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his is a book about a secret cipher that exists within The Book of the Law (Liber AL vel Legis), and which has been found to make some sense of the mysterious and often ridiculous utterances of trance channels and those who have been con- tacted by the ultra-terrestrials. This book reveals to a wider public that which Initiates have known, it is fair to say, since at least the 1940s, if not earlier. There have been ciphers and codes worked into religious and magical teachings since at least the times of the Gnostics. Ciphers and codes have been used to conceal vital information, sensitive data, secret communications. Before Blaise de Viginiére’s famous table of combinations, used in cryptography, it was known as the Right and Averse Table of Combinations of the Letters, revealed to us in Cornelius Agrippa’s seminal magnum opus, the Three Books of | Occult Philosophy, from Renaissance times. Later it was badly paraphrased by one of the foundation authors of the Western Oc- cult Revival, Francis Barrett, in his The Magus, or Celestial Intelligencer. These, in their turn were influenced by Abraham Abulafia’s Rational Tables of Ziruph. While working on the typesetting of the Second Revised edition of Secret Cipher of the UFOnauts, | have seen an interesting film, and run across some interesting items elsewhere dealing with the idea of Art being used to conceal messages. In fact, some of the early work presented on the Antiquities of the Illuminati website deals with the concept of “Cipher as Art”. Brief mention must be made (in passing, since a revamped edition of the piece is on the boards) — to the engravings of Pierre Lambert de Lintot. He concealed infor- mation in at least three ciphers, one of which was openly revealed, another revealed in the decoded material from THAT cipher, and a third which was not easy to come by, without the information that Speth made available in the Ars Quatuor Coronati periodical. Though the encrypted material is rather tame once deciphered, the en- gravings are captivating, and, in fact, rather haunting at times. A Curious Masonic Engraving, published by this reporter on 01 May 2000 c.e., is one such attempt at bringing this material to our online readership. Also, in passing: the paintings of Nicolas Poussin, who has caught the attention of many people since the franchise cottage industry of Holy Blood, Holy Grail came into being in 1982. Upon studying his paintings, I found them to be an example of the first Vector Painting Program that ever existed. Poussin, in his turn, derived a lot of his symbolism from the Iconologia of Cesaré Ripa, in the Second Edition (there are three). Some of these are available online. Some aren't. It’s really a bit like an ARG (Alternate Reality Game). Using images to convey individual letters, words, and/or ideas is what this kind of thing is all about. What are the messages being conveyed, 87 AAFTERWORD CipHer As Art: Art As Cope Lancuace.