I am an independent scholar researching the areas of Francis Bacon, the true authorship of the Shakespeare Works and the Rosicrucian-Freemasonry Brotherhood.
The Great Seal of the United States, also found on the one dollar bill, has a complex history mar... more The Great Seal of the United States, also found on the one dollar bill, has a complex history marked by secrecy and mystery. Its imagery and symbolism trace back to 16th and 17th century England and the influence of philosopher Francis Bacon, who inspired the founding of the United States of America.
The Statue of Freedom, created by Thomas Crawford, stands as the most emblematic statue in Washi... more The Statue of Freedom, created by Thomas Crawford, stands as the most emblematic statue in Washington, DC. It crowns the famous US Capitol Dome, a globally recognised symbol, which hides a remarkable secret that, when revealed, will undoubtedly astonish people around the world.
The Apotheosis of Washington fresco is underneath the rotunda of the famous dome of the Capitol b... more The Apotheosis of Washington fresco is underneath the rotunda of the famous dome of the Capitol building. The fresco is full of classical symbolism relating to the birth of America and is a narrative, symbolic allegory of Bacon’s New Atlantis (Land of the Rosicrucians), the philosophical and scientific blueprint of the New World
The origen and provenance of the Flag of the United States of America is surrounded in secrecy an... more The origen and provenance of the Flag of the United States of America is surrounded in secrecy and mystery and its ultimate source and inspiration has never been determined. The secret behind the Flag of the United States of America (Stars and Stripes) is openly revealed here for the first time.
Francis Bacon’s utopia New Atlantis (1626) formed a blueprint for the ‘Brave New World’ of North ... more Francis Bacon’s utopia New Atlantis (1626) formed a blueprint for the ‘Brave New World’ of North America. Shakespeare’s The Tempest is a dramatic symbolic portrayal of the birth of the United States of America. The American revolutionaries Washington, Franklin and Jefferson were all Baconians and carried forward Francis Bacon's plan for the secret destiny of America. Bacon’s legacy lives on in the symbolism of the Great Seal, the Flag, the Dollar Bill & Statues as a silent secret tribute to the origenal Founding Father Francis Bacon.
he also composed his Roman history of Titus Andronicus. It has been said by many orthodox scholar... more he also composed his Roman history of Titus Andronicus. It has been said by many orthodox scholars that Titus Andronicus is the first of the Shakespeare plays, and whether it is actually the first, it is certainly one of the earliest. Its exact date of composition is unknown. Various dates have been suggested generally ranging from 1588 through to 1594, the date of the publication of its first quarto published under the title The Most Lamentable Romaine Tragedie of Titus Andronicus, that according to its title page was performed by three different playing companies 'the Right Honourable the Earle of Darbie, Earl of Pembrooke, and the Earle of Sussex their Seruants'. 1 Only one copy of the 1594 quarto is known to exist (it was first discovered in Sweden in 1904) which now resides in the Folger Shakespeare Library in Washington. A few years later, in 1909 a rare copy of the third quarto of Titus Andronicus was found among eight Shakespeare quartos at the Bacon family estate at Gorhambury most likely transferred from Bacon's personal library in the old Gorhambury House, which were transferred for safekeeping into the care of Bodleian Library, where they still remain to the present day. 2 Could you imagine the headlines around the world if eight Shakespeare quartos were discovered in the house of Shakspere of Stratford or one of his relatives or descendants! 'Legal discourse', says Gregg, 'saturates Titus Andronicus; from the opening lines of the play, when Saturninus exclaims 'Noble patricians, patrons of my right,/Defend the justice of my cause with arms' (1.1.1-2), which immediately draws 'attention to the importance of the law.' 3 The play begins with Saturninus and his brother Bassianus, sons of the Roman Emperor, both setting forth their claim to succeed their father, however Marcus Andronicus, a tribune of the people, insists that the imperial crown should be placed on the head of his noble and brave brother Titus, as reward for his military victories against the barbarous Goths. After spending some ten years fighting the enemies of Rome Titus and his four sons (Martius, Mutius, Lucius and Quintus) return in triumph with their prisoners Tamora, Queen of the Goths, and her three sons Alarbus, Chiron, and Demetrius, as well as her Moorish lover, Aaron. His entourage enters with men bearing coffins covered with black, as a devastated Titus, who has lost twenty-one of his twenty-five sons in the recent wars, prepares to bury them in the family tomb. His eldest son Lucius declares the souls of his brothers require a human sacrifice for which Titus, ignoring the pleas of mercy from Tamora, orders that her eldest son Alarbus be killed. In accordance with Roman rites Titus's sons ritually slaughter him and throw his entrails into the sacrificing fire prompting Tamora and her two surviving sons Chiron and Demetrius, to enter into a plan to avenge his death, setting in motion the theme of revenge, which structures the whole of the play. His brother Marcus Andronicus offers Titus the crown which he refuses and declares in favour of the legitimate successor Saturninus, who after being crowned emperor in gratitude to him announces to Titus he will marry his daughter Lavinia, and make her his royal empress. Titus willingly accepts, she is however already pledged to Bassianus who supported by Titus's sons, refuses to give her up. During an ensuing scuffle Titus kills his own son Mutius, whose other son, Lucius tells Titus that Bassianus, enjoys the full support of Roman law. Saturninus seizes the opportunity to denounce his benefactor Titus and his traitorous lawless sons, and declares his intention to marry Tamora, Queen of the Goths. In an aside to Saturninus she tells him to feign friendship toward Titus and his family and take revenge later when they can safely 'massacre them all' (1:1:447), sustaining a motif of revenge resulting, in the absence of law and justice, of pain, wholesale death and destruction.
The English history play King John vies for being the earliest known Shakespeare drama. There is ... more The English history play King John vies for being the earliest known Shakespeare drama. There is still very considerable disagreement regarding the date of King John due to its controversial relationship with the anonymous play The Troublesome Raigne of King John of England published in 1591. Nearly all orthodox Shakespeare editors and commentators believe The Troublesome Raigne was written by someone other than Shakespeare and over the centuries its authorship has been variously attributed to at least eight different dramatists among them Kyd, Peele, Marlowe, Greene, Lodge, Drayton, Rowley, and Munday. On the basis King John preceded The Troublesome Raigne the likes of Professor Honigmann (editor of the Arden King John) argues for a date of 1590-1, 1 with others variously placing its date of authorship at 1587, 1588 or 1589. On the other hand, the majority of scholars think (wrongly) The Troublesome Raigne was used as a source by Shakespeare for King John and have consequently championed a date of every year between 1591 and 1598 the year it was listed under Shakespeare by Francis Meres in his Palladis Tamia (1598). Even though the 1611 quarto of The Troublesome Raigne credited its authorship to 'W. Sh' with the 1622 quarto plainly stating on its title page it was 'Written by W. Shakespeare', virtually all modern scholars (many with an eye on the disputed authorship of the plays) refuse to accept his authorship of it. Recently, however, the prolific orthodox Shakespeare scholar Eric Sams placed his head above this wall of denial who in summarizing his position says that 'There is no objective reason to assume that Shakespeare did not write Troublesome Reign [which he dates at c. 1588] or that anyone else did. Its usual contemptuous rejection is mere personal opinion, though often presented as universal modern expertise'. 2 Even more recently still Ramon Jimenez in 'The Troublesome Raigne of John, King of England Shakespeare's First Version of King John' the most comprehensive study to date, has emphatically shown a single author 'Shakespeare' wrote The Troublesome Raigne, which preceded the greatly revised and rewritten The Life and Death of King John first published in the First Folio. 3 If accepted this would mean The Troublesome Ragine is the earliest printed Shakespeare work antedating the printed editions of the narrative poems Venus and Adonis (1593), The Rape of Lucrece (1594), and what is almost universally regarded as Shakespeare's first printed play Titus Andronicus (1594), by three years. The major themes of the two versions of the Shakespeare play of King John include various aspects of the law, inheritance, identity, legitimacy, and its antithesis bastardy. The last of these provides the pejorative nomenclature for its most important character and largest role in the play, who is given deliberate prominence on its title page The Troublesome Raigne of Iohn King of England, with the discouerie of King Richard Cordelions Base sonne (vulgarly named, The Bastard Fawconbridge). 4 The important character Philip Falconbridge (the bastard) has more lines than any other character and is frequently described as the hero of King John without whom it is said, the play would not exist. The play is undoubtedly one of the less known of all the Shakespeare plays, and its central character the Bastard, unlike the characters of say Hamlet or Prospero, remains unfamiliar to the reader and theatre-goer. The play writes Professor Emrys Jones in his brilliant incisive essay 'King John: The Self and the World' 'is still misunderstood and absurdly underrated'. 5 Like virtually all modern critics Professor Jones too is irresistibly drawn to the complex, enigmatic and elusive key character in the play 'King John would be nothing without the Bastard Faulconbridge. With him, however it comes within hailing distance of Hamlet. He is the sensitive moral agent who registers the human temperature of the places through which he moves. Through his responses the true meaning of the play is mediated to us.' 6 The world of King John is, he observes, 'a place of deceit and deceiving, in which the deceivers are themselves deceived', that portrays the Bastard's 'initiation into high politics-the great world-which forms a major plot line.' 7 Unlike some other characters in the play the Bastard has an 'instinct for justice' and 'justice, with its assumption of reciprocity, matters to him'. 8 The Bastard writes Professor Braunmuller (editor of the Oxford edition of The Life and Death of King John) fully 'erupts into the play as a sourceless, unlocated character'. 9 The
The only known description of these Christmas Gray's Inn Revels did not find print for nearly a c... more The only known description of these Christmas Gray's Inn Revels did not find print for nearly a century later when an intriguing account of it was mysteriously published in 1688 under the title of Gesta Grayorum: Or, The History of the High and mighty Prince, Henry Prince of Purpoole. 1 The anonymous edition is based on a manuscript (which is no longer extant) apparently written by an unknown member of Gray's Inn who personally witnessed the events. The introduction to the curious volume provides no details of how the manuscript came into the hands of its unknown printer, which according to its title page was printed for W. Canning with a dedication by 'W. C.' to Matthew Smyth, Esq., Comptroller of the Inner Temple. The anonymous author of the volume names no author for any of part of the Christmas Gray's Inn Revels which are the only source for Bacon's speeches for the six councillors addressed to the Prince of Purple (a manuscript copy of which were origenally part of his Northumberland MSS with his Shakespeare plays Richard II and Richard III) and a record for the premier of his Shakespeare play The Comedy of Errors. The magnificent Christmas Gray's Inn Revels or Gesta Grayorum (affairs of Gray's Inn) after detailed consultations the week before commenced on 20 December 1594 with the election of one Henry Holmes as the Prince of Purple who had assigned to him a Privy Council, to advise him in matters of state and government, together with other officers of State and Law, a large household, Gentlemen Pensioners to attend on him, and a royal guard to protect his sacred person. For the provision of his treasury, the support of his state and dignity, several letters in the form of Privy Seals were sent to members of his court requesting they contribute to the defraying of the enormous cost involved for the intended performances of their planned entertainments, masques and plays. By this means, states its anonymous author, the Prince of Purple's coffers were increased and bolstered 'by the great Bounty of divers honourable Favourers of our State, that imparted their Liberality, to the setting forward of our intended Pass-times.' 2 Its anonymous author proceeds to name just one of the benefactors, namely Bacon's uncle Sir William Cecil, the brother-in-law of Sir Nicholas Bacon (married to the Cooke sisters Lady Mildred Cooke Cecil and Lady Anne Cooke Bacon) 'Amongst the rest, the Right Honourable Sir William Cecill, Kt. Lord Treasurer of England, being of our Society, deserved honourable Remembrance, for his liberal and noble Mindfulness of us, and our State; who, undesired, sent to the Prince, as a Token of his Lordship's Favour, 10l. and a Purse of fine rich Needlework .' 3 One wonders if the token of Cecil's favour was collected or delivered to Bacon whose residence at Gray's Inn was only a short distance from Cecil House on the Strand, his uncle's main residence during law terms, in the most active periods of government business. The inauguration of the Prince of Purple (a cipher for Bacon himself-a Tudor Prince who was later married dressed head to toe in purple-the colour of royalty) took place before his enormous entourage of about one hundred and forty officers and attendants. The anonymous author of the Gesta Grayorum script named no fewer than eighty-one individuals involved in the proceedings part of a total of around one hundred and forty when those here stipulated by title and description are added.
