But Roy Stuart’s interest, missionary in intensity, is always centred in the celebration and release of woman’s desire and her deep wellsprings of potential pleasure, which we witness her being encouraged to tap sometimes via ingenuities of polymorph-perversity, othertimes with startlingly direct urgency and need. As complementary, he rightly perceives men’s uniquely satisfying role as (occasional) ministers to that pleasure.

As before, some sequences are sound-tracked, some not: we might long always to hear those delectably varied gasps, sighs, and rare exclamations, but withholding them on occasion helps retain the edginess of the whole. And Roy Stuart’s music grows on one, now underscoring justified excitement, now yielding piquant contrast as, say, gavotte accompanies raunch. To close GL3’s start, after more plump crotches, sunlit sea, placid river, the next two minutes, falling leisurely, take us back to the Eternal City.

In which a barefoot short-skirted brunette simply buys water from a stall, sits on high sunlit steps, critically examines her feet, showing to advantage good legs and nicely-swelled panties… (By the way, all Glimpse women are, cosmetics sometimes apart, celebratedly natural).

However, none of this lead-in prepares us, unless by artful contrast, for the miniature masterpiece that comes next. It deserves its own title-page, but instead we are suddenly embarkedon the most sustained single episode in the series so far.

This is a surely unmistakable essay in tenderness at its most taboo: a lyrically earthy showing of how the sensual education of a pair of blossoming school-girls might be furthered, at a self-revealed moment of maturation – they’re comparing breasts, looking up the encyclopaedia — via the helping hands (yes, literally) of a briefly stern yet complicitly understanding matron. That should, alas, in the world we call real, sound transgressive, subversive — and, girl oh girl, it is both! The lesson we see being delivered belongs in Stuart’s curriculum for, shall we say, Utopia High.

These 25 absorbing minutes are so integrated that they feel almost like a single ‘take’. As well as in the camerawork, there’s nice judgement shown both in the almost total absence of music – just a few delicate chords once or twice – and in Stuart’s unusual holding off, until the episode’s closing moments, from reminding us of the surrounding studio setting. Anna Bielska is partnered here by Tommi, the engaging tomboy-girl waif already encountered by readers in ‘The Big Surprise’, in Roy’s Volume II. Both, protean, can shed years, draw themselves back into the days of giggling awkwardness which the start of this scene demands; both can, and do, gain years during it, via that recognizable gravity of first-enacted desire. Their profiles, just before the close, are glimpsed almost Madonna-like: not accidentally, one surmises. The ‘matron’ has become their angelic accomplice.