In the meantime I had not been idle. It was clear to me that the Esphahnians used some form of steganography in their letters, but I could not make out how they did it. The family was scattered among several hovels, entresols, and prisons around Paris. I hired thieves to rifle through their possessions, and at length found some letters that Vrej had sent to them from Spain and Barbary beginning in 1685. In the margins and interlinear spaces of these, I saw an inscription writ in letters of vermilion. It was plain enough that this was some sort of invisible ink, which had been made visible by some secret art known to the Esphahnians. By reading these, I was able to learn more of Vrej’s story.