Author's Note: The original paper upon which this work is based discussed the extensive evaluation planned in search of possible new meaning for the Masonic Symbol of the Square and Compasses. This work has grown in volume to the point at which the results have become unwieldy as a single publication. Accordingly this paper presents that portion of my exploration of the Masonic Square and Compasses symbol dealing with the techniques of Numerology, English alphabet substitution cipher (using the Pythagorean Cipher Chart), and three variants of English Gematria.

In a previously published article[i] the theory was advanced that the symbol of the Masonic Square and Compasses may have a concealed meaning beyond the recognized allegorical or metaphoric meanings ascribed to it by ritual and tradition.  In the cited article, the source of this hidden meaning is proposed as being a cipher which makes use of the Freemasons Magic Square[ii] as a visual key.  This theory is based in part upon consideration of the fact that Freemasonry is rich in examples of ciphers in which visual elements play a key role. One of these examples is the so called Rosicrucian Cipher[iii] shown in Figure 1 below; another is the Freemasons Cipher[iv] (Figure 2) which many York Rite Masons will find especially familiar and which is an adaptation of the cipher originally devised by the Rosicrucians.

This paper is a further development of the theory which was espoused in the original Pietre-Stones article. The author has attempted in this work to avoid repeating unnecessary details which may be found in the initial article, especially those details concerning how my interest in this topic originated and how the research progressed. It does however review the concept of Magic Squares, Sigils, and Gematria in sufficient breadth to acquaint the reader with the basis of our proposed theory. I might add that the original article described using a Pythagorean chart as one method for ascertaining the existence of a hidden meaning within the symbol of the square and compasses. Although presented as a methodology, no specific results of applying that method were provided. The reader will find those results (which were incomplete at the time the initial paper was submitted) published here. Additionally, much work has been done using other methods and by expanding certain elements of the original theory. 

My basic assertion is that the square and compasses symbol may represent a Sigil which was developed using the Freemasons’ Magic Square, and that this Sigil conveys hidden meaning.

If all of this seems improbable to the reader, please allow me to quote Bro. Manly P. Hall[v], eminent Mason and Masonic author on this matter:

“Ciphers are hidden in the most subtle manner: they may be concealed within the watermark of a piece of paper upon which a book is printed; they may be bound into the covers of ancient books; they may be hidden under imperfect pagination; they may be extracted from the first letters of words or the first words of sentences; they may be concealed in mathematical equations or in apparently unintelligible figures … If those interested in Freemasonic research would give serious consideration to this subject they might find in the books and manuscripts of the sixteenth and seventeenth centuries the information necessary to bridge the gap in Masonic history that now exists between the Mysteries of the ancient world and the Craft Masonry of the past three centuries.”

The Freemasons’ Magic Square

To understand the premise of this paper, one first needs to understand what a Magic Square is (or more specifically what the Freemasons’ Magic Square is). A Magic Square is an array of an equal number of rows and columns containing numbers which are arranged so that the sum of any row is also equal to the sum of any column in that square. Additionally, the sum of either of the two diagonals of the square also equals the sum of either a row or column in the square. The Freemasons’ Magic Square (Figure 3 below) is a 3 X 3 made up of three rows and three columns. Try adding the numbers in each of the three individual rows. They all add up to the number 15. If you add the numbers in each separate column, each column adds to 15. If you add the numbers across the diagonals of the array, they too will equal 15. The sum of all of the numbers, from 1 to 9, in the square is 45 (Figure 4). The Freemasons’ Magic Square probably predates Masonry, and is found in documents as ancient as the I Ching[vi], (2800 B.C.) where it is known as the Lo Shu Square.  During the middle ages in Europe this square was often associated with the Kabalah and it was sometimes referred to as the Saturn Square[vii].

            As a matter of interest, Magic Squares may also be constructed using letters instead of numbers, in which case the letters produce words or phrases which may be read much like an acrostic. One famous example[viii] is the so called “Templar Magic Square”, a 5 X 5 (or order of 5) matrix which arranges the words in the Latin sentence "Sator Arepo tenet opera rotas" in a Magic Square format (See Figure 5). This Magic Square was found in the ruins of Pompei. If this Magic Square was indeed developed by the Templars, it is probable that it was used in some fashion to manufacture ciphers.

