Edgar Cayce Readings, 345-4

Time: 5:15 to 5:45 P. M. Eastern Standard Time. Philadelphia, Pa.

TEXT

GC: You will have before you the enquiring mind of [345], who is at 2005 Arch Street, Philadelphia, Penna., 4th floor, also his development since information was last given him through this channel. You will advise him as to how to proceed to make the most of his life's work. You will answer the questions, as I ask them.
EC: Yes, we have the enquiring mind of [345]; this we have had before; and those developments, those changes that have come in the experience of the entity since last we had same here.
In considering how (physically) the body may make the most out of that which is the purpose and aim of the body in this experience, there must be some consideration given as to the varying channels in which the body has trained and experienced self since last we had same here.
While there have been changes in the purposes and the attempts of the body in the mental field, and in the application of self towards those developments in certain phases of the art the architectural designing has taken the place of those of the more illustrative nature, yet when considered that this is to be combined WITH that which was the purpose we find there has only been a change in the approach - or in the APPLICATION - of the change in the approach to this field of activity that has been given should be the active manner in which the body would find the greater development in the material and mental, and so train in those ideas and ideals as to bring the development for the entity - or body-soul - in this experience.
Then, the opportunities that are presented to the body in this particular field at this time, to be sure, will make for greater opportunities in the days to come.
Hence, the greater advantage should be taken; for the entity's best material-mental welfare, and ABILITIES of the entity at this time.
In what field, then, should the entity make those investigations, those researches? In what particular periods, what particular activities, should the entity engage while taking advantage of these experiences that are to be a portion of the entity's development (if they are applied properly) in this physical existence?
As we have seen, there is a general trend - in the field where the entity will make the application of that which has been gained - toward the extreme in what may be termed the modernistic manner of approach to all the varied fields of activity; which will be seen from those experiences of the entity in those fields where the art, in its various phases, has taken on that which means much more to a peoples who have developed themselves in this line of thought than seen in America - where that which is to be gained is to be applied.
Hence we will find, there WILL be - through those activities of the entity, through the general or natural turn of those ideas in this field, and in the application of things pertaining to buildings of all descriptions and natures - a turning to a period which will be BETWEEN that which is called the modernistic and the Egyptian, Aryan or Chaldean; or that which will be a combination of these.
Hence the entity should apply that which will make for a field of advancement in such a way and manner, as to make for those conditions that will make material advancements and also furnish the opportunity for the abilities in the mental and spiritual advancements for the entity, as to make the most of this peculiar advantage that IS the entity's experience in the present.
Then, those cities in or among those places where there are those types of the architecture, frescoing, finishing, and the like; as seen in the cities of Italy, Greece, and northern Africa. These will furnish to the body those experiences necessary for the mental applications of self's abilities, to create that outlet that will make for the advantage of the present surroundings, and prepare self for those necessary developments that may be made to "carry on."
When these have been gained, when - then - there has been the one, the two and a half years experience of the entity in these various fields of activity, with those expressions that will be given by the associations - and by the drawings of the entity during these periods, in making those sketches necessary for the carrying forward of the development of these ideas - when, where, and HOW will the APPLICATION of this be most effectual to put into PRACTICAL use, when the body returns for its activities in America?
Then we find that there should be the association of self with those in the fields of endeavor, who have been - and who are - the architectural developers in New York of the larger fields of activities in the present; and with such an one - with such associations that may be gained by the entity, in the contact with such individuals that were the architects and developers of Radio City - may there be the associations necessary to make the material success in this land.
