The Decoding of Chapter 55 of Johann Bessler's 'Apologia Poetica'.

Reconstructing Bessler's wheel is an important objective for me, but the mystery of Bessler's code fascinates me almost as much.

It has seemed obvious to me ever since I discovered the hidden pentagrams in the Merseberg wheel drawings and subsequently several others in other drawings by Bessler, and of course the proliferation of encoded 5s and 55s elsewhere in his publications, that there must be more to it than just my own theory that they indicated five mechanisms as a basic requirement for a successful gravitywheel - or seven or nine.

It is already obvious to many people that Bessler hid some encoded information in Apologia Poetica and I think that the key to deciphering it involves the number 5.  I'm not saying that I'm wrong about the five mechanisms, it's just that I think that once Bessler had discovered that his gravitywheel needed at least five mechanisms to work (and more as long as they were odd numbers) he decided to use the number five as part of his encoding method, as well. This is typical of Bessler, he seems to have delighted in designing each code to have two or more ways of deciphering it.

The repetition of the number five, almost exclusively within the Apologia Poetica, suggests that it is within this book that we should look for a secret message and Bessler hints at that exact thought. He says,in chapter 46, "Those who are keen to ask questions should ask them of this little book. My work will not be revealed prematurely." Chapter 55 is the final chapter of part one, (part two was added later to respond to unfair accusations by his enemies) so, given my firm conviction that there is an encoded message hidden in the book, and taking into account that Bessler is practically shouting out the number 55, chapter 55 seems like an excellent place to look.

It would be extremely useful to find someone with professional experience in codebreaking who would be willing to apply their professional skills in deciphering the code. I have made contact in the past with acclaimed experts in the field, men such David Khan, widely regarded as the world’s leading expert on the history of codes and cryptology, who although unable or unwilling to help did introduce me to an ex MI5 codebreaker, who was unfortunately too ill to help and who has subsequently passed away. I have also in the past been in contact with Cheltenham GCHQ in the hope that someone there might be of assistance. The woman I spoke to suggested that I post the problem to her and she would publish it internally. Unfortunately this particular piece of encoded material does not lend itself to brief publication on a noticeboard.

I have returned to the mystery of Chapter 55 many times and have accumulated a considerable amount of information about it and I plan to publish the details soon, which will, I hope, help those whose experience in the art of codebreaking is so much more profound and whose knowledge of the subject is infinitely broader than my own.

There are several mysteries attached to Chaper 55; the 141 bible references for a start; the fact that some of them don't actually exist; the fact that the rhyming couplets used throughout the 7000 (approximately) lines of the book are changed for just 220 lines in Chapter 55 (55 verses!); the apparently random switching from fraktur font to Latin font; the fact that five (yes its that ubiquitous number again!) references are duplicated; the weird spaces and omitted lines for no apparent reason. I haven't even mentioned the 684 'xs' that litter the end of many lines in the whole book. I could go on, but I won't. Let me just say that I have some of the answers and I shall post them in due course on one of my web sites in the near future and will notify all who might be interested as to where and when it will become available as soon as I can.

I would add it to www.theorffyresucode.com but that is so full of brief pieces about some of the codes that there is no room for any more, and I plan a more detailed article about Chapter 55 so I've decided that for the time being I shall probably add it to either http://www.orffyreus.org/ or http://www.orffyreus.net/.

JC

Das Triumphirende FOR SALE. But only until Midnight GMT 31st OCTOBER 2010

It seemed like a good idea to leave the period that the book was availabe for sale, with an unlimited cutoff date to allow as many people as possible to consider the idea of purchasing the book. So far I have received three firm offers and there are a couple more considering their options. Understandably there has been some concern over how long they would have to wait for their offers to be accepted or rejected, so I have decided to put a time limit on the sale. Anyone interested should make their offer known to me by the end of October, midnight GMT on 31st October 2010.

However, should a firm acceptable offer be made prior to this date, rather in the way that ebay sellers accept "buy now" offers I would be prepared accept it but would only be fair to notify those others who have expressed an interest in purchasing the book,in case they wished to put in an improved offer.

I hope that this seems fair and reasonable.

JC

Das Triumphirende PERPETUUM MOBILE ORFFYREANUM 1719 FOR SALE.

In November 2001 I drove to Germany to see Kassel and the other places nearbye which featured so much in Bessler's life. In Furstenberg I saw Bessler's wndmill. In Karlshafen I visited Bessler's house and also the antiquarian bookshop which is close to where Bessler lived after leaving Kassel. There I found a copy of the famous Das Triumphirende Perpetuum Mobile Orffyreanum and I was unable to resist the temptation to buy it.

