I used to be the go-between between him and the University and I remember talking to him about, when the extension had been built, I remember talking to him about how he saw the thing in 50 years time, I was deliberately provoking him. I’d just been to Paris and I’d been to the Couloncourt Museum. I said, you know, ‘do you imagine in 50 years time that it’s all going to be like this? You know, how do you see it? Is it going to develop? Is it going to take in new objects?’ He was struck, as if to say, ‘well of course its going to be like this in 50 years time’. I said, ‘well, it can’t be the case. You’re not going to be here in 50 years time, nor am I, who is going to look after it? What’s it’s function going to be? Is it going to be dead?’ Like the Musee Couloncourt, sorry, it’s the Musee Carnavalet in Paris, it’s that museum of the city of Paris. I said ‘I’ve just been there and I’ve seen, you know, bits of Napoleon’s memorabilia and dusty objects and the whole thing looks extremely sort of grimy. He took this in and he came back and said, ‘well, we have to have an exhibition gallery, something that’s moving all the time as well as something that’s static. So the house was eventually the static area and he gave the new young curators quite a hard time over it. You weren’t allowed to move things. Things had to stay the way they are.