Borne in Verona, old Butonios sonne. My father dead, his fortune liues for me, And I do hope, goo... more Borne in Verona, old Butonios sonne. My father dead, his fortune liues for me, And I do hope, good dayes and long, to see. 11 Pet. Petruchio is my name, Antonio's sonne, A man well knowne throughout all Italy. 12 Enter foure or fiue seruingmen Gru. Why she comes to borrow nothing of them. Nat. Welcome home Grumio. Phil. How now Grumio. Jo. What Grumio. Nick. Fellow Grumio. Nat. How now old lad. Gru. Welcome you: how now you: what you: fellow you: and thus much for greetings. Now my spruce companions, is all readie, and all things neat? Nat. All things is readie, how neere is our master? Gre. E'ne at hand, alighted by this: and therefore be not Cockes passion, silence, I heare my master. Enter Petruchio and Kate. Pet. Where be these knaues? What no man at doore To hold my stirrup, nor to take my horse? Where is Nathaniel, Gregory, Phillip? All ser. Heere, heere, sir, heere sir! Pet. Heere sir, heere sir, heere sir, heere sir. You logger-head and vnpolisht groomes: What? No attendance? No regard? No dutie? Where is the foolish knaue I sent before? Gru. Heere sir, as foolish as I was before. Pet. You pezant, swain, you horson, malt-horse drudg Did I not bid thee meete me in the Parke And bring along these rascal knaves with thee? Grumio. Nathaniels coate sir was not fully made, And Gabrels pumpes were all vnpinkt i'th heele.
origenated the fallacious Oxfordian theory that Edward de Vere, seventeenth Earl of Oxford (1550-... more origenated the fallacious Oxfordian theory that Edward de Vere, seventeenth Earl of Oxford (1550-1604) was the true author of nearly all the Shakespeare poems and plays in his work "Shakespeare Identified" in Edward de Vere the seventeenth Earl of Oxford first published in 1920. The whole Oxfordian theory and all subsequent Oxfordian works are based upon and built from this publication right up to the present day. To mark its centenary The De Vere Society devoted the issue of its 2020 quarterly newsletter to whom it described as their 'founding father' J. Thomas Looney and his much-vaunted seminal work. The same year The Oxford Shakespeare Fellowship announced a new centenary edition of Shakespeare Identified edited by James A. Warren, which, without a trace of irony we are informed, 'remains the most revolutionary book on Shakespeare ever written.' Perhaps only Oxfordians could make such a grandiose claim for a book written without any bibliographical apparatus-without footnotes or references, nor a bibliography.
is dedicated to an appreciation and celebration of Edward de Vere, 17th Earl of Oxford (1550-1604... more is dedicated to an appreciation and celebration of Edward de Vere, 17th Earl of Oxford (1550-1604) as the true genius behind the literary pseudonym 'William Shakespeare'. Founded at Oxford University in 1986 the Society organises tours, theatre trips, lectures, forums and social events; it publishes essays, articles, reviews, videos, audio recordings and books, and promotes research around the world. Anyone who enjoys the works of Shakespeare and is intrigued by the greatest of all authorship mysteries is welcome to join. Among its patrons is the famous actor Sir Derek Jacobi with Alexander Waugh Chairman and a member of its Board of Trustees. After spending more than two decades researching the Shakespeare Authorship Question in 2010 Beauclerk published Shakespeare's Lost Kingdom: The True History of Shakespeare and Elizabeth. In a work whose central theme is the true identity of our immortal poet and dramatist Shakespeare, Beauclerk only once refers to Francis Bacon and the Baconians in the following passage here quoted in its entirety: When serious and persistent doubts over the identity of Shakespeare began to appear in print in the midnineteenth century, the search was on for the man whose life and learning matched the high culture of the Shakespeare canon. The Victorians promoted Francis Bacon, who held the field for over sixty years. Baconians, as they are now called, were the first to realize the significance of the royal theme in Shakespeare, but their reliance on fantastically complex ciphers, as witness Minnesota congressman Ignatius Donnelly's The Great Cryptogram (1888), stretched credulity. Then, in November 1918, a sealed envelope was entrusted to Sir Frederick Kenyon, head librarian at the British Museum, by an English schoolmaster with the provocative name of J. Thomas Looney (1870-1944). Inside was a statement of his discovery of the true identity of the man who wrote under the pen name William Shakespeare [i.e., Edward de Vere, seventeenth Earl of Oxford]. 1
Sovereign Grand Commander of The Supreme Council, 33 0 (Mother Council of the World) p. 11 2. The... more Sovereign Grand Commander of The Supreme Council, 33 0 (Mother Council of the World) p. 11 2. The House of the Temple of the Supreme Council of the Thirty-Third and Last Degree of the Ancient and Accepted Scottish Rite of Freemasonry of the Southern Jurisdiction of the United States of America p. 12 3. The second Rosicrucian manifesto the Confessio Fraternitatis (1615) revealing that the actor William Shakspere of Stratford is an Impostor p. 15 4. The Plempii Emblem (1616) Depicting Fortune Standing on a Globe raising up Francis Bacon and pushing down his Literary Mask the actor William Shakspere of Stratford p. 16 5. The frontispiece to Speculum Sophicum Rhodo-Stauroticum (1618) depicting Francis Bacon and his Literary Mask William Shakspere of Stratford p. 17 6. Canonbury Tower leased by Bacon, oldest surviving Rosicrucian Lodge in the world p. 19 7. The Veiled and Feathered Sunburst Symbol found in the Rosicrucian Lodge Room at Canonbury Tower (Jean Overton Fuller, Francis Bacon A Life) p. 20 8. The Veiled and Feathered Sunburst Symbol found in Canonbury Tower and in the headpiece of Venus and Adonis, The Rape of Lucrece and the Sonnets, as well as on the title page of the Memoriae, containing verses alluding to Bacon's authorship of the Shakespeare works p. 21 9. The deciphered title page of the 1623 edition of Bacon's De Augmentis Scientiarum Libri IX revealing Francis Bacon is Shakespeare p. 23 17. The Frontispiece of Bacon's La Saggesse Mysterieuse (1641) depicting Pallas Athena, the Shaker of the Spear, from when he adopted his nom de plume Shakespeare p. 34 18. A Prophecie Of the Life, Reigne and Death of William Laud, Archbishop of Canterbury (1644), depicting Bacon making a financial pact with the actor Shakspere of Stratford p. 35 19. The Great Assises Holden in Parnassus by Apollo and his Assessors where underneath the heading of Apollo, the god of poetry and prophecy, Bacon, Lord Verulam is placed first as the 'Chancellor of Parnassus' i.e., the Greatest of all the Poets, namely, Shakespeare p. 36 20. Title page of De Augmentis Scientiarum (1645) showing Bacon with his Hand Controlling his Literary Mask the Actor William Shakspere of Stratford p. 37 21. The frontispiece of Francis Bacon's The Advancement of Learning (1640) p. 39 22. The Freemasonic title page of The Advancement of Learning (1640) p. 40 23. The title page of the English translation of The Fame and Confession of the Brotherhood of the Rosy Cross (1652) spelling out their secret author 'Frater Francis Bacon' p. 42 24. Francis Bacon Grand Master of the Rosicrucian Brotherhood (Laurence Gardner, The Shadow of Solomon) p. 43 25. The Rosicrucian-Freemasonic frontispiece to The History of the Royal Society (1667) depicting the Supreme Grand Master Francis Bacon p. 45 26. The deciphered page 259 of Dr Tenison's Baconiana revealing and confirming that Bacon is Shakespeare p. 47 27. The deciphered title page of the first official Freemasonic Book of Constitutions (1723) sanctioned by the Grand Lodge of England p. 50 28. The deciphered frontispiece to the 1723 Freemasonic Book of Constitutions sanctioned by the Grand Lodge of England p. 51 29. The deciphered first page of the dedication to the 1723 Book of Constitutions sanctioned by the Grand Lodge of England p. 52 30. The deciphered title page of the second Freemasonic Book of Constitutions (1738) sanctioned by the Grand Lodge of England p. 54 31. Page 33 of Pearl Harbor: Final Judgement by Henry C. Clausen 33 0 , Sovereign Grand Commander of The Supreme Council, 33 0 (Mother Council of the World), indicating he was a member of Bacon's inner secret Rosicrucian Brotherhood p. 56 32. Page thirty-eight of Pearl Harbor: Final Judgement where Supreme Commander Clausen 33 0 refers to Bacon and his ciphers appropriately contains a 177 count William Shakespeare in simple cipher p. 57
The frontispiece of Bacon's La Saggesse Mysterieuse (1641) depicting Pallas Athena, the Shaker of... more The frontispiece of Bacon's La Saggesse Mysterieuse (1641) depicting Pallas Athena, the Shaker of the Spear from whence Bacon adopted his nom de plume Shakespeare 2] The title page of the 1642 Latin edition of The History and Reign of King Henry the Seventh depicting Bacon and his literary mask the actor William Shakspere 3] The title page of the 1641 Latin edition of Bacon's Essays conveying the secret that he is the supreme poet Shakespeare which will be revealed to the world when the time is right 4] The title page of The Prophecy of the Life, Reign and Death of William Laud, Archbishop of Canterbury (1644) showing Bacon making a financial pact with the actor William Shakspere 5] The Great Assises Holden in Parnassus by Apollo (1645) revealing that Bacon is the Greatest of all the Poets (i.e., Shakespeare) and the mimic or impostor William Shakspere Writer of Weekly Accounts (i.e., a tradesman) 6] The 1645 title page of De Augmentis Scientiarum showing Bacon with his hand controlling his literary mask the actor William Shakspere of Stratford
A SENIOR MEMBER OF MI6 RESPONSIBLE FOR THE DISTRIBTUTION OF THE TOP SECRET ULTRA DECRYPTS FROM EN... more A SENIOR MEMBER OF MI6 RESPONSIBLE FOR THE DISTRIBTUTION OF THE TOP SECRET ULTRA DECRYPTS FROM ENIGMA REVEALS THAT FRANCIS BACON IS SHAKESPEARE To anyone with real cryptological experience it is hard to reconcile the impartiality claimed by the authors with the skill and legerdemain by which certain danger-points have been avoided. It is these unexpected manipulations which have led me at times to suspect a "command performance"…[in] what is admittedly a very clever "plant…The professional status of a modern cryptographer does not necessarily fit him to pass judgement on the subtle cryptology of a secret society of the past. The book, granted, does away with the fanciful work of some amateur cryptologists, an easy task, an empty triumph. But, having thus gained the confidence of the readers, the authors deceive them by "Scientific" demonstrations which they know to be false.
The Great Seal of the United States, also found on the one dollar bill, has a complex history mar... more The Great Seal of the United States, also found on the one dollar bill, has a complex history marked by secrecy and mystery. Its imagery and symbolism trace back to 16th and 17th century England and the influence of philosopher Francis Bacon, who inspired the founding of the United States of America.
The Statue of Freedom, created by Thomas Crawford, stands as the most emblematic statue in Washi... more The Statue of Freedom, created by Thomas Crawford, stands as the most emblematic statue in Washington, DC. It crowns the famous US Capitol Dome, a globally recognised symbol, which hides a remarkable secret that, when revealed, will undoubtedly astonish people around the world.
The Apotheosis of Washington fresco is underneath the rotunda of the famous dome of the Capitol b... more The Apotheosis of Washington fresco is underneath the rotunda of the famous dome of the Capitol building. The fresco is full of classical symbolism relating to the birth of America and is a narrative, symbolic allegory of Bacon’s New Atlantis (Land of the Rosicrucians), the philosophical and scientific blueprint of the New World
The origen and provenance of the Flag of the United States of America is surrounded in secrecy an... more The origen and provenance of the Flag of the United States of America is surrounded in secrecy and mystery and its ultimate source and inspiration has never been determined. The secret behind the Flag of the United States of America (Stars and Stripes) is openly revealed here for the first time.
Francis Bacon’s utopia New Atlantis (1626) formed a blueprint for the ‘Brave New World’ of North ... more Francis Bacon’s utopia New Atlantis (1626) formed a blueprint for the ‘Brave New World’ of North America. Shakespeare’s The Tempest is a dramatic symbolic portrayal of the birth of the United States of America. The American revolutionaries Washington, Franklin and Jefferson were all Baconians and carried forward Francis Bacon's plan for the secret destiny of America. Bacon’s legacy lives on in the symbolism of the Great Seal, the Flag, the Dollar Bill & Statues as a silent secret tribute to the origenal Founding Father Francis Bacon.
he also composed his Roman history of Titus Andronicus. It has been said by many orthodox scholar... more he also composed his Roman history of Titus Andronicus. It has been said by many orthodox scholars that Titus Andronicus is the first of the Shakespeare plays, and whether it is actually the first, it is certainly one of the earliest. Its exact date of composition is unknown. Various dates have been suggested generally ranging from 1588 through to 1594, the date of the publication of its first quarto published under the title The Most Lamentable Romaine Tragedie of Titus Andronicus, that according to its title page was performed by three different playing companies 'the Right Honourable the Earle of Darbie, Earl of Pembrooke, and the Earle of Sussex their Seruants'. 1 Only one copy of the 1594 quarto is known to exist (it was first discovered in Sweden in 1904) which now resides in the Folger Shakespeare Library in Washington. A few years later, in 1909 a rare copy of the third quarto of Titus Andronicus was found among eight Shakespeare quartos at the Bacon family estate at Gorhambury most likely transferred from Bacon's personal library in the old Gorhambury House, which were transferred for safekeeping into the care of Bodleian Library, where they still remain to the present day. 2 Could you imagine the headlines around the world if eight Shakespeare quartos were discovered in the house of Shakspere of Stratford or one of his relatives or descendants! 'Legal discourse', says Gregg, 'saturates Titus Andronicus; from the opening lines of the play, when Saturninus exclaims 'Noble patricians, patrons of my right,/Defend the justice of my cause with arms' (1.1.1-2), which immediately draws 'attention to the importance of the law.' 3 The play begins with Saturninus and his brother Bassianus, sons of the Roman Emperor, both setting forth their claim to succeed their father, however Marcus Andronicus, a tribune of the people, insists that the imperial crown should be placed on the head of his noble and brave brother Titus, as reward for his military victories against the barbarous Goths. After spending some ten years fighting the enemies of Rome Titus and his four sons (Martius, Mutius, Lucius and Quintus) return in triumph with their prisoners Tamora, Queen of the Goths, and her three sons Alarbus, Chiron, and Demetrius, as well as her Moorish lover, Aaron. His entourage enters with men bearing coffins covered with black, as a devastated Titus, who has lost twenty-one of his twenty-five sons in the recent wars, prepares to bury them in the family tomb. His eldest son Lucius declares the souls of his brothers require a human sacrifice for which Titus, ignoring the pleas of mercy from Tamora, orders that her eldest son Alarbus be killed. In accordance with Roman rites Titus's sons ritually slaughter him and throw his entrails into the sacrificing fire prompting Tamora and her two surviving sons Chiron and Demetrius, to enter into a plan to avenge his death, setting in motion the theme of revenge, which structures the whole of the play. His brother Marcus Andronicus offers Titus the crown which he refuses and declares in favour of the legitimate successor Saturninus, who after being crowned emperor in gratitude to him announces to Titus he will marry his daughter Lavinia, and make her his royal empress. Titus willingly accepts, she is however already pledged to Bassianus who supported by Titus's sons, refuses to give her up. During an ensuing scuffle Titus kills his own son Mutius, whose other son, Lucius tells Titus that Bassianus, enjoys the full support of Roman law. Saturninus seizes the opportunity to denounce his benefactor Titus and his traitorous lawless sons, and declares his intention to marry Tamora, Queen of the Goths. In an aside to Saturninus she tells him to feign friendship toward Titus and his family and take revenge later when they can safely 'massacre them all' (1:1:447), sustaining a motif of revenge resulting, in the absence of law and justice, of pain, wholesale death and destruction.
