Intimacy, and Christ and Christmas by Mary Baker Eddy - presented by Rolf A. F. Witzsche


What the Beloved knew and taught, 
Science repeats, 
Through understanding, dearly sought, 
With fierce heart-beats;


Seeking and Finding


Through understanding, dearly sought, 
With fierce heart-beats;



If Truth is truth, it has to be communicatable, or else it is a myth. If by communication it can be replicated in individual experience, its substance is coming to light. If Truth is divine, healing follows, for the divine Truth has its own manifest reflecting its all-harmonizing Spirit that is termed Love. Thus the communication of Truth is really God's own communication, so far as we are able to seek it out for its substance, and take hold of it and move with it. It thereby becomes a communication from the highest level, unfolding the highest concepts of Truth, and presenting the most substancial reality that language can convey.

The above scene is presented in the window of Mother's Room located in the original edifice of the Mother Church. This is what the public sees from the outside. As you may have noticed, the scene in the window does not accord with the original scene in Christ and Christmas, which predates the scene in the window by a year (the edifice was built in 1894 and Christ and Christmas was first published in 1893). 

It may be that the scene in Christ and Christmas was changed by Mary Baker Eddy when Christ and Christmas was republished 1897 and thereafter. But why was the scene changed?

For one thing, the sides are reversed, so that the correct perspective can only be seen from inside of Mother's Room. However, even if this is considered, the scene in the window does not match the original. For one thing, the clock is left blank, and the hands of the woman are placed totally differently, and the serpent behind the woman in the modern scene is not included at all in the window.

It appears that the window shows the public aims to see and is willing to accept.  With the clock being blank, the metaphor is blanked out as if to say to the public of conventional thought, don't look for anything profound in this scene, because you'll never find it as the truth is not intellectual but scientific and intimately spiritual. "Look the clock is blank, and my hands are on the table. I am writing a book. My gaze is fixed onto the above. I am writing the divine words that God sends me." 

In the higher-level scene a profoundly different dynamics is unfolding, but one that is challenging to look at. Here the clock is not blank. The clock is shown at, 5 min. after 12. The metaphor points to Revelation 12:5 

5 And she brought forth a man child,
who was to rule all nations with a
rod of iron: and her child was caught
up unto God, and to his throne.

Science is a man-child, - a living creation brought forth from a profound human experience involving deep intimacy in the process.  Mary Baker Eddy brought forth this child. She is the author of the textbook and the founder of its science, but the truth in it belongs to God, and she knows it. In the scene in Christ and Christmas her right hand is under the table, perhaps drawing intimately from her mothering sex reflecting the mothering divine Principle, while her left hand is at her head representing divine Mind, with her gaze fixed onto the Scriptures, the book of our spiritual heritage. 

The woman in the painting is coincident with Mary Baker Eddy as the discoverer and founder of Christian Science, and the author of its textbook, but she is not the originator of them. The originator of Truth and its expression, is God, the mothering Principle and Mind. Her role is that of one who conveys what is real, who puts Truth on the plate of humanity, and invites society to eat of it - saying in Christ Jesus' name in essence: Come all, eat ye of it - it doesn't get better than this, different may be, but not better or more profound!

The physical writing of the textbook appears to be secondary, because there is no writing happening in the corresponding scene in Christ and Christmas as we have it today. Far more profound processes are happening in this scene. She is shown touching intimately, both the human and the divine. Her candle is burning brightly. The human aspect is not circumcised in this scene, or shunned, but is celebrated with "fierce heart-beats" as a reflection of a spiritual idea that bears a bright promise. 

There is also a halo shown around her head. If sex represents symbolically the principle of deep-reaching intimacy, then its promise projects the divine unfolding from the same deep intimacy, opening the door to the most divine image ever seen. In the body it rouses fierce heart-beats, and it makes her head aglow with a light that is brighter than the candle on the table that is actually redundant in the scene, except as a secondary light. Its the spiritual process, powered by her, that lights the candle.

And in the background we find the serpent. She is not the talking, lying snake of Genesis that deceived Eve. Such a symbolisms would not match the spiritual environment for a scene in the topmost level in the foursquare structure reflecting the lateral reality where God and man are one in truth, where all is good, as God's expression. Thus a different symbolism appears to stand behind the woman. 

