50
Elohim is compared with a dyer whose immortal colors make what they penetrate imperishable.
51
Immersion in water is joined to this dyeing image.
52
To see a higher reality one must become like it: seeing Ruach makes one spirit; seeing the Anointed makes one anointed; seeing the Father moves one toward the Father's likeness.
53
Trust receives while love gives; one cannot truly receive without trust or give without love.
54
The tractate offers speculative etymologies for Yahushua, Nazarene, and Messiah.
55
A pearl does not lose its value in mud or gain value from perfume; the children of Elohim retain worth wherever they are.
56
Identity labels - Yehudi, Roman, Greek, foreigner, servant, free - are contrasted with the name 'Christian,' which the tractate regards as spiritually charged.
57
Glass and pottery become images of beings formed through breath or without it.
58
A donkey walking around a mill is used as an image for great effort without actual progress.
59
The thanksgiving meal is linked to a Syriac word interpreted as 'spread out,' and Yahushua is described as spreading out/crucifying the world.
60
Seventy-two dyes are blended into one whiteness as an image of the Son of Humanity gathering multiplicity into unity.