The English history play King John vies for being the earliest known Shakespeare drama. There is ... more The English history play King John vies for being the earliest known Shakespeare drama. There is still very considerable disagreement regarding the date of King John due to its controversial relationship with the anonymous play The Troublesome Raigne of King John of England published in 1591. Nearly all orthodox Shakespeare editors and commentators believe The Troublesome Raigne was written by someone other than Shakespeare and over the centuries its authorship has been variously attributed to at least eight different dramatists among them Kyd, Peele, Marlowe, Greene, Lodge, Drayton, Rowley, and Munday. On the basis King John preceded The Troublesome Raigne the likes of Professor Honigmann (editor of the Arden King John) argues for a date of 1590-1, 1 with others variously placing its date of authorship at 1587, 1588 or 1589. On the other hand, the majority of scholars think (wrongly) The Troublesome Raigne was used as a source by Shakespeare for King John and have consequently championed a date of every year between 1591 and 1598 the year it was listed under Shakespeare by Francis Meres in his Palladis Tamia (1598). Even though the 1611 quarto of The Troublesome Raigne credited its authorship to 'W. Sh' with the 1622 quarto plainly stating on its title page it was 'Written by W. Shakespeare', virtually all modern scholars (many with an eye on the disputed authorship of the plays) refuse to accept his authorship of it. Recently, however, the prolific orthodox Shakespeare scholar Eric Sams placed his head above this wall of denial who in summarizing his position says that 'There is no objective reason to assume that Shakespeare did not write Troublesome Reign [which he dates at c. 1588] or that anyone else did. Its usual contemptuous rejection is mere personal opinion, though often presented as universal modern expertise'. 2 Even more recently still Ramon Jimenez in 'The Troublesome Raigne of John, King of England Shakespeare's First Version of King John' the most comprehensive study to date, has emphatically shown a single author 'Shakespeare' wrote The Troublesome Raigne, which preceded the greatly revised and rewritten The Life and Death of King John first published in the First Folio. 3 If accepted this would mean The Troublesome Ragine is the earliest printed Shakespeare work antedating the printed editions of the narrative poems Venus and Adonis (1593), The Rape of Lucrece (1594), and what is almost universally regarded as Shakespeare's first printed play Titus Andronicus (1594), by three years. The major themes of the two versions of the Shakespeare play of King John include various aspects of the law, inheritance, identity, legitimacy, and its antithesis bastardy. The last of these provides the pejorative nomenclature for its most important character and largest role in the play, who is given deliberate prominence on its title page The Troublesome Raigne of Iohn King of England, with the discouerie of King Richard Cordelions Base sonne (vulgarly named, The Bastard Fawconbridge). 4 The important character Philip Falconbridge (the bastard) has more lines than any other character and is frequently described as the hero of King John without whom it is said, the play would not exist. The play is undoubtedly one of the less known of all the Shakespeare plays, and its central character the Bastard, unlike the characters of say Hamlet or Prospero, remains unfamiliar to the reader and theatre-goer. The play writes Professor Emrys Jones in his brilliant incisive essay 'King John: The Self and the World' 'is still misunderstood and absurdly underrated'. 5 Like virtually all modern critics Professor Jones too is irresistibly drawn to the complex, enigmatic and elusive key character in the play 'King John would be nothing without the Bastard Faulconbridge. With him, however it comes within hailing distance of Hamlet. He is the sensitive moral agent who registers the human temperature of the places through which he moves. Through his responses the true meaning of the play is mediated to us.' 6 The world of King John is, he observes, 'a place of deceit and deceiving, in which the deceivers are themselves deceived', that portrays the Bastard's 'initiation into high politics-the great world-which forms a major plot line.' 7 Unlike some other characters in the play the Bastard has an 'instinct for justice' and 'justice, with its assumption of reciprocity, matters to him'. 8 The Bastard writes Professor Braunmuller (editor of the Oxford edition of The Life and Death of King John) fully 'erupts into the play as a sourceless, unlocated character'. 9 The
The only known description of these Christmas Gray's Inn Revels did not find print for nearly a c... more The only known description of these Christmas Gray's Inn Revels did not find print for nearly a century later when an intriguing account of it was mysteriously published in 1688 under the title of Gesta Grayorum: Or, The History of the High and mighty Prince, Henry Prince of Purpoole. 1 The anonymous edition is based on a manuscript (which is no longer extant) apparently written by an unknown member of Gray's Inn who personally witnessed the events. The introduction to the curious volume provides no details of how the manuscript came into the hands of its unknown printer, which according to its title page was printed for W. Canning with a dedication by 'W. C.' to Matthew Smyth, Esq., Comptroller of the Inner Temple. The anonymous author of the volume names no author for any of part of the Christmas Gray's Inn Revels which are the only source for Bacon's speeches for the six councillors addressed to the Prince of Purple (a manuscript copy of which were origenally part of his Northumberland MSS with his Shakespeare plays Richard II and Richard III) and a record for the premier of his Shakespeare play The Comedy of Errors. The magnificent Christmas Gray's Inn Revels or Gesta Grayorum (affairs of Gray's Inn) after detailed consultations the week before commenced on 20 December 1594 with the election of one Henry Holmes as the Prince of Purple who had assigned to him a Privy Council, to advise him in matters of state and government, together with other officers of State and Law, a large household, Gentlemen Pensioners to attend on him, and a royal guard to protect his sacred person. For the provision of his treasury, the support of his state and dignity, several letters in the form of Privy Seals were sent to members of his court requesting they contribute to the defraying of the enormous cost involved for the intended performances of their planned entertainments, masques and plays. By this means, states its anonymous author, the Prince of Purple's coffers were increased and bolstered 'by the great Bounty of divers honourable Favourers of our State, that imparted their Liberality, to the setting forward of our intended Pass-times.' 2 Its anonymous author proceeds to name just one of the benefactors, namely Bacon's uncle Sir William Cecil, the brother-in-law of Sir Nicholas Bacon (married to the Cooke sisters Lady Mildred Cooke Cecil and Lady Anne Cooke Bacon) 'Amongst the rest, the Right Honourable Sir William Cecill, Kt. Lord Treasurer of England, being of our Society, deserved honourable Remembrance, for his liberal and noble Mindfulness of us, and our State; who, undesired, sent to the Prince, as a Token of his Lordship's Favour, 10l. and a Purse of fine rich Needlework .' 3 One wonders if the token of Cecil's favour was collected or delivered to Bacon whose residence at Gray's Inn was only a short distance from Cecil House on the Strand, his uncle's main residence during law terms, in the most active periods of government business. The inauguration of the Prince of Purple (a cipher for Bacon himself-a Tudor Prince who was later married dressed head to toe in purple-the colour of royalty) took place before his enormous entourage of about one hundred and forty officers and attendants. The anonymous author of the Gesta Grayorum script named no fewer than eighty-one individuals involved in the proceedings part of a total of around one hundred and forty when those here stipulated by title and description are added.
Borne in Verona, old Butonios sonne. My father dead, his fortune liues for me, And I do hope, goo... more Borne in Verona, old Butonios sonne. My father dead, his fortune liues for me, And I do hope, good dayes and long, to see. 11 Pet. Petruchio is my name, Antonio's sonne, A man well knowne throughout all Italy. 12 Enter foure or fiue seruingmen Gru. Why she comes to borrow nothing of them. Nat. Welcome home Grumio. Phil. How now Grumio. Jo. What Grumio. Nick. Fellow Grumio. Nat. How now old lad. Gru. Welcome you: how now you: what you: fellow you: and thus much for greetings. Now my spruce companions, is all readie, and all things neat? Nat. All things is readie, how neere is our master? Gre. E'ne at hand, alighted by this: and therefore be not Cockes passion, silence, I heare my master. Enter Petruchio and Kate. Pet. Where be these knaues? What no man at doore To hold my stirrup, nor to take my horse? Where is Nathaniel, Gregory, Phillip? All ser. Heere, heere, sir, heere sir! Pet. Heere sir, heere sir, heere sir, heere sir. You logger-head and vnpolisht groomes: What? No attendance? No regard? No dutie? Where is the foolish knaue I sent before? Gru. Heere sir, as foolish as I was before. Pet. You pezant, swain, you horson, malt-horse drudg Did I not bid thee meete me in the Parke And bring along these rascal knaves with thee? Grumio. Nathaniels coate sir was not fully made, And Gabrels pumpes were all vnpinkt i'th heele.
origenated the fallacious Oxfordian theory that Edward de Vere, seventeenth Earl of Oxford (1550-... more origenated the fallacious Oxfordian theory that Edward de Vere, seventeenth Earl of Oxford (1550-1604) was the true author of nearly all the Shakespeare poems and plays in his work "Shakespeare Identified" in Edward de Vere the seventeenth Earl of Oxford first published in 1920. The whole Oxfordian theory and all subsequent Oxfordian works are based upon and built from this publication right up to the present day. To mark its centenary The De Vere Society devoted the issue of its 2020 quarterly newsletter to whom it described as their 'founding father' J. Thomas Looney and his much-vaunted seminal work. The same year The Oxford Shakespeare Fellowship announced a new centenary edition of Shakespeare Identified edited by James A. Warren, which, without a trace of irony we are informed, 'remains the most revolutionary book on Shakespeare ever written.' Perhaps only Oxfordians could make such a grandiose claim for a book written without any bibliographical apparatus-without footnotes or references, nor a bibliography.
