wigan, backed by Greater Manchester Council, decided to do something with its past. The past, after all, was virtually all it had left. The key, as the report by the tourism consultant brought in by the Council succinctly argues, has been to be grateful to George Form y Senior, to Orwell and the Brookers. 'The name %'igan Pier is an inestimably valuable markeung asset, which should be exploited. To do so will turn the old joke round, and improve Wigan's image ar more effectively than attempting to bury it would.' The consultant suggested exploiting not just th e j oke, bu t a lso the new-found popularity of the recent past, with the spread of theme parks, historic

enactments, industrial rnuseums and interactive 's W n as a' sadly typical exam Ie of d p e o decay and dereliction' and speculates a es that we may now be seein g the end of an era which i t e in ustrial revolution, and of the I d d i ions ' wh' ich sprang from it.' Th he problem was not just economic, but social. Traditions do d not easily survive social chan g > at Ieast among anewgeneration th atha s never experienced the c ircumstances that bred them. Since World War II th e improvem ents in li ving standards ar s, the t e provision of unem Iooyment and social service benefits, the unemp rowth o s ip a v g r eatly eroded the old ways i e. e 'sappearance of much of the indust created the towns in the first Ia e rst p ace will accelerate the trend.' 'The Way We Were' would be an act of rest e an act o restorationof much more The transf ansformation has cost three a nd a hal f million ounds wa a s achieved in such a short ti me that Her Majest the o pen t e centre in M arch r 8 6 . A l t ' an s, muc of the money was not. As an as area Wigan qualifies forr money mon rom the Euro eano . s an assisted f h d 1e1 S ocia IF und, to help job creation R e io I D Io e nt Fu n d to assist tourism. H m. Half a million pounds was raised thaat way. T h e E n glish T 'ourist g ou ri s t B o ar d c ontributed Kr5o,ooo. Thee G r eater Manchester Council in i , in its dying days before a bolition in r 9, 8 6 w a s generous; money came from the of th E ro n tan d th eCountryside Commi ommission, and there was help from thee North o r West Museums and Galleries Service' Walker Ltd.; British Telecom N om and an the e ational Coal Board. Cruc' t he Heritage Centre is a mix d d ' mixe eveloprnent I in a e..T hel i stedr777 canal buil e ui dmg was leased to a local eve oper who rebuilt it stone by stone n e y s o e, and converted it re eet o o ces with the help of a grant fro e Educauon F eld Study Centre r98g in a warehouse refurbished by a brewe h h I d d th h ri t ge site, houses not on y ou a u lds but ' e at e P i er', a concert and leisure centre, and th department of Wigan Technical Colle e o ege, besides a machinery exh ' ia an e ar g est working mill steam engine in Britainp 'e to any purpose other than to awe spectators. '

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.Essential as this economic interaction is to the project, it conditions what it is that people have ostensibly come to see. 'A heritage centre is not a museum,' states the consultant's report, 'The main point is to present a theme, not to display a collection of objects." There are other pointers: the first director, Peter Lewis, adopted the title 'piermaster', and his former career was not in the museum service, but commerce, and, significantly, marketing The Royal Exchange Theatre in Manchester. (Even more significantly, he has recently become the director of an institution that does call itself a museum, Bearnish Open Air Museum, outside Newcastle.) Although the displays cannot avoid the realities of working life, even in a relatively prosperous r9oo, they are studiously neutral when dealing with the responsibility for such conditions, or for catastrophes like the Maypole Pit Disaster of r9o8, when seventy-six miners died. Although the schools centre does function as an educational resource, the main purpose of Wigan Pier is to create, not so much an informative, as an emotional experience, a symbolic recovery of the way we were. The displays, recorded sounds and performances prompt recollections for the pensioners who seem to throng the centre; for younger people they present memories unexperienced, but

ready formed. The buildings are not how they were — some were demolished as part of the restoration, including a small engineering works. A wooden canal walk has been built to provide access; the pier now faces a car park and a floating restaurant. The canalside has been landscaped, and a Bantam canal tug concreted into the shrubbery. We pass effortlessly from the bar of the Park Hotel in the Heritage Centre to the Orwefl Pub, with its fake Tiffany lamps and genuine space invaders, from the r9oo grocer's store to the Pier Shop, where we can buy 'Mr Hunter's range of Victorian perfumes, soaps and medications', Wigan Pier Humbugs, Country Way Kiwi Fruit and Lemon Preserve, model miners' lamps, gourmet herb gardens, commemorative plates of the Royal opening bearing portraits of the Queen, and copies of The Road to Wigan Pier. This anticipated expenditure is a clue to the theme of Wigan Pier. The past has been summoned to the rescue of the present; the three and a half million pounds has been invested in old buildings to stimulate an ageing economy. It i s too soon to tell whether the injection has worked. Although attracting 3oo,ooo visitors in its first year, three times the expected number, the Centre has not yet broken even on its running costs. Unemployment in the area is still above eighteen per cent, and much of Wigan looks battered and exhausted. Other buildings near the canal, now a conservation area, are empty or decayed. Swan Meadow Mills has been divided up into industrial units; a board outside shows thirteen out of seventeen are to let.

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There is more space to let in the Wigan workshops, occupied by Swan Meadow Health Club, Impact Components and Photo-Me-Studios. The huge armature of machinery raised on a plinth in the Trencherfield Mill car park looks like a forlorn monument to a prehistoric age. There are encouraging signs. Within sight of Wigan Pier, Northern Sailmakers I.td have restored their warehouse and moved their headquarters to Wigan from Cheshire. Milliken, an American carpet manufacturing coinpany has chosen Wigan for its European headquarters. The reclamation of d erelict land has been sufficiently extensive for Pennington Flash — a lake created by mining subsidence — to become a r,too-acre country park and bird-watching attraction, In the town centre, the drive which caused the council to refurbish the canal basin has caused it to demolish the fine Victorian market buildings, and construct 'the Galleries' in a K3o million partnership with local developers that will create new markets, seven large stores and seventy small shopping units, with parking for 7oo cars. That is why the fittings of the Park Hotel that once served the farmers on market day have ended up in the Heritage Centre. The Galleries' only contact with the past will be the red brick facing and mock Tudor details in the balconies and eaves. Development continues. Inthe Spring of t987 a new cafe-bar opened in one of the semi-derelict alleys off Wallgate. It is called the Officers' Club. Although a man in a dinner-jacket stands at the door to repel undesirables, it is not a club; there are no officers, nor are there likely to be. It is 'an exciting new concept' belonging to the owners of the Pier Disco, an externally shabby warehouse in the canal basin. Here the future and the past collide; the bar boasts a satellite TV in onitor 'enabling the businessman to keep ahead of world financial news as it happens' but more likely to watch 'the cricket from Australia or the yachting from America." In the bar upstairs there is Cto,ooo worth of solid glass grand piano, imported from Japan, These high-techfeatures are framed in a confusing dhcor collaged from The World of Interiors.City sophisticated art-deco lights stand uncomfortably with bamboo and glass tables, palm trees and Raffles Hotel overhead fans. Pompadour colours of green and gold flow from the walls, that appear to be ragged, but may well be papered. The 'conservatory' has ruched curtains which cannot rise or fall, there are panels of brand new leaded stained glass below the level of the ceiling. Wicker arm chairs (country house conservatory) sit round cast-iron and marble topped tables (Edwardian sawdust and spittoon). And on the walls are the old photographs, the unlabelled views and anonymous fainily groups of an ersatz past, silently staring into a space filledby the backbeat of homoge iuzed American rock. The Brookers

are not here either, and the man at the door would keep them out. Wigan Borough Council is spending b azoo,ooo a year to promote the economy that has produced the Officers' Club. A council brochure that frames the tower of Trencherfield Mill in a freshly painted arch of Wigan Pier tells us simply 'Forget the traditional myths' and then extols 'The Way We Were'. At the Officers' Club a former piano salesman who had been out of work for five years after the factory closed down, sits at his Japanese piano, and plays 'As Time Goes By'.

