“Seth material” search engine (Jane Roberts)

SESSION 603

(The first portion of this session, the 603rd, is deleted from the record. Begin at 9:10 PM)

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.)

Now. I am going to end our session. Ruburt is concerned because you are tired.

I will see what else I can get. Take a break or end the session as you prefer.

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.

Now take your break or end the session.

(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.

(Perhaps I carried out some of my experiments with painting the outdoor sculpture in Denmark, where winter weather must be considered, after visiting Italy. While I discussed the Florence, Italy, data with Jane after the session, Seth returned very briefly re Rembrandt:That is why he went to Florence—to see the sculpture there. Perhaps after my return to Denmark from Italy I did some experimenting re painting sculptures, and then passed this information on to Rembrandt?

(A note added 31 years later, while I prepare this Volume 2 of The Personal Sessions for publication. As gifts for me because of my interest in their great creativity, Jane “tuned into”, on her own and without Seth, excellent books on the artist Paul Cézanne in 1977 and on the philosopher William James in 1978. Both works have been published.

(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.)