“Seth material” search engine (Jane Roberts)

You felt oils murky, representing the subconscious hidden fears and desires of which you were frightened. You considered them threatening, too easy, oils. Explosive, you see. (Pause.) The temperas meant discipline, but every tempera you did contained an oil within it.

Symbolically now, you transformed the subconscious feelings into the sparkling temperas. Working with the meticulous temperas, you actually worked out inner problems in a way that was not frightening, and gave you a sense of challenge and accomplishment.

You are not avoiding problems by dealing with temperas, incidentally. [...]

From the chaos of which you are frightened, you make your order in temperas. [...]

Simply as a matter of temperament, this time of year has always made him impatient. [...]

[...] He feels pressured, therefore, to become a public person, forgetting his own background and temperament. [...]

He thinks that that background and temperament should no longer apply. [...]

This is because you are more apt to place stress upon regularity as a matter of your temperament, though you trust your intuitions in the sessions, as he does.

He is too meek in many ways, for he is not basically a meek temperament, and for this reason I always encourage him in physical activities. [...]

(Concerning the fading of colors in my temperas.)

The tempera has been important as a resting place for you in the dilemma. [...]

He wanted to protect himself against the “artistic temperament” as it is conventionally understood. [...]

[...] This weaving things together to make them “fit” is only natural for one of my temperament, but I didn’t alter any of my original copy—that I’d have refused to do—and I kept intact those first spontaneous descriptions of the events attendant to Jane’s physical difficulties, as well as our deep-seated, sometimes wrenching feelings connected to them. [...]

[...] The writer’s or the artist’s intuitions, sensibilities, inspirations come through his person, through his experiences and temperament. [...]

(The following reference to a portrait concerns an egg-tempera portrait I entered into the annual Chemung County Artists’ Exhibition. [...]

You identified primarily now, as a poet and an artist because those designations, up to that time, seemed most closely to fit your abilities and temperaments. [...]

[...] They felt that it was the larger expression of their own moods and temperament, the materialization of self-events that were too vast to be contained within the flesh of any one individual or any group of individuals. [...]

[...] When you feel that your world is not safe the body may respond in many ways, according to the characteristic temperament and beliefs. [...]

[...] It showed a life-size, full-face figure of Bill Gallagher wearing a long dark coat, as he stood against a somewhat stylized outdoor background of pyramid shapes in bright colors—either tempera or acrylics.

He naturally knows what fits his temperament, abilities, and disposition. [...]

[...] The earthly temperament may simply hold on. [...]

[...] Billy One had been, obviously, the predecessor to the Billy we have now; the present Billy is remarkably similar to him in looks and temperament. [...]

Your own ideas suited your temperament, but many of them did not particularly suit Ruburt’s. Again, I will elaborate on all of this at our next session.

[...] You have known a proportion of them from other existences, and have a knowledge, innate, of their characters and temperaments. [...]

(“Well, what do you think of these temperas I’ve been working on then?”)