“Seth material” search engine (Jane Roberts)

(In Chapter Eight, Seth had said this was my way of trying to see models for my paintings. I hoped to see something really good this evening now that I was prepared, but nothing developed. The only aftereffect was a slight headache, as before, and this soon passed.

(I also learned that no particular painting of mine was involved, nor were my efforts to project this afternoon; that the survival personality was unknown to me, and that the pendulum couldn’t tell me who the personality was.

Then give us a moment…. We have two broken-up periods for you. One very brief, 1611 to 1635. This is Denmark. Then 1638 to 1674. In one of these the information is as I gave it (several years ago). I was a spice merchant, and well traveled. I also carried paint pigments, or what ended up as paint pigments. Now give us time. (Pause.)

(I’ve painted a portrait of Van Elver, who is the fourteenth-century artist [Danish or Norwegian] from whom Seth receives information on painting techniques.^*)

Even the poorer peasants and farmers bought portraits of themselves, however, from perhaps less gifted artists, and many unknowns took payment for portraits in the form of room and board, and painted all the more slowly.

Two friends continued to travel and paint, however, and visited you occasionally, and you envied them to some degree. One became fairly well known at the time. His name was Van Dyck, but not the famous one. You loved your land but blamed it also, thinking that perhaps you might have been well-known as an artist had you not obtained it.

You thought you would settle down and paint on your fine farm, but instead you turned into a farmer, and a lecherous one at that. There is some connection here with your ambiguous feelings about money now, you see, and possessions.