Volume 11, Issue 9, page 8

Me:"V-E-R-M-E-E-R." It seems that that was the old Dutch
pronunciation.

I knew nothing about art, and this was just a name I had heard.
But, I then started out on an exposition on the
techniques of painting. "You paint with light--not with color.
Form is incidental..." Proceeded to describeVermeer's
style.

Then the auditor asked about the previous bodytime-- of the body
I lost. I had been one of Rubens's assistants,
and proceeded to describe the whole Rubens factory. It was in
what was like an old church. They had a good sales
outlet, and paintings were made that went out with other than the
Rubens signature. I feel that some of these are
now attributed to better known artists. I put in some of the
figures, and Rubens came along later, retouching them
wherein I did not fully match his style.

Of course, after the auditing session, I rushed home to the
encyclopedia. Yep, the birthdate of Vermeer was 1632.
1 have heard a lot of talk among mystics that there is a long
time span between bodies, but in my investigations
have found no evidence o r reality that this is true.

About the same time, and before I had a chance to see any plates
of Vermeer paintings, I made an abstract pastel,
in Marcane Art. About a year later, a client who is a
professional fine artist, immediately noticed that this abstract
was a synopsis of Vermeer's unique style of composition. He took
each of Vermeer I s paintings (we had a book of
color plates) and showed how in each of them there were at least
several of the lines in the pastel. and the general
motif was the same. Conversely, every line in the abstract was in
at least several Vermeer paintings. One reason
that Vermeer's paintings, in spite of their tiny size. are so
well liked i s that they are attention traps, and this
attribute was summarized in this abstract -- even before I had
seen any Vermeer painting color plates in this body.

There was one exception to this. "Allegory to the New Testament",
in Metropolitan Museum is perhaps the
most hideous painting ever made --cleverly hideous, that is. It
is the composition antithesis of the others. If you try
to put your attention on it, your attention will tend to fly off
in 17, or so, different directions. It is a blasphemous
caricature. But, Vermeer was paid more for this one than any of
the others.

It is interesting that early Vermeer is in the style of Rubens,
i.e. "Christ with Martha and Mary". At first, I
thought that this was not Vermeer at all. it is interesting how
the Rubens style slopped over into the next
bodytime.

In January, 1960, 1 published an account of this in my own
publication, The SECOND TERMINAL. Herein, I
blandly made the bald statement that some of Pieter De Hoochs
paintings were actually done by Vermeer. You
know, I am real careless about things like this. I had no
specific data regarding the when and the where of Pieter De
Hooch. Several years later, I read in De Hooch's biography,
"Pieter De Hooch did his best work while visiting Jan
Vermeer, in Del ft. "

In 1961, 1 was shown a fine, large Abrams print of one of De
Hooch's paintings, a garden scene. Immediately
the feeling, "I painted that!" and my right index finger sort of
roved about the lower right hand comer of the print.
Beneath the finger, spelled out in blades of grass, "J. Vermeer".
Not plain, but as plain as his other signatures. The
original is hanging in Holland.

Last winter, I saw Vermeer's paintings for

the flrst time in this body, at the Metropoli-
tan. Did I have ready-made opinions about each
picture and each other artist! Breugel-- for
the birds. Hals--I loved. Got recalls on trying
to keep the old boy sober so he could paint.
Steen--I really enjoyed. Just this moment got
curious enough to look Steen up in the ency-
clopedia. "Steen moved to Delft in 1654--". He,
too, was my buddy.
Oh. yeah--the payoff. In 1959, right after
keying in this body time, I spontaneously re-
gained the ability to paint --pastel, rather.
No practice, no training, no effort, and I was
making portraits that looked like the subject--
really seemed alive. When my pro.artist friend
saw my work, he sort of assumed that I would
be quitting Scientology, ahd everything else,
and be an artist. But, you know, after several
months, I lent my pastels -- and have done no
more of it since. Too easy to be an interesting
game.
And this latter idea i s the biggest innate
obstacle to recovering such abilities--except-
ing the above-mentioned fears. We "think " that
if we KNOW, the whole universe will disappear
for us. The slithering apple salesmen have con-
vinced us of that. We also are convinced that
it is al I too, too serious and sacred -- good
and evil.
But of course, none of this probably ever
did happen. It was just-something I et".
ONTINUED
BURT, RUBY ESSEX FR'OcM PAGE 6)
June's grand cross as diagrammed in"Cross in
the Heavens". Holding inter-pretation to an ab-
solute minimum, it seems quite probable that
the beginning of serious world-wide hostilities
could be instigated by Communist China, which
has beenibarassed by infiltration and sabotage
by the Nationalist forces on Formosa, and now.
with the hydrogen bomb in the possession of
Communist China they would be most capable of
leveling a lethal blow against Formosa. Since
the U. S. is committed to defend Formosa, with
American personnel and naval units stationed
there, it is not hard to envision our becoming
involved. Also, it is not difficult to envis-
ion that by that time Cuba would be again fully
rearmed with the necessary missiles to deliver
lethal blows to American cities. <

In checking thru the inceptions of other ~= governments, we find
the progressed Sun of the 2 Australian
government at one of the arms of - the grand cross and the
progressed San of the cross. indicating they can both be
expected to become scenes of serious strife. The date given for
Canada. when progressed, brings their Sun into one
of the arms of the cross, which is going to cause Canada to play
an important part in the coming period: with the
possible separation of Quebec, Quebec may virtually welcome an
invading force in the illusion they may gain
autonomy and their place in the sun.

The progressed Sun of the U. S., incident- W
ally, falls outside the grand cr6ss, w-hich 14
(with a minimum of interpretation) would in- p4
dicate extreme efforts on the part of the gov-
ernment to remain apart from the possible world
strife. When ultimately forced into it, the U.
S. would stand a good chance of survival, as AQ
outlined in "Cross in the Heavens". cc
4

Manager- -I am afraid you are ignorant of our 0
efficiency system, Smith. .4

Smith--Perhaps so, Sir, but somebody has to
get the work done.--The Local Post ,
Doctortoportly pattnt: "Follow this diet,
and in a couple of months I want to see three-
fourths of you back here for a check-up." 8