A\^ c ■<^ \0 -i- •is- %.<^ .•0' X .^^-^^ > ^ . \' ■0 \ * , '5 A" "o V' N^ f. %'^^^<:-^/ \^' -o. .0- .O'^^ .•V ^■i '/'^ ■^^ A-V aX^' .•■^ i},^ , o >; -o V'^ V>\s' .\V .i^' y. \v '^. '-y. v"?-" c- -^^ ' V'V •s „ V I • .#%. X^' co*^'^*^ ^^.'.^^ ..-^ ^^ c' •0 -n. ^^■n.. %.^'' ^ *■ .A 0' '^ o r ^^-^c^. %* >^ * 8 I 4 " V , ^ . . - >. a\' •x^^"^-^ \'' "^0^ :,^ ,0- v^ ^^'''>^ 'cv/ '^° .0^ ^■^"'- >, * » v\^ C- -^^ S^- ^^.^^\^"* 'V"^"..x^'.-^^. ^ ^p^ .^''"^..'"o ./yt'T-, '' O .•-t\ -r-.. ' -o >^ r -7- . > _ \ " Vsi^ * fxO <'.- .^ -V'. .^• •^ y . . s •> ^C) . >1 d r of \^^; mm^'' ood hope that if the first reading : objection, the second reading maiie an answer."— ylc/v, ofL .',-v: • Vvv<^*!- mm ■if-' ■■■■ y^ :\'r : ■ l> '!^^ / THE Bi-literal Cypher of S'' Francis Bacon difcovered in his works AND DECIPHERED BY / MRS. ELIZABETH WELLS GALLUP DETROIT. MICHIGAN: HOWARD PUBLISHING COMPANY LONDON : GAY b BIRD 31179 Entkkeu at Stationers' Hall, London, 1899. All rights reser7>ed. Copyright, 1899. BY V. KING MOORE. All rights reserved. t>NO C30P^^'' ^tccw^^' ■la.. \PR 1 7 1899 \ S^'^' r^ V C\ % PEKSONAL. TO THE READER: The discovery of the existence of the Bi-literal Cipher of Francis Bacon^ found embodied in his works, and the deciphering of what it tells, has been a work arduous, ex- hausting and prolonged. It is not ended, but the results of the work so far brought forth, are submitted for study and discussion, and open a new and large field of investi- gation and research, which cannot fail to interest all stu- dents of the earlier literature that has come down to us as a mirror of the past, and in many respects has been adopted as models for the present. Seeking for things hidden, the mysterious, elusive and unexpected, has a fascination for many minds, as it has for my own, and this often prompts to greater effort than more manifest and material things w^ould command. To this may be attributed, perhaps, the triumph over diffi- culties which have seemed to me, at times, insurmountable, the solution of problems, and the following of ways tor- tuous and obscure, which have been necessary to bring out, as they appear in the following pages, the hidden mes- sages which Francis Bacon so securely buried in his writ- ings, that three hundred years of reading and close study nave not until now uncovered them. This bi-literal Cipher is found in the Italic letters that appear in such unusual and unexplained prodigality in the original editions of Bacon's works. Students of these old editions have been impressed with the extraordinary num- ber of words and passages, often non-important, printed in Italics, where no known rule of construction would require their use. There has been no reasonable explanation of this until now it is found that thev were so used for the ti PERSONAL. purposes of this Cipher. These letters are seen to be in two formes — two fonts of type — with marked differences. In the Capitals these are easily discerned, bnt the distin- iiiiishing features in the small letters, from age of the books, blots and poor printing, have been more difficult to classify, and close examination and study have been re- tiaired to separate and sketch out the variations, and edu- cate the eye to distinguish them. How 1 found the Cipher, its difficulties, methods of working, and outline of what the several books contain, w)\\ more fully appear in the explanatory introduction. In assisting Dr. Owen in the preparation of the later books of "Sir Francis Bacon's Cipher Story," recently pub- lished, and in the study of the great Word-Cipher discov- ■,'ied by him, in which is incorporated Bacon's more exten sive, more complete and important writings, I became con- \ iuced that the very full explanation found in De Aug- inc-ntis, of the bi-literal method of cipher-writing, was something more than a mere treatise on the subject. 1 applied the rules given to the peculiarly Italicised words and 'letters in two forms," as they appear in the photo- graphic Fac-Simile of the original 1623, Folio Edition, of tiie Shakespeare Plays. The disclosures, as they appear in this volume, were as great a surprise to me, as they \\dll 1)0 to my readers. Original editions of Bacon's known works were then procured, as well as those of other authors named in these, and claimed by Bacon as his own. The deciphered story in these will also appear under the several headings. From the disclosures found in all these, it is evident that Bacon expected this bi-literal Cipher would be the first to be discovered, and that it would lead to the discovery of his principal, or Word-Cipher, which it fully