Europeans may have lost faith in their politicians, but at the core of the European system of government there is something that even the most radica… - Tony Judt

The logic of the Marshall Plan required the lifting of all restrictions upon (West) German production and output, so that the country might once again make its crucial contribution to the European economy. Indeed, Secretary of State Marshall made clear from the outset that his Plan meant an end to French hopes of war reparations from Germany—the point, after all, was to develop and integrate Germany, not make of it a dependent pariah. But in order to avoid a tragic re-run of the events of the 1920s—in which frustrated efforts to extract war reparations from a prostrate Germany had led, as it seemed in retrospect, directly to French insecurity, German resentment and the rise of Hitler—it was clear to the Americans and their friends that the Marshall Plan would only work as part of a broader political settlement in which French and Germans alike could see real and lasting advantage. There was no mystery to this—a post-war settlement in Germany was the key to Europe's future, and this was as obvious in Moscow as it was in Paris, London or Washington. But the shape such a settlement should take was an altogether more contentious matter.

The diminishing standing of public authorities in matters of morality and personal relationships in no way supposed a decline in the role of the state in the cultural affairs of the nation. Quite the contrary. The broad Western European consensus of the age held that only the state had the resources to service the cultural needs of its citizens: left to themselves, individuals and communities would lack both means and initiative. It was the responsibility of a well-run public authority to deliver cultural nourishment no less than food, lodging and employment. In such matters Social and Christian Democrats thought alike, and both were heir to the great Victorian-era improvers, though with far greater resources to hand. The aesthetic revolt of the Sixties changed little in this respect: the new (‘counter-’) culture demanded and obtained the same funding as the old.

Liberal intellectuals, then, whether of the continental persuasion like Aron or Luigi Einaudi, or in the British sense like Isaiah Berlin, were always distinctly more comfortable than most conservatives with the American connection that history had imposed upon them. The same was true, curious as it may seem, of Social Democrats. This was in part because the memory of FDR was still fresh, and many of the American diplomats and policy-makers with whom Europeans dealt in these years were New Dealers, who encouraged an active role for the state in economic and social policy and whose political sympathies fell to the left of center.