(25) In order to facilitate the understanding of the chapter, I have lettered the words spoken by the various figures

(10) The editorial work was under the supervision of Dr. C. B. Rowlingson, through whose able efforts literary order was often brought out of literary chaos. Special recognition is also due the services rendered by Mr. Robert B. Tummonds, of the staff of H. S. Crocker Company, Inc., to whom were assigned the technical difficulties of fitting the text matter into its allotted space. For much of the literary charm of the work I am also indebted to Mr. M. M. Saxton, to whom the entire manuscript was first dictated and to whom was also entrusted the preparation of the index. The splendid efforts of Mr. J. Augustus Knapp, the illustrator, have resulted in a series of color plates which add materially to the beauty and completeness of the work. Q The printing of the book was in the hands of Mr. Frederick E. Keast, of H. S. Crocker Company, Inc., whose great personal interest in the volume has been manifested by an untiring effort to improve the quality thereof Through the gracious cooperation of Dr. John Henry Nash, the foremost designer of printing on the American Continent, the book appears in a unique and appropriate form, embodying the finest elements of the printer's craft. An increase in the number of plates and also a finer quality of workmanship than was first contemplated have been made possible by Mr. C. E. Benson, of the Los Angeles Engraving Company, who entered heart and soul into the production of this volume.

(50) The names of different localities which are invoked by the deceased and appear on the vignette of the chapter, have here been made prominent by means of heavy type

(75) 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.

(2) These seven double letters point out the dimensions, East, West, height, depth, North, South, with the holy temple in the middle, sustaining all things.

(502) 1073 ----------------- four -----------------------1074. --------------- a point ---------------------1075. --------------- darkness ---------------------- 1076. --------------- be not ----------------------1077. come --------------------------------------- 24. A SERIES OF REED-FLOATS AND FERRYMAN TEXTS,

(2) One passage, accordingly, I shall in the briefest terms advert to, so as not to leave the topic unexplained.

(3) Taking the domains in the same order as in the preceding text, we find them named in the following way in the papyrus Aa :—

(1) We were upon the summit of the stairs, Where for the second time is cut away The mountain, which ascending shriveth all. There in like manner doth a cornice bind The hill all round about, as does the first, Save that its arc more suddenly is curved. Shade is there none, nor sculpture that appears; So seems the bank, and so the road seems smooth, With but the livid colour of the stone. "If to inquire we wait for people here," The Poet said, "I fear that peradventure Too much delay will our election have." Then steadfast on the sun his eyes he fixed, Made his right side the centre of his motion, And turned the left part of himself about. "O thou sweet light! with trust in whom I enter Upon this novel journey, do thou lead us," Said he, "as one within here should be led. Thou warmest the world, thou shinest over it; If other reason prompt not otherwise, Thy rays should evermore our leaders be!" As much as here is counted for a mile, So much already there had we advanced In little time, by dint of ready will;

(4) d ) Words of the figure of the Northern wall

(2) No better way can be found of introducing to the "Royal Art" a seeker after the mysteries of symbolical philosophy than to place at his disposal an actual example of alchemical writing. The text of this manuscript is as enigmatic as are its diagrams; but to him who will meditate upon the profound significance of both, the deeper issues of mysticism in due time will be made clear. An unknown person through whose hands this manuscript passed wrote thus of it:

(2) Now then, if there be any that have a desire to follow me, and would fain have this Knowledge whereof I write, I advise him to follow me in this following Table, [Pattern or Way,] not presently with the Pen, but with the Labour of the Mind, and then he shall find how I could come to write thus; whereas I was not taught from the Schools of this World, but only a little of this mean Hand-writing, as may be seen here.

(1) Now bears us onward one of the hard margins, And so the brooklet's mist o'ershadows it, From fire it saves the water and the dikes. Even as the Flemings, 'twixt Cadsand and Bruges, Fearing the flood that tow'rds them hurls itself, Their bulwarks build to put the sea to flight; And as the Paduans along the Brenta, To guard their villas and their villages, Or ever Chiarentana feel the heat; In such similitude had those been made, Albeit not so lofty nor so thick, Whoever he might be, the master made them. Now were we from the forest so remote, I could not have discovered where it was, Even if backward I had turned myself, When we a company of souls encountered, Who came beside the dike, and every one Gazed at us, as at evening we are wont To eye each other under a new moon, And so towards us sharpened they their brows As an old tailor at the needle's eye. Thus scrutinised by such a family, By some one I was recognised, who seized My garment's hem, and cried out, "What a marvel!"

(15) This Chapter is found in two papyri: one at Leyden, and one at Naples. Its title begins like that of Chapter 124. The first paragraphs are translated from the papyrus at Leyden, which stops suddenly, because the space allotted to the text, below the vignette, came to an end. From there the scribe passes over to the rubric

(74) 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.

(3) Of this chapter we have unfortunately but one copy in Fa , of the Musée Borély. This is defective both at the beginning and at the end, and the text is inaccurate. The later copies are so inaccurate that it is impossible to reconstitute the text. It is precisely on those points where grammatical accuracy is required for fixing a definite sense that the manuscripts are hopelessly defective. The preceding translation is verbally correct, I trust, but I do not pretend that it is intelligible. It stops where the papyrus Fa stops

(6) There shall be seen the pride that causes thirst, Which makes the Scot and Englishman so mad That they within their boundaries cannot rest; Be seen the luxury and effeminate life Of him of Spain, and the Bohemian, Who valour never knew and never wished; Be seen the Cripple of Jerusalem, His goodness represented by an I, While the reverse an M shall represent; Be seen the avarice and poltroonery Of him who guards the Island of the Fire, Wherein Anchises finished his long life; And to declare how pitiful he is Shall be his record in contracted letters Which shall make note of much in little space.

(4) These twenty-two letters, the foundations, He arranged as on a sphere, with two hundred and thirty-one modes of entrance. If the sphere be rotated forward, good is implied, if in a retrograde manner evil is intended.

(34) "No one journeys now 'from the high place of Cabaon to the threshing floor of Oman the Yebusite,' nor has seen, 'his Master, clothed in blue and gold;' nor are apprentices and Fellow-crafts any longer paid at their respective Columns; nor is the Master's working tool the Tracing Board, nor does he use in his work 'Chalk, Charcoal, and an Earthen Vessel,' nor does the Apprentice, becoming a Fellow Craft, pass from the square to the compass; for the meanings of these phrases as symbols have long been lost."

(11) The ornamental border contains groups of names of animal, mineral, and vegetable substances, Their relationship to corresponding parts of the human body is shown by the dotted lines. The words in capital letters on the dotted lines indicate to what corporeal member, organ, or disease, the herb or other substance is related. The favorable positions in relation to the time of year are shown by the signs of the zodiac, each house of which is divided by crosses into its three decans. This influence is further emphasized by the series of planetary signs placed on either side of the figure.