explains, and to which is intrusted the larger subjects he desired to have preserved. This order has been reversed, in fact, and the earlier discovery of the Word-Cipher, by Dr. Owen, becomes a more remarkable achievement, being entirely PERSONAL. m evolved without the aids which Bacon had prepared in this, for its ehicidation. The proofs are overwhelming and irresistible that Bacon was the author of the delightful lines attributed to Spen- ser, — the fantastic conceits of Peele and Green, — the his- torical romances of Marlowe, — the immortal plays and poems put forth in Shakespeare's name, as well as the Anatomy of Melancholy of Burton. The removal of these masques, behind which Bacon concealed himself, may change the names of some of our idols. It is, however, the matter and not the name that appeals to our intelligence. The plays of Shakespeare lose nothing of their dramatic power or wondrous beauty, nor deserve the less admiration of the scholar and critic, because inconsistencies are re- moved in the knowledge that they came from the brain of the greatest student and writer of that age, and were not a "flash of genius" descended upon one of peasant birth, less noble history, and of no preparatory literary attain- ments. The Faerie Queen and the Shepherds Calendar will be not less sweetly poetical, because Francis Bacon appropri- ated the name of Spenser, several years after his death, under which to put forth the musical measures, that had, up to that time, only appeared as the production of some Muse without a name. The supposed writings of Peele, Greene and Marlowe are not the less worthy, because really written by one greater than either. The remarkable similarity in the dramatic writings at- tributed to Greene, Peele, Marlowe and Shakespeare has attracted much attention, and the biographers of each have claimed that both style and subject-matter have been imi- tated, if not appropriated, by the others. The practical explanation lies in the fact that one hand wrote them all. r fully appreciate what it means to bring forth new truth from unexpected and unknown fields, if not in ac- tv PERSONAL. cord with accented theories and long held beliefs, ^'^or what a man had rather were true, he more readily be- lieves,7 — i'^ one of Bacon's trnisms that finds many illus- trations. I appreciate what it means to ask strong minds to change long standing literary convictions, and of such I venture to ask the witholding of judgment until study shall have made the new matter familiar, with the assurance mean- while, upon my part, of the absolute veracity of the work which is here presented. Any one possessing the original books, who has sufficient patience and a keen eye for form, can work out and verify the (Cipher from the illustrations given. ISf^othing is left to choice, chance, or the imagina- tion. The statements which are disclosed are such as could not be foreseen, or imagined, or created, nor can there be found reasonable excuse for the hidden Avritings, except for the purposes narrated, which could only exist concerning, and be described by, Francis Bacon. I woiild beg that the readers of this book will bring to the consideration of the work minds free from prejudice, judging of it mth the same intelligence and impartiality they would themselves desire, if the presentation were their own. Otherwise the work will, indeed, have been a thank- less task. To doubt the ultimate acceptance of the truths brought to light would be to distrust that destiny in which Bacon had such an abiding faith for his justification, and which, in fact, after three centuries, has lifted the veil, and brought us to estimate the character and accomplishments, trials and sorrows of that great genius, with a feeling of nearness and personal sympathy, far greater than has been possible from the partial knowledge which we have here- tofore enjoyed. ELIZABETH WELLS GALLUP. Deiroit, March 1st, 1899. EXPLANATORY INTRODUCTION. The subject of Cipliers and Cipher-writing became, with Francis Bacon, a hobby, if not an absorbing passion, the extent of which may bo judged from the voluminous and important matter being brought to light, which he infolded in his writings, and which has until now escaped attention. In his work published in 1605, "Of the Advancement of Learning," he makes a topic of C'iphers, as a branch of educational progress, and hints at, but does not explain, the bi-literal method of Cipher-writing, while he was at the same time infolding, in the Italic letters of the book itself portions of his own secret history, and facts concern- ing the rebellion