[_A variation of all and each of these._] We have here ten Alphabets, concluding with a variation on each, which, had it been given, would have at least increased the number to twenty, but that was by no means the limit. Cipher Alphabets are the least interesting portion of the “Century;” we imagine we trace in them some of the Marquis’s earliest studies, and fancy that later in life they were retained from fond recollections of the past. These secret methods of corresponding are no longer of any service, and have no interest beyond what may attach to them in connection with the history of short-hand writing, wherein the object is rather dispatch than secrecy. Among early writers on the art of Senigraphy, and Stenography, are Bright, 1588, Bales 1590, Arnold Bostius, Trithemius 1600, Willis 1618, Dix 1633, Wilkins 1641, Cartwright 1652, Rich 1654, Falconer (“The Art of Secret Information,”) 1685, with others. John Baptista Porta, a Neapolitan of considerable eminence, born 1445, and who died in 1515, wrote “De Occultis Literarium Notis, Libri quinque,” Argent. 1608, octavo, in which he gives no less than 180 different methods of secret writing. The learned and ingenious Bishop Wilkins in 1641, published his “Mercury, or the Secret and Swift Messenger.” Of line alphabets he says--“Who would mistrust any private news or treachery to lie hid in a thread, wherein there was nothing to be discerned, but sundry confused knots or other the like marks?” It is, however, easily effected by each party having like tablets marked at top with the alphabet, and having hooks down each side for the passing and holding of a thread worked backwards and forwards, in which action it is to have a knot made on it for the desired letter above; making altogether words and sentences. Chapter 6, is on “Secret writing with the common letters, by changing of their places.” In chapter 11, “Of writing by invented characters,” he says: “There have been some other inventions of writing by points, or lines, or figures.” Chapter 13 is, “concerning an universal character that may be legible to all nations and languages,” concluding with observations on “The benefit and possibility of this.” In chapter 17, we are told “of secret and swift informations by the species of sound.” Among others he names “Bells,” as a species which “may be a sufficient means, whereby to communicate the thoughts;” and in chapter 18, he treats “concerning a language that may consist only of tunes and musical notes, without any articulate sound.” And lastly, in chapter 20, we have “Of informations by significatory fires and smokes.” Among the “variations” the sense of Seeing may be employed, as proposed by Sir Hugh Plat in his “Jewel House of Art and Nature,” 1653, in which he describes “How to speak by signs only without uttering of any word”--using the fingers and motions with them and the hands, which he calls a “conceited alphabet.”--Page 38.