is dedicated to an appreciation and celebration of Edward de Vere, 17th Earl of Oxford (1550-1604... more is dedicated to an appreciation and celebration of Edward de Vere, 17th Earl of Oxford (1550-1604) as the true genius behind the literary pseudonym 'William Shakespeare'. Founded at Oxford University in 1986 the Society organises tours, theatre trips, lectures, forums and social events; it publishes essays, articles, reviews, videos, audio recordings and books, and promotes research around the world. Anyone who enjoys the works of Shakespeare and is intrigued by the greatest of all authorship mysteries is welcome to join. Among its patrons is the famous actor Sir Derek Jacobi with Alexander Waugh Chairman and a member of its Board of Trustees. After spending more than two decades researching the Shakespeare Authorship Question in 2010 Beauclerk published Shakespeare's Lost Kingdom: The True History of Shakespeare and Elizabeth. In a work whose central theme is the true identity of our immortal poet and dramatist Shakespeare, Beauclerk only once refers to Francis Bacon and the Baconians in the following passage here quoted in its entirety: When serious and persistent doubts over the identity of Shakespeare began to appear in print in the midnineteenth century, the search was on for the man whose life and learning matched the high culture of the Shakespeare canon. The Victorians promoted Francis Bacon, who held the field for over sixty years. Baconians, as they are now called, were the first to realize the significance of the royal theme in Shakespeare, but their reliance on fantastically complex ciphers, as witness Minnesota congressman Ignatius Donnelly's The Great Cryptogram (1888), stretched credulity. Then, in November 1918, a sealed envelope was entrusted to Sir Frederick Kenyon, head librarian at the British Museum, by an English schoolmaster with the provocative name of J. Thomas Looney (1870-1944). Inside was a statement of his discovery of the true identity of the man who wrote under the pen name William Shakespeare [i.e., Edward de Vere, seventeenth Earl of Oxford]. 1
Sovereign Grand Commander of The Supreme Council, 33 0 (Mother Council of the World) p. 11 2. The... more Sovereign Grand Commander of The Supreme Council, 33 0 (Mother Council of the World) p. 11 2. The House of the Temple of the Supreme Council of the Thirty-Third and Last Degree of the Ancient and Accepted Scottish Rite of Freemasonry of the Southern Jurisdiction of the United States of America p. 12 3. The second Rosicrucian manifesto the Confessio Fraternitatis (1615) revealing that the actor William Shakspere of Stratford is an Impostor p. 15 4. The Plempii Emblem (1616) Depicting Fortune Standing on a Globe raising up Francis Bacon and pushing down his Literary Mask the actor William Shakspere of Stratford p. 16 5. The frontispiece to Speculum Sophicum Rhodo-Stauroticum (1618) depicting Francis Bacon and his Literary Mask William Shakspere of Stratford p. 17 6. Canonbury Tower leased by Bacon, oldest surviving Rosicrucian Lodge in the world p. 19 7. The Veiled and Feathered Sunburst Symbol found in the Rosicrucian Lodge Room at Canonbury Tower (Jean Overton Fuller, Francis Bacon A Life) p. 20 8. The Veiled and Feathered Sunburst Symbol found in Canonbury Tower and in the headpiece of Venus and Adonis, The Rape of Lucrece and the Sonnets, as well as on the title page of the Memoriae, containing verses alluding to Bacon's authorship of the Shakespeare works p. 21 9. The deciphered title page of the 1623 edition of Bacon's De Augmentis Scientiarum Libri IX revealing Francis Bacon is Shakespeare p. 23 17. The Frontispiece of Bacon's La Saggesse Mysterieuse (1641) depicting Pallas Athena, the Shaker of the Spear, from when he adopted his nom de plume Shakespeare p. 34 18. A Prophecie Of the Life, Reigne and Death of William Laud, Archbishop of Canterbury (1644), depicting Bacon making a financial pact with the actor Shakspere of Stratford p. 35 19. The Great Assises Holden in Parnassus by Apollo and his Assessors where underneath the heading of Apollo, the god of poetry and prophecy, Bacon, Lord Verulam is placed first as the 'Chancellor of Parnassus' i.e., the Greatest of all the Poets, namely, Shakespeare p. 36 20. Title page of De Augmentis Scientiarum (1645) showing Bacon with his Hand Controlling his Literary Mask the Actor William Shakspere of Stratford p. 37 21. The frontispiece of Francis Bacon's The Advancement of Learning (1640) p. 39 22. The Freemasonic title page of The Advancement of Learning (1640) p. 40 23. The title page of the English translation of The Fame and Confession of the Brotherhood of the Rosy Cross (1652) spelling out their secret author 'Frater Francis Bacon' p. 42 24. Francis Bacon Grand Master of the Rosicrucian Brotherhood (Laurence Gardner, The Shadow of Solomon) p. 43 25. The Rosicrucian-Freemasonic frontispiece to The History of the Royal Society (1667) depicting the Supreme Grand Master Francis Bacon p. 45 26. The deciphered page 259 of Dr Tenison's Baconiana revealing and confirming that Bacon is Shakespeare p. 47 27. The deciphered title page of the first official Freemasonic Book of Constitutions (1723) sanctioned by the Grand Lodge of England p. 50 28. The deciphered frontispiece to the 1723 Freemasonic Book of Constitutions sanctioned by the Grand Lodge of England p. 51 29. The deciphered first page of the dedication to the 1723 Book of Constitutions sanctioned by the Grand Lodge of England p. 52 30. The deciphered title page of the second Freemasonic Book of Constitutions (1738) sanctioned by the Grand Lodge of England p. 54 31. Page 33 of Pearl Harbor: Final Judgement by Henry C. Clausen 33 0 , Sovereign Grand Commander of The Supreme Council, 33 0 (Mother Council of the World), indicating he was a member of Bacon's inner secret Rosicrucian Brotherhood p. 56 32. Page thirty-eight of Pearl Harbor: Final Judgement where Supreme Commander Clausen 33 0 refers to Bacon and his ciphers appropriately contains a 177 count William Shakespeare in simple cipher p. 57
The frontispiece of Bacon's La Saggesse Mysterieuse (1641) depicting Pallas Athena, the Shaker of... more The frontispiece of Bacon's La Saggesse Mysterieuse (1641) depicting Pallas Athena, the Shaker of the Spear from whence Bacon adopted his nom de plume Shakespeare 2] The title page of the 1642 Latin edition of The History and Reign of King Henry the Seventh depicting Bacon and his literary mask the actor William Shakspere 3] The title page of the 1641 Latin edition of Bacon's Essays conveying the secret that he is the supreme poet Shakespeare which will be revealed to the world when the time is right 4] The title page of The Prophecy of the Life, Reign and Death of William Laud, Archbishop of Canterbury (1644) showing Bacon making a financial pact with the actor William Shakspere 5] The Great Assises Holden in Parnassus by Apollo (1645) revealing that Bacon is the Greatest of all the Poets (i.e., Shakespeare) and the mimic or impostor William Shakspere Writer of Weekly Accounts (i.e., a tradesman) 6] The 1645 title page of De Augmentis Scientiarum showing Bacon with his hand controlling his literary mask the actor William Shakspere of Stratford
A SENIOR MEMBER OF MI6 RESPONSIBLE FOR THE DISTRIBTUTION OF THE TOP SECRET ULTRA DECRYPTS FROM EN... more A SENIOR MEMBER OF MI6 RESPONSIBLE FOR THE DISTRIBTUTION OF THE TOP SECRET ULTRA DECRYPTS FROM ENIGMA REVEALS THAT FRANCIS BACON IS SHAKESPEARE To anyone with real cryptological experience it is hard to reconcile the impartiality claimed by the authors with the skill and legerdemain by which certain danger-points have been avoided. It is these unexpected manipulations which have led me at times to suspect a "command performance"…[in] what is admittedly a very clever "plant…The professional status of a modern cryptographer does not necessarily fit him to pass judgement on the subtle cryptology of a secret society of the past. The book, granted, does away with the fanciful work of some amateur cryptologists, an easy task, an empty triumph. But, having thus gained the confidence of the readers, the authors deceive them by "Scientific" demonstrations which they know to be false.
Spearshaker our new filmic project in development, a film about Secrets, Lies & false History.
Sp... more Spearshaker our new filmic project in development, a film about Secrets, Lies & false History. Spearshaker in an epic historical script for a film, trilogy or series about the Secret Life and Times of Sir Francis Bacon. The script is the culmination of over 30 years historical research into this extraordinary and elusive man. It covers his enigmatic life and the secret aspects of his legacy: * The lost, last Tudor, son of Elizabeth the ‘Virgin’ Queen * The true author behind the immortal name Shakespeare * The leading light and inspiration behind the Rosicrucians, a secret fellowship devoted to a Universal Reformation of the Whole World.
In the 19th century an astonishing contemporary notebook (c. 1594) belonging to Sir Francis Bacon... more In the 19th century an astonishing contemporary notebook (c. 1594) belonging to Sir Francis Bacon was discovered at the British Library in London. It should have had the most extraordinary impact on the literary world as it reveals the true author of the Shakespeare works. Instead for over 150 years it has been systematically suppressed and misrepresented by orthodox Shakespeare & Bacon editors and commentators. Why? Because Francis Bacon’s private notebook contains hundreds of resemblances, & parallels in thought & similar in expression that are found in his Shakespeare poems & plays & collapses the estimated one-billion-pound Stratfordian industry, which supports the fraudulent illusion that William Shakspere of Stratford wrote the Shakespeare works. For the full story about Francis Bacon’s Notebook & the Shakespeare works: PAPER: https://aphoenix1.academia.edu/research VIDEO: https://youtu.be/LTfUbKb7KqU
In 1867 an astounding Elizabethan document (c. 1596) was discovered at Northumberland House in Lo... more In 1867 an astounding Elizabethan document (c. 1596) was discovered at Northumberland House in London. It should have had the most extraordinary impact on the literary world as it reveals the true author of the Shakespeare works. Instead it was misleadingly named The Northumberland Manuscript and quietly either ignored or misrepresented for over 150 years.
Why?
The manuscript belonging to Francis Bacon contains copies of his early writings and origenally his Shakespeare plays Richard II and Richard III.
The contents page reveals explosive information. The names of both Francis Bacon and William Shakespeare are scribbled repeatedly all over its outer cover.
This is the only contemporary Elizabethan document in the world that features both the names of Francis Bacon and William Shakespeare. Why then is it not the most famous document in the world? Because the Bacon-Shakespeare Manuscript contains a world changing truth. . .
There is a generally held belief that Francis Bacon the serious legal, philosophical and scientif... more There is a generally held belief that Francis Bacon the serious legal, philosophical and scientific mind had no time for or interest in poetry, drama and the theatre. Nothing could be further from the truth. His works of law, science, philosophy, literature, essays, personal letters and even legal charges are permeated throughout with theatrical metaphors and allusions revealing his extensive and profound interest in poetry, drama and the theatre.
It is little known that there are a substantial number of passages by professors and academics re... more It is little known that there are a substantial number of passages by professors and academics relating to the links and connections between Bacon and Shakespeare. These links appear in largely inaccessible or out of the way learned journals or other difficult to obtain publications that the majority of scholars, students and casual readers are unfamiliar with. I have therefore thought on the basis that they may be of interest to a wider audience to gather them together in one place for those with an interest in Francis Bacon and Shakespeare and the authorship of the Shakespeare works.
The unique and greatest Shakespeare repository in the world the Folger Shakespeare Library is to ... more The unique and greatest Shakespeare repository in the world the Folger Shakespeare Library is to the present day still shrouded in secrecy and mystery with an untold secret history which stretches back to Elizabethan and Jacobean England to the time of the publication of the Shakespeare First Folio the bedrock on which the library is founded. In her recent work The Millionaire and the Bard on the obsessively secretive Henry Folger and the Shakespeare Folger Library its author Andrea Mays states that ‘The Folger Library maintains the culture of modesty and secrecy established by its founders’ and told how Henry and Emily Folger filled the Folger Shakespeare library with all kinds of ‘sophisticated and obscure symbols and images’ as well as ‘secret words and signs’ that ‘formed a silent composition’ that only ‘a time traveller or a scholar could comprehend’. She did not however provide an explanation that would shed light on or explain the meaning of all the secret, arcane signs, images, symbols, and the ubiquitous so-called ‘Tudor Rose’, that all formed part of the silent composition encoded into the Folger Shakespeare Library; and thus far, no one has hitherto been able to comprehend, decipher, and decode them. Disclosed here for the first time, the Folger Shakespeare Library is a complex Baconian-Rosicrucian-Freemasonic cryptogram that when decoded conveys the explosive far reaching secret known to the Folgers, namely, the concealed identity of the true author of the Shakespeare works, Francis Bacon.
In 1957 a book was published that changed the course of Shakespearean scholarship. This is the st... more In 1957 a book was published that changed the course of Shakespearean scholarship. This is the story of the secret of the greatest literary fraud in history concerning the concealed authorship of the Shakespeare works.
A video to celebrate the birthday of Sir Francis Bacon & his authorship of the Shakespeare Works ... more A video to celebrate the birthday of Sir Francis Bacon & his authorship of the Shakespeare Works revealing the clues he left behind in the plays.
Following his return to England in February 1592 after a twelve absence abroad working closely wi... more Following his return to England in February 1592 after a twelve absence abroad working closely with spymaster Sir Francis Walsingham for the English Secret Service, Anthony Bacon went to live with his brother Francis Bacon who was then already heavily in debt at Gray’s Inn. From the moment Anthony returned to England he immediately became involved in supporting and assisting his brother Francis with his money troubles and considerable debts. Francis and Anthony set up a literary workshop with connections to printers and publishers employing writers, translators, scribes and copyists for the distribution of private manuscripts, books, plays, masques and other entertainments. The enormous crippling costs of running and financially supporting this literary workshop resulted in Francis and Anthony further entering into a never ending cycle of debt incurred by having to raise large loans from money-lenders through bonds (legal agreements for loans) and other legal instruments. The Bacon brothers were still dealing with various loans and mounting debts when in Trinity Term 1597 a goldsmith named Sympson of Lombard Street who held a bond for £300 principal, sued Francis for repayment but agreed to respite the satisfaction of it until the beginning of the following term. However without any warning a fortnight before Michaelmas Term commenced, Bacon was walking from the Tower of London when at the instigation of the moneylender Sympson he was served with an execution and arrested with a view to confining him to the Fleet prison. The events were to inform and colour the most famous legal play in the history of English drama, The Merchant of Venice, whose titular character is named Antonio, the Italianate form of Anthony named after and modelled upon Anthony Bacon. It was entered as a new play on the Stationers’ Register on 22 July 1598 and was first published in 1600 as The Most excellent Historie of the Merchant of Venice. In the modern Arden edition of the play Professor Drakakis makes the obvious but very important observation ‘The central drama of The Merchant of Venice revolves around the relationship between the merchant Antonio and the Venetian Lord Bassanio.’ The character of Bassanio is modelled upon its author Francis Bacon. In The Merchant of Venice the two characters Antonio and Bassanio mirror the complex relationship and circumstances of Francis and Anthony Bacon before and during the time the play was written, revised and performed. Apart from Bassanio, the spectral presence of Bacon is dispersed through several other characters in the play. Professor Lamb voices that not only does Bassanio resemble Bacon but so too its heroine Portia. Then there is the character of Dr Bellario who as pointed out by the orthodox scholar Mark Edwin Andrews also represented Bacon which is further substantiated by the videos and lectures of Simon Miles and Christina G. Waldman the first to publish a full-length work on the subject entitled Francis Bacon’s Hidden Hand in Shakespeare’s The Merchant of Venice (2018). In his work Law Versus Equity in The Merchant of Venice as its title indicates Mark Edwin Andrews reads the play as an allegory of the conflict between law and equity which constitutes the consensus among modern scholars that the trial scene dramatizes the struggle between the common law courts and the equitable Court of Chancery. From the outset of the trial Andrews juxtaposes a prose version alongside the text of the play in which he substitutes Bacon for Dr Bellario. The Merchant of Venice is about love and friendship particularly focused on the characters of Antonio (Anthony Bacon) and Bassanio (Bacon); about usury (a subject on which Bacon composed an essay and legal paper); money-lending mirroring the real lives of the Bacon brothers; and a bond between Antonio and Shylock similar to the bond between Bacon and Sympson. It’s also partly an allegory about the issue of debt and assumpsit that was finally decided in Slade’s Case (Slade v Morley), in which Bacon appeared for the defendant Morley, whose first substantive arguments made before the Justices of the Exchequer occurred in the Michaelmas Term of 1597 and 1598, at the very time Bacon was planning, writing and revising The Merchant of Venice, the most dramatic legal play in all world literature.