of Essex, in the manner in which he asserts such messages might be hidden. He continued to write Ciphers into his various works, published from time to time, until in 1624, when, none having discovered the secret, the very success of the system seeming likely to defeat its object, and when all personal danger from a premature exposure of what he had written was past, he published in the Latin version of "De Aug- mentis Scientiarum" a clear and minute description and illustration of this Cipher, hoping that it would be under- stood, and fearing that nothing less would lead to its dis- covery and translation. "But what occasion had Francis Bacon to write Ciphers into his works?" First, — a boyish freak, no doubt, to do that which had never been done, employ his inventions in a larger way and gratify his passion for Cipher writing; later, its demonstrated success suggested a means of con- veying to a future time the truth which was being con- cealed from the world concerning himself, his Royal VI INTRODUCTION. birth, — his right to be King of England — secrets of State regarding Queen Elizabeth — his mother — and other prom- inent characters of that day, the correction of English his- tory in important particulars, and the exposure of the wrongs that had been put upon him. Added to this, and most important of all to the ambi- tions of his latter days, was the hope of thus bringing to the knowledge of the world the greater field of literature which he had occupied, unknown at that time, and unsus- pected until recently, as the author of many books which had been accredited to other names, and thereby secure in the world of letters the wider fame and glory which he craved, and which Avas his just due. The names, other than his own, under which Bacon published the brilliant literature of that era, were Christo- pher Marlowe, — George Peele, — Robert Greene, — Ed- mund Spenser, — William Shakespeare, — Robert Burton, and Ben Jonson. Two of these, Spenser and Greene, died before the books appeared in their names. Pemiission to use the others was by consent, through purchase or other arrangement. The Cipher* (more than one) run through them all. That Francis Bacon wrote the Shakespeare Plays, and the existence of Ciphers in them, has been long suspected, and much time and study devoted to arguing, pro and con^ the several phases and probabilities of the question. The same questions had not been raised, nor suggestion of other authorship than appears upon the title pages, regarding the others, until the discovery by Dr. O. W. Owen of the prin- cipal, or AVord-Cipher, in the works of all of them, portions of which have already been published as "Sir Francis Bacon's Cipher Story." The translation of this bi-literal (^ipher in the folloAA'ing pages, with its directions as to how the Word-Cipher is to be constructed, the keys to the different stories to be written, the guides as to where to find the matter pertaining to them, fully confirms what had INTRODUCTION. vii already been fonnd by Dr. Owen, and removes all possible doubt as to Bacon's authorship. In the present volume is presented that part of the hid- den writings which the bi-literal Cipher reveals in the fol- lowing works: — Francis Bacon's, Of the Advancement of Learning, (1605), — King Henry Seventh, (1622), — Sylva- Sylvarum and New Atlantis, (first published 1635), — Spenser's, Shepherd's Calendar and short poems, (1611), — Faerie Queen, (1613), — Jonson's, Sejanus, and Masques, (1616),— Marlowe's Edward Second, (1622),— Shake- speare Plays, (Folio 1623), — Burton's Anatomy of Melan- choly, (1628). In all of these are fragments of Bacon's personal history, the statement that Elizabeth was the lawful wife of the Earl of Leicester by a secret marriage, before becoming Queen ; that the issue of this marriage was two sons, — Fran- cis Bacon, so-called, and Eobert Devereux, afterward Earl of Essex; that Francis was at birth received by Mistress Ann Bacon and was reared and educated as the son of Nicholas Bacon. It appears that at ab^ut the age of six- teen Francis discovered the facts of his nativity through the gossip of a Court lady, and in a fit of anger the Queen acknowledged to him her motherhood and his son-ship, and that he was immediately thereafter sent to France, and subsequent action was taken by which he was barred from the succession to the throne. In several of the books, though more notably in the Shakespeare plays, are explana- tions of the "great Word-Cipher which shows all," with keys to the different stories, their titles and directions for deciphering them. The work hidden