Ready for questions.
(Q) How can an appeal be made to arouse a deeper native appreciation of art in the United States?
(A) This - when considered, my boy, from a very direct manner - is a VERY large order for one individual to even have a great influence upon.
For, when we consider the various fields - and the varied fields of art and their development in some land or some country, as seen, there are individuals who have labored without much thought of presenting other than their ideal of a certain field of expressing nature, or other fields of activity, as to become LIVING things in the experience of individuals.
Hence there has grown up for each land that which has been termed, or claimed by each, to represent either the Syrophoenician, Grecian, Roman, Flemish, English or French. All of these have their individual presenting, their individual activities, in the varied fields. These have come from growth of souls in this particular sphere of activity, that was taken by some individuals - and has grown to be worth a great deal more years after the individual activity, than was appreciated at the period.
Just as may be seen or reckoned with at this period in the present, that the activities of Leonardo Da Vinci - in all his varied fields - are in 1933 more appreciated than they have ever been in the experience of any artistic field, or ANY field of art, in the whole period since his activity. Why?
Because the influence of the entity, or soul, is being expressed in a field of art and activity in the present experience.
Hence the very thought itself, of a soul, brings - with the abilities of the soul, an entity - a turning towards those very activities OF the soul, or entity.
Hence, in creating that of a native influence, as may be seen, there has been given to self that a combination of the modernistic applied with the frescoing and engraving of all the works in the Egyptian, Syrophoenician or Persian arts, applied in one - that may be done by self - may START that which will, in THIS particular field of endeavor, create that which will eventually be known as native activity in America - or United States.
Why should this be?
Because, as seen, the entity - this soul, that so made much of the decorative influence in the temples, in the public buildings, in the tombs - is beginning his activity in America. And there may be seen in the Pantheon that which is of the school in which the entity studied; in the decorative influence about the frescoing, or second panels in the Pantheon and its casements.
(Q) Just how should I prepare myself to contribute to this?
(A) As we have just given, in making that which comes between - see? what is termed the modernistic and the Phoenician and Egyptian; for they combine beautifully, their simplicity, their decorativeness. The abilities to make these, in these activities in which the body is training and engaging itself in the present, lead to this activity.
(Q) How can my ideas for the development of fresco work contribute to this awakening?
(A) By the application in this particular field that has been illustrated; and as may be illustrated by the particular attention to these particular friezes that are yet seen in the Pantheon. Not self's work, to be sure; but the SCHOOL which self set - in Egyptian art - in this direction.
(Q) Please tell me definitely how I can make the most of my European studies.
(A) That's just what we've been trying to tell you all along!
(Q) Upon my return from Europe just what connections should I attempt to make in parallel with my work at the academy that will lead to opportunities to carry out my ideas and ideal in relation to art?
(A) As we have illustrated, in connection with those that supply the architectural design - as well as supplies - for all the necessary activities in making for the completions; and in this field of activity will bring - and these associations and connections as given will bring - the opportunity to carry on.
(Q) Specifically to what cities in Europe would you advise me to go where I may study the art upon which I can base my work in this country?
(A) These have been given. They are in Europe, in portions of Asia and northern Africa. Alexandria, Rome, Athens and Crete - and Palerma. All of these bear those things; not forgetting, of course, Paris; of course, some of those in the Flemish school - or German and Holland.
Do these, as we have outlined. We will find this may offer, as the activities progress, many periods, many moments, many hours of real thought; as there is visioned - as there is seen in self - those that have been carried on in the various activities in buildings, in friezes, in ceilings, in walls. For, the entity may build much in this experience.
We are through for the present.
Copy to Self
Copy to File

