Masters and Houston 1966

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S is told to look at the flowered fabric of the couch on which he is sitting and to relate what he sees there. He perceives a great number of faces and scenes, each of them belonging to a different environment and to a variety of times: some to the American Gay Nineties, some to the nineteen twenties, some later. There are Toulouse Lautrec cafe figures, Berlin nightlife scenes and German art from the late twenties and mid-thirties. Here and there, a “Black Art” appears and he recognizes the work of Felicien Rops and drawings like those of the artist who has illustrated Michelet's Satansim and Witchcraft. there are various Modigliani figures, a woman carrying a harpoon, and persons such as appear in the classical Spanish art of the seventeenth century. Most interesting to him are “paintings” like those of Hieronymus Bosch, and he describes a great complex of spawling yet minutely detailed figures which combine to make up a larger comlex of a mountain scene of trees and snow. In another variation, this same complex consists of “a great face with the trunk of an elephant that is blowing liquid on the face of a demon whose body has been trampled into the ground. The elephant is blowing liquid on the face of the demon either in an attempt to revive him or as a gesture of contempt. A herculean male figure rises next to the elephant face. He is trapped to the waist in stone and this marbled stone looks like sea foam, it is so delicate and lacy. Everything blends into every thing else. The herculean figure is also the ear of a face and the elephant-like trunk is the bridge of the nose of another larger, still more complicated figure.” (Masters and Houston 1966, pp. 27-28)

pp. 99 Psychedelic Drugs Reconsidered by Lester Grinspoon and James B. Bakalar (1997)

Masters and Houston 1966