Wigan is not an isolated example, any more than it was in 1936. There are now at least forty-one Heritage Centres in Britain, While future perspectives seem to shrink, the past is steadily growing. The increase in the number of museums in Britain has been such that until recently no one could say how many there were. It i s still difficult to be precise. The Museums Association published the most accurate survey in 1987: having started with 3,537 institutions that might qualify, these were reduced to 2,I3I, of which 1,75o replied to the association's questionnaire,' Of these, half have been founded since i97I. The Director of the Science Museum, Dr Neil Cossons, has said 'You can't project that sort of rate of growth much further before the whole country becomes one big open air museum, and you just join it as you get off at Heathrow." The urge to protect and preserve the past extends to the whole of the built and natural environment. Living in an old country, we have plenty to protect. The Royal Conunission on Historical Monuments was set up in 19o8 to make 'an inventory of the Ancient and Historical monuments and constructions connected with oi( illustrative of the contemporary culture, civilization and conditions of life of the people of England' — and nearly seventy years later still has not finished its work." Since the principle of listing buildings in order to inhibit their demolition or alteration was first introduced in 1947 the number has steadily grown, and is expected to reach half a million in r988, double the number in 1982. But the latest changes to the systein mean that the potential number is infinite, The cut-off date will no longer be 1939, but a rolling period by which any building more than thirty years old may'qualify for protection. In addition to individually protected buildings there are at least 5,558 conservation areas and some 200 town schemes which impose planning controls. In 198o there were 45,ooo licensed places of worship in England and Wales; if Scotland and Northern Ireland are added, the total is between 6o,ooo and 7o,ooo. The Church of England has r6,643 churches, of which 8,5oo are pre-Reformation: in all, i ncluding

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c athedrals, t2>o 3 are listed buld i , ngs. T he Re d u ndant Churches F und looks after 2oo. Th e government, t r« g h the Property Services d b u i ldings. or inore than a thousand 4ste Agency, is responsible for in er than that s is oolder ci le of scheduling ancient monuments is e rst n c i buildin s. When of listing occupied bui g . just sixtyen ' was passed in i1882 the schedule attached to it iidentified o , a n d that is only a eight sites. The num eer has now reached 1 2,8oo idered. e6 ere .The Ancient fraction of the 35,oo o o sites that could be consi A 979 has extended archaeMonument and Archeolog ical Areas Act of 1979 ection b allowing the designation o an are 1 ' 1stu s tudies ortance' where archeologica ies mmust be carried out o far ar five v e have been declared in es place. lace. So before development takes k Chester, Exeter and Hereford. 'ves p r otection throught he N t io 1P k T he countryside recei ntr side Commission, t e extensi administered by the Countrysi e r ust the declaration of areas o p e c i ci o thee Nature a Conservancy Interest, naature reserves and the worrk of ro ec ' of Birds, and the t he Ro al Society for t e Protection the Protection Protection of lobbying of the Council for the o Rural England and Friends of the Earth. in p r otecting and involved rinci al government agency invo ve in ritance of l.and and buildings is the Department oof i nt t formed in 197o to reconci'1e ht e confhicti P bli d L oca 1 o Go ies of Housing an of the former Ministrie Building and Works , Transport and Planning.. Thee Department's 'c Buildings maintains ui ncien Monuments and Historic Directoratee oof Ancient ' d occupiedroyalpalaces. It is rks and the occupied an unoccupie b uildings an s c e u i n fi ountr side Commission toge er wi 'ng an M onumen ent s C o mnu i o t he toric Buildings agencies: The Histori ents the National Heritage '

age in t986/87 was f96 m i o n . to e H i s t oric Buildings an' onum o ted the name Enl gi 'hs H e r itage. English Heritage .which has adop ' l dings m akes grants to in me o o m o nuinents and b ui 's buildings, conserani anisations to assist wi'th historic 11 1 own schemes, ancient monuments and re vation areas, town u i ld i n g s a n d s c heduhng of s ono th e l i sting o ogy, It a d vises 1' h r alter such structures. or a on app l i cations to demo is It is also expected to to promote the appreciation o s however is is by The Department of the Environmentt however y no means the '

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only government ' ga enc y involv e d i n heritage affairs. The Office of

A rts and Libraries is the princi incipa al ministry concerned with museu useums and d art galleries gI nd makes m an equal contribution with the De , and

ment of the Environment too the t e National Heritage Memorial Fund, n' e e partment of E mployment sponsors the e ng En'slish Tourist Board , un er the Development of Tourism Act f c o z 969, , r eceives some E9 million a year to invest in heritage ro'ects. In en t e anpowei Services Commission is a significant supplier of labour, and the European E an conomic o mmunit i s also asource of funds. Nor should the role of local C auth neglected. In t98 /86 thee En g lish authorities were estimat d e t o be spending C44 . 9 mi l l i o n o n environment en e enhan c e ment and conservation, ,

The state's responsibilit ' ' y for conservation and the heritage, either through ministr ies or the quangos o s (Quasi-Autonomous Non-Govern' tnent Organisations) 0 ) that the theyf f u n d , is closely interwoven '

'th th p n t v o l u ntary organisations some of wh h I k National Trust s, hav ave their position recognised by A t c s of a Pr liament. li Usuallyth e state has been the second not the fi , no t e r s t on hthe scene', and the sprea readoff fhe fh conservation movement can be f Il n e o o wed d through the chronologyoof the foundationofkey voluntary b d' o ies:: the C ommons, p s an Open Spaces Preservation Society, t865; the Societ' for the Protection of Ancient Buildings, 'ngs, z8 z 77; theNNational Trust, 95; e A ncient Monurnents Society, z92t the Cou ' I f e ounci o r the Care of Churches r 922; 2 the Council for the Protection o f R ura I England, I r 926 ; t h e N at i o nal Trust for Scotland t 9 r t he Geo r g ian Group , t93ri z 937; thee e Vrnacular ArchitectureGroup r9 th C' 957; the Victorian Society, 1958; the Landmark Tr Thirtie So let y, t979; t the National Piers Society, t98o' the R 'I ' Heritage Trust, t 98 5; thee Historic Farm Buildings Trust, t98 s t9 the Fountain Society, r985. Not only o ny h a s theppace of the conserv nserv nservation movement quickened theob o j t o i o c a e o coe and c oser to the present day. How l ong will ' t b b f i e e o r e a F i f t i es Foun undation and a Sixties Society join the list? The most important or ganisations meet every two months in the ' Joint Committee of the National aA m e n it y So 'c ieties, '", , made u of o th A ncient Monuments Society thee Ci ' T i vi c r u st, the Council for British 's rc eo ogy, the Council for the Protection of Rural En land Georgian Group, the National T th N o an , e ociety of the Protection of Ancient Buildings and the Victoria Society. The Victorian Society, SPAB, Georgian Grou An e ouncil for British Archeology are all ' e i n v oI ve d in the statuto ry p lannin ' g process, in that they have to be notified about r applications to alter or demolish ancient buildings d h Kro,ooo a year ear rom from the government for carrying out these functions. '

'

,

Most prominent are the National Trust which, after the state, is the largest landowner in the United Kingdom, and the Civic Trust. The Civic Trust does not own land or buildings, but exercises its function of conserving and improving the environent both in town and country through its cooperation with local amenity societies. In I957 when the Civic Trust was founded there were some zoo such societies, now there are nearly a thousand, with a combined estimated membership of 3oo,ooo people. The Civic Trust also administers the Architectural Heritage Fund, set up in t975, which is a major source of capital for conservation projects: K4'/z million has been lent to I09 schemes by March r986. The Landmark Trust preserves some zo6 small buildings, and wherever possible puts them to use by letting them out as holiday homes. In all there are seventy-nine local building preservation trusts in England. There are at least t58 local archeological societies affiliated to the Council for British Archeology. In z98o the Countryside Commission set up the Groundwork Scheme to clean up derelict industrial areas, leading to the foundation of six Groundwork Trusts which operate in cooperation with local authorities, the Nature Conservancy Council and the British Trust for Conservation Volunteers. The Crafts Council and the Council for Small Industries in Rural Areas help with the conservation of appropriate buildings. These organisations, and the places for which they care, attract an ever growing public. It is estimated that 2I3 million sight-seeing visits were made in Britain in t985, sixty-seven million of them to historic buildings. According to the t986 edition of Facts About the Arts in r983/84 the audience for the live arts of thirty-nine million was outnutnbered both by the audience for historic houses, at forty-eight million, and musemns and galleries at fifty-eight million — more even than the cinema at fifty-three million." I n t 986 there were at least I 724 historic buildings and ancient monuments (excluding churches) open to the public, plus well over zoo historic houses open by appointment. Of the t,724, forty-five per cent are privately owned, twenty-three per cent owned by local authorities, twenty-one per cent belong to the government or its agencies, eleven per cent belong to the National Trust. As many as forty per cent do not charge for admission, yet overall revenue has risen by thirty per cent since I979, at constant prices, In Britain as a whole it is estimated that &to million was spent by visitors to historic buildings and gardens. About a third of these visitors were foreign tourists, sixty-seven per cent of whom in t984/85 visited historic sites, houses or cathedrals. The total earnings from overseas visitors to Britain itt r9 85/86 was E5,473 million. 27