takes the form of a series of letters, or divisions, each being closed \^dth a signature of Francis Bacon, or with initials or some one of the titles he bore. In the Shakespeare Plays, the chief dramatic work of Bacon, is found the most important of the secret writings committed to the Ciphers. Here, in extenso, are the prin- VIII INTRODUCTION. cipal directions and manner of writing the word-cipher, the keys and guides, the different works to be used and the names under which thev appear, the titles of the hidden stories to be written out, and where the matter of which they are to be constructed may be found. Much space is devoted to the secret personal history of himself and his brother, Robert, which the Queen saw fit to have concealed from general knowledge. His references to the trial and execution of Essex and the part he was forced to take in his prosecution, are the subject of a continual wail of unhappiness and ever-present remorse, with hopes and prayers that the truth hidden in the Cipher may be found out, and published to the world in his justification. '*0 God! forgiveness cometh from Thee; shut not this truest book, my God! Shut out my past, — love's little sunny hour, — if it soe please Thee, and some of man's worthy work, yet Essex's tragedy here shew forth; then posterity shall know him truly." The various Introductions, Dedications, the Catalogue of Plays and Characters, the Prologues, the headings of the different Comedies, Histories and Tragedies (in the order named), comprising a series of short passages, giving general directions for the work, are complete in themselves, and at the end of each division occurs seme one of the sig- natures by whicli Bacon was known, as if to authenticate what had been written. The more connected narrative is in the Plays, combined in the order as given (in cipher) in the Natural History, and in the Plays themselves as the deciphering advanced. In this order tlie plays are linked together in the most unmistakable manner, parts of words and sentences unfin- ished at the end of one finding completion and continuance in the next. Four breaks or omissions occur, however, from inability thus far to gain access to the original edi- tions of the books required, and from the fact that the modern editions do not contain this bi-literal, though the INTRODUCTION. ix Word-Cipher is easily traced in them. The first missing link is Peele's Old Wives' Tale, which should precede Twelfth jSi^ight. Its absence causes the latter to begin abruptly, showing the omission of something which should precede it in the deciphering. The second omission is the Pinner of Wakefield, published as Greene's work, which should precede the Merchant of Venice. The third omis- sion is the Jew of Malta, of Marlowe, which should precede the Merry Wives of Windsor. The fourth missing link is at the end of Much Ado About Nothing, which closes with an incomplete sentence, the remainder of which will be found in the Tale of Troy. Hiren the Faire Greek (sup- posed to be a lost play) should follow this and precede Win- ter's Tale, which last begins with a continuation of some- thing to be found in the missing work. The absence of these books is not material, hovv'^ever, as the substance of the bi-literal story is so often repeated in the other works, they are not necessary to an understanding of the whole. On another page is copied from De Augmentis, as nearly as may be with modern type, the illustration of the method of infolding cipher writings by means of "letters in two forms," the letters infolding being (quintuple those in- folded. This plan was applied to the Italic letters, in the books mentioned, with results which iiave been most sur- prising in the variety and interest of the deciphered work. The rule is simple and easily comprehended, but many stumbling blocks occur in the books, placed there with the evident puii^ose of making the deciphering more difiicult, which bring confusion to the work until removed. Each book has its o^^^l peculiarities — different letters — and forms a separate study. The first page of Henry VII., as it herein appears, will explain some peculiarities, the changes in the readings of the same forms of letters, the meaning of the dots and other unusual markings, which close stu- dents of the old books have noted. Occasionally will be found a Roman letter in an Italic word ; this has to be dis- X INTRODUCTION. regarded. Not infrequently an Italic letter occurs in a word, the remainder of which is in Roman; these must be used. There are occasional words in Eoman type between words in Italic that