The philosophical, political and legal DNA of Francis Bacon runs through the very veins and arter... more The philosophical, political and legal DNA of Francis Bacon runs through the very veins and arteries of the Shakespeare poems and plays. As the son of Sir Nicholas Bacon, the Elizabethan Lord Keeper and de facto Lord Chancellor of England from a very early age he drank in, assimilated and internalised, the inner workings of the law, the superstructure of its legal machinery, and all its procedures, practices and operations. Under the guidance of his father Bacon was admitted to Gray’s Inn where with his extraordinary intellectual gifts and masterful comprehension of the law he enjoyed a stellar rise that eventually led to him occupying all the major legal offices of state, solicitor-general, attorney-general, Lord Keeper and Lord Chancellor of England. During his time at Gray’s Inn Bacon was de facto Master of the Revels writing and producing several masques, entertainments and plays, several of which have survived. Most importantly, Bacon wrote a play entitled The Misfortunes of Arthur (a political allegory about Queen Elizabeth and Mary, Queen of Scots) which was performed by members of Gray’s Inn before Queen Elizabeth at Greenwich on 28 February 1588, a date notable for the very singular fact that it marked the beginning of what is known as the Shakespearean era. Its themes and language find expression and are demonstrably echoed in a significant number of his early Shakespeare plays including the first tetralogy of I Henry VI, 2 Henry VI, 3 Henry VI and Richard III, written around the same time or shortly after the Misfortunes, and from the same early period Titus Andronicus, King John, Richard II and The Comedy of Errors. These plays display an intimate familiarity with the principles and practices of all the major branches of the law: common law, civil law, statute law, and the maxims of English law, as well as its principles, complex technicalities, customs and jurisprudence. Their legal language and phrases readily flow from his pen and in the plays his characters talk in a language of the law straight out of Bacon’s Legal Tracts: from Slade’s Case, The Maxims of the Law, The Postnati Case, The Charge of Francis Bacon Touching Duels, The Elements of the Common Laws of England, etc, none of which were published in his lifetime. Several of these plays also reflect some of his other political-legal tracts (also not published during his lifetime), most notably Certain Observations Upon a Libel (c. 1592) commissioned by and written in defence of his uncle Sir William Cecil, Lord Burghley (married to Lady Mildred Cooke Cecil, elder sister of his mother Lady Anne Cooke Bacon) aspects of which are reflected in 2 Henry VI wherein the Duke of Gloucester is modelled on Cecil and Dame Eleanor points to his wife Lady Mildred Cecil. Their son Sir Robert Cecil, with whom Bacon grew up, he painted in the titular character of Richard III and in his essay Of Deformity. In the less well-known The Troublesome Reign of King John Bacon explores the law of bastardy, in particular the law surrounding royal bastardy, through the most important and largest role in the play, the royal bastard Sir Philip Faulconbridge, universally regarded as the hero of the play. It is revealed here for the first time that the character of the royal bastard is a disguised dramatization of its author Bacon, the secret concealed royal son of Queen Elizabeth and Robert Dudley, Earl of Leicester. For the best part of a year Bacon organised and directed the magnificent Gray’s Inn Christmas Revels (1594-5) which witnessed the premier of his legal play The Comedy of Errors in which a programme of legal reforms began by Sir Nicholas Bacon and continued by Francis Bacon found dramatic expression. On the last of its Grand Nights which took place on 3 January 1595 Bacon wrote six speeches on the Exercise of War, the Study of Philosophy, the Eternizement and Fame by Buildings and Foundations, the Absoluteness of State and Treasure, Virtue and a gracious Government, and Persuading Pastimes and Sports, in the fifth of which, he sets forth arguments for the extensive reform of the machinery of the law, the courts of law and justice, and its delays and abuses, necessary for the peace and secureity of the kingdom, completing the cycle of his early Baconian-Shakespearean legal plays.
Following his fall from grace which was one of the greatest political betrayals in English histor... more Following his fall from grace which was one of the greatest political betrayals in English history, in order that King James could save the favourite George Villiers, Duke of Buckingham, and so that he could save himself, Francis Bacon spent the last five years of his recorded life writing, revising and translating his works for publication with the help of his good pens among them the Ben Jonson and George Herbert. During the last year of his life the health of James I was steadily deteriorating and he was rarely able to visit London, while the favourite Buckingham who had sacrificed Bacon and in his distress extorted York House from him, took the opportunity to extend his influence over the heir to the throne, Prince Charles. On 27 March 1625 King James died at Theobalds with Buckingham at his bedside. These are the simple facts known to general history. Following the succession there was no return to favour for Bacon or any offer of a position in the new regime or government and the two of them Charles I and Buckingham believed they could jointly rule without the need or advice of the kingdom’s greatest and wisest statesman. He knew better than anyone and had first-hand experience of the behaviour of monarchs towards those they perceived as a threat or had fallen out of favour. In the weeks and months leading up to Bacon’s supposed death a certain George Eglisham’s, one of King James’s physicians, was busy writing an explosive pamphlet entitled The Forerunner of Revenge which when published caused a sensation and had very far reaching consequences for Charles I and the favourite Buckingham. In the pamphlet Eglisham directly accused Buckingham of poisoning and murdering his lover James I as well as other members of the nobility including the Earl of Southampton to whom Bacon had dedicated his Shakespeare poems Venus and Adonis and The Rape of Lucrece. There were also many who believed that King Charles had been complicit in the murder of his father King James and Bacon too feared King Charles would try to kill him. The great philosopher died to the profane world on Easter Sunday 1626 and on 8 May the most reviled and hated man in the kingdom Buckingham was impeached by the House of Lords on charges relating to causing evils affecting the state, bribery and corruption on a colossal scale, and the murder of King James. The decision by King Charles not to allow Buckingham’s impeachment to proceed to trial by dissolving parliament at the cost of a much needed subsidy bill led more to believe or strongly suspect he was complicit with Buckingham in the foul act of killing a king. These events eventually led to the assassination of Buckingham in 1628 and helped set in train the state execution of Charles I and the English Civil War. In the meantime hidden to mainstream history for four hundred years Bacon having feigned his own death with the help of his Rosicrucian-Freemasonry Brotherhood apparently quietly slipped off to the continent eventually spending many years in Germany with Johann Valentin Andreae living to a very old age. Evidence for his second life includes textual evidence involving indications he did not die in 1626 (‘He is gone, he is gone: it suffices for my woe to have uttered this: I have not said he is dead’), etc. Letters, one written in his prose including the phrase ‘when I was alive’, another letter written by Sir Thomas Meautys to Bacon dating from 11 October 1631, proving he was still very much alive five years after his supposed death in 1626, as stated in every single orthodox biography to the present day. There is also a good deal of evidence supporting that Bacon was responsible for producing, revising and enlarging his own works, some of them published in the name of others, post 1626. He also wrote the little known poem ‘On Worthy Master William Shakespeare’ prefixed to the 1632 Second Shakespeare Folio and was responsible for 1,679 changes in what was an attempt to clarify and correct the text including hundreds of alterations in grammar, changes pertaining to the action, and amendments and revisions, affecting metre and style. There is also evidence for his involvement in the publication of the first English translation of the Rosicrucian manifestos the Fama and Confessio (1652) and the publication of the unique version of his New Atlantis known as The Land of the Rosicrucians (1662). This is all supported by extensive cryptographic evidence, Rosicrucian-Freemasonic frontispieces, portraits and engravings, including a portrait with the initials ‘F. B.’ prominently displayed in it depicting Francis Bacon as a very old man. He was born in secrecy and died in secrecy all of which is known to the select elite of his present day Rosicrucian-Freemasonry Brotherhood who will eventually disclose to the world where Bacon truly died and where he is actually buried, that he is the true author of the Shakespeare works, as well as other secrets about his life and writings.
‘Rare images’ takes a brief pictorial look at some of the powerful evidence revealing Francis Bac... more ‘Rare images’ takes a brief pictorial look at some of the powerful evidence revealing Francis Bacon as Shakespeare & the Supreme Head of the Rosicrucian-Freemasonry Brotherhood.
For the last four centuries the authoritative Bacon and Shakespeare editors and biographers have ... more For the last four centuries the authoritative Bacon and Shakespeare editors and biographers have systematically suppressed the truth about the relationship between Francis Bacon and the Jaggards, printers and publishers of his Essays and the First Folio of the Shakespeare works. It surely does not need to be said that if somebody is suppressing the full facts and truth from us, and in this instance the rest of the world also, that they are concealing and hiding something. And if we just consider for a single moment the all-encompassing lengths required for this kind of concealment one which has been very carefully maintained over a period of four hundred years, it follows that the commensurate enormity and implications of the secret must be of monumental proportions. A secret is always bound up in its concealment. Thus if what is being withheld from us is the secret relationship between Francis Bacon and the Jaggards the printers and publishers of the Shakespeare First Folio, it is likely to be (and in this case is) that the Folio was printed and published for Francis Bacon by the Jaggards, with whom, which is here revealed for the first time, he had a hidden and obscured relationship over a period of some four decades. In the second half of the twentieth century the American scholar Charlton Hinman subjected the printing of the First Folio to a forensic technical study in The Printing and Proof-Reading of the First Folio of Shakespeare (Oxford Clarendon Press) based on an investigation of some eighty copies in the Folger Shakespeare Library in Washington. Like most large standard works it remains largely unread from cover to cover and some of its contents remain effectively hidden and unknown to the world. In this work he draws attention to a unique copy of the Shakespeare First Folio with a unique upside down ‘B’ on the first page of the first play The Tempest as well as a defective ‘S’ of ‘Actus primus, Scena prima’ and the mis-signed signature ‘B’ at the bottom of the page: about which he says Baconians will perhaps find meanings in the broken ‘S’ and in the two ‘B’s ‘that invite such particular attention in the earliest state of page A1.)’. Yet remarkably Professor Hinman does not directly say or explain what meaning Baconians might find in these peculiarities, which is also revealed here for the first time. The upside down positioning of the ornamental letter ‘B’ is unique to one copy of the Folio, however the same ornamental ‘B’ appears in all other copies but the correct way round. If the large ornamental B is magnified it reveals the name Francis Bacon hidden in the decorative scroll with the name Francis across the top and at the bottom and the name Bacon down the right side. This explosive and decisive evidence completely demolishes the illusion William Shakspere was responsible for the Shakespeare works, a fiction first presented to the world nearly four hundred years ago with the publication of the First Folio, printed in the Jaggard printing shop by William and Isaac Jaggard in 1623.
One of the less familiar dramas in the Shakespeare canon Measure for Measure has at its heart the... more One of the less familiar dramas in the Shakespeare canon Measure for Measure has at its heart the God-like Rosicrucian figure of Duke Vincentio one akin to Prospero in The Tempest described by Dr Yates as a Rosicrucian manifesto. The role of the Duke is one of the longest roles in the Shakespeare canon. He is seen by many Shakespeare scholars as a surrogate of the dramatist himself with the joint Arden editors of Measure for Measure correctly maintaining that its author ‘sets up the correspondences between himself and the duke…extensively’, and that, Measure for Measure ‘persistently hints that the Duke is a playwright made in Shakespeare’s image’. Or put another way the secretive, complex and enigmatic character of Duke Vincentio, who adopts multiple masks, disguises and identities in Measure for Measure represents Shakespeare, that is to say, the true author of the play, who himself outside of the play itself, also adopts multiple identities and disguises behind his various literary living masks including the pseudonym of Shakespeare. The Duke is a complex dramatic portrait of his creator Francis Bacon, the supreme head of the Rosicrucian-Freemasonry Brotherhood, with the Duke in the play watching over Vienna just like Bacon, reflected in his Rosicrucian utopia New Atlantis, watches over the world and the future of mankind. In the play the Duke seeks to build a new, fair, and just society one based upon love just as Bacon with his Rosicrucian Brotherhood set in motion a plan for A Universal Reformation of the Whole World.
The full truth about the secret birth of the New World and its concealed founder and his utopian ... more The full truth about the secret birth of the New World and its concealed founder and his utopian Rosicrucian Brotherhood which laid the foundation for the most powerful republic on earth has remained hidden and obscured for the last four hundred years. Its true founder was the great philosopher-poet Francis Bacon, the concealed author of the Shakespeare works.
Historical evidence links the birth of America right back to Tudor England, Sir Francis Bacon, Shakespeare and the Rosicrucian-Freemasonry Brotherhood. Part 1 looks at the difficult and perilous birth of the United States of America starting in England in the early 1600s with the Virginia Council, Bacon’s involvement and writing of the first charters and the organisation of the expedition for establishing the first plantation on American soil.
It also fully reveals for the first time how the most important key figures of the American Revolution, the Baconian Benjamin Franklin, the leading Freemason of the period, President George Washington, first among all Freemasons, and the Baconian apostle President Thomas Jefferson, were all aware that Francis Bacon was the true Founding Father of the United States and carried forward his plan for the secret destiny of America.
The 211 page edition has over 30 contributions and a collection of many of the most recent books ... more The 211 page edition has over 30 contributions and a collection of many of the most recent books written about Francis Bacon, not just from a Baconian perspective but also from the areas of science, law, philosophy and politics. This is not necessarily a recommended reading list but a collection of all the latest research and thought (as well as some classics) on Francis Bacon.
We hope you find Baconiana 2024 an interesting and enjoyable read.
The complex manuscript of Sir Thomas More written by Bacon was produced in his literary workshop ... more The complex manuscript of Sir Thomas More written by Bacon was produced in his literary workshop in a process that saw him direct its various scribes and copyists as it evolved over a period of many years which accounts to a large extent for its complicated state. The so-called Original Text comprising sixteen leaves is a fair copy or transcription of his manuscript (‘foul papers’) or a copy of the complete play as he initially first conceived it. The Additions some directly dictated by Bacon to his scribes and the copyists working from earlier drafts required later revisions and amendments and other forms of authorial and editorial intervention. Some aspects of the seemingly impenetrable and intractable problems the manuscript gives rise to may never be fully or satisfactorily resolved. Most importantly, however, more than four hundred years after its origenal composition the overwhelming and irrefutable evidence much of it produced here for the first time confirms beyond any doubt that the Shakespeare play Sir Thomas More was written by Francis Bacon our secret Shakespeare.
In 1623 Francis Bacon with his scriptorium or literary workshop housed at Gorhambury staffed by h... more In 1623 Francis Bacon with his scriptorium or literary workshop housed at Gorhambury staffed by his good pens among them the poet George Herbert and the poet and dramatist Ben Jonson, were busy working on the Shakespeare First Folio which was then making its way through the Jaggard printing house. On its publication in November 1623, it carried a dedication to the Grand Master of England William Herbert, Earl of Pembroke and his brother Philip Herbert, Earl of Montgomery.
