I can remember two things that were well, sort of markers again… trying to remember things. One was going to, this was 1951, and going to… what was that exhibition called? The Festival of Britain, and, again when I think about pictures that I liked, or thought about, or was influenced by at the time, I generally think it was much earlier than I would have imagined. Because I suppose then I was 19, and I can remember going in there, and there were quite a lot of pictures there. There was the Lion and Unicorn Pavilion, with Edward Bawden and there was Roland Emett, who I'd know because he was in Punch, and there was a painting The Origins of the Land, by Graham Sutherland, and there were paintings by John Minton and by Keith Vaughan, and I remember those because I'd liked Minton, but I thought he was a very good illustrator, actually. I thought he was much better as an illustrator than as a painter. And this was rather a big painting, and it was good, but what was interesting was that Vaughan who… they were those sort of neo-Romantics, which you know, I was tremendously influenced by them at the time, wanted to be like that. But what was interesting about Keith Vaughan was he'd actually changed his style. He'd stopped being a sort of Samuel Palmer-type Romantic, and had become the sort of broad figurative painting that he went on doing after that. That was one thing. Another thing at about that time was that I must have… I think it was then that I bought a copy of Tristram Shandy, illustrated by Brian Robb.