“Seth material” search engine (Jane Roberts)

And with implied words, for the words that are sensed but not spoken, will rush out with color rather than with sound, and behind the implied words those emotions upon which the painting must be based. (Pause.

The particular words are not important, but the emotion behind them is important, for they will—the words and the emotions—be reflected in every muscle of the face, as well as in the thrust of the head and the hands.

The face, in intense (underlined) joy and in intense terror, may often be much the same, but the emotion still will speak within it, and you will know clearly despite the similarity of some muscular effects, which emotion is being expressed.

Between those extremes of terror and intense joy however, where the intensity itself can almost form the same sort of grimace, there are infinite varieties of emotions, these being reflected in every minute shadow and gesture.

Sorrow or fear obviously show different faces—not only (long pause), the anatomy and the structure [that] forms the living face, but the emotions within that give the muscles and the structures meaning, and that play upon them. You want the force that feels the form and so the figure must indeed dominate the painting, as the force within must fill and move within the figure itself.

The power must fill the image, and the image then fill the painting so that the very force of the figure seems hardly contained within it. It is the emotions beneath (smile) that give meaning to the image, and yet these emotions are held and contained and given direction and force by and through the image. (Leaning forward, emphatic delivery, eyes open.)

Now as men wonder about what was Mona Lisa thinking, so let them be so intrigued and so involved that they want to hear your prophet’s unspoken words. Put yourself in his place, and with all of his capacities, and with his wisdom, and what would you be saying, and what emotion would move the muscles of your face?

(At this moment I then consciously knew what my prophet was saying in the painting; the words came clearly to mind: “My God, my God, what am I?” I was tempted to speak them aloud next chance I had, but did not. I hadn’t tried to conjure up these words; the emotional climate set up in the session by Seth had made their release from the subconscious effortless.

The emotion always provides the movement.

Now there are several ways of taking care of such matters. You can build form or a structure with lines, or a face, and leave it and wait for the emotion to fill it up, and then quickly with a touch here and there bring out that which has appeared, the movement that was within the form, that you barely sensed. Or you can perceive the movement, the emotion and the power first, and then paint the form that grows about it to form it.

The painting itself, and any painting, rises out of the empty board through the force of your own emotions, and the board becomes the focal point that collects, draws together and directs the energy from your inner self, into form.