The past, then, is a major economic enterprise. But then so is the a tomic bomb. Activities do not justify t h emselvespurel y on the grounds that they contribute to the gross national product, otherwise we would have Councils for the Preservation of Prostitution and Crime. As W igan Pier's consultant recognised, the conservation movement, as producer and consumer, answers a profound cultural need: it is this that tnakes the past such a tourist attraction. The nostalgic impulse which constitutes such an important part of the conservationist frame of mind was a national cultural characteristic long before the Gothic Revival laid the foundations for the modern conservation movement. Both classicism and medievalisrn contain elements of nostalgia, in that they look back to imagined earlier aesthetics and states of mind. But their use of the past was somewhat different, in that they sought to re-use ancient elements in a creative way. The nostalgic impulse has waxed and waned, but is presently getting stronger, and twentieth-century nostalgia is of a new kind. Orwell was not free of it. Beside .the Brookers we should set his recollections of 'the peculiar easy completeness, the perfect symmetry as it were, of a working-class interior at its best. Especially in winter evenings after tea, when the fire glows in the open range and dances mirrored in the steel fender, when Father, in shirt-sleeves, sits in the rocking chair at one side of the fire reading the racing finals, and Mother sits on the other with her sewing, and the children are happy with a penn'orth of mint humbugs. .. . ' l t is an image worthy of the Wigan Pier Heritage Centre, and the humbugs can be bought from the Pier Shop, but, Orwell adds sadly, 'This scene is still reduplicated in a majority of English homes, though not in so many as before the war.'" The war in question is the First World War. Since the Second World War, nostalgia has become a dominant characteristic. Peter Conrad has given some concrete examples. Britten came home from America to the 'familiar streets' of East Anglia, and made music from his longing for social membership and acceptance in Peter Grimes. .. . Betjeman began his encylopaedic digressions to country churches and railway sidings. John Piper painted derelict nonconformist chapels as luminous with spirit as the Brideshead chapel, where a flame kindled by crusaders still burned. The photographer Bill Brandt studied the culture's buried past in the graveyards and vacant houses of his compilation Literary Britain. Though the Festival of Britain confected its architecture from atomic orbitals and left as its memento a Festival HaIl which looks like a cumbrous television set, the earnest hope of the Fifties was that the future would bring

back the past. The coronation was supposed to inaugurate a second Elizabethan age. England had begun a re-perusal of its history, which continues yet." John Betjeinan has been the most popular English poet of the latter half of the twentieth century, partly by dint of a second career as a television pundit extolling the virtues of Victorian villas and Edwardian suburbia. He is followed by Philip Larkin, a great admirer of Betjeman and a more serious poet; conservative and nostalgic — with . a touch of bitterness at his impotence against change. Britain's most st th e m ost read writer in our public libraries is the popuIar noveliis, historical and romantic novelist Catherine Cookson. In the t95os the first stirrings of the cult of youth was paradoxically signalled by London toughs dressing in Edwardian clothes; even the t96os, when there was a rare moment of confidence and expansion, there was a strong vein of nostalgia.The Beatles were happiest as Sergeant Pepper's Lonely Hearts Club Band. Now, instead of the young meteors ofthe Sixties, today's heroes are young fogies,their fashionable pre-eminence contested only by the New Georgians, a middleclass cult with none of the menace of the Teds. The look back in nostalgia has become an economic enterprise, as the commercial interests of manufacturers and advertising have recognised, This nostalgia is in part one for a lost sense of authenticity, a nostalgia that consumes ploughman's lunches and campaigns for real ale. Commerce reinforces the longing for authenticity in order to exploit it. As Peter Conrad has written Virtually everything we consume is touted as a magic potion, capable of transporting us back to a pastoral infancy before our taste-buds sickened and before the country slumped into modernity. Hovis has turned the baking and breaking o bread into a sacrament. In its commercials, gnarled elders toil at a feudal mill or trudge through a countryside sentimentally soothed by a mist of retrospection. The Hovis company's mystique is northern — tough, gritty, grainy - ut it derives its mythology from the south-west, with 4 advertisements filmed in Hardy country.' Commerce, which is no fool and employs market researchers, recognises that nostalgia is also deeply linked with snobbery, beginnin w it h the careful marketing of the Royal Family both as cosy, e o ya domestic paradigms, and symbols of fairy-tale splendour. Family are at the heart of the English season, that display of heritage events from Ascot to the shooting season which, in t987, appears to

29

have been sponsa r e d by Veuve Clicquot. 'One ele an the English season might be all those events a h 11 f V euve Clicquot ' is on sale ' wr' Godf ey nuth 'cquot have helped to publish." The Mo y icensing Marketin g A sso ' o u x ur y goods, such as din r plat s with the s an r eproductions of Lord Pa~-wi tra i t i onal family reci es'." ' ha n df ai n ous is fed b 'thth ric ub E I'h ' Roo m and Th eEEng l ish Dog at Homew , where the dogs of the Queen, the Queen een oMt h e r , P r incess Anne t L d b d mi'llionaires are de icted in ' A 11 d snobbery, however, are onl reson ll- b 'o f or t he pr esent ion past. T p g o g e as 'on writer Sarah Mower noted in January '

The signs of creep'ing retroism r are everywhere: ' of Hackett's reconditioned vinta e clo oo o e s i gner collections for women. s we ve ad Edwardi ri that oou I d 11a v e come out of a colonial lad ' corset are imminent for spring "

i oh eand

One ne of the most successful publications of rece v o an z u ardian Lady, a title which th o 1' ob b ery and retromaniaof of nostalgia into one ball." The Country Dia has anguages, and has spawned not only The Count Dia

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The drive to concea1 eth p r esent under la ers o k f 8 b Cofl o ', th r eproductions of 'T he ' e Tuugge Fighting Temeraire e dto her h Last Berth to bee Broken Up' and Peace, Burial at Sea'. a. Th e i 986 6 I d eal Home Exhibi ' displayed a i ition seriesof houses 'in a variety offperiod styles, from T a variety 2ooo thus reducing even the future th

30

i st incorporating all the advantaages of up to date standards and materials eria s, st'ill manages to en g re. t e rear. of, the house bloom d h me t e specially

bred Potton Heritage rose." A company in Watford can, without any trace of irony, sell the share certificates of bankrupt British companies as 'Heritage Originals'. The actors of Wigan Pier demonstrate that we not merely wish to recall the past, buy souvenirs of the past or build and decorate our homes in past styles: we actually want to live in the past. Members of the Sealed Knot campaign the length and breadth of England in Royalist and Parliamentarian uniforms, but there are also Roman legionaries, Norman knights, medieval jousters, veterans of the Napoleonic War and of World War II — though the latter are required by law to wear either American or German uniforms. The Young National Trust Theatre was founded in i976 as an educational aid, but 'the theatre gives much needed exposure to the nine Trust properties it visits each season. It is seen as a good marketing asset for the venues, and the tourist aspect is developed by encouraging visitors of all ages to participate."' The logic of The Country Diary of an Edtoardian Lady is being applied by an American heritage entrepreneur at Williamson Park, Lancaster, with a theme park offering us an Edwardian day out.

As the past begins to l oom above the present and darken the paths to the future, one word in particular suggests an image around which other ideas of the past cluster: the heritage. The word has parliamentary approval in the National Heritage Acts of t98o and i983, which created the National Heritage Memorial Fund and English Heritage respectively. These should not be confused with National Heritage, the title adopted by the Museums Action Group in z97z, nor must we muddle Heritage in Danger, z974, with SAVE Britain's Heritage, t975. There is an All-Parliamentary Committee for the Heritage, a Society for the Interpretation of Britain's Heritage, a Heritage Education Trust and a Heritage Co-Ordination Group. Heritage centres and Heritage trusts multiply, and there is a World H e ritage Convention. Two things are clear about this word: it is a relatively recent usagean important. date was the designation of z975 as European Architectural Heritage Year — and it is a word without definition, even in two Acts of Parliament. In the United States it has been appropriated by the New Right. The Heritage Foundation set up in I973 llas a twelvemillion-dollar budget to fund a Washington think-tank that serves to promote conservative political philosophy on an international scale. It has had significant influence on the Reagan administration and its ideas have been favourably received by Mrs Thatcher and Chancellor

Kohl of W est Germany. It h elped to establish the Institute for European Defence and Strategic Studies in London in t979, and it is credited with the decision of both the United States and Britain to withdraw from UNESCO. Quite separately, Heritage USA, a 2 300acre inspirational theme park in Carolina, the third most popular tourist attraction in the United States after the Disneylands in Florida and California, is the centre of the Praise the Lord fundamentalist Christian television network. In Britain, the use of the term is more diffuse. The keeper of the People's Palace in Glasgow describes the museum as the centre of the city's 'radical heritage'." Patrick Cormack the Conservative MP who founded the All-Parliamentary Committee for the Heritage, and is now chairman of the Heritage Co-Ordination Group, has written When I am asked to define our heritage I do not think in dictionary terms, but instead reflect on certain sights and sounds. I think of a morning mist on the Tweed at Dryburgh where the tnagic of Turner and the romance of Scott both come fleetingly to life; of a celebration of Eucharist in a quiet Norfolk church, with the medieval glass filtering the colours, and the early noise of the harvesting coming through the open door; or of standing at any time before the Wilton Diptych. Each scene recalls aspects of an indivisible heritage and is part of the fabric and expression of our civilization." This pastoral, romantic and religiose evocation, not far from a Hovis commercial, in fact defines a very specific view of the heritage — but we can expect quite different sights and sounds at the Bearnish Open Air Museum's annual Geordie's Heritage Day. As Lord Charteris, the Chairman of the National Heritage Memorial Fund, and former private secretary to the Queen, has said, the heritage means 'anything you want'.' 4 It means everything and it means nothing, and yet it has developed into a whole industry. At times, like Wigan Metropolitan Borough Council, we may feel that it is the only industry we have got,

32

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oaoiiv. oooo o oEE P 7. 7. quotedin Montagu of Beaulieu, The Gilt and the Gingerbread: or How to Live in a Srately Home and Make Money, MichaelJoseph, I967, p.89. 8. Treasure Houses,op.cit., P.27.

