“Seth material” search engine (Jane Roberts)

I do. He travels and learns. He also learns some secrets of color through the man mentioned earlier, and there is a binding agent in his work not recognized as such. A chemical technique learned.

(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.)

(All of this is very acute artistic information, and embodies the use of good technique even today. Again, I don’t believe Jane knows these things consciously. The varnish data is very good, also the fresco material. Many frescos were ruined in those days through poor techniques. Quality control was not what it is today re paints, varnishes, etc.)

(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.)