“Seth material” search engine (Jane Roberts)

Other developments have been mentioned. I expect that you will play some strong part here on your own, if you want to; this having to do with the reception of Sumari art. (I am more than willing, etc.)

The art and the symbols are closely related, and I do not mean by this that the art is necessarily stylized, as for example the symbols necessarily were. But none of this could have been done, or begun, without clearing the debris that had gathered about you both, emotionally and practically. If you go ahead with the work you are meant to do, it will also take care of you.

(Rembrandt copiously achieved this effect in his later works, especially the last ten years or so of his life. I don’t believe Jane knew this in those terms. I am well aware of it, and want to use effects similar to this in my own work, and have done so at times in past works. I haven’t discussed it with Jane, though, just considering it a technical problem involved in the art, as I would suppose she would work at writing a paragraph, etc.

(There is little available on Rembrandt’s correspondence—a few letters; inventories attached to his bankruptcy in later life, etc. Italy is not mentioned as far as I know. Rembrandt did do business with a wealthy art collector in Sicily, selling him some very famous works—Aristotle Contemplating the Bust of Homer, etc., and a series of etchings late in life. Don Ruffo. Historians generally say, for want of any other facts, that these business transactions were done by mail, etc.