9. James Lees-Milne, Caves of Ice (first published I983), Faber, I984, p.94. xo. ibid., p. t7z. xx. quoted in Britain's Historic Buildings, op.cit., p. Io. rz. Nigel Dennis, Cards of Identity, Weidenfeld, tg55, P.t I9.

r3. Noel Annan, 'The Intellectual Aristocracy', Srudies in English Social History, ed. J. H. Plumb, Longman I955, p.z85. r4. Evelyn Waugh, op.cit., p.8. r5. Robin Fedden, The Continuing Purpose: A History of the National Trust, its Aims and Work, Longman, I968, p.70. r6. Clive Chatters and Rick Minter, 'Nature Conservation and the National Trust', Ecos: A Review of Conservation, Vol. 7, No, 4 (Autumn, I986), pp 25 — 32. r7. Anne Spackman, 'National Trust accused of nature neglect', Independent, 6 December, t986. rg. The Times,9 August, I974. x9. Patrick Cormack, Heritage in Danger, New English Library, I976, p.6; (second edition) Quartet, rg78, p.8. zo. Memorandum of the National Trust to the Select

Comnuttee on a Wealth Tax, House of Commons 696, Vol. II, 384, HMSO, November, r975. zr. Roy Strong Destruction.. . . , op.cit., p.7-io. zz. Heritage in Danger(1976), OP . clt., P. 35.

z3. ibid., p,ioo, 24. quoted in Arthur Jones, Britain's Heritage: The Creation of the National Heritage Memorial Fund, Weidenfeld, tg85, P.63. 25. quoted in Britain's Heritage,op.crt., p. rgz. 26. ibid., p.izo. z7. National Trust, Annual Report, I985, p.4 28, ibid., p.6. zg. Continuing Purpose, OP.clL > P. I29.

3o. John Cornforth 'John Fowler', National Trust Studies t979, ed. G, Jackson-Stops, Sotheby Parke Bernet, rg78, P 4o. 3r. Andrew Dickson, 'National Trust Youth Theatre', Environmental Interpretation, March> I987 p I7.

3z. National Trust, Annual Report, I986, p.4. 33. Treasure Houses,op.cit., p.76. 34. quoted in Heritage in Danger, I976, op.cit., p,39 35. Clive Aslet, The Last Country Houses,Yale University Press, tg8z. 36. J. Martin Robinson, The Latest Counny Houses, Bodley Head, i984, p,7. 37, ibid., p.z8. 38, ibid., p.zg. 39; ibid., p.26. 4o. Clive Aslet, Quinlan Terry: The Revival of Architecture, Viking, i986, pp. I84 — 5. 4r. Roger Scruton, 'The Architecture of Leninism', The Aesthetic Understands'ngr

rr. P. A. Faulkner, 'A Philos- 4. ibid., p.3. 5. ibid., p.z. ophy forthe Preservation of our Historic Heritage', journal 6, Lord Goodman, 'The Case against arts cuts', Observer, of the Royal Society of Arts, 25 March, tg84. Vol. Iz6 (i 978), p.457. 7. House of Commons, Public rz. loc. cit. and Private Funding of the r3. ibid., p.47r. Ans, HMSO> 198z, Q8oo. x4. P. J. Fowler, Our Past 8. quoted in Nicholas Pearson, Before Us, op.cit., p.6t. The State and the Visual Arts, r5. Max Hanna and Marcus Open University Press, rg82, Binney, Preserve and Prosper: The ader Economic Benefits of P-99. 9. quoted in Harold Baldry, Conserving Historic Buildings, The Case for the Arrs, Seeker & SAVE Britain's Heritage, Warburg, rg8i, p.34. r983 P.3i. xo. Pubis'c and Private Funding x6. Historic Buildings and Ancient Monuments, op.cit., of the Arts, op.cit., Q8o3, xr. Roy Shaw, The Arrs and P. XXX1X. the People, Jonathan Cape, I7. Preserve and Prosper, I987 P 44op.cit.> p. 3I. xz. quoted in Sandy Craig and x8. Michael Heseltine, Where Carole Woddis> 'How the Arts There's A Will, op.cit., p. I64. Council keeps it in the family', rg. ibid., p.r58. zo. quoted in Industrial Arche- City L'tmits, I8/z4 February, I983. ologists' GuideI969, ed. Neil x3. Jeremy Jehu, 'Shaw hits Cossons8t Kenneth Hudson, P .I2I . out at "complacency" of arts David & Charles, ig69, p.73. rmnisters Stage 7 July I983 zx. Montagu of Beaulieu, The Chaprer IV x4. The Arts and the People, Gilt and the Gingerbread, r. Office of Arts and Librarop. cit., p.48. op.clt. ies, press release OAL/70> 27 x5, ibid. p.49. zz. English Heritage, promoNovember, t986. x6. quoted in Janet Watts, tional leaflet. z. MuseumsUK, op.cit., p.z3. 'Patronage behind closed z3 Historic Buildings and 3. English Heritage Monitor, doors', Observer, z March, Ancient Monuments, op.cit., I977, BTA/ETB Research I 980. Services, 1977 p. r6; p. I 8. p.xv. x7. Public and Private Funding z4. MuseumsUK, op.cit., 4. Interview with the author, of the Arts,op.cit., p.xlvii. 'A Future for the Past', BBC P. I 04. x8. Ibid., p.xlvi. z5. Interview with the author, Radio 4, I986. 'A Future for the Past', BBC r9. The Arts Council, The 5 R A Buchanan Industrial Glory of the Garden, I984, Archeology in Britain, Penguin, Radio 4 I986.

Essays in the Philosophy of Arr and Culture, Carcanet, I983. 42. Quinlan Terry, op.cit., P i55. 43. ibid., p.83. 44. ibid., p. ro8. 45. 'Open the door to your own royal retreat in the heart of Sussex', Wimpey's promotional leaflet for Brantridge, I987, 46. Peter York, Modern Times, Futura, rg84, p.22. 47. Alexandra Artley and J. Martin Robinson, TheNew Georgian Handbook, Ebury Press, I985, p,46. (italics theirs). 48. Laura Ashley, Laura Ashley Home Decoration I985, Laura Ashley Ltd., I985. 49. Polly Devlin, 'Paradise Lost', Country Living, January, t987. 5o. Quinlan Terry, op.cit.,

I972> P I9.

6. TheEconomist, z4 May, I969. 7. Industrial Archeologyin Bri tarn>op.ctt, p.20.

8. Anthony Burton, Remains of aRevolution, An dre Deutsch, t975, p.8. 9. MuseumsUK, op.cit., p.59. ro. Peter Dunn 'Cowboys who would save the Rhondda', Independent, 3I January, r987.

p . Vil.

Chapter V x. William Rees — Mogg 'The Political Economy of Art' Arts Council, tg85, pp.3 — 4. (A subtitle 'An Arts Council Lecture' gives this the status of a official policy document.) z. ibid., p.4 3. House of Commons, Public and Private funding of the Arts, HMSO, xg8z, p.

zo Public and Private Funding of the Arts, op.cit., p.xciii. zr. Arts Council press release,

6 June, rg85, zz. 'The Political Economy ol Art', op.cit., p.7. 23. Comment made during a debate held by the National Campaign for the Arts at the National Film Theatre, zg April> r987.

24. 'The Political Economy of Art', op.cit,, p.3. z5. Public and Private Funding of the Arts, op.cit, p.xxxviii; p. xxxvu, 26. op.cit., p.xxvi; p.lxxi. ?7. Nicholas Shakespeare, 'Time to grant a growing-up', The Times,3I December, I986. 28. Export of Works of Art I985 — 86> HMSO> I986, p. I, 29. This paragraph uses the arguments and calculations deployed by Simon Crine in 'Has Government Spendingon the Arts Increased?', National Campaign for the Arts I>ien>s, Spring, I986. 3o. Speech to ASTMS conference, I7September, I985. 3x. House of Commons, Report by the hfinister for the Arts on Library and Information Matters during I986, HMSO, I986, p.II ,

3z. Peter Scott, 'Keeping the dons disaffected', The Times, 22 May, I985.

33. Judith Judd, 'Eng. Lit. professors join brain-drain', Observer, t4 D ecember, I986. 34. George Walden, 'The many-layered illusions of our cultural decomposition', The Times,2o December, I986. 35. quoted in Peter Taylor, Smoke-Ring: The Politics of Tobacco, p.tz4. 36. ibid., p.tl7. 37, Waldemar Januszczak, 'No way to treat a thoroughbred', Guardian, I5 February, I986.

38, Lord Goodman, ABSA Annztal Report, I 985/86.

39. Ehzabeth Swift, 'Tory poodlejibefor sponsor group', Stage,zo February, t986. 4o. Colin Tweedy, 'Sponsorship in Partnership', Greater London Arts Quarterly, Spring, I987, p.zz.

