“Seth material” search engine (Jane Roberts)

Ruburt has learned to make compromises, not always gracefully, but he has learned that they are sometimes important. He is against them on principle however, and very straightforward in his approach. He saw your life adding up to a circle of compromises – compromises that would cost you your vitality, both of you, in the end.

Now apart from that, Ruburt has his own feelings, which are somewhat exaggerated, but he also usually tries to disregard them emotionally. He says “I overreact to Rob’s mother,” and intellectually then says “that is silly,” but he never allows himself to experience the feelings themselves. He does not want to hurt you. He does not want things to be unpleasant.

(9:45. True, Jane didn’t express those feelings to me in those terms, but she let me know she was quite upset, etc. Resume at 9:52.)

I of course will also be present, and perhaps vocally as well. (Humorously.) But there are some interchanges that I would like you to become aware of, that can be done in practice. Then I would like to explain them to you. Do you follow me?

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.

(Smile, emphatically:) I am not concerned, because I know the energy available to you, but I do have his concern to deal with.

(“For the last couple of years I’ve been wondering about my strong interest in the painting of Rembrandt van Rijn. When I was a young man in New York City I even saw some of it in the museums, but I don’t recall being that affected by it then. I might vaguely recall some of it, but that’s all.”

You were also close friends. You came from a different country, where the weathering effect upon statues was different. (Denmark? I hated to interrupt with a lot of questions. I thought we could fill in details in later sessions.) This is a long subject however. There was difficulty with varnishes, sometimes drying before the color upon which they were applied. Also varnishes that did not dry evenly, but with accumulations of oils resulting. On frescos this was disastrous enough.

Attempts to paint sculpts however that were often for outdoor use sometimes resulted not only in running together color, but in a mold that built up between layers of color.

(I know little about efforts to paint sculpts, but the above sounds very possible, re the mold.)

Too much oil facilitated the growth of certain molds. Lead white often stopped the growth of the mold, but it was too harsh a color. The lead content stopped the mold.

(10:38. This proved to be the end of the session. I wanted to learn more, but we were both bleary. Jane’s pace had been average with this material.

(The Rembrandt data is surprising, and raises many questions. According to Seth I lived in Denmark in the 1600’s. I was a painter as a younger man, then gave it up for the more respectable role of a farmer, at which I was quite successful. I do not know whether I traveled to Italy, or at what point in my life age-wise. Perhaps I was there before giving up active painting. I believe I farmed in Denmark, but there is much here that we don’t know. Denmark and Holland of course are close geographically.

(Several years later Jane gave me another gift—a book on the artist Rembrandt van Rijn. This hasn’t been published—but will be in the later volumes of The Personal Sessions. I’ll explain the circumstances of her producing Rembrandt when presenting the first passages of the book.)