BACKGROUND

See 345-3 on 6/01/29, and subsequent correspondence.
5/24/33 "At last I have the opportunity of seeing you again at Va. Beach and expect to be there for a few hours Sat. May 27th. I would be glad if you could give ma a rdg. at that time. I am travelling with some students who are very enthusiastic about my accounts of your development. I hope that you can arrange this. My love to you and family."
5/27/33 He was present with his friend and fellow student, Miss [339], for her Life Rdg. He left questions for his own rdg.

REPORTS

7/05/33 Friend Miss [339]'s letter: "This morning there was a card from [345]. He wrote from Paris. He left there about July 1st for Spain. His card had a little halo of joyousness all around the writing. I am sure he will come back rich with new things. I'm so glad he went. I feel like a song inside."
3/21/34 [345]'s ltr.:
My dear Hugh Lynn:
A line to let you know that I am still in the land of the living. Have been a little under the weather with a bad cold.
Much can be said of a marvelous trip lasting six months in which I travelled in nine countries (including Greece) but time forbids. Again I must work with an eye on an all too sudden spring.
Inspiration was at every hand, I could not say however that the inspiration spoken of in the reading concerning the Pantheon Frieze was true to form, with all expectations it left me cold, unmoved, containing as I thought no spark of life to commend it.
Italy was as grand as my enthusiasms led me to suspect and as was stated in the reading. Greece was interesting being in the near East and different from Europe. I found excepting the excavations on the Acropolis, most of their art is in other countries.
My money would not take me to Alexandria or Crete due to the fall in the value of the dollar.
Since my return I have been true to the reading and with much experimenting have completed my first 'Fresco' and am well along on planning my second. It was rather successful and my second one is hopeful. I have had a very good year. Probably the best yet in the way of actual accomplishment. I also have had a very fortunate and good experience in being a student at the Barnes Foundation for another year. I know that you have been busy but I would be interested to hear how you have been applying yourself also any news that you might have on hand.
Also I would like to have another reading if you can arrange it for me. I am enclosing five dollars and will send another payment about the 10th of next month if that is a satisfactory arrangement with all concerned.
Here are some outlines that might help guide the general thought in the direction in which I seek information. Describe the influences of the entity? The developing tendencies and their direction toward a more unified form (or to the attaining of such a form, also answer in detail a description of the uses, qualities and relations to each other; their unified ensemble, and to traditions, their expression of a form best suited to express an American background) of the following plastic means.
1. The use of color as a unifying element in the composition, its quality whether brilliant or sombre - its structural degree of quality. The choice to express best the vision of the entity as related to the whole. Its combination with form to bring a plentitude for the ultimate design. Who attained something near these uses in painting in previous traditions?
2. The use of Form. What degree of solidity in combination with color, for the ultimate form?
3. The use of light. Its use as an element to unify and heighten the color, to combine with line, color, form, to best unite with these three factors to express qualities of modern life in industry or folk life?
4. The use of line. Its dimension or prominence, its quality in combination with color to make form, pattern, space. The quality of it in the general pattern to make the unified ensemble or the disuse of it altogether for the sake of a more expressive form?
5. The use of space, Suggested? or Real? Clear cut or pervasive? The best to go with that use of color or form?
What do you think of these questions? I have selected specific elements of painting and tried to ask specific questions about these elements as they concern myself, my way of seeing things. All painters use these elements in different degrees, combinations, qualities according to their tastes or abilities or knowledge. The result is their expression, their form if you will. A good artist selects that quality of color, of line, light, etc., that best works to express a specific intention. His in turn rests on what he has to say and how technically he is to say it in the light of traditions and of his experience in a new environment. If the reading can help me it will help me select from my many influences, environments, possibilities, knowledge, preferences a use that will relate me to these uses of specific means as related to a viewpoint or intention that can be interpreted in a pictorial manner.
I do not want to use my art to make a living but to make a life; for it has been my life. If my art fails my life also is a failure not in a material sense only (for I have made nothing in art) but in the sense of all my feelings and inner longings for those things that are greatest in life as I see it. If there is a spiritual knowledge of the best uses of these very tangible and objective means, of whose order I seek, I would like to know it.
With a knowledge of traditions, a certain technical efficiency, with hope, a lifetime of devotion to and a passion for this one bent or way of life, I feel confident of doing something good with it.
Can the reading touch these developing forms of my life or will it be vague, we shall wait and see. Hoping to hear from you soon.
Sincerely and devotedly [345]
3/21/34 [345]'s ltr. to EC:
My dear Mr. Cayce,
Miss [339] showed me a copy of the 'Bulletin' containing an article about your experiment through the cooperation of Miss Eileen Garrett [3/34 A.R.E. Bulletin - using rdgs. 507-1 & 507-2].
This is very interesting. Her suggestions disclose possibly a side of yourself that others may not often consider, mainly the exhausting ordeal on mind and body. Especially is this trying when there is a lack of sympathy or a seeming misunderstanding among those with whom you love, come in contact with in your efforts to do that what is your work.
It would be interesting to know if any of the suggestions can be applied in your behalf.
My trip this summer was a wonderful series of experiences. I must have lived a lifetime in that short period of six months. I am writing to Hugh Lynn concerning a reading if you could arrange it.
Best wishes and love to all.
Sincerely, [345]
4/23/34 Verifying appointment: "I rec'd a sudden message to appear at the Barnes' Foundation, where I am a student, to be awarded a travelling scholarship for four months study in Europe with a group of his students this summer...from May 18th to Sept. 18th. It includes travel and instruction in seven countries. "This year terminates my fifth and final year at the Academy of Fine Arts and my second at the Barnes' Foundation. I am seeking new values and new inspiration for that ultimate course which I am to pursue.
"I feel very lucky and very grateful for the opportunities that have come to me. My sincere and humble wish is that I may prove deserving of them and develop an expression that is meaningful to those who seek an experience in art. How to combine and use my experiences is my problem. Friday will be satisfactory for me. I will be at the same address at the time set... Please accept my sincere appreciation and gratitude for your desire to help and for your interest and good will. Extend my sympathies to Mrs. Cayce (on the death of her mother)."
4/27/34 See 345-5 answering questions in re his life and work.