4x, Quinlttn Tcryy, op.cit., P I93 42. 'No way to treat a thoroughbred', Guardian, op.cit. 43. Colin Tweedy, 'The Economics of Arts Sponsorship in the United Kingdom', Culturttl

Policy (Council of Europe),

No. I — z/86. 44. loc. cit. 45. Richard Luce, 'Framework of Opportunity', National Campaign for the Arts, ¹ w s, Autumn, I986. 46. Arts Council, A Great British SuccessStory, I985, p. I I. 47. The Times, 6 March, I985.

x5. quoted in Arthur Jones, Bntatn'3 Hentage, opoat.,

pp.zo6 — 7. x6. David Lowenthal, The Past is a Foreign Country, Cambridge University Press, I985, p.356. x7. Interviewwith the author, 'A Future for the Past', BBC Radio 4, I986. x8. The Pastis a Foreign Coun-

Index

try, o p.clt. p. 4 I I .

x9, Interview with the author, 'A Future for the Past', BBC Radio 4, I986.

abolition of the death penalty, 41 Abrahams, Michael, 74 Ackroyd, Peter: Hau>kimoor, 145 Adam> Roben.> 59 Adelphi Hotel, Liverpool, tot

zo. Lady Sylvia Sayer, Our

Past Before Us, op.cit., p. I39. zx. 'Tories to take rise out of Chapter VI crime', Guardian, 6 April, x. Wall caption, 'The Way We Ic}87. For the social reality of Were', Wigan Pier Heritage GeorgianEngland see Robert Hughes, The Fatal Shore,ColCentre. lins Harvill, I987, >z. Clive Dilnot, 'What is the zz. Press release, Office of Post-Modern?', Art History, Arts and Libraries, OAL/I6, Vol. 7, No. 2 (June, I986), I I March, I986. p.z45. 23. Neal Ascherson, 'Ancient 3. loc. Clt. Britons and the Republican 4. Waldemar Januszczak, Dream', Political Qttttrterl y, 'Shine of Steel', Guttrdian, Vol.57 No. 3 (I986), p.300. I 7 September, I 986. 24. Patrick Wright, 'Mis5. loc. cit. guided Tours', ¹ t t > Sociahst, 6. Wall caption, 'Towards A July/August, I986, p.34. New Architecture', Royal z5. M. J. Wiener, English CulAcademy, I986. ture and the Decline of the 7. Fredric Jameson, 'PostIndustrial Spirit, Cambridge Modernism, or the Cultural University Press, I98I, p. Iz. Logic of Late Capitalism', z6. ibid., p.t57. ¹gtr Left Review, No. I46 27. quoted in Alan Sked, Brit(J I986. I-fz, Field Day Theatre Com- 3x. George Walden, The pany, Derry> I983-86. Times,zo December, I986, x3. Patrick Wright, On Living op.clt. in ttn Old Country, Verso, 3z. E. H. Gombrich, 'The I985> pp. I62 — I9I. embattled humanities', Unix4. Advertisement in the versitiesQuarterly, Vol. 39, Orsctrditzn>I3 April> I987. No. 3 (Sulnmer, I985), p.x96.

Adelphi Terrace, 59 Acsthcnc Undcrsranding, The'. Essays in rhe Philosophy of An and Culture, 15on Albert Docks, Liverpool, ioa, tot

f'I

Alcesten and r975 Heritage Year Award, 98 Alfriston (Sussex): the Clergy House, 56 All Creamrei Great andSmall (BBC TV), 39

All-ParliamentaryCommittee I' or the Heritage, 31, 32

j. I.

!

iI

Amery, Colin (witb CruiCkahank:The Rape of Britain > 37> 14911

Amis, Martin: Money, t45 Ancient Monument and Archeological Areas Act (1979)> 25 Ancient Manuments Act (r88z) z5 Ancient Monurnents and Historic Buildings Division, see Dept of the Environment Ancient Monuments Board, 55, 89 Ancient Monuments Society, z6, 37, 55 Anftefd Plain: and Beamish Open Air Museum, 93 Annaghmakerigg:Tyrone Guthrie Centre, t I

Annan, Noel: 'The Intellectual Aristocracy' in Studhc>in Enghsh Social History, 64, 15on Antrim, Lord, 55 Archbishop of Canterbury: Comnussion on Urban Pnonty Areas, 37 Architectural Association, 74 Architectural Heritage Fund, z7 Architectural Heritage Year (1975), 98 A rchitcctural Review (magazine), 36 'Architecture of Leninism, The', see Scruton, Roger Area Museums Council, 88 An History (journal), 15zn Artley, Alexandra (with Martin Robinson): The >VowGeorgian Handi>ook, 77 15 lit Arts and the People, The, 113, t5in

Arts Counml,9, to;and abohuon of

metropolitan county councils, I i 5 — i6; and 'community arts', i 11; and estabhshment of cultural mearungs,

ro8; and House of Commans Select Committee (198z), 114; and principles of 'quality' and 'relevance', I in-r r; and regional arts associations, r 11, 114; and Saatchi's, account director of, as newmarketinghead, izs; TheA ra and the People, 113, t5in; compositian of, r o9; Enquiry by Dept. of Education and Science, t14; estabhshed, io8; funding by, rri , 115 — i 6, 117, Iz6; funds, lack of, t i s, 120, 122-23; The Glory of the Garden, 116, Iz8; Government subsidy, i 11, 112, 119-20; grant as sign af approval from official culture, izz; A Great British SuccessStoty, tz s> 15zn;

Hayward Gallery, as exhibition space of, 127; in 'The Intellectual

Aristoc acy' r (essay),64;internal enquiry, r 14; internal structure

(advisory panels), Ia9, (new markeung division), Izs, (power shifts), I t3, (reorganisatian), tz8; and new languageof art,iz8;members, qualification and specialist knowledge of to9-I io membership selection process of, 112) Ministry of Arts, Heritage and Tourism (possibility), threat from, 114, Sir Wtfham ReesMogg as chairman of> 107 113> 117;

relationship with politics, ro8> 109, 111, 113, 117-t8; Angus Stirling and,

55; and see Lord Gibson, Lord Goodman, Luke Rtttner, Kenneth Robinson, Sir Roy Shaw Arts, Poh'ties, Pmver and the Purse, The {international conference), i t7

Ascherson, Neai, 14o-41; in Polirical Quarterly, t 5zn Ascot:race meeting, z9

Ashmolean Museum, Oxford, 86 Aslei, Ciive, 76, iz7; and Country Life, 98; The Last Country Houses,73 15atl; Qu>ntan Tony> The Revival of

Archnccturc, t5on; (with Powers) The 7>fat>'onaf Trust Book of thc Englt'sh Hours, 53, 15oll

Assomauon for Business Sponsorship: and BusinessSponsorship Incentive

Scheme (launched by Lord Gowrie), I z4; andThe Reusable Rise of A rtuco Ui iz6 An nual Rcport 198586 —

tyzn; founded (1976), iz3; Lord Goodman as chairman, rz6; Norman St. John Stevas and grant to, 124; Colin Tweedy as director, Iz6, iz s Association for Industrial Archeology 89 ASTMS, 15zn Atkinson, Frank: and Beamish Open Air Museum, 95

Baker, Kenneth, Min. for Education, !22

Baldry, Harold: The Case for the Ans, 151n

Baring family, 73 — 4 Bannouth (Wales), 56 Barratt housing, Dulwich, 76

Bamngton Court (Somerset), 57 Bath (Avon), 35 Bath, Marquess af: and Longleat House (Wilts), 63 Bayley, Stephen, 139 BBC Radio: (Radio 4) A Future for thc Past, I i

BBC Television: Ag CreaturesGreat and Small, 39; (Newcasde)TheMan frtho hfadc Beamish, iz Beamish Hall, 93 Beamisb Open Air Museum, Newcastle, zr; community programmes and redundancy, io4; Frank Atkinson and,

95; funding for, 93; Geordie's Heritage Day, 32; reconstructians, 93 — 5,97; site, 93 Beatles, the: Sergeant Pepper's Lonely Hearts Club Band, z9 Beatles Museum, Liverpool, 83

Beaulieu Abbey (Hants), 63 Bedford, Duke of: and Woburn Abbey (Beds), 63 Beeching Report (1963), 38 Bell, Daniel: The Coming of Pcs>Industria Society 39 — 41 149>i Beff, Vanessa> 77 Bennett, Arnold, 18

Benson, Sir Henry (now Lord), 65; and Benson Report (I 968), 65 Berlin: Altes Museum, t34

Betjeman, Sir Jolm, 28, 29

'Bcoadiands, Dishing up the looi ai' in

Bicknall, Julian: designs for Henbury Hall, Macclesfield, 74

London Daily Xetus, 14gn Brockhampion House, 6 t

Big Bang: and the 'Heritage City', i.o4 Binney, Marcus: and Country Li fe, 58;

(ed, with Lowenthal) OurPast Before UscWhy Du We Save It?, t 5on; (with Hanna)Preserve and Prosper: The Wider Economic Benefitsaf Conserving

Historic Buildings, 98, 15 in; and SAVE Britain's Heritage, 58 Black Country Museum, 97

Blackpool, g Blickling HaU (Norfolk), 6o

Buchanan, Dr Robert A., 89; Iuduscnai Archeology m Bniain, 15 to Buckingham Palace> London> 77

