Texts>The Secret Teachings of All AgesOf course, by moving the inner disc of the wheel cipher, many different combinations in addition to the one given above can be made of the letters, but this is the only one which will produce sense, and the cryptogrammatist must keep on experimenting until he discovers a logical and intelligible message. He may then feel reasonably sure that he has deciphered the system. Lord Bacon involved the biliteral cipher in many different ways. There are probably a score of different systems used in the "Shakespeare" folio alone, some so intricate that they may forever baffle all attempts at their decipherment. In those susceptible of solution, sometimes the a's and b's have to be exchanged; at other times the concealed message is written backwards; again only every other letter is counted; and so on.

There are several other forms of the literal cipher in which letters are substituted for each other by a prearranged sequence. The simplest form is that in which two alphabets are written thus:

By substituting the letters of the lower alphabet for their equivalents in the upper one, a meaningless conglomeration results, the hidden message being decoded by reversing the process. There is also a form of the literal cipher in which the actual cryptogram is written in the body of the document, but unimportant words are inserted between important ones according to a prearranged order. The literal cipher also includes what are called acrostic signatures--that is, words written down the column by the use of the first letter of each line and also more complicated acrostics in which the important letters are scattered through entire paragraphs or chapters. The two accompanying alchemical cryptograms illustrate another form of the literal cipher involving the first letter of each word. Every cryptogram based upon the arrangement or combination of the letters of the alphabet is called a literal cipher.

2. The pictorial cipher. Any picture or drawing with other than its obvious meaning may be considered a pictorial cryptogram. Instances of pictorial cipher are frequently found in Egyptian symbolism and early religious art. The diagrams of alchemists and Hermetic philosophers are invariably pictorial ciphers. In addition to the simple pictorial cipher, there is a more technical form in which words or letters are concealed by the number of stones in a wall, by the spread of birds' wings in flight, by ripples on the surface of water, or by the length and order of lines used in shading. Such cryptograms are not obvious, and must be decoded with the aid of an arbitrary measuring scale, the length of the lines determining the letter or word concealed. The shape and proportion of a building, the height of a tower, the number of bars in a window, the folds of a man's garments--even the proportions or attitude of the human body--were used to conceal definite figures or characters which could be exchanged for letters or words by a person acquainted with the code.

Initial letters of names were secreted in architectural arches and spans. A notable example of this practice is found on the title page of Montaigue's Essays, third edition, where an initial B is formed by two arches and an F by a broken arch. Pictorial cryptograms are sometimes accompanied by the key necessary for their decipherment. A figure may point toward the starting point of the cipher or carry in its hand some implement disclosing the system of measurement used. There are also frequent instances in which the cryptographer purposely distorted or improperly clothed some figure in his drawing by placing the hat on backwards, the sword on the wrong side, or the shield on the wrong arm, or by employing some similar artifice. The much-discussed fifth finger on the Pope's hand in Raphael's Sistine Madonna and the sixth toe on Joseph's foot in the same artist's Marriage of the Virgin are cunningly concealed cryptograms.

3. The acroamatic cipher. The religious and philosophical writings of all nations abound with acroamatic cryptograms, that is, parables and allegories. The acroamatic is unique in that the document containing it may be translated or reprinted without affecting the cryptogram. Parables and allegories have been used since remote antiquity to present moral truths in an attractive and understandable manner. The acroamatic cryptogram is a pictorial cipher drawn in words and its symbolism must be so interpreted. The Old and New Testaments of the Jews, the writings of Plato and Aristotle, Homer's Odyssey and Iliad, Virgil's Æneid, The Metamorphosis of Apuleius, and Æsop's Fables are outstanding examples of acroamatic cryptography in which are concealed the deepest and most sublime truths of ancient mystical philosophy.

The acroamatic cipher is the most subtle of all, for the parable or allegory is susceptible of several interpretations. Bible students for centuries have been confronted by this difficultly. They are satisfied with the moral interpretation of the parable and forget that each parable and allegory is capable of seven interpretations, of which the seventh--the highest--is complete and all-inclusive, whereas the other six (and lesser) interpretations are fragmentary, revealing but part of the mystery. The creation myths of the world are acroamatic cryptograms, and the deities of the various pantheons are only cryptic characters which, if properly understood, become the constituents of a divine alphabet. The initiated few comprehend the true nature of this alphabet, but the uninitiated many worship the letters of it as gods.