Variations of the Freemasons’ Square

            There are a number of variations (eight to be exact) of the 3 X 3 Magic Square which may be created using the same integer numbers from 1 to 9 as those which are used in the Freemasons’ Magic Square, but which are placed in a different order or position in the square matrix. Only that Magic Square using the number locations shown in Figure 3 is known as the Freemasons’ Magic Square.  This leads me to believe that this

numerical ordering is somehow important or significant for its’ Masonic purpose. The Freemasons’ Magic Square may also be produced using Hebrew Characters which represent the numbers 1 through 9. This variation is shown in Figure 6.  It is also interesting to note, that the Freemasons’ Magic Square is often drawn using two squares (instead of  a box or boxes),  one square diagonally overlapping the other, or within the symbol of the Star of David, in which case it is known as the Tetragrammaton[ix].  During my later discussion, the variation of the Freemasons’ Magic Square in which Hebrew characters (Fig. 6) are used will be found to be of significance.

Sigils

A Sigil[x] is a sign or symbol created for a specific, usually magical, purpose. The term sigil derives from the Latin sigilum meaning "seal," though it may also be related to the Hebrew סגולה (segulah) meaning "word, action or item of spiritual effect". Sigilia are commonly found in Jewish mysticism. Sigils are sometimes created using magic squares by first converting a name, word, or phrase to numerical form using Number-Alphabet substitution methods or Gematria. This numerical translation is then traced on the magic square using a straight continuous line for each word or phrase and drawn from number-to-number in the exact sequence in which the corresponding letters were arranged. Sigils are classified as Pictographic ciphers when used to encode messages.  The process of interpreting a Sigil is that of reverse construction, namely to determine the word or phrase based upon the numbers which are connected on the Magic Square.

In ciphers involving magic squares, one very common usage of a Sigil is to identify the specific Magic Square used to generate the code, thus producing a nominal key. Each magic square of a given order or size (3 X 3, 4 X 4, etc.) can be identified by the distinctive pattern of a Sigil constructed by connecting the numbers in that magic square by a line in numerical sequence (i.e. first 1, then 2, 3, etc.). The Sigil key identifying the Magic Square used for encoding and the Sigil for the encoded message may be transmitted to the intended recipient either together or separately.  The Sigil which identifies the Freemasons’ Magic Square is called the Sigil of Saturn[xi] (as previously mentioned, the Freemasons’ Magic Square is often called the Saturn Square). Figure 7 illustrates the Sigil of Saturn. Note the distinctive symmetry of this Sigil, which typifies the Freemasons’ Magic Square, and many other magic squares as well.

It is the premise of this paper that the symbol of the Masonic Square and Compasses is such a Sigil, and that the meaning of this Sigil might be determined by such reverse construction. To illustrate the concept of the Sigil, I have traced the Square and Compasses on the Freemasons’ Magic Square. Figure 8 presents this with the Letter “G” substituted for the number 5 in the Magic Square. 

Noting the numbers which are connected by each line, we may identify the numbers 8, 9, 6 and 3, 1, 7 as our cipher numbers or alternately 6, 9 ,8  and 7, 1, 3 (since we don’t know if we should start from the left or right end of the Sigil).

The origin and meaning of the letter “G” in the center of the Square and Compasses is a matter of considerable discussion within Masonic circles[xii]^,[xiii]. Early versions of the Masonic Square and Compasses can be found which use a Pentagram instead, and still others may be found which use the Greek letter Gamma. In modern

times, examples exist in which the Square and Compasses have no center symbol or letter, as well as those in which the letter G is presented in a very ornate manner as a part of the Square and Compasses symbol, but not in the center position.  As will be seen the author has made some assumptions concerning the letter “G” when used in the Center of the Square and Compasses. In the interest of thoroughness, I have also evaluated the Square and Compasses symbol, ignoring the “G”. The evolution of the Square and Compasses from a simple line drawn Sigil to an elaborate illustration in which the Square is sometimes shown with graduation markings, and the Compasses are shown complete with sharp pointed ends and a swivel joint at the apex is not surprising. Sigils are frequently decorated or embellished after initial creation.  As you look at the Square and Compasses Sigil, note that the pattern, like the pattern for the Sigil of Saturn, is distinctly symmetric. An imaginary vertical line drawn down the center of the Sigil may help you to visualize this striking bilateral symmetry. Symmetry of this sort is a defining characteristic of classical art work.

