There are things that you can learn about particular pictures which you can pass on as information. I think Jim’s approach was very subtle, quite informal and quite spontaneous so that he wouldn’t stand and say the same thing about the same object to every person who joined him. I mean, to some extent what he said was interactive, depending on what you said. He might tell you, standing in front of the Christopher Wood ‘Boat Builders’, which of course used to be in the old house before the extension was built, he would find a point of connection between you and the picture and it might be that you’d been to Brittany, it might be that you recognised some stylistic affinity in the picture. My art historians friends would say, that looks like somebody who looked at Gauguin, and then you’d be off on Gauguin and Brittany and Jim would make those connections. But he’d never let anyone rest at the point of comparison. It was always the object in front of you that was important and what you might learn from it. Of course, because he’d known all of the artists in Kettle’s Yard personally, whether it was Wood, Jones, Nicholson, there was always the element of personal reminiscence and of, ‘What he, the artist, said to me, Jim Ede’.