The first circle portrays the divine antecedents of justice, the second the universal scope of justice, and the third the results of human application of justice. Hence, the first circle deals with divine principles, the second circle with mundane affairs, and the third circle with man. On the at the top of the picture sits Themis, the presiding spirit of law, and at her feet three other queens--Juno, Minerva, and Venus--their robes ornamented with geometric figures. The axis of law connects the throne, of divine justice above with the throne of human judgment at the bottom of the picture. Upon the latter throne is seated a queen with a scepter in her hand, before whom stands the winged goddess Nemesis--the angel of judgment.The second Circle is divided into three parts by two sets of two horizontal lines. The upper and light section is called the Supreme Region and is the abode of the gods, the good spirits, and the heroes. The lower and dark section is the abode of lust, sin, and ignorance. Between these two extremes is the larger section in which are blended the powers and impulses of both the superior and the inferior regions.

In the third or inner circle is man, a tenfold creature, consisting of nine parts--three of spirit, three of intellect, and three of soul--enclosed within one constitution. According to Selenus, man's three spiritual qualities are thought, speech, and action; his three intellectual qualities are memory, intelligence, and will; and his three qualities of soul are understanding, courage, and desire. The third circle is further divided into three parts called ages: the Golden Age of spiritual truth in the upper right section, the Iron Age of spiritual darkness in the lower right section and the Bronze Age--a composite of the two occupying the entire left half of the inner circle and itself divided into three parts. The lowest division of the Bronze Age depicts ignorant man controlled by force, the central the partly awakened man controlled by jurisprudence, and the upper the spiritually illuminated man controlled by love. Both the second and third circles revolve upon the axis of law, but the divine source, of law--Heavenly Justice--is concealed by clouds. All of the symbols and figures ornamenting the plate are devoted to a detailed amplification of the principles here outlined.

4. The numerical cipher. Many cryptograms have been produced in which numbers in various sequences are substituted for letters, words, or even complete thoughts. The reading of numerical ciphers usually depends upon the possession of specially arranged tables of correspondences. The numerical cryptograms of the Old Testament are so complicated that only a few scholars versed in rabbinical lore have ever sought to unravel their mysteries. In his Œdipus Ægyptiacus, Athanasius Kircher describes several Arabian Qabbalistic theorems, and a great part of the Pythagorean mystery was concealed in a secret method in vogue among Greek mystics of substituting letters for numbers.

The most simple numerical cipher is that in which the letters of the alphabet are exchanged for numbers in ordinary sequence. Thus A becomes 1, B 2, C 3, and so on, counting both I and J as 9 and both U and V as 20. The word yes by this system would be written 23-5-18. This cipher can be made more difficult by reversing the alphabet so that Z becomes 1, Y 2, X 3, and so on. By inserting a non-significant, or uncounted, number after each of the significant numbers the cipher is still more effectively concealed, thus: 23-16-5-9-18. The word yes is found by eliminating the second and fourth numbers. By adding 23, 5, and 18 together the sum 46 results. Therefore 46 is the numerical equivalent of the word yes. According to the simple numerical cipher, the sum 138 is equal to the words Note carefully. Therefore in a book using this method, line 138, page 138, or paragraph 138 may contain the concealed message. In addition to this simple numerical cipher there are scores of others so complicated that no one without the key can hope to solve them.

Authors sometimes based their cryptograms upon the numerical value of their own names; for example, Sir Francis Bacon repeatedly used the cryptic number 33--the numerical equivalent of his name. Numerical ciphers often involve the pagination of a book. Imperfect pagination, though generally attributed to carelessness, often conceals important secrets. The mispaginations found in the 1623 folio of "Shakespeare" and the consistent recurrence of similar errors in various volumes printed about the same period have occasioned considerable thought among scholars and cryptogrammatists. In Baconian cryptograms, all page numbers ending in 89 seem to have a special significance. The 89th page of the Comedies in the 1623 folio of "Shakespeare" shows an error of type in the pagination, the "9" being from a considerably smaller font than the "8." The 189th page is entirely missing, there being two pages numbered 187; and page 188 shows the second " 8 " scarcely more than half the size of the first one. Page 289 is correctly numbered and has no unusual features, but page 89 of the Histories is missing. Several volumes published by Bacon show similar errors, page 89 being often involved.

