This section includes the closing aspiration prayers and verses for auspiciousness that marks the end of the earlier editions of the Rinchen Terdzö, as well as additional volumes that were added to subsequent editions of the Terdzö. These additional volumes include Minling Terchen's collection of treasure practices, the Dojo Bumzang ('dod 'jo'i bum bzang), which is sometimes referred to as the “seed” of the Terdzö, as well as other treasure cycles, such as Chogyur Lingpa's Dzogchen Desum (rdzogs chen sde gsum), Jamyang Khyentse Wangpo's Tsasum Osel Nyingtig (rtsa gsum 'od gsal snying tig), and Jedrung Trinle Jampa Jungne's Padma Sangthig (pad+ma gsang thig), which were added by the 15th Karmapa. In addition to those, one also finds the Lamrim Yeshe Nyingpo (lam rim ye shes snying po), which combines the revelation of Chogyur Lingpa with an extensive commentary by Kongtrul. In terms of concluding materials, there is an additional volume devoted to various biographies of the three masters, Jamyang Khyentse Wangpo, Chogyur Lingpa, and Jamgön Kongtrul, followed by a volume of indices, or tables of contents, (dkar chag) that correspond to the various editions of the Rinchen Terdzö up to, and including, the present Shechen Edition. These are followed by a volume of mending rituals and liturgical material focused primarily on the reparation of potential breaches of the commitments associated with Tantric practice (sngags gso), which included extensive ritual arrangements for several prominent treasure cycles. The final four volumes are comprised of detailed instructional materials related to the transmission of the Terdzö written by the 15th Karmapa. Finally, there is a supplementary book of illustrations (dpe'u ris), which completes the Shechen Edition, entitled The Beneficial Moon Rays: A compendium of chakras and various illustrations pertaining to The Great Treasury of Rediscovered Teachings. This collection of ritual diagrams and so on, presents artwork newly created for the present edition of the Rinchen Terdzö, including many images for which there exists no known prior examples, meaning that much of the materials included therein is being seen for the very first time by this generation of practitioners of the Tibetan treasure traditions.