Johann Bessler's so-called Cross-Bars

Each of these code-sharing posts will be simultaneously posted on the www.besslerwheel.com forum as well as here on my blog, so that I have my own record of the posts in this subject.

Each post will contain information I have found in Bessler's books which will hopefully help towards designing the actual mechanisms, and should convince those who believe that Bessler left no information about the actual mechanisms within his wheels, that in fact everything we need can be found if you know where and how to look.

Much has been written about Johann Bessler’s puzzling comment about his use of  cross-bars and I think it’s time I shared what I believe to be the truth about them.

In his Apologia Poetica, on page 71 of part two, he wrote, “If I arrange to have just one cross-bar in the machine, it revolves very slowly, just as if it can hardly turn itself, but on the contrary, when I arrange several cross-bars, pulleys and weights, the machine can revolve much faster, and throw Wagner’s calculations clean out of the window!”

That’s how it appeared in the English translation at the back of my publication of Bessler’s Apologia Poetica.  But a couple of years ago I decided to go back to basics and looked up the word creuze which appears twice in the above quote in the original German.  The word creuze was translated as cross-bar because it was one of dozens of alternative meanings in a huge German/English dictionary I owned, and seemed to be the best fit with Bessler’s description of his mechanism.

But I could not understand how it might be possible to design the wheel with just one cross-bar and it was then that I resolved to check out the whole translation myself.  The word creuze has one obvious equivalent in English and is the basic meaning in German, and it is cross.  There is one obvious place in Bessler’s entire output of mechanical drawings which can be described as a cross and it is in the scissor mechanisms.

The scissor mechanisms is an essential ingredient in the design of the wheel, according to Bessler.  It is obvious when you look at the picture below that the red parts are indeed crosses and in my opinion Bessler is suggesting that one linkage, or cross was scarcely sufficient to turn the wheel but more of them made the wheel turn faster.

The inclusion of the words weights and pulleys along with crosses, suggests that the three items are connected in some way, one of them being the scissor mechanisms.  This solves the puzzle of having “just one cross-bar”, because you could have several crosses on each mechanism.

In a subsequent post I'll show that there were only two X's required, although you can see 8 in the above picture which is from the Toys page in MT, if you include the two handles.  This suggests that more will be better?

You can see from the above single scissor mechanism that one X would provide the minimum  extension.  Two would give more extension.

JC

Where are Our Academic Peers?

Another brief beef about the system!

We often complain about the problem of trying to get people to at least consider Johann Bessler's claims in a more open minded way, but in an age of highly defined specialisation, there is a widespread intolerance for ideas that originate outside of ‘official’ university-based frameworks.

There is also a general assumption that if a new theory collides with a preferred paradigm it must be wrong. If you are not toeing the conventional line you are a pseudoscientist. This is academic mudslinging that rejects those who hold a reasoned counter-view.

The world of science is surely an amazing place and in my opinion, one of the most fascinating aspects of life both now and historically. It is a pity that so few people in academia actually use the real principles of open minded consideration of all evidential material, no matter how contradictory it may seem when compared to the current paradigm.

The definition of an academic is someone who has been trained in a given discipline and is subsequently employed by a university to teach and possibly conduct research in that subject. They are expected to work procedurally, to apply scientific testing to their logic and to comply with conventional protocol. This includes the process of peer review prior to the possible publication of new information in academic journals.

But we, who seek to prove that Bessler’s work was genuine, have no academic peers, so we cannot be reviewed and therefore our work cannot be directly published by any of the academic journals.

But.....even if we did somehow become part of an academic peer group, we would have to offer an explanation, if only in the most general terms, showing theoretically how and why Bessler's wheel did not conflict with the current laws of physics. Alternatively demonstrate a working model - have I said that before once or twice?!

JC

Johann Bessler's Logo

In his last and most professional-looking publication, ‘Das Triumphirende…’ (produced in 1719), on page 144, Johann Bessler included a logo-like doodle that at first sight seem attractive to the eye but meaningless.  But there is more to it than meets the eye. I have reproduced it enlarged so that it is easy to see the features incorporated with in it.  The logo is composed of a crown with some curious lettering beneath, some of which on closer inspection looks like the word Orffyre which was Bessler’s name according to the atbash cipher and before he latinised it.  There is some additional lettering reversed on the left side of the middle circle.

If I transcribe the letters into modern font it will be easier to read.  It says:-

HTARORFFYRE, which, when the left side is reversed, reads RATH ORFFYRE.  This means COUNCILLOR ORFFYRE.  