Numerological Analysis

The first task at hand was to determine if there was any obvious symbolic meaning in either or both of the two numerical sequences using the conventions of numerology.  Numerology is based upon the premise that certain numbers have sacred or other symbolic meaning, and was a concept held in special regard by the Pythagoreans. One of the most common operations in numerology (and sometimes of Gematria as discussed later) is to reduce the multiple numbers in each word or phrase to a single number by simple addition[xiv], and to then evaluate the possible meaning of each word or phrase by finding similarities between the reduced number sequences.

The numbers 8, 9, and 6 therefore may be added together to produce the (intermediate sum) double digit number 23 (8 + 9 + 6  = 23). The double digit 23 may then be further reduced to the (final sum) single digit number of 5 (2 + 3 = 5). In a similar fashion, the numbers 3, 7, and 1 may be reduced to a double digit of 11; and 11 may be further reduced as 1 + 1 = 2.  Notice that the intermediate sums of both 8, 9, and 6 (the number 23) and of 3, 1, and 7 (the number 11) are both prime numbers, i.e. neither can be evenly divided by any integer besides itself and 1). I also found it interesting that the two final sums (single digit) for each of the two words or phrases (2 and 5) if added together are equal to 7, the number associated with completeness[xv]. In fact, if the two intermediate sums (namely 23 and 11) are added together the result is 34; and if the number 34 is then reduced using numerological convention, 3 + 4 also equals 7.

            This implies, if the makers of the Sigil were familiar with Numerology, which is a distinct possibility, then the first word and second word are “complete” per numerology whether used in the final reduced form or the intermediate reduced form. It is also interesting, although not necessarily significant for our purposes, that the first word or phrase has a final reduced numerical value of 5. For the Freemasons’ square, the number 5 is both positioned in the center of the square matrix, and is also the mathematical mean of the sum of all the numbers in the square (45 / 9 = 5). The number 5 also corresponds to the Hebrew character “Heh”, which is one of the ineffable names.

            There are also some interesting speculative interpretations which may be drawn from the numerological calculations discussed above. The Pythagoreans and others considered odd numbers to be masculine and even numbers to be feminine[xvi]. The numbers 3 and 4 obviously fit the male/female pair concept and when added yield 7, the number of completeness. The same may be said of the first order reduction of 23 and 11 to the numbers 5 and 2. The number two is considered a “perfect” number since it is the first even number. The number five is likewise a perfect number since it is the sum of the perfect number 2 (the first even number) and the perfect number 3 which is considered the first odd number. Again the odd/even – masculine/feminine symbolism is present; and yet again 5 and 2 sum to 7 the number of completeness. This interpretation has been advanced using methods other than numerology. The idea that the square and compasses symbolize the male and female, and that together they represent the dual masculine and feminine aspects of God (leading to completeness) has even been included in the plot in a best selling modern novel. It is possible that this interpretation has been communicated orally over the generations, and that this concept is also being communicated in turn as a Sigil.

            While numerological evaluations can be interesting and even fun to do, this is only an intermediate step in determining the meaning of the Sigil. The fact that our two numbers (words or phrases) when subjected to numerological evaluation produced the number 7 as second order and final order reductions may later be found to be more than coincidental.

English Alphabet Number Substitution

One possible solution for the cipher would be for it to be a simple English language number substitution. Simply put, this would be a case in which each number corresponded directly to a letter in the English alphabet, which would in turn spell a recognizable word. As related in the original article, a Pythagorean Chart was selected as the basis for assigning alphabetic characters. A Pythagorean chart certainly made sense in terms of both simplicity and the close association of Freemasonry with Pythagorean concepts. A Pythagorean chart[xvii] uses the letters from 1 to 9 (which also nicely matches the 9 numbers in our 3 X 3 Freemasons’ Magic Square) with the English alphabet arrayed in columns and rows beneath it. Figure 9 shows a basic Pythagorean Chart.

Essentially, each number comprising the two words or phrases could be assigned one of three different letters using this system (except for the number 9, which could be assigned only two letters).  Adding to the complexity of this system is the fact that many ciphers produced using the Pythagorean Chart are “shifted” (the alphabet is moved left or right a few spaces so that the A = 1, B = 2, etc. relationship is disrupted. If the alphabet was shifted left two spaces (or columns) for example then C = 1 and D = 2)   to make the cipher more difficult to penetrate. Naturally, such ciphers required a key to indicate what

shift has been implemented. As noted previously, when the Square and Compasses is overlaid on the Freemasons’ Magic Square, the “G” coincides with the 5 in the center of the square. In my analysis we took this to be an indication that the alphabet for this cipher had been shifted so that G = 5. I therefore reordered the Pythagorean Chart as shown in Figure 10.

