“Seth material” search engine (Jane Roberts)

This is the fear that Ruburt felt for you. Now. Your own ideas and goals are worthy ones, and yours for a reason. They have within them the power to develop and mature. It was known, then, that you would leave before you gave notice, unconsciously perceived.

Fifteen years of that at one end of the scale, he thought, and ten or fifteen in the middle with your mother on Sundays. His loyalty as you know is binding. If he thought she had been a great mother to you then your Jane’s feelings would not be so strong.

Now give us a moment. I would like you to have several Sumari sessions together. You can arrange this any way you like—in the place of one regular session, for example.

Your own discussions, and the improvement in your relationship as I told you, in one way is responsible for your latest developments in our sessions, and I include the Sumari—the songs, and the statement. (That I wrote to Jane on December 31, 1971. Jane is still deciphering this.)

You were very close to Rembrandt at one time—you looked up to him. (Pause.) I almost have a name. Pinot (spelled).

You were indeed. You were the man who experimented with color, as applied however to sculpts. And one of your discoveries was of the binding agent adopted by the master painter in his work.

You learned how to mix colors in such a way that they would dry uniformly, and to apply them in certain ways (with gestures, implying layers of color one over the other) to facilitate this drying.

(I also work, usually, with one color layer over another, rather than mixing them while wet. This maintains purity and clarity of color—and has been considered sound painting technique over the years.)

There was a varnish, finally, that you mixed in with some of the pigments after they were prepared, with the dry pigments after they were prepared, that served as a binding agent that also protected each color from the other one. There was a slight lead content mixed into the varnish.