“Seth material” search engine (Jane Roberts)

(His head was bare and his hair blowing in a wind. The portrait was life-size, from the knees up, very dramatic and bold in concept and detail, and very effective pictorially. I was delighted to see it, and was at once sure I was capable of producing such a work. The Gallaghers visited us Saturday evening, December 2. I did not see them arrive, but witnessed their departure. I had not mentioned the vision to them, and asked Jane to wait before she did so. As Bill Gallagher walked down the hall away from us upon departing, I saw that he wore a long black coat with I believe a hood upon it—a garment quite like that he wore in the vision, and one I possessed no special knowledge of in his wardrobe.

(When I became aware I was seeing it, I faced it and tried to prolong its existence. As soon as I realized this conscious effort I relaxed, in hopes that this would encourage its longevity, but the vision faded and did not return. I drew a quick very rough little sketch of it, dated it, then told Jane about it. I hoped Seth would mention it this evening.)

Now. You are already the self who will paint that portrait. The insights that will lead to it already exist. You could refuse, but the lines of probability so far are against this. The book you are reading puts things simply enough to be immediately practical. You will discover a rather powerful impact upon your lives, both of you, as a result of it.

There is much more here that the author does not understand, but he has hit upon excellent methods, and you can take advantage of them. The paintings that you will paint do exist, because you have in one sense the potential to create them. (Jane again lay down.) They exist in potential form. It is not true however that anyone else could pick them up, so to speak, from cosmic energy. They are attuned to you, and only your particular individuality is equipped to pick them up. Do you understand here?

(Looking up the address of this publisher, she was further surprised to learn that it was at 386 Park Avenue South, New York City—the same address as Frederick Fell, the publisher of her ESP book. But for a further surprise, Jane also learned that Liveright’s editor is named Pell—very close indeed to Fell.

You have a wealth of painting material, of potential forms to draw upon. They are simply yours for the asking. They are paintings that no one else can materialize in physical form but you. Knowing this gives you a great advantage.

(9:46. Jane said she was pretty far-out during the session, and that Seth was “on a kick” about the data concerning painting. He could have continued, but we decided to cut it short.