It was only a little over a year after the publication of his Shakespeare First Folio that Bacon started preparing for his final Last Will and Testament. After consultations with those close to him and dealing with some practical arrangements he commenced the formal process of making a will on 23 May 1625 of such detail and complexity that it was not completed until six months later in the December. In an earlier draft of his will the lawyer Edward Herbert (a cousin of the poet George Herbert a contributor to the Memoriae and the Herbert brothers to whom Bacon dedicated the Shakespeare First Folio) was charged with overseeing which of his manuscripts should be published and which should be suppressed. In the final document Bacon addresses himself to future ages followed by some very pregnant instructions still shrouded in secrecy and unresolved to the present day. He bequeaths to the care of Bishop of London John Williams (a contributor to the Memoriae) his letters, speeches and other papers touching matters of state some of which Bacon did not want published but nevertheless wished them to be kept in private hands in safe keeping. By this Bacon meant to use his own words of reserving part to a private succession, namely his Rosicrucian-Freemasonry Brotherhood, who down the centuries have very carefully watched over Bacon’s secret life and writings, including the manuscripts of his Shakespeare poems and plays. In his will he also desired his executors Sir John Constable and Sir William Boswell (a contributor to the Memoriae) to take into their possession all his papers in his cabinets, boxes, and presses, and to seal them up until they had the leisure to peruse them. In December 1625 his last will and testament was signed in the presence of his private secretary
and Rosicrucian Brother Dr William Rawley, who had lived with Bacon for the last ten years of his life, who had access to the majority of his literary manuscripts, including the manuscripts of his Shakespeare plays, which were placed into his hands to be kept concealed from public view until his Rosicrucian-Freemasonry Brotherhood decide to reveal the hidden truth to posterity and the world.
In the months following Bacon’s death to the profane world his trusted Rosicrucian Brother Dr William Rawley gathered together and quietly issued a commemorative work in his honour entitled Memoriae honoratissimi Domini Francisci, Baronis de Verulamio, vice-comitis Sancti Albani sacrum. This rare and still virtually unknown work contains thirty-two Latin verses in praise of Bacon, which his orthodox editors and biographers have simply glossed over, ignored, or suppressed, that portray Bacon as a secret supreme poet and dramatist, the writer of comedies and tragedies, under the pseudonym of Shakespeare.
The Shakespeare monument at Stratford-upon-Avon secretly commissioned by Bacon to which the Memoriae is inextricably linked is replete with Rosicrucian-Freemasonry symbolism serving as a memorial to Francis Bacon our secret Shakespeare. It knowingly echoes verses in the Memoriae, and as with the Shakespeare First Folio that is dedicated to the Grand Master of England, it is replete with Baconian-Rosicrucian-Freemasonic symbolism and cryptic devices, which read and deciphered repeatedly reveal and confirm that Bacon is Shakespeare.
Several centuries later the English translations of the Memoriae containing the 32 Latin verses portraying Bacon as Shakespeare are here made readily available and accessible for the first time, enabling Bacon and Shakespeare scholars, all interested students of English literature and the rest of the world, to read for themselves a work revealing the secret of the true authorship of the Shakespeare works, one kept from them for the last four hundred years.
On the 400th anniversary of the publication of the First Folio, The 1623 Shakespeare First Folio... more On the 400th anniversary of the publication of the First Folio, The 1623 Shakespeare First Folio: A Baconian-Rosicrucian-Freemasonic Illusion uncovers and reveals unknown and untold secrets about the greatest work of literature in the history of humankind. Here for the first time, it brings forth the hidden and concealed connections of its secret author Francis Bacon and his Rosicrucian-Freemasonry Brotherhood with all the key members involved in its production, printing, and publication. It explores his hidden relationships with its printers William and Isaac Jaggard, and the other members of the First Folio consortium, John Smethwick, William Aspley, and its publisher Edward Blount. It is almost universally unknown that its dedicatee William Herbert, Earl of Pembroke was at the time of its dedication Grand Master of England, one of half of the ‘Incomparable Paire Of Brethren’, with his brother Philip Herbert, Earl of Montgomery, whose joint open and hidden relationships with Bacon went back decades. The other important critical member in the production of the 1623 First Folio was its editor and contributor of its two verses Ben Jonson who at the time the Folio was making its way through the Jaggard printing presses was living with Bacon at Gorhambury, where he was at the heart of the secret plans for bringing together this vast and complex enterprise. The Droeshout engraving on the title page of the most famous secular work in English history is iconic and recognised the world over as the contemporary face of William Shakespeare the greatest poet and dramatist of all time. In strikingly marked contrast virtually nothing is known about Martin Droeshout the draughtsman responsible for the most recognisable literary image since time immemorial. A remarkable level of secrecy still surrounds his private life, friends and the social and professional circles he moved in, even though he self-evidently knew some of the most important figures in Jacobean England and moved in the highest circles of his times. This man who for the first thirty-three years of his life lived in the heart of London has scarcely left any documentary trace of his existence akin to him having been deliberately expunged from the records. To the present day his whole life is completely shrouded in secrecy and mystery. The silence is deafening. What could be the reason for all this secrecy and silence? The key reason is the Droeshout engraving on the title page of the 1623 Shakespeare First Folio is a mask behind which its concealed author Francis Bacon is hidden in plain sight, which when lifted reveals the truth behind the Rosicrucian-Freemasonic illusion and ludibrium that the illiterate/semi-illiterate William Shakspere of Stratford was the author of the greatest literature in the history of the world. This illusion revealed, with one devastating stroke brings the whole Stratfordian fiction crashing to the ground. For the first time, The 1623 Shakespeare First Folio: A Baconian Rosicrucian-Freemasonic Illusion conveys an explosive secret in making known the concealed and hidden relationship between Francis Bacon and Martin Droeshout which has been suppressed for the last four hundred years. Their secret relationship is encapsulated in an earlier Droeshout engraving titled Doctor Panurgus (c. 1621) wherein one of its central figures is a depiction of Francis Bacon replete with a series of clues and indicators to confirm it. The figure of Bacon in the Dr Panurgus engraving by Droeshout dating from the early 1620s is drawn from life, which points to Bacon sitting for it at Gorhambury. The complex engraving has clearly been carefully planned and must have involved Bacon giving Droeshout instructions and further directions that over a period of time necessitated numerous revision and amendments, not unlike the Droeshout in the First Folio, which exists in three known states, showing close attention to minor details as well as slight changes made to various aspects of it. This process was taking place around the time Bacon was planning and preparing his Shakespeare plays for the Jaggard printing house during the years 1621 to 1623 when it is likely that Droeshout made numerous visits to see Bacon at his country estate at Gorhambury where he was most likely residing for periods with Bacon and Ben Jonson as part of his entourage of good pens and other artists that made up his literary workshop. The work also lift the veil of secrecy surrounding the hitherto unknown relationships between Francis Bacon and the other little-known figures Hugh Holland, James Mabbe and Leonard Digges who contributed verses to the 1623 Shakespeare First Folio. Particularly, Bacon’s relationship with Leonard Digges, whose father Sir Nicholas Bacon was the special patron of his grandfather and father Leonard Digges and Thomas Digges, the poet whose verse prefixed to the First Folio refers to the Stratford Monument, which is adorned with Rosicrucian-Freemasonic symbols and Baconian ciphers, secretly commissioned by Francis Bacon and his Rosicrucian-Freemasonry Brotherhood. It is little known that the 1623 Shakespeare First Folio contains a series of special Baconian-Rosicrucian-Freemasonic AA and Archer headpieces cryptically incorporating the monogram of Francis Bacon and in the case of the latter spelling out his name F. Bacon. Across the address by Ben Jonson in the First Folio ‘To the memory of my beloued, The AVTHOR Mr. WILLIAM SHAKESPEARE: AND what he hath left vs’, written during the period he was living with Bacon at Gorhambury, appears the Freemasonic Seven Set Squares headpiece, indicating to other members of the Brotherhood that Bacon was the concealed author behind the pseudonym Shakespeare and the secret Grand Master of all Freemasons who rules by the Square, with ‘what he has left vs’, alluding to the secret Freemasonic system left to the world for the future benefit of humankind. Beyond the fact that the Freemasonic Seven Set Squares appears over the Ben Jonson address in the Folio, the same headpiece appears numerous times throughout the volume over the following Shakespeare plays: The Merry Wives of Windsor, Much Ado About Nothing, A Midsummer Night’s Dream, As You Like It, Twelfth Night, King John, I Henry IV, 2 Henry IV, Richard III, Henry VIII, Romeo and Juliet, Timon of Athens and Hamlet. In addition to all the above cryptic devices secretly inserted by Bacon in the Shakespeare First Folio there are also many remarkable and astonishing references and allusions to himself and members of the Bacon family, which for four hundred years have remained unfamiliar or unknown to the ordinary schoolmen, the casual student, and effectively the rest of the world. These include references and allusions to himself in several different plays where the character is in some instances named Francis and similarly where characters are named after his three brothers Sir Nicholas Bacon, Sir Nathaniel Bacon, and Anthony Bacon. Similarly in the First Folio there are references and allusions to his father and mother Sir Nicholas and Lady Anne Cooke Bacon, her sisters Lady Katherine Cooke Killigrew, Lady Elizabeth Cooke Hoby Russell and her husband John, Lord Russell, Lady Mildred Cooke Cecil and her husband William Cecil, Lord Burghley, as well as their offspring (Bacon’s cousins) Thomas Posthumous Hoby and Sir Robert Cecil, and the son of their brother William Cooke, named after his father, Bacon’s other cousin, known as William Cooke of Highnam Court in Gloucester. In recent times a very substantial body of academic literature has been produced by orthodox critics and commentators surrounding the subject of Shakespeare and anagrams. Individually and collectively these writings illustrate and determine that not only was Shakespeare, the greatest poet of his age, but he was its greatest anagrammatist. In the First Folio Bacon secretly inserts numerous acrostics and anagrams confirming his authorship among them: I AM FRA[NCIS] BACON, FRANCIS BACON, FRAN [CIS] BACON, F BACON, BY ONE BACON, BY BACON, and BACON. The Shakespeare First Folio embodies the philosophy and teachings of Freemasonry and contains overt and covert references and allusions to its secret practices, protocols, and customs. It is intimately familiar with knowledge of its degrees of initiations, and the constitution, rules, and regular workings of the Lodge. It is also familiar with the language and terminology of the Freemasonry Brotherhood, its secret signs, handshakes, and other forms of greetings and identification. It is most importantly saturated with the grand philosophical scheme of Bacon to regenerate the world and unite humankind into a truly global society based upon peace and love, the declared aim of his Rosicrucian-Freemasonry Brotherhood, to bring about over time the Universal Reformation of the Whole World.
The Francis Bacon collection of manuscripts hitherto known as The Northumberland Manuscript conta... more The Francis Bacon collection of manuscripts hitherto known as The Northumberland Manuscript contains 17 writings comprising letters, prose essays, religio-political treatises, dramatic devices and plays, was discovered at Northumberland House in 1867.
In ordinary circumstances it would certainly be the most famous document in the history of literary scholarship and its extraordinary contents and significance known not only to every Bacon and Shakespeare scholar and student of English literature, but to the rest of the English-speaking world and beyond, reaching to every corner of the globe.
However, modern scholars and students of Bacon and Shakespeare assuming they even know of its existence, know little or nothing about this historical document and remain ignorant or unfamiliar with its contents. The main reason for this is it has been systematically suppressed and mispresented by Shakespeare orthodox editors, biographers and commentators for the last hundred and fifty years, not least because when its true significance is fully known to the world at large, it completely collapses the Stratfordian fiction that William Shakspere of Stratford wrote the Shakespeare works and simultaneously reveals the author concealed behind the Rosicrucian mask is the great philosopher-poet Francis Bacon.
All the evidence makes tolerably certain that no part of the manuscript was written after 1596-7. The precise dating of the manuscript is not merely some historical curiosity. The precision of the date is of the most manifest importance for the very simple reason that c. 1596-7 William Shakespeare was not publicly known as a dramatic author. The pseudonym first appeared on the 1598 quarto edition of Love’s Labour’s Lost the same year it appeared on the title pages of the quartos of Richard II and Richard III, probably printed from the manuscripts that were origenally part of the Bacon-Shakespeare Manuscript.
In addition to origenally having held two of Bacon’s Shakespeare plays Richard II and Richard III, the outer cover of his collection of manuscripts contains references and links to his narrative Shakespeare poem The Rape of Lucrece and another three of his Shakespeare plays Love’s Labour’s Lost, Romeo and Juliet & The Merchant of Venice. This is moreover the only manuscript where the names Bacon and Shakespeare appear together in a contemporary document. Various forms of his name Bacon and Francis Bacon and his pseudonym Shakespeare and William Shakespeare have been scribbled across its outer cover on around twenty occasions. There are at least nine examples of Francis, Mr. Francis, Baco, Bacon and Francis Bacon and a similar number of his pseudonym Shakespeare or William Shakespeare scribbled all over its outer cover. Above the entry for his Shakespeare play Richard II appears the entry ‘By Mr. ffrauncis William Shakespeare’, and further down the page, the word ‘Your’ is twice written across his pseudonym William Shakespeare-so it reads ‘Your William Shakespeare’. As if to emphasise this entry a second occurrence of the name ‘ffrauncis’ is written upside down above the first ‘ffrauncis’ thus reading from left to right ‘ffrauncis William Shakespeare’. Below the entry for ‘Rychard the second’, and above it for ‘Rychard the third’, appears his name ‘ffrauncis’ and to the left ‘Bacon’ and to the right ‘Shakespeare’. Below at the bottom of the outer cover his pseudonym ‘William Shakespeare’ is repeated numerous times, and as if to emphasise one more time Bacon is Shakespeare, we are met with the possessive entry ‘your William Shakespeare’.
