“Seth material” search engine (Jane Roberts)

(10:58. Jane’s trance had again been very good. Now she talked more about what she had said at last break, concerning the carving done on stone that had been softened by instruments employing sound. Only a very sophisticated instrument was used, she said, to soften the top layer of the stone so that it was “like frosting, which could then be easily carved. The instrument might have done both the softening and the carving.”

(During break I referred again to the photos of the massive ruins of Baalbek, in one of the books Shirley Bickford lent us. I explained to Jane my feeling that the amazingly intricate stone carving, particularly the bas-relief work, seemed beyond the abilities of the hammer and chisel. Jane broke in to tell me that this carving was done by small instruments that used inaudible sound waves; these radiations softened the stone, she said, so that the work could be performed. She didn’t know where this data came from. If from Seth, it wasn’t obvious to her.

(“But first of all,” she added as we continued to talk, “either that instrument or another one was used to isolate the top layer of the stone from the rest of it so that it wasn’t weakened. We had been discussing the very intricate and extensive bas-relief carving pictured on the doorframes and lintels of the ruins at Baalbek in this instance —not say the in-the-round carving shown on columns, etc.

(In addition, I have always doubted the block-and-tackle idea used in constructing such massive, enormous wonders as Baalbek. With this goes my questions concerning the ability of sculptors to do the marvelously intricate carving adorning all of these buildings, on such an enormous scale. I have always wondered just how it was possible, with the few tools then available, according to our history, to do this work. It seems beyond the tools’ scope. I would delight in seeing it duplicated today, using identical stone, tools, etc., with time trials.

[...] Otherwise, how would they ever get up the gumption to sit around and carve out all those damn little characters? [...]

[...] In all cases the letters were of the cleanest simplicity, both for esthetic reasons and ease in carving and casting.

carve out the nest of the world. [...]

(Long pause.) Ruburt had a dream with excellent connotations, in which he looked through a beautiful old house of lovely carved wood and spacious rooms, and decided to move into the house, even though it was in an area that had previously nearly been condemned — signifying that he was indeed rising from beliefs that he condemned into a larger, spacious area of expression.

[...] These were carved by slaves. [...]

(Today I looked over a Time-Life book on the ancient civilizations of the Americas—the Aztecs, Incas, Mixtecs, etc, and once more was impressed by their amazing abilities as far as architecture, carving, weaving, astronomy, etc., went. [...]

Next you will undoubtedly suggest that I pose, contemplate what might pass for my navel, carve a likeness, and set it up in the middle of your table.

(“Well, suppose I tried to carve a likeness of you in wood. [...]

[...] What good were ornate cathedrals, replete with carved angels, saints, and gargoyles, gleaming with glazed colorful windows, when the people lived in hovels and labored in the fields? [...]

[...] Bill showed us his Japanese “tranquilizer,” a small black wooden carving he had bought in Puerto Rico.

[...] Then, in order to obtain some physical proof that this was really happening, with my right hand I began to ‘carve’ a squarish hole a few inches across in the glass where Gus’s head had been. [...]