Jung's study centres on the amplification of pictures painted by a woman patient and posits their sequence as evincing the initial stages of the individuation process. His text performs a dialogue with its audience whereby Jung persuades us of this truth, and also reveals Jung's dialogue with his patient and with his own ideas. The present paper revisits the clinical material first with a focus on the interaction between Jung and his patient. The second part compares the 1940 and 1950 versions of Jung's study with attention to tensions that traverse them, such as Jung's attitude to the animus and his two voices as a practitioner and a theorist.