In ancient time the snake had not symbolized a lie, but had symbolized spiritual power, intuition, wisdom, and had represented as a symbol woman's 'magical' powers. The snake was venerated in those times as also the protector of the household. Snakes have been seen on statues of Mother Goddesses, and later, when the male role in procreation became known, the snake came to symbolize also the male aspect of the creative principle. Judy Chicago created a plate to honor "the snake goddess" as a positive influence in early culture, representing the element of a primordial wisdom reflected in humanity - "be wise as serpents and harmless as doves." (Matthew 10:16) 

The Snake Goddess that Judy Chicago 'invited' to The Dinner Party "incorporates the colors and the symbols of its historic antecedent: Outstretched arms of pale yellow grow from a center for whose egg-like shapes the regenerative force of the Goddess..." The wings of the butterfly here present the same inner rich 'fertility' than the open ended core, with the wings growing from the core of the vulva. The snake may have been seen as an animated correlative of botanical abundance - of stalks of plants bursting from the ground among which they dwell.

However, it is suggested that in later mystic cults the snake's venom might have been used to induce hallucination for psychic vision and oracular divination, or the faking of them for profit and for political manipulations in power games that even the rulers of empire have become trapped into. Thus the biblical narrative of a lying snake in Genesis 3 is evidently not so far-fetched as it may seem. Also this seductive game of distorting the primordial concepts has been expanded in modern times. In the modern area, the banner reads: in lies we trust. Thus the fate of entire nations now hangs in the balance by monstrous snakes of political lies. In this context the symbolism is well taken that the snake is linked to what became the "great red dragon" that stood before the woman to devour her child as soon as it was born, as the metaphor of the clock in the above painting indicates. (Rev. 12)

While the great red dragon's imposition has become the general monster in our as yet unhealed world, the symbolism of terror, no matter how much it may be justified, has no place in the lateral sphere of the divine, where God is good, and is All in all. The concept of a lying serpent is therefore not possible in the context of the painting that reflects the reality of the divine, becoming increasing recognized as the absolute. In the painting above, the snake (primordial wisdom) stands alert and poised as the protector against the dragon, to guard the woman's back.

Thus the snake in the painting, rather than representing a threat, represents a divine idea that guards, supports, nurtures, and protects. The serpents in ancient times may have been honored as protectors of households against dangerous rodents. In the divine economy all ideas are harmonizing by the spirit of its Principle. We should banish the concept of the lying snake as having any place in the human equation, and subsequently banish all the banners strung across the world, "in lies we trust"  including the lies of mankind's feeble material corporeality, and the even deeper lies that mankind is a danger to the planet that needs to be depopulated to very low levels, which imperial 'snakes' that are purely mythological in nature. The above scene is a productive one. It is a civilization-building scene. The beauty if eternal Truth is dawning in consciousness in many different way. But the power in the sceane is not in the candle, nor in the star above, but is the power that powers the star, which is reflected in its light that illomines everything related to Truth.

Associated elements:

Lord's Prayer: 4- Adorable One

Textbook: Chapter 4 - Christian Science versus Spiritualism

Manual Segment: 4 - Meetings


The perverted image, the mythological image, the image of the lying snake, does appear prominently in the Christ and Christmas series. It just doesn't not pertain here.  It appears disguised in personified form, in the first scene of the next painting. It appears under the contradictory title, "Christmas Eve."  

The combination of the metaphors Christmas and Eve, referring to the Adam and Eve mythology, is impossible in the divine domain. It is impossible, because the combination of the Eve myth standing together with the Christmas event in human consciousness, the dawn of the Truth, is not a possibility. One excludes the other. The dawning of the Christ in its highest form, excludes the lies. The combination shown in the painting below is a fairy tale, just as the Adam mythology centered on a snake lying to Eve, is a fairy tale. The lie has no power to propagate itself and deceive mankind with its cleverly orchestrated 'magnetism.' Wherever we see this happening, such as the fruits of lies being passed on to children, we have the authority of divine Science to intervene and set the record straight.

Nor is woman, the representative of the mothering principle, naturally receptive of lies as the Adam and Eve myth suggests. The intimacy that we see in the scene below, of Adam and Eve hand gifts to little children, is possible only in a myth, not in the real world.

Next part

lead-in: A Shine of Butterflies - Christ and Christmas Index  

related articles:
"A Shine of Rainbows"  
- Symbol of Our Heritage
Sex, Brain,  Intimacy, Spirituality
The singly powered universe
- What is God that Man is an Expression of?

- Sublime Science
- The Taj Mahal  
- Temples of India
- The Power of 56
- Morning Prayer Hymns

- related copyrights


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