“Seth material” search engine (Jane Roberts)

(Rembrandt’s technique has been the subject of much speculation over the centuries. Especially when he took to piling pigment up to a thickness of a quarter of an inch in such paintings as “The Jewish Bride”—a masterwork. It is thought he used stand oil—heat-treated linseed oil—and varnish of various kinds as a medium. If he added anything else to his pigments it would be well worth learning about.)

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.

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.

(Lead white, for centuries, has been the recommended white pigment for oils, and indeed before this century was the only white available, as far as I know. It is poisonous. Even today most authorities still regard it as having superior properties to all other white pigments. In this life, however, I prefer zinc white.)