ABSTRACT
It was through the study of outline in painting that it became clearer what might be the nature of the spiritual dangers to be faced, if one was to see as the painter sees.
Up to now it was the outline that had seemed the easiest thing to manage. Apparently this is a common belief, for I read:
‘Most of the earliest forms of drawing known to us in history . . . are largely in the nature of outline drawings. This is a remarkable fact, considering the somewhat remote relation lines have to the complete phenomena of vision.’