For the numbers 8, 9, and 6 there are eighteen letter combinations possible, and for the numbers 3, 1, and 7 there are 27 possible combinations. This does not take into consideration that the letter combinations in each word or phrase might be arranged backwards, since we don’t know in which direction the Sigil was drawn (i.e. left to right, or right to left).

            When this many combinations are possible, the most organized way of developing and presenting all such combinations is by the use of a tree chart. Figure 11 provides a tree chart which produces all possible combinations of letters using the Pythagorean Chart and the numbers 8, 9, and 6. The tree chart for the numbers 3, 1, and 7 is provided as Figure 12. As can be seen, the only number for which a third row letter is unassigned is the number 9. Consequently in Figure 11, there are only two tree branches where the number nine is addressed. Figure 12, however uses all three letter rows for all three numbers 3, 1, and 7.

 The charts developed illustrate that there is no immediately obvious word or word(s) which is (are) generated using this approach. The possibility remains of course that one or more of these letter combinations represent(s) a sentence or phrase for which only the first letter of each word in that phrase is shown. This would be consistent with one of the three techniques of Literal Kabala known as Notariqon[xviii], in which the individual letters of a word are taken as the initials of another word or a sentence, or in which a sentence may be reduced to a word. The other two techniques are Gematria  (which we shall discuss in greater detail) and Temurah, or permutation of letters according to specific rules.  This technique would not be uncommon in Masonry. (We refer the reader to the Mark Master Degree as an example). 

Indeed, the act of having shifted the Pythagorean Chart may have skewed the approach to this problem, and a thorough examination demands that this possibility be explored in more detail. Accordingly, a tree chart using the Pythagorean Chart without an alphabet shift is shown for the numbers 8, 9, and 6 (Figure 13) and for the numbers 3, 1, and 7 (Figure 14).

Given the daunting task of deciphering 162 letters which may represent an infinite number of words in a phrase, and the fact that such a succinct phrase would probably not be in grammatical Noun-Verb-Adverb form, the author decided to develop a key word list which contains single words or key phrases the first letter of which might correspond to the letters developed in the tree chart analysis and which also embodied the concepts of Freemasonry and Masonic thought. Such a keyword list would significantly narrow the task of assigning possible meanings, but would of course ignore words which (by virtue of their absence from the list) might very well be relevant. This is a calculated risk but one which is reluctantly necessary. The keyword list is currently under development and should this approach prove fruitful the results will be published at a later date. We invite readers to submit suggestions for the keyword list to the Author.

            It also occurred to me that I could apply the data from our numerological evaluation in conjunction with the Pythagorean Chart to evaluate whether the intermediate numbers 23 and 11 might have significant meaning. This turned out to be a rather enlightening experience. The tree charts were not used in this evaluation in any way and we used the Pythagorean Chart version without the shifted “G” for my evaluation.

            With the help of a spreadsheet we searched for combinations of the alphabetic letters which when converted using the Pythagorean Chart would equal either 23 or 11 when added together. We then discounted combinations which were nonsensical and grouped the remaining words as adjectives, nouns, adverbs, and verbs. It turned out that the possibilities were very manageable, and we were able to immediately identify two words having a value of 23 and several with a value of 11 which when used together represented a meaningful phrase. In this case a meaningful phrase was one having Masonic significance. The first word with a value of 23 determined to have possible significance was “Sacred”. The second word with a value of 23 was “Hidden”. The words having a value of 11 which were selected as meaningful when placed together with the word “Sacred” are “Walk”, “King”, “Life”, “God”, and “Jesus”.  We found it most interesting that God, King, and Jesus all have a numeric value of 11. The word having a value of 11 which was considered to offer meaning (although a highly speculative one) when used with the word “Hidden” is “Jesus”. Each of these word combinations is evaluated further in the next few paragraphs.

            The phrase “Sacred Walk” possibly alludes to the navigation of a Labyrinth[xix]. Labyrinths are ancient in origin, and much of how these devices were actually applied has been lost. Most follow a common design: a unicursal labyrinth, in which a single path leads without any alternative to the centre. It is usually circular and formed on concentric rings, often seven or eleven[xx]. One specific Labyrinth, the Solomon Labyrinth, is believed to be representative of the layout of the Temple of Solomon[xxi]. Early use of the Labyrinth by Christians is known to have resurfaced during the middle ages, and that they were used during that time by penitents who walked the path of the Labyrinth on their knees as an act symbolic of Pilgrimage[xxii]. Labyrinths were incorporated into Cathedrals and Churches in towns such as Chartes, Bayeux Cathedral, Mirepoix Cathedral, and many others[xxiii] during the 16^th Century.