have to be used to form the groups necessary to complete a Cipher word. Whether these are mistakes of the printer, or thrown in to confuse would-be decipherers, it is of course not possible now to determine. In the illustration given in the original De Auginentis, one of the Latin words ends with a wrong termination, making one too many letters for the group, and must be omitted. The error is corrected in the English translation of 1641 and in subsequent editions. One of the most puzzling of the many strange things that have been observed but not explained has been the duplication and misplaced paging in the originals. These occur in nearly all the books that have been deciphered. There are several in the Folio Shakespeare Plays, and they are still more prominent in some of the other works. A list is appended, Avith explanation of the pages which are to be joined together in the deciphering. They bring the work into instant confusion, until the proper duplicate page is found and the two joined together in the order of pre- cedence in which they occur, until all of that number are deciphered, after which the consecutive pages continue the story until some other break occurs, which has in turn to be properly solved. Sometimes three, and in Advance- ment of Learning four misplaced pages are found of the same number in the same book. To illustrate more fully: the first WTong paging in the Folio Shakespeare occiu-s in Merry Wives of Windsor. After page 49 are 58-51. In the consecutive order there- after, and follo^Wng 58, is another 51. In deciphering, the first 58 must be omitted until the first 51 is deciphered; this must be followed by the second 51, then the regular order resumed. When page 57 has been deciphered, it INTRODUCTION. xi must be followed by the first 58, and this by the second 58. There is no 50 or 59 in this division. In Comedy of Errors, page 85 is followed by page 88, then 87, then 88 again. In deciphering, page 85 must be followed by 87, this by the first 88, and this by the second 88. There is no 86. In Tempest, as deciphered, this direction occurs: — "Now join King Lear, King John, Romeo & Juliet — " etc. In the closing lines of King John, this: — "Join Romeo with Troy's famous Cressida if you wish to know my story. Cressida in this play with Juliet, b — " which ends the Cipher in King John, with an incomplete word. Turning to Romeo and Juliet (page 53) the remainder of the word, and the broken sentence is continued, being a part of the description of Marguerite, and the love Francis entertained for her. The deciphering of Romeo and Juliet proceeded with- out interruption until page 76 was finished. The next page is 79, but an attempt to go forward with it brought confusion, the subject-matter not joining or relating to the preceding subject. After much speculation and study, it was recalled that Troilus and Cressida was to follow, and that the first page of that play was 78. A trial of this page brought out the letter and words which connected with those on page 76 of Romeo and Juliet. At the end of 79, of Troilus and Cressida, again came confusion, but by joining Romeo and Juliet, 79, to this, and following by page 80 of Troilus and C^ressida, the narration was con- tinued in proper order. There is no page 77 in Romeo and Juliet, or in this division of the book. Had the Cipher been less arbitrary, or subject to varia- tion, or the story the invention of the decipherer, less time and study would have been spent in finding joining parts, and nothing would have been known of the reasons for wTong paging. XII INTRODUCTION. Some Keys relating to other Cipher work not yet deci- phered are omitted. Spelling was not an exact science in any of the works of Bacon and if the old English is thought to be unique, it must be attributed to the unsettled orthography if the six- teenth century. Many abbreviations occur, marked by the "iilda'' in the old English, but which are not used in mod- ern type. In the deciphered works the same diversity exists as in the originals, the exact text being followed letter by letter. Proper names, even, are not always spelled alike. There was marked progress, however, in the period between the production of Bacon's first works and the last. To Bacon, in greater degree than to any other, has been accredited the enriching of the English language with new wunls, but the spelling and expression of them have been three centuries in crystalizing into the simplicity and uni- formity of the present schools. The Natural History, and New Atlantis, was published some years after Bacon's death, by Dr. Rawley, the