Below that there are 5 letters evenly spaced, which might stand for Doctor of Mathematics, Medicine and Perpetual Motion, attributes he claimed for himself, or possibly Music in place of Mathematics.

Knowing of Bessler’s propensity for using numbers and letters substitution in various ways, I was sure that the logo contained hidden information, and the key to solving this innocent looking code could be found. One of his favourite puzzles used alphanumerics and the above is easy to read.  If D is the fourth letter of the alphabet then applying the same principle to the other letters gives  4 + 12 + 12 + 15 + 12  = 55 (again!) But that cannot be all.

Here is one of those curious, easily dismissed anomalies I have spoken of previously.  Notice the ‘P’; it does not look quite right. Is it upper case or lower case?  If lower case then the upper curved portion is too big; if upper case then the downward portion should not extend below the line of text. Which ever is the intention it should be upper case because the other letters are.  But why are the letters YR above the letter 'P'  conjoined? Is there more to this than just producing five letters or at least five letters if you include the YR as one letter.

A possible clue might be seen in a handrawn version of the logo but with some variations as below

 
In this example the 'p' has a tail similar to the letter 'q' when hand written.  However it might also be also be a 'j' or some other letter, and these puzzles can be read to provide what ever answer you seek!  Notice that in the hand drawn picture Bessler has put the letter 'O' at each end instead of in the middle as in the first logo but this is not as good at providing the link to the two way wheel as the first logo does.  

As for the other features of the logo, the crown represents Karl, the ruler; Rath Orffyreus tells us that Bessler was a counsellor under Karl; the D.M.M.P.M. tells us, in my opinion, that he was a self-proclaimed, Doctor of Mathematics (or Music), Medicine and Perpetual Motion; the number 55 tells us that he was telling us of the importance of the number 55.  Finally, the leaf design is similar to the leaves of the Arondo Domax giant reed, which is commonly used in Organ Pipes of that period, and still is today for that matter.  This is a reference to Bessler’s skills in organ building.

I am leaning towards the letter 'M' standing for music since  Bessler's later connection with organs seems to be more suitable, and of course there are examples of his musical notation for the carillon he was hoping to build one day for another prince, Karl I, Duke of Brunswick-Wolfenbüttelf.

One more item.  This a close up of the centre of the logo, and something that Bessler often used in placeof his signature.....

Very very interesting!

JC

Some more on Bessler's Codes

I've decided to share here, some more of the pieces of  Johann Bessler's coded information which I've discovered from time to time. For brevity I am reducing my explanations, just pointing out my findings and conclusions. The really detailed information is in my book which is steadily progressing and will be published in due course.

I put this clock up here last year but here's another chance to study it along with a little extra information.

Notice that the lines of perspective are as you would expect, all centred on the point of rotation.  I noted that there appeared to be a single gap in an otherwise fairly symetrical arrangment of lines.  I became curious when I noted that the two weights numbered 8 seemed to be on an alignment which passed through the centre of rotation but for which there was no perspective alignment available

The number eight figures seemed to me to be just on a line where you might expect an eight o'clock line to be.  Then I realised that when this line was added there were just twelve lines and made the logical conclusion that they must represent a clock.

Obviously I questioned the point of this inclusion and managed to relate it to another piece information. There appear to be a surplus of numbering in all of Bessler's drawings and this led me to the conclusion that the numbers might be designed to add up to a significant total.  This, as it turned out was correct.  I had already investigated the atbash route, converting numbers to letters, hoping to find a hidden text message but there was none. But the numbers in the above drawing total 660 and  660 divided by twelve (from the clock) comes to 55.   What is the relevance of the number 55?

Chapter 55 of his Apologia Poetica contains the mysterious Declaration of Faith, which also includes 141 Bible references which you can read more about in my web site http://www.orffyreus.net/

There I have shown the existence of a long and detailed code, but so far no one has to my knowledge deciphered it yet. I think that the number 55 had a dual purpose, firstly it related to his machine, and secondly it pointed to the largest piece encoded text.  The other hints at this number are numerous and I'll point out some of them in the next few weeks, but if you want to know Bessler's secret then you need to decipher the part of Chapter 55 I have described in the above web site.

PS As promised in comments, I include picture of the designs at the foot of page 128 on Apologia Poetica.  Do the represent Fibonacci spirals?

 And below is a rough copy of the preface to MT, I assume you meany this and not the actual preface?

JC