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He remained something of a professional iconoclast. In 1990 he weighed into the debate about Canova’s The Three Graces (which the Victoria and Albert Museum was attempting – successfully as it turned out – to save from being exported to America). “In my view Canova is one of the first of those decorative sculptors whose sentimental ladies in white marble brought such discredit on the art of sculpture,” Caro observed. He steadfastly refused to join the Royal Academy (“too complacent, not enough good art... summer shows a disgrace”) and claimed to have accepted a knighthood only “so that Sheila could deservedly be called a Lady”.

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