There are also numerical ciphers from which the cryptic message may be extracted by counting every tenth word, every twentieth word, or every fiftieth word. In some cases the count is irregular. The first important word may be found by counting 100, the second by counting 90, the third by counting 80, and so on until the count of 10 is reached. The count then returns to 100 and the process is repeated.

5. The musical cipher. John Wilkins, afterwards Bishop of Chester, in 1641 circulated an anonymous essay entitled Mercury, or the Secret and Swift Messenger. In this little volume, which was largely derived from the more voluminous treatises of Trithemius and Selenus, the author sets forth a method whereby musicians can converse with each other by substituting musical notes for the letters of the alphabet. Two persons understanding the code could converse with each other by merely playing certain notes upon a piano or other instrument. Musical cryptograms can be involved to an inconceivable point; by certain systems it is possible to take an already existing musical theme and conceal in it a cryptogram without actually changing the composition in any way. The pennants upon the notes may conceal the cipher, or the actual sounds of the notes may be exchanged for syllables of similar sound. This latter method is effective but its scope is somewhat limited. Several musical compositions by Sir Francis Bacon are still in existence. An examination of them might reveal musical cryptograms, for it is quite certain that Lord Bacon was well acquainted with the manner of their construction.

6. The arbitrary cipher. The system of exchanging letters of the alphabet for hieroglyphic figures is too easily decoded to be popular. Albert: Pike describes an arbitrary cipher based upon the various parts of the Knights Templars' cross, each angle representing a letter. The many curious alphabets that have been devised are rendered worthless, however, by the table of recurrence. According to Edgar Allan Poe, a great cryptogrammatist, the most common letter of the English language is E, the other letters in their order of frequency are as follows: A, O, I, D, H, N, R, S, T, V, Y, C, F, Q L, M, W, B, K, P, Q, X, Z. Other authorities declare the table of frequency to be: E, T, A, O, N, I, R, S, H, D, L, C, W, U, M, F, Y, G, P, B, V, K, X, Q, J, Z. By merely counting the number of times each character appears in the message, the law of recurrence discloses the English letter for which the arbitrary character stands. Further help is also rendered by the fact that if the cryptogram be split up into words there are only three single letters which may form words: A, I, O. Thus any single character set off from the rest of the text must be one of these three letters. For details of this System see The Gold Bug, by Edgar Allan Poe.

To render more difficult the decoding of arbitrary ciphers, however, the characters are seldom broken up into words, and, further, the table of recurrence is partly nullified by assigning two or more different characters to each letter, thereby making it impossible to estimate accurately the frequency of recurrence. Therefore, the greater the number of arbitrary characters used to represent any single letter of the alphabet, the more difficult it is to decipher an arbitrary cryptogram. The secret alphabets of the ancients are comparatively easy to decode, the only requisites being a table of frequency, a knowledge of the language in which the cryptogram was originally written, a moderate amount of patience, and a little ingenuity.

7. The code cipher. The most modem form of cryptogram is the code system. Its most familiar form is the Morse code for use in telegraphic and wireless communication. This form of cipher may be complicated somewhat by embodying dots and dashes into a document in which periods and colons are dots, while commas and semicolons are dashes. There are also codes used by the business world which can be solved only by the use of a private code book. Because they furnish an economical and efficient method of transmitting confidential information, the use of such codes is far more prevalent than the average person has any suspicion.

In addition to the foregoing classifications there are a number of miscellaneous systems of secret writing, some employing mechanical devices, others colors. A few make use of sundry miscellaneous objects to represent words and even complete thoughts. But as these more elaborate devices were seldom employed by the ancients or by the mediaeval philosophers and alchemists, they have no direct bearing upon religion and philosophy. The mystics of the Middle Ages, borrowing the terminology of the various arts and sciences, evolved a system of cryptography which concealed the secrets of the human soul under terms generally applied to chemistry, biology, astronomy, botany, and physiology. Ciphers of this nature can only be decoded by individuals versed in the deep philosophic principles upon which these mediaeval mystics based their theories of life. Much information relating to the invisible nature of man is concealed under what seem to be chemical experiments or scientific speculations. Every student of symbolism and philosophy, therefore, should be reasonably well acquainted with the underlying principles of cryptography; in addition to serving him well in his researches, this art furnishes a fascinating method of developing the acuteness of the mental faculties. Discrimination and observation are indispensable to the seeker after knowledge, and no study is equal to cryptography as a means of stimulating these powers.

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