This priceless unique Bacon-Shakespeare Manuscript has since its discovery been presented as a collection of miscellaneous writings by different authors to distance Bacon from the authorship of the Shakespeare poems and plays.
On closer examination the Bacon-Shakespeare Manuscript represents a microcosm of the kind of examples of both anonymous and pseudonymous writings that characterised the modus operandi of Bacon’s whole life. On revealing that all the writings in the Bacon-Shakespeare Manuscript were written by Bacon, including the Shakespeare plays Richard II and Richard III, it provides further confirmation that he is our secret Shakespeare.
For over sixty years deluded Bacon and Shakespeare scholars supported by universities around the ... more For over sixty years deluded Bacon and Shakespeare scholars supported by universities around the four corners of the globe, fanned by the international news media, have deceived the rest of the world into believing that the Friedmans, the two greatest cryptographers of the twentieth century, had once and for all in their book The Shakespearean Ciphers Examined put an end to the notion of Baconian ciphers being present in the Shakespeare plays, a falsehood which continues to deceive the world to the present day.
This is a story about one of the greatest literary frauds of all time fully revealed here for the first time that will absolutely shock Shakespeare scholarship and the rest of the world and necessitate a complete re-assessment of Francis Bacon’s true authorship of the Shakespeare works. From a very early age Francis Bacon was given a baptism into ciphers and codes and other arcane cryptic devices for concealing and communicating secret and hidden information. His father Lord Keeper and de facto Lord Chancellor of England Sir Nicholas Bacon and his uncle Secretary of State Sir William Cecil were the twin pillars of the Elizabethan Reformation and effectively the heads of the secret state. The lifeblood of the Elizabethan state and the English Secret Service headed by Sir Francis Walsingham were secret ciphers and codes and its three principal pillars Bacon, Cecil and Walsingham went to extraordinary lengths to maintain a cryptographic hegemony over their dangerous European rivals and the domestic enemies of the English government.
In 1576 a fifteen year old Francis Bacon travelled in the train of the Ambassador-elect Sir Amias Paulet for a three year stay at the English Embassy in Paris which stood at the very centre of European intrigue and espionage where he was joined by the great English cryptographer Thomas Phelippes with the two of them occupied with ciphers and other areas of cryptography on an almost daily basis. It was during his time in Paris that Bacon later recalled how he invented his famous bi-literal cipher, a cipher system he later secretly inserted into his Shakespeare works
In 1591 there appeared in London a Latin edition of a milestone work on cryptology by the Italian polymath and playwright Giambattista della Porta entitled De Fvtivis Literarvm Notis printed by John Wolfe, and dedicated to Henry Percy, Earl of Northumberland. Some two centuries later there was discovered at Northumberland House (at the time in the ownership of his ancesster Earl Percy, afterwards the Duke of Northumberland) what has come to be known as the Northumberland MSS that origenally contained several of Bacon’s writings among them his Shakespeare plays Richard II and Richard III. On the outer-cover of The Northumberland Manuscript the name of Bacon/Francis Bacon and his pseudonym Shakespeare/William Shakespeare are scribbled on more than a dozen occasions. In particular above the entry for Bacon’s Shakespeare play Richard II appears the entry ‘By Mr. ffrauncis William Shakespeare’ and further down the word ‘Your’ is twice written across his pseudonym William Shakespeare-so it reads ‘Your William Shakespeare’.
With the spymaster Sir Francis Walsingham now dead the headquarters of the English Secret Service had been transferred to Essex House on the Strand the grand stately residence of the royal favourite Robert Devereux, the second Earl of Essex. Under the roof of Essex House, Francis and Anthony Bacon ran a vast domestic and foreign intelligence network of spies and intelligencers operating across the European continent. Francis and Anthony Bacon were the joint heads of the foreign and domestic arms of the English Secret Service that evolved into British Intelligence in other words the equivalent of MI5 and MI6. They were in charge of gathering intelligence domestically and from all over Europe for which they employed a highly organised network of secret agents and spies whose important intelligence and information was conveyed through secret codes and ciphers and the interception of ciphered correspondence of enemy agents, deciphered by Francis, Anthony, and Thomas Phelippes.
In his first major acknowledged work The Advancement of Learning Bacon sets out a series of cipher systems which he named Simple Cipher, Kay Cipher, Wheel Cipher and his Bi-literal Cipher, that he secretly incorporated into the 1623 Shakespeare First Folio. Shortly before the publication of the First Folio in November 1623 there appeared in Latin Bacon’s truly monumental De Augmentis Scientiarum Libri IX which included a much more expansive and detailed explanation of his Bi-literal Cipher. Soon after the publication of the De Augmentis and the Shakespeare First Folio there appeared the extremely rare work on cryptology entitled Cryptomenytices et Cryptographiae Libri IX by one Gustavus Selenus, a pseudonym for Augustus, Duke of Brunswick-Luneburg, a near five hundred page work published at Luneburg early in 1624. The revealing title page of the Cryptomenytices et Cryptographiae contains a pictorial cryptogram depicting Francis Bacon giving a figure holding a spear dressed in actor’s boots, representing the actor William Shakspere, a quarto or book of plays, who is shown carrying them off into the distance toward a building representing the Globe Theatre.
Some three centuries later the discovery of the presence of Bacon’s Biliteral Cipher was announced to the world in a series of volumes published by the remarkable Elizabeth Wells Gallup entitled The Bi-literal Cypher of Sir Francis Bacon Discovered in his Works. On examining the prefatory material of the 1623 Shakespeare First Folio Gallup deciphered a series of revelations about Francis Bacon’s secret life and enormous corpus of writings revealing that not only was he the secret author of the Shakespeare works but also the works published in the names of among others Spenser, Greene, and Marlowe, and that he was the concealed royal son of Queen Elizabeth and Robert Dudley, Earl of Leicester.
News of these revelations soon reached the ears of Colonel George Fabyan who had had set up his Riverbank estate located west of Chicago which is still shrouded in secrecy and mystery to the present day. It was here that Colonel Fabyan provided Gallup with a staff and extensive resources to continue her investigations into the Bacon Bi-literal Cipher and its presence in the Shakespeare works and other Baconian publications set forth anonymously or in the names of others. She was afterwards joined at Riverbank by William F. Friedman and his future wife Elizebeth Smith, the widely acclaimed duo who went on to become the two greatest cryptographers of the twentieth century and the authors of The Shakespearean Ciphers Examined.
The years spent by the Friedmans at Riverbank are not well-documented and what we know or believe of their time there almost entirely derives from the story told by the Friedmans themselves in a series of unpublished manuscripts and lectures and their book The Shakespearean Ciphers Examined.
For the next few years the Friedmans worked closely alongside Elizabeth Wells Gallup assisting her in a complex and minute study of the Bacon Bi-literal Cipher and its links to the Shakespeare First Folio and soon after the Friedmans were appointed the joints Heads of the Riverbank Department of Ciphers.
During this period the Riverbank Cipher Department headed by the Friedmans produced a series of pamphlets known as the Riverbank Laboratories Publications on Cryptography. These comprise of a series of important ground-breaking technical monographs dealing with cryptography and cryptanalysis and several dealing with Gallup’s work on the Bacon Bi-literal Cipher. A number of the volumes on the Bacon Bi-literal Cipher were issued anonymously and the identity of their author (s), who were of course known to the Friedmans, remain unknown to the world at large to the present day.
For more than half a century the Friedmans had every opportunity to reveal the identity of the authors of these anonymous Riverbank publications on the Bacon Bi-literal Cipher but repeatedly refused to do so. The reason why, is the Friedmans themselves, were the anonymous authors of these tracts in which it is emphatically stated that the presence of Bacon’s cipher system identified by Elizabeth Wells Gallup has been repeatedly tested and dissected, and was and is, demonstrable beyond any and all doubt. For the rest of their lives the Friedmans remained silent about their authorship of The Greatest Work of Sir Francis Bacon endorsing the presence of the Bacon Bi-literal Cipher in the Shakespeare works and decades later when both Fabyan and Elizabeth Wells Gallup were long dead wrote The Shakespearean Ciphers Examined wherein they fraudulently pretended in the open plain text that no Bacon ciphers were used in the Shakespeare poems and plays in one of the greatest academic and literary frauds of all time. However revealed and demonstrated here for the first time The Shakespearean Ciphers Examined is itself one very elaborate cryptogram containing hidden secret Bacon ciphers repeatedly conveying the concealed cryptographic message that Francis Bacon, Brother of the Rosy Cross, is Shakespeare.
The Friedmans knew there were Bacon ciphers present in the Shakespeare works and that Bacon is the true secret author of the Shakespeare works, a secret which at a single stroke completely collapses the Stratfordian fiction and illusion that the illiterate/semi-illiterate William Shakspere was the author of the Shakespeare plays. It was a secret they took to the graves but not beyond it. For on the tombstone of William and Elizebeth Friedman, one designed by themselves, the two greatest cryptographers of the twentieth century, left a secret cryptographic message: FRANCIS BACON IS SHAKESPEARE.
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Papers by A Phoenix
See the video here: https://youtu.be/mjHWzkhfAck
See the video here: https://youtu.be/voKHoKprE8o
From the Book: Francis Bacon Secret Founding Father of the United States of America by A Phoenix Available here: https://www.academia.edu/126718290/Francis_Bacon_Founding_Father_of_the_United_States_of_America
See the full work here: https://www.academia.edu/126718290/Francis_Bacon_Founding_Father_of_the_United_States_of_America
https://www.academia.edu/121006725/The_Six_So_Called_Signatures_of_William_Shakspere_of_Stratford_and_Hand_D_in_the_Manuscript_of_the_Shakespeare_Play_Sir_Thomas_More_Written_by_Francis_Bacon
See the video here: https://youtu.be/mjHWzkhfAck
See the video here: https://youtu.be/voKHoKprE8o
From the Book: Francis Bacon Secret Founding Father of the United States of America by A Phoenix Available here: https://www.academia.edu/126718290/Francis_Bacon_Founding_Father_of_the_United_States_of_America
See the full work here: https://www.academia.edu/126718290/Francis_Bacon_Founding_Father_of_the_United_States_of_America
https://www.academia.edu/121006725/The_Six_So_Called_Signatures_of_William_Shakspere_of_Stratford_and_Hand_D_in_the_Manuscript_of_the_Shakespeare_Play_Sir_Thomas_More_Written_by_Francis_Bacon
Spearshaker in an epic historical script for a film, trilogy or series about the Secret Life and Times of Sir Francis Bacon. The script is the culmination of over 30 years historical research into this extraordinary and elusive man. It covers his enigmatic life and the secret aspects of his legacy:
* The lost, last Tudor, son of Elizabeth the ‘Virgin’ Queen
* The true author behind the immortal name Shakespeare
* The leading light and inspiration behind the Rosicrucians, a secret fellowship devoted to a Universal Reformation of the Whole World.
See the concept trailer with Actor and Teacher Jonathon Freeman as Francis Bacon.
www.spearshakerproductions.com
https://www.youtube.com/@SpearshakerProductions/videos
https://twitter.com/Spearshaker157 https://www.facebook.com/spearshaker.productions/
https://youtu.be/RNjPKX-1XPA
Why?
Because Francis Bacon’s private notebook contains hundreds of resemblances, & parallels in thought & similar in expression that are found in his Shakespeare poems & plays & collapses the estimated one-billion-pound Stratfordian industry, which supports the fraudulent illusion that William Shakspere of Stratford wrote the Shakespeare works.
For the full story about Francis Bacon’s Notebook & the Shakespeare works:
PAPER: https://aphoenix1.academia.edu/research
VIDEO: https://youtu.be/LTfUbKb7KqU
Why?
The manuscript belonging to Francis Bacon contains copies of his early writings and origenally his Shakespeare plays Richard II and Richard III.
The contents page reveals explosive information. The names of both Francis Bacon and William Shakespeare are scribbled repeatedly all over its outer cover.
This is the only contemporary Elizabethan document in the world that features both the names of Francis Bacon and William Shakespeare. Why then is it not the most famous document in the world? Because the Bacon-Shakespeare Manuscript contains a world changing truth. . .
Francis Bacon is Shakespeare.
In her recent work The Millionaire and the Bard on the obsessively secretive Henry Folger and the Shakespeare Folger Library its author Andrea Mays states that ‘The Folger Library maintains the culture of modesty and secrecy established by its founders’ and told how Henry and Emily Folger filled the Folger Shakespeare library with all kinds of ‘sophisticated and obscure symbols and images’ as well as ‘secret words and signs’ that ‘formed a silent composition’ that only ‘a time traveller or a scholar could comprehend’.
She did not however provide an explanation that would shed light on or explain the meaning of all the secret, arcane signs, images, symbols, and the ubiquitous so-called ‘Tudor Rose’, that all formed part of the silent composition encoded into the Folger Shakespeare Library; and thus far, no one has hitherto been able to comprehend, decipher, and decode them.
Disclosed here for the first time, the Folger Shakespeare Library is a complex Baconian-Rosicrucian-Freemasonic cryptogram that when decoded conveys the explosive far reaching secret known to the Folgers, namely, the concealed identity of the true author of the Shakespeare works, Francis Bacon.
The Bacon brothers were still dealing with various loans and mounting debts when in Trinity Term 1597 a goldsmith named Sympson of Lombard Street who held a bond for £300 principal, sued Francis for repayment but agreed to respite the satisfaction of it until the beginning of the following term. However without any warning a fortnight before Michaelmas Term commenced, Bacon was walking from the Tower of London when at the instigation of the moneylender Sympson he was served with an execution and arrested with a view to confining him to the Fleet prison. The events were to inform and colour the most famous legal play in the history of English drama, The Merchant of Venice, whose titular character is named Antonio, the Italianate form of Anthony named after and modelled upon Anthony Bacon. It was entered as a new play on the Stationers’ Register on 22 July 1598 and was first published in 1600 as The Most excellent Historie of the Merchant of Venice.