private secretary of whom Bacon speaks. In the Introduction and table of contents, Rawley tells (in Cipher) the circum- stances of its preparation. In the dccyphering, the body of the book was first worked out. In the Eighth Century there came confusion of letters and it required considerable study to find that the fonts of type had been changed in some of the letters, i. e., what had been used as the "a" font was changed to the "b" font, either by mistake, or for purposes of confusion. After the main part of the book had been finished, the Introduction of Rawley and table of contents was deciphered, and this brought out that from the Eighth Century Rawley had completed the work, — "yet I have stumblingly proceeded with it and unwittingly used some letters wrongly, as B — I — L — M — N — P — S — and Z." He also refers to his finishing the last edition of Burton's Anatomv, the edition used in this volume. INTRODUCTION. xiii The reference to the signing of the death warrant of Mary Queen of Scots, by the Secretary, Davison, instead of by Elizabeth, and unknown to her, confirms what the most recent historians have noted, and explains some in- consistencies in the earlier accounts of Elizabeth's action. Perhaps the most remarkable results, and certainly the most unexpected, and greatest surprise, came from deci- phering De Augmentis, and Burton's Anatomy of Melan- choly. The history of the Anatomy is peculiar. It is said to appear in the Catalogue of the British Museum under the fictitious name of T. Bright, about the year 1587, or when Burton was only about ten years old. Greatly enlarged, it appears in 1621, and again in 1624, and again in 1628, under the name of Robert Burton, a person of whom little is known, except as the supposed author of this work alone, and as a living example of the melancholy which it so felicitously describes. The Cipher mentions both Bright and Burton as names under which Bacon WTOte the book, and also that the different editions contain a different Cipher story. The extraordinary part is that this edition conceals, in Cipher, a very full and extended prose summary — argu- ment, Bacon calls it — of a translation of Homer's Iliad. In order that there may be no mistake as to its being Bacon's work, he precedes the translation with a brief ref- erence to his royal birth and the wrongs he has suffered from being excluded from the throne. The Cipher also tells that in the marginal notes, which are used in large numbers in the book, may be found the argument to a translation of the JEneid, but this has not been deciphered. In De Augmentis is found a similar extended summary, or argument, of a translation of the Odyssey. This, too, is introduced with reference to Bacon's personal history, and although the text of the book is in Latin the Cipher is in English. JTvi INTRODUOTION. The decipherer is not a Greek scholar and would be in- capable of creating these extended arguments, which differ widely in phrasing from any translation extant, and are written in a free and flowing style which will be recog- nized as Baconian. Homer was evidently a favorite author, and in all the books deciphered it is repeated that the translations, in Iambic verse, will be found in the Word-Cipher, and these summaries are to aid in tiie production of them. Close students of Shakespeare and Spenser have noted many fragments of the Iliad in the plays and poems, and a portion has already been deciphered. The books deciphered cover a period of about twenty years, in which Bacon was writing into them the secrets of his life. The repetitions of the sorrowful story take on the differing moods in which he wrote and the variations of mental activity during tliat long period. Grieving over the tragic death of his brother, and his part in bringing it about, which was an ever present cause of remorse, and brooding over the wrongs and sorrows that had been forced upon himself, his mind passes through many changeful emotions as the years progress, and the bi-literal Cipher becomes the receptacle of his plaints — the escape valve of his momentary passions — the record of liis lost hopes, and the expression of those which he still cher- ished for the future in the prophecy, — "| look out to the future, not of years, but of ages, knomng that my labours are for the benefit of a land very farr oft', and after great length of time is past." Detroit, March, 1899. Of the. Advancement of Learning, (London, 1605.) CYPHARS For C Y p H A R s ; they are commonly in Letters or Alphabets, but may bee in Wordes. The kindes of C Y p H A R s, (befides the Simple Cyphars