There really is no such thing as Art. There are only artists. - Ernst Gombrich

Even though I came from a Jewish home myself, it never entered my head that such horrors might be repeated in my own lifetime.

I hope and believe cultural history will make progress if it also fixes its attention firmly on the individual human being. Movements, as distinct from periods, are started by people. Some of them are abortive, others catch on. Each movement in its turn has a core of dedicated souls, a crowd of hangers-on, not to forget a lunatic fringe. There is a whole spectrum of attitudes and degrees of conversion. Even within the individual there may be various levels of conviction, various conscious and unconscious fluctuations in loyalty. What seemed acceptable during the mass rally or revivalist meeting may look pretty crazy on the way home. But movements would not be movements if they did not have their badges, their outward signs, their style of behaviour, style of speech and of dress. Who can probe the motives which prompt individuals to adopt some of these, and who would venture in every case to pronounce on the completeness of the conversion this adoption may express? Knowing these limitations, the cultural historian will be a little wary of the claims of cultural psychology.

Whether we know it or not, we always approach the past with some preconceived ideas, with a rudimentary theory we wish to test. In this as in many other respects the cultural historian does not differ all that much from his predecessor, the traveller to foreign lands. Not the professional traveller who is only interested in one particular errand, be it the exploration of a country’s kinship system or its hydroelectric schemes, but the broad-minded traveller who wants to understand the culture of the country in which he finds himself.