The next painting is called Treating the Sick, but it is the Adam concept of old defunct mythology that is being treated here.  The rocking chair is seen again.  The little girl, apparently has gown up, and is shown as a young woman, dressed in white.  However, she is shown in the painting as placed in the rocking chair with the book that was open before, now laying closed in her lap.  There is no star shown in the scene, nor does the patient rise; yet the poem tells us about a "silent healing" that "crowns the pale brow."  The crown, itself, appears much later in the series.

The next painting shows Christ Jesus sitting down.  He his shown with his mantle taken off, which is placed in his lap.  He is shown holding the hand of the 'woman' who now wears the mantle.  Her mantle, however, is brighter than that in Jesus' lap.  The star is no longer included in the painting, though it is clearly indicated by the light that illumines both, Christ Jesus and the 'woman.'  The 'woman' is shown holding a scroll in hand, labeled Christian Science.  There is no Bible and no textbook found in this scene anymore.  The scroll has the appearance of a diploma.

We see the 'woman' once again in the next painting, holding a similar scroll, though one without the words Christian Science written on it.  In this painting her mantle is brilliant with light, much brighten than in the previous painting; also there is light steaming unto the scene, though the star is not shown anymore.  She knocks at the door of a palacious dwelling of humanity.  There is a festivity in progress inside, with wine and dance.  She knocks.  The door is closed.  Two children see her, but none of the adults.  The 'woman' is shown standing on a carpet in front of the door.  The carpet has a pattern of two concentric squares woven into its fabric, similar to the structures shown in Appendix A6.  The 'woman' is shown standing on the inside of these squares.  The painting bears the tile, Truth versus Error.  Her message is, so the poem tells us, "...just take me in! No mass for me!"  Indeed, there is no 'Christmas' for Truth possible, no beginning nor end - no commemoration is possible in the face of its ever-applicable, ever-present, reality

The final painting shows a landscape which may be today's scene.  We see a dark cross, such as one might find in graveyard, standing in a darkly painted foreground.  Near the center of the painting we see another cross, but this cross is shown surrounded by a profusion of life in the form of a flowering vine and nine birds (corresponding to the nine definitions for the elements of the matrix.)  The two crosses are united by a focused beam of light that flows through the center of a crown at the top of the painting.  The light, itself, comes from a source above the frame of the painting.  This source of the light, evidently, is no longer the star.  The light is that of the Sun.

The crown in the painting is clearly not a royal crown.  It is the crown of scientific humanity.  It represents scientific discovery.  The royal crown represents corruption, but the crown of the scientific humanity is a crown incorruptible.*(I Corinthians 9:25)  Science may be misused, as it is being misused today by the oligarchy as never before, but in its nature, Science is incorruptible.  It weathered the ages.  The crown of Science will always manifest itself in periods of renaissance when it becomes enthroned among men.  Without this crown, mankind is dead, drowned in the poverty of feudalism.  But under the crown of Christ Science, "the dead shall be raised incorruptible."*(I Corinthians 15:52)

The crown in Christ and Christmas represents the crown of universal divine Science.  Its face shows three major jewels (right, left, and center), and two clusters of three minor jewels, for a total of nine jewels.  The crown as a whole (which must be assumed to be equal all around), carries by this same configuration extended throughout a total of sixteen jewels (four major jewels and four clusters of three minor jewels), so that the two fundamental characteristics of the structure for the Key of David (9 and 16) are represented in metaphor in the construction of the crown.

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Stories about  Healing from novels by Rolf A. F. Witzsche