with Changes, and intermixtures of N vlles, and Nonsignificant s) are many, according to the Nature or Rule of the infoulding : W h e e l e - Cyphars, Ka y-C yphars, Doybles, &c. But the vertues of them, whereby they are to be preferred, are three ; that they be not labor- ious to write and reade; that they bee impofsible to difcypher ; and in fome cafes, that they bee without fufpition. The higheft Degree whereof, is to write Omnia Per Omnia; which is vndoubtedly pofsible, with a proportion Quintuple at moft, of the writing infoulding, to the writing infoulded, and no other reftrainte whatfoeuer. This Arte of Cypheringe, hath for Relatiue, an Art of Difcypheringe ; by fuppofition vnprofitable ; but, as things are, of great vfe. For fuppofe that Cyphars were well mannaged, there bee Multitudes of them which exclude the Difcypherer, But in regarde of the rawnefTe and vnskilfulneffe of the handes, through which they paffe, the greateft Matters, are many times carryed in the weakeft Cyphars, De Augmentis Scientiarum (Translation, Gilbert Wats, 1640.) Wherefore let iis come /o C v p H a R s. Their kinds are many, as Cyphars /imple; Cyphars intermixt witt U^idloes, or non - fignificant Characters; Cyphars of double Letters under one Character; Wheele-Cyphars ; Kay- Cyphars; Cyphars of Words; Others. But the virtues of them whereby they are to be preferr'd are Three; That they be ready, and not laborious to write; That they be jure, and lie not open to Deciphering; And laflly, if it be pofsible, that they be managed without fiifpition. But that jealoufies may be taken away, we will annexe an other invention, which, in truth, we devifed in our youth, when we were at Paris : and is a thing that yet feemeth to us not worthy to be loft. It containeth the bighejl degree of Cypher, which is to fignifie omnia per omnia, yet fo as the writing infolding, may beare a quintuple proportion to the writing infolded; no other condition or reftriction whatfoever is required. It fhall be performed thus: Firft let all the Letters of the Alphabet, by tranfpo- fition, be refolved into two Letters onely ; for the tranfpofition of two Letters by five placings will be fufficient for 32. Differences, much more for 24. which is the number of the Alphabet. The example of fuch an Alphabet is on this wife. An Example of a "Bi-literarie Alphabet. a h a b a b a b a b abababab \j^Aaa "BBbh CCccT>Ddd EEee FFff ( a b a b abababab abababab a b a b XGGgg HHbh yiii KKkh LLll {MMmm ( a b a b a b a b a b a b a l> a b abababab X^Nnn OOoo TPpp Q^Qqq Ti^rr SSss ( ababababab a b a b a bab abababab \ T TttVVvvuu IVWww XXxx YYyy ZZ^z Now to the interiour letter, which is Biliterate, you fhall fit a biformed exteriour letter, which fhall anfwer the other, letter for letter, and afterwards fet it downe. Let the exteriour example be, tManere te volo, donee venero. An Example of Accommodation. F V G E a £L b a b, b a. a b b. a. a. b b a. a a baa, (Manere te volo donee venero We have annext likewife a more ample examph^ of the cypher of writing omnia per omnia: An interiour letter, which to expreffe, we have made choice of a Spartan letter fent once in a Scytale or round cypher'd ftaffe. Spartan Dispatch. J^ll is lost. zMindarus is killed. The soldiers want food. We can neither get hence nor stay longer here. An exteriour letter, taken out of the firft Epiftle of Cicero, wherein a Spartan Letter is involved. Cicero's First Epistle. Jn all duty or rather piety towards a a aaa\a-bAh a\ a b a b ci\ti b a a alb a a.a-b\abab A \ ^ \l\i\s\L you, I satisfy everybody except myself. a \ a i b a b\i a a a b \ b a a b a\a b a b b\ a b a a a \ a b b a a\ a I o \s\t\m\i\n\ (My self J never satisfy. For so great are a a b b\a a a a a\b a a a a\ b a a b b I b a a a b \ a b a a a\ b a a d\a\r\u\ S I /|^ tlie services which you have rendered me, a b\a b a a b\ab a a a \a b a b tt\a b a b a\a abaa\aaab b\ b |Ar|/| L \ L 1^1 D \ that , seeing you did not rest in your en- a a b a I a a b b b\a a b a a\b a aab\abba b\a b a b a\ a a T \ H \ E \ S \ O \ L \ deavours on my behalf till the thing was abb\abaaa\aa b a a\baaaa\batta b\b a b a a\ a a a a a\ D \ I \ E \r\s\w\a\ done, 7 feel as if life had lost all its sweet- abba a \ baab a\a a b a b\a b bab\abba b\aa abb \ b a baa I N \T\f\0\0\d\U^\ ness, because J cannot do as much in this a a b a a\A a a b a [a a a a cl\ a b b a. a \ a b B a a\ ti a b a a\a b E \ c \ A 1^1 ^r 1^1 cause of yours. The occasions are these: a a a\ b a a b a \ a a b b b\ a a b a a\b aa a a\a abb a\a a b a I \ T \ II \ E \ R \ G \ E i/immonius, the king's ambassador, open- a I b a. a b a\ a