            Labyrinths are also symbolic of the search for truth or enlightenment, and are closely associated with both the Templars and with Freemasonry[xxiv]^,[xxv]. In the Co-Masonic Eastern Star organization, the Pentagram pattern is sometimes referred to[xxvi]^,[xxvii]as “the Labyrinth”. As a point of interest, the Labyrinth of Solomon[xxviii] has a center point, surrounded by 11 concentric circles (See Figure 15).  It also has 34 turns or bends. The reader will recall that the numbers 34 and 11 surfaced prominently in our original numerological evaluation.

The phrase “Sacred King” may also be relevant in Masonic context. In both pre-Christian and Christian cultures Kings were believed to have sacred status, either as being gods themselves or as the offspring of god(s). Examples of this are especially rich in early Egyptian culture, in which Pharos were believed to be incarnations of Osiris or Horus.  Divine or sacred Kings typically have three defining characteristics[xxix]: they are the receptacle of supernatural or divine power; they descend from divine or semi-divine rulers; and they are agents or mediators of the sacred. In the Christian religion Jesus’ sacred status as the Son of God begotten through the Virgin Mary figures prominently in his cultural right to be considered King of the Jews, a qualification perhaps even more important than his royal lineage through the House of David.  I mention this here because it figures into my evaluation of the next phrase.

The phrase “Sacred Jesus” is believed relevant to our evaluation of meanings since Freemasonry (especially during the middle-ages) evolved and flourished under European Christianity. In lifting up this particular phrase as significant the author is especially aware that I may myself be guilty of operating with a Christian bias. I do however believe I am correct in stating that in Freemasonry there is scant evidence that the current tolerance for and acceptance of faiths other than those based upon Judeo-Christian principles existed in any widespread way much before the early 19^th Century.

            The Phrase “Sacred God” was considered and then dismissed as being a redundant word combination since the source of that which is sacred is in fact God.    The phase “Hidden Jesus”, as previously noted, only gives meaning in the most highly speculative way - namely that it refers to either the body of Jesus being hidden, or that Jesus himself was at some time hidden.  This of course brings to mind popular novels which promote the theory that Christ survived the Crucifixion and was hidden in France, as well as the similar theory that a conspiracy existed to hide the body of Christ, and that the resurrection is therefore a myth. 

It was decided that it would be prudent to move along and to try the next most-likely method of determining possible meaning (English Gematria), and to revisit the concept of finding words or phrases which correspond to the letters from our treecharts (Notariqon) later.

English Gematria

            English Gematria is based upon a system identical to those of Greek, Hebrew, and Arabic Gematria, in which individual numerical values are assigned to individual letters of the alphabet, and words or phases are assigned total values by summing the value of the letters of which they are comprised. Words or phrases having identical numerical values are considered equivalent and interchangeable. My goal has been to convert the alphabetic combinations developed using our tree charts to English letter Gematria values, and to do the same with words in my keywords listing. Possible meaning would be deduced based upon word/phrase equivalence. My analysis using the numerical values 23 and 11 in association with the corresponding letters in the Pythagorean Chart was in fact a type of Gematria.

            There are several systems of English Gematria, however two currently accepted versions[xxx] are the EQ-1 and the EQ-11. Both systems are based upon English Qabala (hence EQ), and are similar in usage.  Figure 16 provides a key to EQ-I and EQ-II values for various letters of the English alphabet.

Using the values in Figure 16, each of the letter groups developed using the tree charts were converted to both EQ-1 and EQ-II Gematria values. Figure 17 provides results for the numbers 8, 9, and 6 using the shifted Pythagorean Chart while Figure 18 provides values for the numbers 3, 1, and 7, again using the shifted Pythagorean Chart.

Similarly, the EQ-I and EQ-II Gematria letter values for 8, 9, and 6 were computed using the normal  Pythagorean Chart (Figure 19) and for the letter values of 3, 1, and 7, again using the normal Pythagorean Chart (Figure 20).