Back in my hotel room I examined the book carefully and found that it had two portraits inside the front cover; one of  Bessler himself and the other of an anonymous person. I say anonymous because Bessler had carefully cut out the face on the second portrait and aligned his portrait so carefully that his own face filled the cut out perfectly. The reason for doing this is difficult to determine but I presumed that it had to do with the different items included in each portrait.  Subsequently I learned that there are probably no more than three other copies in existence with this unusual feature.

There are one or two which may include the one portrait but the double one is rare, and this must add value to the book. Inside the front cover, just after the double portraits, my copy has a label attached which reads "Ex Libris Emmy Destinn".  She was a renowned Czech operatic soprano (26 February 1878 – 28 January 1930). Destinn was born Emílie Pavlína Venceslava Kittlová. She was very versatile and besides being a singer was a poet, novelist and playwright, though nothing she has done in other professions has rivalled her reputation as a singer. She performed in Paris, London and New York many times. She is buried in Prague. Why she owned a copy of Bessler's book I have no idea but her ownership of the book can only add to the provenance and thus its value. I hesitate to add that my own part in its history can scarcely lower its intrinsic value.

The time has come for me to let it go - albeit with extreme reluctance. The book has been treated with care and has been handled by very few people other than myself, it is however a delicate object and should be kept in optimum conditions, something I am unable to guarantee. With this in mind I am offering it for sale to the highest bidder, and there is no particular time limit on the availability of this sale.

Bearing in mind the approaching 300th anniversary of the 6th June 1712 when Bessler first exhibited his wheel, and the current sale of the windmill he was building and from which he fell to his death, there is likely to be some public interest in the inventor at that time and it is not beyond the realms of possibility that someone may finally succeed in reconstructing Bessler's wheel. Given the convergence of these factors at this moment, the timing could not be better for a dramatic increase in the value of this book and is one of the reasons why I am still loath to put it up for sale.

I am tempted to set a price but I won't, preferring to receive offers and give all due consideration to each. I will say just this; very recently I was in negotiations on behalf of another person who wished to purchase the only other copy currently available. This copy lacked the portraits but a price of £3000 was agreed before the seller withdrew from the sale, preferring to hold onto his copy for a few more years, mainly because he didn't wish to part with it and I guess also in the hope of making a substantial profit on his investment.

I have placed further information at http://www.orffyreus.net/ , so if anyone is interested in obtaining this book or just to ask questions about it please let me know by email or through the BW forum

JC

Wheel update and an awsome trebuchet.

Well I'm still moving stuff out and getting rid of accumulated trash from thirty years! Still unable to work on my new wheel, but as soon as I can I'll be back!  Since I have little to report about my wheel work, I thought I'd go off at a bit of a tangent here.

I'm almost ashamed to admit that I've lived here, near Warwick, for over 30 years and yet until this week I had never visited one of the finest castles in England - Warwick castle - and it's just two and half miles from my house. Begun almost a thousand years ago, it's an amazing place and well worth the visit. But for me the best thing is, they have this huge medieval trebuchet that has to be seen to be believed.

It's not the biggest one around, but its still impressive.  It weighs in at 22 tons, measures 20 feet in height if you include the throwing arm and can hurl a missile 75 feet high and a thousand feet distant. It takes a small team of 4 or 5 guys walking in a giant hamster wheel at least 15 minutes just to wind up the massive block of sandstone which supplies the power. To be close by when it fires is awsome! This particular one - and they have others - was designed and built by Dr Peter Vemming from The Mediaeval Centre in Nykobing, Denmark, using notes and drawings from the 13th century, so it seems to be pretty authentic. I think that if they could design and build such a truly inspiring machine more than seven hundred years ago, they certainly had the know-how and the ability to built a puny gravitywheel without any problem. But of course they didn't know how! And neither do we ....yet!

There are other equally robust machines at the castle, and you can tell just by looking at them that they can unleash some fearsome energy and are just waiting for the chance!  This one I haven't seen fired yet but it just looks cool.  I'm sure that the builders of these amazing machines would have been able to build a giant gravitywheel had they known how and I can imagine something with say a twenty foot diameter being turned by heavy stone balls, able to pump thousands of gallons of water, or even raise the twenty ton rock in the trebuchet.

Anyway I shall give some updates here as soon as I have begun work on my wheel - and as always, confidence remains high.  I am still utterly convinced that 'kiiking' holds the solution, although I'm aware that most people think I'm way off target.  In the end only the proof of principle demonstrated in a working model will convince the world.

Mean while I shall keep the image of the trebuchet in mind to both inspire me and remind me what people could accomplish seven hundred years ago, here on this tired old island.

JC