Bulldog Drummond, r42 Burgess, Roger: and The ?(fan Who Afadc Bcamuh, 11-12

Burton, Anthony: Remains of a Revolution, gr, 15rn

BusinessSponsorship Incenuve Scheme, 124 126 1 27> 128

Butler's Wharf, London Docklands, 139

Boston: urban renewal scheme, 38 Bournemouth Symphony Orchestra, t r 5 Bradenham Estate: and the Ministry of

Defence, 65 Brendt, Bill: Lircra>y Bn'tain, 28

Brantridge House (Somerset), 76 Brett, Lionel: Landscapein Disr>ass, i4gn Bridcshead Revisited(Grenada TV), 51 — 2; Castle Howard and, 69; Lord Olivier as Lord Marcbmain, 51, 64 BndesheadRevisited (Waugh), 51, 54, 15on; chapel, z8; house as symbol, 6o,

64; reissued (1959), 64 Bristol (Avon), 4z, 14o Britain's Cuuuayside and Heritage >If agasinu> 79

Britain's Decline:Problems and Perspecrivci, 15on, 15zn Britain's Beri cage TheCreaciox of ihc I>Iatumal Heritage Memorial Fund, r5on, tyzn Bnrain's Histori Buildingsi A Poluy for iheir Future Uss, r49n, 15on

British Association of Nature Conservationists, 65-6 British Council: and the influence of 'The InteUcctual Aristocracy'(r955), 64; and The Treasure Housesuf Britain (exhibiuon> 1986)> 52j funding> 120> responsibilities> tzo

British Expeditionary Force (1940), 142 British Film Institute, izo British Library, 86, rzo British Museum, 67, 86

British Nucdear Fuels: Windscale Nuclear Power Station (Sellafield), r36 British Rail, t5 British Steel Corporation: and Consett Steel Works closure> 95

Briush Telecom, zo British Tourist Authority, 67, t 51n; Britain'1 Bisraric Buildiogs: A Policy for their Future Use, 14gn

Briush Trust for Conservation Volunteers, 27 British Waterwsys: and Wigan Corporation, r g Britten, Benjamin: Peter Gnmes, z8

rhe Arts and Reporc (t98z), roy-ro8, 109 — I to 114 115 Select Committee

on the Land Fund and Report (r978), 7o; Select Committee on a Wealrh Tax, ! 50tl

Commons, Footpaths and Open Spaces PreservationSociety, z6,56 Conrad, Peter: in Tatle>,zg, 29, 1490 Conran Foundauon: Museum of Design, Butler's Wharf, r39; Stephen Bayley 2nd, 139

Conservafive Governmem: abolition of metropolitan councils, 1 t 5; and Arts

Board of Trade, 87

Booker, ChristoPher (with Lyceu Green): GoodbyeLondon, 149n

dunvg rg86, i5zn; Norman St John Stevas and, it t; Select Committee on

Cabinet War Rooms, Whitehall, 83 Calke Abbey (Derbyshire), 72 Campden Tower, Nutting Hill Gate, London, 36 Canterbury(Kent),35'archbishop of,37 Capital Transfer Tax: Act (1975), 68; exemptions, 68-9 Cardsof Identity, 63, t 5on Carter-Brown, J., dir. of National Gallery of Art, Washington, 5z

Carnvright, Jim: Ruad, t45 Casefor rhcAns, The, 151n astle Howard (Yorkshire), 51, 5z, 69

avesof Ice, r yon Channel tunnel, to4 Channon, Paul, Min. for the Arts, 112, 113

Charleston Farmhouse (Sussex), 77 Charteris, Lord, 32 Chatsworth House (Derbyshire), 63, 73, 136 Chatters, Clive (with Minter): in Ecos.A Reuters uf Co>uervaiiun, r5on Christie, Agatha> 35 Christie's Auctioneers, t 19 Church of England, 24

City Limits (magazine), t 5 rn Civic Trusr> 26> 27> 36> 98

Clark Michael, 145 Cleary Fund, 6o Cliveden House (Bucks), 6o Coalbrookdale Iron Works, g3 Cole, Henry, 86 — 7 Colefax 81 Fowler, 77 Cominguf Post-Indusasal Society, The, 39-41, 14'9tl

C'ommission on Urban Priority Areas, 37 Committee for the Review of the Export of Works of Art, 119 Commons, House of: All-Party Environment Committee (ig87), ioz; and English Heritage, ioz; and Merseysidemuseums, too; and Nauonal Trust, 55; Historic Buildings and Ave(em>Monumcuts (First Report of Environment Committee),t4on; Richard Luce and, t rg-zo; Public and Pcivace Funding af iheArcs, 151n,

15 an; Rcput i by theA(in>scarfor ihc Arcs on Library and in formationI>lances

Council, tr3, rr8; and business sponsorship, rz3; and education, izi22; and housing, 35; and public spending, tzo; and redevelopment of London, 37; and cultural expenditure, trr- t z , t i g , t zo; as philistine in approach to arts, t45; cultural policies

for '8os of, tzz; National Heritage Bill (1979), 7o; politicisation of management of the arts, 1 t8 Consett Steel Works, 95 Constable, John, 5z, 7g, 136 Consumers Assomauon, 55 Continuing Purpose, The: A History of the >Vaiional Tivsr, iis Aims and Work, 1 5011

Conway suspension bridge, gr Cookson, Catherine, 29, 97 Le Corbusier: and James Srirling's designs for Staatsgalerie, Stuttgart, r 34; and the Weissenhof Siedlung, Stuugart (igz7), 134; Le Corbusieri A cchiuci of ihc Century (exhibition), 127

Corby (Northants), 97 Cormack, Patrick, 32,' Berirage in Danger, 67, 68, 14911, t5011

Cornforth, John, 58; Country Houses in Bn'rain — Can They Sun>ive?,67; in National Trust Studies, 15on Cu>unaium Siceei (Granada TV)> 37

Cossons, Neil, dir. of Science Museum, z4, 88-89,103;asformer dir.of Ironbndge Gorge Museum, 89> 138> (ed. with Hudson)Induirnal Archcolugiiis Guide rg6g, 115n; an industrial museum movement, 104, r38; on history, 138

Councd for British Archeology, 26, 27>

gg Council for Small Indusrries in Rural Areas, z7 Council for the Care of Churches, 26 Councilfor the Encouragement of Music and Arts: as foundation for the Arts Council, iog — rog Council for rhe Protection of Rural England, z5, 26

CounoyDancing (play), 145

Count>yDiary of an Edtuardian Lady,

The, 3o, 31, r4gn CountryDiary Book of Ccafii, 30 CounoyDiary Book uf Knititug, 3o Country Homesaud Iucenars (magazine),

77 Country House Scheme (National Trust), 59, 6o, 64, 65 Count>yHmuei in Bri cai x — Can They Sunu've?, 67 — 68 Counuy Landowners' Association 67, 7 t Cuunny Life: early history of publication, 57;editorialstaff,58;and John Coroforth's report (Cuuuvy Bauscs in Britain), 67 — 68; unitators, 77-79

Counvy Living, 7g Countryside Commission, zo, 25; and Groundwork Scheme, 27 Courtauld Institute> 55

Courtaulds: and Trencheriield mill, r 9 Crafts Council, z7, 55; and cuts in funding, izo Cragg, Tony, i45 Craig, Sandy (with Woddis): inCity Limits, 15tn

Crine, Simon: in National Campaign for the Arts igccus, r5zn Crucible Theatre, Sheffield, rz6 Cruickshank Dan (with Amery): The

Rapeof Britain, 37 Cultural Policy (Council of Europe), t 520 Cummins, Kevin, r3r-32

Associauon ioo fundmg Derehct Land Grant, too; grants to National Heritage Memorial Fund> 70; responsibiliues for buildings and ancieni monuments, 118-10; Traasfu>mmgour Waits Land: The Way

Fonuard, 15on D eparunent of Trade and Industry, roz, ri8

D erby family, 73—74 Derelicr Land Grant, roo Derwent, Lord: as first chairman, the Georgian Group, 59 Derwent Valley Foods, 95 Design Counml, 55 Dc>i>ac>ionof ihe Cuuxi>y Rome, The

(exhibition), 53, 68, 73; (catalogue) 53, 68, r50n Development of Tourism Act (196g) z6 Development Corporauons, 99-101 Devlin, Polly: in Country Living, 7g,

r5rn Devonshire, Duke and Duchess of, 73; and Chatsworth, 63 Dickson, Andrew: in Environmental Iurc>prerattoa, 15on Dilnot, Clive, 132 — 133> in Arc Risiu>y, 1520

Divorce Act (i969), 41 Dissoluuon of the Monastenes, 6z Donaldson, Lord, Min. for the Afls> 113

Daily Mirror: readers, 139 Dalmeny: and the 7th Earl of Rosebery,

Drouais, Francois-Hubert: porrrait of Madame de Pompadour, 7o Dufours Place, Soho, 74 Dunkirk, the spirit of, 136 Dunn, Perer: in the Independent, r5rn

69 Dalton, Hugh: Chancellor of rhe Exchequer, 61; and Nauonal Heritage

Economist, The(magazine), 89; and The Treamre Buaics uf Britain (exhibition),

Cutacre Clough (Lanes), ro5

Memorial Fund, 7o — 71 Darby, Abraham, 91 93 Dartmoor PreservationTrust, 139-4o Davies, Chnsue: Permissive Bniainc