As an example of how Gematria works, we can use the name “God” and convert it to a numerical value using EQ-I and EQ-II Gematria (refer to Figure 16):

The word “God” using EQ-I is 7 + 15 + 4 = 26

The word “God” using EQ-II is 11 + 7 + 6 = 25

Note that the convention of Hebrew Gematria is that any numerical value may be used as-is, or that one may be added or subtracted from that value for the purpose of interpretation. The close equivalence of the numbers 25 and 26 in this context is interesting. The same convention also uses the value of 5 (Heh) as symbolic of God, as it does any power of 5 (5² = 25). As will be apparent in later discussions, EQ-I and EQ-II are a very close approximation of classic Hebrew Gematria.

            The letter combinations obtained from our tables developed using the shifted Pythagorean Chart having the value of 25 are ECR and NCI. No letter groups have a value of 26. Therefore using EQ-I there are two letter groupings which may represent the word “God” and both of these groups are in the letter groupings produced by the “Square” portion of the Sigil.  The table representing the Compasses portion of the Sigil produced using the shifted Pythagorean Chart has no letter groups with a value of 25 or 26. Consequently the Compasses do not represent “God”. This is not to say that other sacred words or Masonic meanings aren’t present. The numbers 25 or 26 appear in the tables prepared using the normal Pythagorean Chart only for the letters CAG (using the EQ-II system). Interestingly this value also appears in the table representing the “Square” portion of the Sigil. 

Because of the antiquity of the Square and Compasses symbol, an additional evaluation was undertaken using a third system of English language Gematria, namely that developed by Cornelius Agrippa[xxxi] circa 1550, which dates to the period preceding the formation of the Royal Society and which is contemporary to the period during which the symbol of the Square and Compasses began to appear with regularity. Agrippas’ key to English Gematria is provided as Figure 21, below.

Further tables providing Gematria values for each of the letter combinations in our normal Pythagorean Chart using Agrippas’ key is provided in Figure 22 and 23.

An extensive discussion of Gematria and the role of Hebrew, Greek (Greek Gematria is referred to as Isopsephy[xxxii]), Arabic, and English Gematria, and specifically Agrippas’ Key can be seen in the work of William Strirling (A.K.A. William Shakespeare) [xxxiii] in “The Cannon”.  Note that Stirling/Shakespeare is widely thought to be Francis Bacon.

            The task of matching the Gematria values of our letter sequences with key words from our list having equal values to the computed values for EQ1, EQ2, and Agrippas’ Key will be done by computer processing. The author is developing a spreadsheet using Visual Basic programming code which will develop the matches for us. In the interim, I used a Gematria calculator[xxxiv] which generates English language meanings using a key word list developed primarily from Biblical and Hebrew Scriptural sources. This calculator is by far the most complete which I have found thus far. The full analysis performed using this calculator is far too lengthy to be included in this paper, however I have chosen those results which I found to be most interesting and compiled them in Figure 24 and Figure 25.

            The readers’ Attention is drawn to the fact that the word “Hidden” derived by finding words having a value of 23 using the Pythagorean Chart, and the word “Concealed” have essentially identical meaning. Even more interesting is that the word “Life” is found to have a value of 11 in both our Pythagorean Chart evaluation as well as our evaluation using Agrippas’ Gematria.  I don’t believe that it is a coincidence that both systems of evaluation produce substantially identical results. The question which arises of course, is who is being referred to as having (or having had) a hidden life ?

Summary
During this analysis the author has used numerological techniques which indicate that the numerical sums of the numbers 8, 9 and 6 and the numbers 3, 1, and 7 derived using the Masonic Square and Compasses and the Freemasons’ Magic Square have unique properties. Likewise, the same two sets of numbers when evaluated using the corresponding letters from the Pythagorean Chart produce meaningful phrases which also in one instance correspond exactly to phrases derived using Agrippas’ Gematria. The author offers the opinion that the symbol of the Masonic Square and Compasses can thereby be demonstrated to have a recurring symbolic theme or meaning when using these methods. I remain uncertain whether this is by intentional design or is unintentional (but is instead inherent in the symbols’ design). The author is planning a more complete evaluation of the various letter combinations developed using the Pythagorean Chart (applying Notariqon) and a similar study in which the Greek and Hebrew alphabets will be used. I will also explore Hebrew Transliteration as a method for evaluating the sigil. These evaluations will parallel those undertaken using the English alphabet as per this submittal. All results of this investigation, including our keyword list, and the results of Hebrew transliteration will be published upon completion of this effort if more light is provided by these efforts.