1230. I have to admit that I did not understand what she was talking about, and I could see from the expressions on the faces of the other students that she was trying to explain an idea that was over our heads. The images projected on the wall did not seem all that different to us, and her presumption that this or that style of painting represented different personality types was lost on us. Seeing our perplexity, she tried to go into more detail.
1231. "I want you to picture a studio class in the art department of a university," she said. "It is a painting class, all the students have canvases set up on easels and are hard at work. In the room are these two types of personalities I have been describing, but for simplicity we will concentrate on just two of them. Charles Ralston-Purina, who grew up in Bolivia, and is on scholarship, and Emma Holdemback, who studied egg tempera painting in high school."
1232. Emma has learned all she knows about art form her high school art teacher who did restorations of old tempera paintings in his spare time. Emma was fortunate to get to work on the under-painting of the restorations in her teacher's studio. Then there is Charles Ralston-Purina, his father is a Spanish Diplomat stationed in Bolivia, and when Charles was a teenager he got to be an apprentice in the atelier of the great abstract obstructionist painter P. Dubious Furious.
1233. Charles also got to work on under-paintings as a student, he did the monochrome under-paintings of P. Dubious Furious' gigantic canvases, canvases which, in symbolic form, call to mind something between earthquakes and tidal waves as visualized in the nightmare dreams of an hallucinating paranoid schizophrenic.
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