Social Change.iuthe Sixties and Seventies, 14gn Davis, Fred: Ycarmng for Yesterday:A Sociologyuf I>iuscaigia, 45, 46, 135, 15on Deanery Garden, 57 Dennis, hligel: Cardsuf Identity> 63,

r5on Department.ofEducation and Science: and Arts Ministry, 1t 1, it z; Ministers

for Education, tzz; scrutiny of the Arts Council (tgyg), t 14 Deparunem of Employment, ioz Deparunent of the Environmem: Ancient Monumenrs and Historic

Buildings Division, 97; and establishment of Historic Buildings and Momuments Commission, tot;

and local aurhorities (Architectural Heritage Year), 69; collaboration with Office of Ans and Libraries, 1 19; collaboration with Rural Preservation

52, iyon, 151n Ecusi A Review uf Cunseruauun (iournal),

r 50n Edinburgh Castle, 136 Ely Cathedral (Cambs), 98 — gg Emmecdale Farm(Yorkshire TV): and Washburn Vafiey Yorkshire r35 English Culture aud thc Decline of chc Ivdussnal Spini, 141-42, iyzn English Dug ai Home, The, 30, 149n

English Heritage: All-Party House of Commons Enviroruneni Committee and, roz; apparent surrender of direct government conuol, to8; foundation, 3r, r42;sponsorship from Gateway Foodmarkets and English Tourist

Board, ror-roz; tide, roi Eoghih Heritage Mvmruc, ioz, 1490; (1977), 87, 151n EnglishSeason, The, r4gn English Social Hnco>y(journal), r 5on English Tourist Board, zo, z6, tot — ioz; English HeritageMonitor, toz, 149n,

r5rn Eughshman's Room, The, 30 1490 Enterprise Neptune, 56, 64, 72

Environmental Ince~cctanun (journal), 14gn, ryon Erith, Raymond, 74 European Architectural Heritage Year (1975), 31, 67

European Economic C ommunity, zo, z6 Euston station, London, arch of, 89 Exeter (Devon), 35 Expuri of Works of Art ig85 — 86 15zn

Fans About the Arcs,z7, 14gn Falklands War, 47, 136, 142 — 43 Farm Capital Grants Scheme, 3g Farrell, Terry, 132 Fatal Shore, The, 15zn

Faulkner P A 97 — 98i n/au>nal for

chs Royal Society uf Arri, 151n Fedden, Robin: The CuorioumgPurpose: A Hucu>y uf the I>ianonal Trust, iis Aims and Work, 15on de Ferranti, Sebasuan: and Henbury Hall, Macclesfield, 74 Festival of Britain, z8 Field Day Theatre Company (Ireland) i36, 15zn

Finance Act (1031)> 38 Ford Motor Company: and The Treasure Huurci uf Briiam (exhibition), 5z; and the National Trust Handbook, 127

Foreign Office, rso Formby, George (Senior), r6, rg Fountain Society, 26 Fowler, John> 77j and sec 'John Fowier'

Fowler, Prof. Peter, Newcasrle Uiuversny, and Royal Commission on Ancient Monuments> 98i on history, 1 35; in Our Past Before Hsi Why Do We Save Ici i5 1 n 1 5zn Fried, Merc, 38

Friends of the Earth, z5 fringe theatre, 123 Futurefor the Past, A (BBC Radio 4), 149n, 150n, 151n, 152n

Garden Fesfival, Liverpool (1984), 99100

Gateshead, 93 Gateway Foodmarkets: as sponsors, toi Georgian Group, z6, 59, 6o Getty, John Paul: gift to National Gallery, iz3 Gibson, Lord, tog Gillies, Alastair: The WayWe Were> 14911 Gilraxd the Gingerbread,The: Or How tu Live in a Stately Home aud kf ake Money, ioi, ryon, iyrn

Girouard, Mark: architectural editor, Cuuvoy Life, 58; contributor to The Treasure Houses uf Brimin (exhibition

catalogue), «5 Glasgow: People's Palace Museum, 32, 45 Gkay of ihe Garden, The, 151n; 'A

Suategy for a Decade' (sub-uric), r t6; proposals for internal reorganisation,

tz8; proposals re funding, t 16 — r7; Rudyard Kipling and title, t t6 Glyndebourne Opera, 124 Gombrich, E. H., 144; in Univeriiiies Quarterly (journal), 1 5zn Goodbye London, 149n Goodman, Lord, to8, lz6; in ABSA Annual Repvri, z 52n; in the Observer, 15 in

Goodwood House (Sussex), 72 — 73 Gowers, Sir Ernest, 6z Gowers Report: Housesof Oniiianding

Hirivrt'c or Archiierinral Interest (r 95o), 62, 63, 15011

Gowrie, Lord: and abolition of metropoliran county councils, 1 r7; and Business Sponsorship Incentive Scheme, 124i and development strategy of Tke Glory of the Garden, 117; and Royal Opera House, r r4; and Royal Shakespeare Company, 1 14; as Minister for the Arts, 112, 114, 1 17; as

Treasury spokesman in the House of Lords, z rz; chairman of really Useful Group, r tz; chairman of Sotheby's Auctioneers, 112 Grant, Duncan, 77 Graves, Michael, 13z Great BnnshSuccess Story, A, zz8, 15zni Great Chatfield, 6o Great Durunow (Essex), 76 Grear Exhibirwn(1851), 86; and Henry

Cole, 87

GreaterLondon Arts Quarurly (journal), 152n

Greater London Council: abolition (ig86), 1 t 5; and National Theatre, zz6; post-abolition period of adjustment, 117; responsibilities of, ir6

Greater Manchester Council, 19, 20 Groundwork Trusts, 27 Guardian, the, 14gn, 15zn Guinness, Alee, tg Gwent: Big Pit colliery, 97 Hackett's (outfitters ), 3o

Halifax family, 73-74 Hambro famiqy 73 — 74 Hampton Court (Surt ey). 43 H anbury HaU(Hereford gt Worcester): National Trust Yourh Theatre at, 7z Hanna, Max (with Binney): Preserve and Prviperi The Wider EconomicBenefits vf ConservingHistoricBuildings, 98, 15tn

Hardy, Thomas, zg H areven,Tamara (with Langenbach): in Onr Past Before Us: Why Dv We Save Il?, 45, 15on Hart, Rosemary: and A Furorefor the Past, 11

Haslemere Estates, 74; as sponsors, 127 Hawkimvvr, 145

Hawthorn Leslie shipyard, Hebburn

(Co. Durham), 95-97

Hayward Gallery, London: Le Gorbnner: Arrhirecrof the Century (exhibition, 1987), tz7; Renoir (exhibiuon, lg85), 127

Healey, Derus, 69 Heathrow airport, z4 Hebburn: Hawthorn Leslie shipyard, 95-97 Henbury Hall, Mscclesfield (Cheshire), 74 Hepworth, Barbara, r36 Heritage City, London (proposed), lo3 Heritage Co-Ordination Group, 3i; and Patrtck Wrtght, 3z

Heritage Education Trust, 31 Heritage Foundation (USA), 3t Henrage in Danger, 67, 68; Roy Strong's troduction to, 46-47, 15ou Heritage in Danger (campiugn committee), 3 r, 67, 68, 69 Her(rage. The BridihRevww (magazine), 79 Heritage Projects Ltd: and the Jorvik Viking Cemre, 83-84 Heritage USA, Carolina: and Praise the Lord fundamentalist Christian TV, 3z Heritage Year (lg75), 98 Heseltine, Michael: and English Heritage, t42; and establishment of Historic Buildings and Monuments Commission for England, toz; and

Quinlan Terry summerhouse (198o), 74 and strong association with Liverpool, 99-zoo; as former Secretary of State for the Envuonment, 43, 74, gg, 142; Where There'1 A Will> 149u, 15on, 15zn

Hmton-le-Hole (Co. Durham), 93 Hewison, Robert: Tov hfuch, 1 i

Hill, Octavia, 56 Hihon Hotel, London, 36 Hhtvric Buildingi and Ancient Monnmenrs

(First Reporz of Environment Conunittee), 14gn, 15rn Historic Buildings and Monuments Act

(1953), 62

Historic Buildings and Monuments Commission, z5, lor; andlee English Heritage Historic Buildings Council: for England, 55, 6z-63,lot; forScodand, 6z;for Wales, 6z Hisroric Farm Buildings Trust, 26 Histotzc Houses Association, 54, 7r; and Parliamentary Select Committee, 67; founded in Historic Houses Committee of the British Tourist Authortty, 67; George Howard as chairman, 69; house journal, 79 Hoggart. Prof. Richard, 113 Holden, Edith: The Country Diary vf an Edtvardian Lady, 30 14911

Home Ofiice, 118; and seeDouglas Hurd Hovzs> 29, 32

Hvw WeUsed Tv Live (exhibition), Yorkshire Museum, 83, 88 Howard, George, 69 Hudson, Edward: and Edwin Lutyens,

57; owner ofRacing Illustrated/Country Life, 57 Hudson, Kenneth: (ed. with Cossons) Industrial ArcheologisrsGuide r969, z51n Hughes, Robert: The Fauil Shore, r5zn

Hurd, Douglas, Home Secretary, r4o Hussey, Christopher, 58, 6o; architectural editor, Cvunny Life, 58 Hutchinson, Jeremy: and ihe Arts Council, 114 Ideal Home Exhibition (1986), 3o Imperial Tobacco: as sponsors, 124 Independenr, the, r 5on, 151n Industrial Archeology in Britain, 151n Inflation in the Arri: and gross domesuc product mfiaror, lao Inner City Partuerships, 99 Institute of European Defence and Strategic Studies, London (1979), 32 'Intellectual Aristocracy, The', ree Annan, Noel International Monetary Fund, 42 Ironbridge Gorge Museum (Shropshire), 89; director, Stuart Smith, 143; former director, Neil Cossons, 89, 138; tustory of foundauon, 91, 93; m compairson withother industrial museums, gr — g3; site and exhibits,

gz — 93; Ironbridge Gorge Museum Trusty 93

Jackson-Stopps, Gervase: (ed.) The Treasure HousesfoBritain: Soo Yearsof Private Patronage and Ari Collecting,

z5on Jameson, Fredric, 134-35; in New Lefi Review, 15an Januszczak, Waldemar: in theGuardian, iz6, 15zn; on post-modernism, z3334; on the purpose of business sponsorship, lz6, 127 Jehu, Jeremy: in the Srage, 15tn Jenkins, Hugh, Min. for the Arts, 67, 68 Jenkins, Dame Jennifer: and the Anaent hlonuments Board, 55; and the British Association of Nature Conservationists, 66; and the Design Council, 55; and the management commirtee of the Courtaujd Institute, 55; chairman of the National Trust, 65; former

chairman ofConsumers' Association, 55; former chairman of Historic Budchngs Council for England, 55( former secretary and president (t985) of Ancient Monuments Society, 55; w ife ofRoy Jenkins, 55 Jenkins, Roy, 55 John Brown Marketing and Development Services, 149n 'John Fowler' in National Trust Studies, 15on Jones, Arthur: Bntain'1 Heritage: The

Creationof the Rational Heriiage Memorial Fund, 15on, i 5zn Jorvtk Vtkmg Centre, York, 83-84

Joseph, Sir Keith: as Min. for Educatloll, 122

gotanal of the RoyalSociety of A ra, 15 z n Judd, Judith: in rheObserver, z 52n

Development Corporation, Mersey

Docks and Harbour Company Tate Gallery of the North, Toxteth Liverpool-Leeds canal z6 Lloyd-Webber, Andrew: Really Useful Group, zlz Local Government Act (1948)~ zz5y 120121

Kedleston Hall (Derbyshire), 72

Kennedy, Presidem (US): assassinauon of (zg63), 46 Kershaw, Sir Anthony, zz4 Kiefer, Anselm, 133-34 King, Elspeth: as curator of the People' s Palace hluseum, Glasgow, 45 King's Walden Bury (Herts), 74s 132 Kirkby, Merseyside, 37 Kohl, Chancellor (West Germany), 3132

Kureishi, Hanif: My Beaunftd Laundreae, 145 Labour Government, 35, 36, 37, 61, 62,

70; and inner civy partnerships, 99; and Liverpool, 99; defeated (1979), 69; economic arguments with regard to the arts, 129; wealth tax, green paper on,

66 — 67 Lacock Abbey (Wilts), 6o Lake Disrrict, 56, 65 Landmark Trust> 26> z7 Landscapein Distress, 36, t49n Langeubach, Randolph (with Hareven): Our Pari Before Usi Why Do We Save Ir?, 45, 15on Lark Rhe tv Candlefvrd, 98 Larkin, Philip, zu Last Cvunny Houses, The, 73, 15on Lawrt Country Hmaei, The, 73, i'5on Laura Ashley, 10, 77: Laura Aildey Home Decoration 1985, 77, 15 1 n Lee, Jennie, Min. for the Arts, 111

Lees-Milne, Alvilde (with Moore): The Englishman'sRoom, 30, 149n

Lees-Milne, James, 61; Cavesof Ice, 6o,

London, City of, 35, to4 London Daily ¹w s, 14gn London Docklands: Conran Foundation Museum of Design, Butler's Wharf, 139; planning free-for-all, ro4 London factor in sponsorship, zz8 London Symphony Orchestra, 55 London Wall development 36 Longleat House (Wilts), 63 Lords, House of: and National Heritage Memorial Fund, 7o-71; and National Trust, 55; Lord Gowrie, Treasury spokesman to, 1 lz; Select Comrnitree

on Industry (and 1985 Report), gl Los Angeles: new gallery, 85 Loss and Change,r4gn Lothian, Marquess of, 58, 6o Loughlin, Bernard, r r Louvre Art Gallery, Paris, 84 Lowenthal, David: on history, 137 — 38; The Pastis a Foreign Country, 15zn; (ed. with Binney) Oar Past Before Us: Why Dv We SaveIt?, 15on Luce Richard Min for the Arts 83 112 z z7 — r8 14o. on ABSA's decision to refuse grant to TheResistible Rise of Annro Ui Sheffield 126.on language of arts in Campaign for the Arts, hlewr, t5zn; on museums, 84; on relationship between arts and politics, 118, 1 zg-zg, rz6; on role of the arts, 14o; visiting York's museums, 83-84 Lutyens, Edwin: work at Deanery Garden, Lindisfarne Castle, Plumpton Place, 57 Lycett Green, Candida (with Booker): Goodbye London14gn

6z, z5on; member of Georgian Group, 59-6o;secretary ofNa rional Trust Country House Cornmiuee and Scheme (1936), 58, 6o legalisation of aboruon (rg76), 41 Levey, Sir Michael, dir. Of National Gallery, lrg Lewis, Peter, dir. of Wigan Heritage Centre, zr Lewis. Merthyr colliery, Rhondda Valley, 97 Library and Information Services Council, 121, 15 in Lindisfarne Castle (Northumberland), 57 Listener, the, r49n I.iieraiy Britain, z8 Liverpool, 42-43, 99-too, 1 o 1;and see Adelphi Hotel, Albert Docks, Beatles Museum, Garden Festival, Merseyside

County Council, Merseyside

McAlpine, Lord Alistair: and Arts Council, t tz; and column at West Green House (Hants), 79; and projecred triumphal arch 79-8o as collector/patron of the arts, 79; as directorof construction company, 79; created life peer (r 984), 79; Treasurer of Conservative Party, 79, 112 McLuhan, Marshall, 39 Mach, David, 145 The Man Whv blade Beamiih (BBC TV) 12, 152n

Manchester: Development Corporation, tol; metropolitan council, t t6; museum, MSC project at, toz; Royal Exchange Theatre, 21

Manpower Services Commission, 26, 102-104

Mansion House, London, to4

March> Earl of, 7z-73 Marketing Associates Iniemarional, 3o Marris, Peter: Lossand Change, 149n Martin, Robinson, John: TheLatesr Cvunuy Houses, 73, r5on; (with Artley) TheArew Georgian Handbook, 77, 15lti

Mary Rose, 136

Maypole Pit disaster, zr Menunore Towers, 6g Merks Hall (Essex), 76 Mersey Docks and Harbour Company,

zoo Merseyside County Council, too Merseyside Development Corporation, 99, Ioo, Ioi

Merseyside Maritime Museum, too Metropolitan County Councils: changes ro be made, r r5-t6; distortion of infiation figures,lzo; Lord Gowrie and abolition of, tlz, zz5; period of adjusunent. post abolition (1986), 117; responsibdues removed, zz6; spenihng on the arts, 115 Millbank Tower, London, 36 h4illiken headquarters, Wigan, 22 Mzmsters for Educauon, zzz, 144 Ministers for the Arts: claims about

spending, rig-zo; not answerable for Arts Council in Parliament, tog; plans to extend 'challenge funding', zz8; Sir Michael Levey's opinion on, 119; special fund allocations, 1 t4; to appoint members to Arts Councd, 1 zz; and see Paul Channon, Lord Donaldson, Lord Gowrie, Hugh Jenkins, Jennie Lee, Richard Luce, Norman St John Stevas Ministry of Agriculture: Farm Capital Grants Scheme, 39 h4inistry of Arts, Heritage and Tourism

(possibility), 114 Ministry of Culture, (proposed), r 1, zz7 Ministry of Defence: and Bradenham Estate, 65

h4inistry of Housing, 25 Ministry of Public Building and Works, 25

Mussily of Transport and Planmng, 25 Minter, Rick (with Chatters): in Ecol: a Review of Cvraeivarivn, 15on Les Miierablei, 123 Modern Tinui, z5tn Money,145

Montacute House (Somerset), 59, 6o M ontagu, Lord, ofBeaulieu, 63;and opening of the Abbey (zg5z), lol; chairman of Historic Buildmgs and h4onuments Commission, roz; The Guilt and ihe Gingerbread: Hvw iv Live

in a Slaiely Home and Make Money, lot, i 5 on, 15tn

Moore, Henry, 136 Mountbatten family, 3o Mower, Sarah, 3o; in the Guardian, 14gn