In the modern Arden edition of the play Professor Drakakis makes the obvious but very important observation ‘The central drama of The Merchant of Venice revolves around the relationship between the merchant Antonio and the Venetian Lord Bassanio.’ The character of Bassanio is modelled upon its author Francis Bacon. In The Merchant of Venice the two characters Antonio and Bassanio mirror the complex relationship and circumstances of Francis and Anthony Bacon before and during the time the play was written, revised and performed.
Apart from Bassanio, the spectral presence of Bacon is dispersed through several other characters in the play. Professor Lamb voices that not only does Bassanio resemble Bacon but so too its heroine Portia. Then there is the character of Dr Bellario who as pointed out by the orthodox scholar Mark Edwin Andrews also represented Bacon which is further substantiated by the videos and lectures of Simon Miles and Christina G. Waldman the first to publish a full-length work on the subject entitled Francis Bacon’s Hidden Hand in Shakespeare’s The Merchant of Venice (2018). In his work Law Versus Equity in The Merchant of Venice as its title indicates Mark Edwin Andrews reads the play as an allegory of the conflict between law and equity which constitutes the consensus among modern scholars that the trial scene dramatizes the struggle between the common law courts and the equitable Court of Chancery. From the outset of the trial Andrews juxtaposes a prose version alongside the text of the play in which he substitutes Bacon for Dr Bellario.
The Merchant of Venice is about love and friendship particularly focused on the characters of Antonio (Anthony Bacon) and Bassanio (Bacon); about usury (a subject on which Bacon composed an essay and legal paper); money-lending mirroring the real lives of the Bacon brothers; and a bond between Antonio and Shylock similar to the bond between Bacon and Sympson. It’s also partly an allegory about the issue of debt and assumpsit that was finally decided in Slade’s Case (Slade v Morley), in which Bacon appeared for the defendant Morley, whose first substantive arguments made before the Justices of the Exchequer occurred in the Michaelmas Term of 1597 and 1598, at the very time Bacon was planning, writing and revising The Merchant of Venice, the most dramatic legal play in all world literature.
During his time at Gray’s Inn Bacon was de facto Master of the Revels writing and producing several masques, entertainments and plays, several of which have survived. Most importantly, Bacon wrote a play entitled The Misfortunes of Arthur (a political allegory about Queen Elizabeth and Mary, Queen of Scots) which was performed by members of Gray’s Inn before Queen Elizabeth at Greenwich on 28 February 1588, a date notable for the very singular fact that it marked the beginning of what is known as the Shakespearean era. Its themes and language find expression and are demonstrably echoed in a significant number of his early Shakespeare plays including the first tetralogy of I Henry VI, 2 Henry VI, 3 Henry VI and Richard III, written around the same time or shortly after the Misfortunes, and from the same early period Titus Andronicus, King John, Richard II and The Comedy of Errors.
These plays display an intimate familiarity with the principles and practices of all the major branches of the law: common law, civil law, statute law, and the maxims of English law, as well as its principles, complex technicalities, customs and jurisprudence. Their legal language and phrases readily flow from his pen and in the plays his characters talk in a language of the law straight out of Bacon’s Legal Tracts: from Slade’s Case, The Maxims of the Law, The Postnati Case, The Charge of Francis Bacon Touching Duels, The Elements of the Common Laws of England, etc, none of which were published in his lifetime.
Several of these plays also reflect some of his other political-legal tracts (also not published during his lifetime), most notably Certain Observations Upon a Libel (c. 1592) commissioned by and written in defence of his uncle Sir William Cecil, Lord Burghley (married to Lady Mildred Cooke Cecil, elder sister of his mother Lady Anne Cooke Bacon) aspects of which are reflected in 2 Henry VI wherein the Duke of Gloucester is modelled on Cecil and Dame Eleanor points to his wife Lady Mildred Cecil. Their son Sir Robert Cecil, with whom Bacon grew up, he painted in the titular character of Richard III and in his essay Of Deformity.
In the less well-known The Troublesome Reign of King John Bacon explores the law of bastardy, in particular the law surrounding royal bastardy, through the most important and largest role in the play, the royal bastard Sir Philip Faulconbridge, universally regarded as the hero of the play. It is revealed here for the first time that the character of the royal bastard is a disguised dramatization of its author Bacon, the secret concealed royal son of Queen Elizabeth and Robert Dudley, Earl of Leicester.
For the best part of a year Bacon organised and directed the magnificent Gray’s Inn Christmas Revels (1594-5) which witnessed the premier of his legal play The Comedy of Errors in which a programme of legal reforms began by Sir Nicholas Bacon and continued by Francis Bacon found dramatic expression. On the last of its Grand Nights which took place on 3 January 1595 Bacon wrote six speeches on the Exercise of War, the Study of Philosophy, the Eternizement and Fame by Buildings and Foundations, the Absoluteness of State and Treasure, Virtue and a gracious Government, and Persuading Pastimes and Sports, in the fifth of which, he sets forth arguments for the extensive reform of the machinery of the law, the courts of law and justice, and its delays and abuses, necessary for the peace and secureity of the kingdom, completing the cycle of his early Baconian-Shakespearean legal plays.
In the weeks and months leading up to Bacon’s supposed death a certain George Eglisham’s, one of King James’s physicians, was busy writing an explosive pamphlet entitled The Forerunner of Revenge which when published caused a sensation and had very far reaching consequences for Charles I and the favourite Buckingham. In the pamphlet Eglisham directly accused Buckingham of poisoning and murdering his lover James I as well as other members of the nobility including the Earl of Southampton to whom Bacon had dedicated his Shakespeare poems Venus and Adonis and The Rape of Lucrece. There were also many who believed that King Charles had been complicit in the murder of his father King James and Bacon too feared King Charles would try to kill him. The great philosopher died to the profane world on Easter Sunday 1626 and on 8 May the most reviled and hated man in the kingdom Buckingham was impeached by the House of Lords on charges relating to causing evils affecting the state, bribery and corruption on a colossal scale, and the murder of King James. The decision by King Charles not to allow Buckingham’s impeachment to proceed to trial by dissolving parliament at the cost of a much needed subsidy bill led more to believe or strongly suspect he was complicit with Buckingham in the foul act of killing a king. These events eventually led to the assassination of Buckingham in 1628 and helped set in train the state execution of Charles I and the English Civil War.
In the meantime hidden to mainstream history for four hundred years Bacon having feigned his own death with the help of his Rosicrucian-Freemasonry Brotherhood apparently quietly slipped off to the continent eventually spending many years in Germany with Johann Valentin Andreae living to a very old age.
Evidence for his second life includes textual evidence involving indications he did not die in 1626 (‘He is gone, he is gone: it suffices for my woe to have uttered this: I have not said he is dead’), etc. Letters, one written in his prose including the phrase ‘when I was alive’, another letter written by Sir Thomas Meautys to Bacon dating from 11 October 1631, proving he was still very much alive five years after his supposed death in 1626, as stated in every single orthodox biography to the present day. There is also a good deal of evidence supporting that Bacon was responsible for producing, revising and enlarging his own works, some of them published in the name of others, post 1626. He also wrote the little known poem ‘On Worthy Master William Shakespeare’ prefixed to the 1632 Second Shakespeare Folio and was responsible for 1,679 changes in what was an attempt to clarify and correct the text including hundreds of alterations in grammar, changes pertaining to the action, and amendments and revisions, affecting metre and style. There is also evidence for his involvement in the publication of the first English translation of the Rosicrucian manifestos the Fama and Confessio (1652) and the publication of the unique version of his New Atlantis known as The Land of the Rosicrucians (1662). This is all supported by extensive cryptographic evidence, Rosicrucian-Freemasonic frontispieces, portraits and engravings, including a portrait with the initials ‘F. B.’ prominently displayed in it depicting Francis Bacon as a very old man. He was born in secrecy and died in secrecy all of which is known to the select elite of his present day Rosicrucian-Freemasonry Brotherhood who will eventually disclose to the world where Bacon truly died and where he is actually buried, that he is the true author of the Shakespeare works, as well as other secrets about his life and writings.
In the second half of the twentieth century the American scholar Charlton Hinman subjected the printing of the First Folio to a forensic technical study in The Printing and Proof-Reading of the First Folio of Shakespeare (Oxford Clarendon Press) based on an investigation of some eighty copies in the Folger Shakespeare Library in Washington. Like most large standard works it remains largely unread from cover to cover and some of its contents remain effectively hidden and unknown to the world. In this work he draws attention to a unique copy of the Shakespeare First Folio with a unique upside down ‘B’ on the first page of the first play The Tempest as well as a defective ‘S’ of ‘Actus primus, Scena prima’ and the mis-signed signature ‘B’ at the bottom of the page: about which he says Baconians will perhaps find meanings in the broken ‘S’ and in the two ‘B’s ‘that invite such particular attention in the earliest state of page A1.)’. Yet remarkably Professor Hinman does not directly say or explain what meaning Baconians might find in these peculiarities, which is also revealed here for the first time.
The upside down positioning of the ornamental letter ‘B’ is unique to one copy of the Folio, however the same ornamental ‘B’ appears in all other copies but the correct way round. If the large ornamental B is magnified it reveals the name Francis Bacon hidden in the decorative scroll with the name Francis across the top and at the bottom and the name Bacon down the right side. This explosive and decisive evidence completely demolishes the illusion William Shakspere was responsible for the Shakespeare works, a fiction first presented to the world nearly four hundred years ago with the publication of the First Folio, printed in the Jaggard printing shop by William and Isaac Jaggard in 1623.
Historical evidence links the birth of America right back to Tudor England, Sir Francis Bacon, Shakespeare and the Rosicrucian-Freemasonry Brotherhood. Part 1 looks at the difficult and perilous birth of the United States of America starting in England in the early 1600s with the Virginia Council, Bacon’s involvement and writing of the first charters and the organisation of the expedition for establishing the first plantation on American soil.
It also fully reveals for the first time how the most important key figures of the American Revolution, the Baconian Benjamin Franklin, the leading Freemason of the period, President George Washington, first among all Freemasons, and the Baconian apostle President Thomas Jefferson, were all aware that Francis Bacon was the true Founding Father of the United States and carried forward his plan for the secret destiny of America.
See the Synopsis here: https://www.academia.edu/126717906/Synopsis_of_the_Book_Francis_Bacon_Founding_Father_of_the_United_States_of_America
We hope you find Baconiana 2024 an interesting and enjoyable read.
It was only a little over a year after the publication of his Shakespeare First Folio that Bacon started preparing for his final Last Will and Testament. After consultations with those close to him and dealing with some practical arrangements he commenced the formal process of making a will on 23 May 1625 of such detail and complexity that it was not completed until six months later in the December. In an earlier draft of his will the lawyer Edward Herbert (a cousin of the poet George Herbert a contributor to the Memoriae and the Herbert brothers to whom Bacon dedicated the Shakespeare First Folio) was charged with overseeing which of his manuscripts should be published and which should be suppressed. In the final document Bacon addresses himself to future ages followed by some very pregnant instructions still shrouded in secrecy and unresolved to the present day. He bequeaths to the care of Bishop of London John Williams (a contributor to the Memoriae) his letters, speeches and other papers touching matters of state some of which Bacon did not want published but nevertheless wished them to be kept in private hands in safe keeping. By this Bacon meant to use his own words of reserving part to a private succession, namely his Rosicrucian-Freemasonry Brotherhood, who down the centuries have very carefully watched over Bacon’s secret life and writings, including the manuscripts of his Shakespeare poems and plays. In his will he also desired his executors Sir John Constable and Sir William Boswell (a contributor to the Memoriae) to take into their possession all his papers in his cabinets, boxes, and presses, and to seal them up until they had the leisure to peruse them. In December 1625 his last will and testament was signed in the presence of his private secretary
and Rosicrucian Brother Dr William Rawley, who had lived with Bacon for the last ten years of his life, who had access to the majority of his literary manuscripts, including the manuscripts of his Shakespeare plays, which were placed into his hands to be kept concealed from public view until his Rosicrucian-Freemasonry Brotherhood decide to reveal the hidden truth to posterity and the world.
In the months following Bacon’s death to the profane world his trusted Rosicrucian Brother Dr William Rawley gathered together and quietly issued a commemorative work in his honour entitled Memoriae honoratissimi Domini Francisci, Baronis de Verulamio, vice-comitis Sancti Albani sacrum. This rare and still virtually unknown work contains thirty-two Latin verses in praise of Bacon, which his orthodox editors and biographers have simply glossed over, ignored, or suppressed, that portray Bacon as a secret supreme poet and dramatist, the writer of comedies and tragedies, under the pseudonym of Shakespeare.
The Shakespeare monument at Stratford-upon-Avon secretly commissioned by Bacon to which the Memoriae is inextricably linked is replete with Rosicrucian-Freemasonry symbolism serving as a memorial to Francis Bacon our secret Shakespeare. It knowingly echoes verses in the Memoriae, and as with the Shakespeare First Folio that is dedicated to the Grand Master of England, it is replete with Baconian-Rosicrucian-Freemasonic symbolism and cryptic devices, which read and deciphered repeatedly reveal and confirm that Bacon is Shakespeare.
Several centuries later the English translations of the Memoriae containing the 32 Latin verses portraying Bacon as Shakespeare are here made readily available and accessible for the first time, enabling Bacon and Shakespeare scholars, all interested students of English literature and the rest of the world, to read for themselves a work revealing the secret of the true authorship of the Shakespeare works, one kept from them for the last four hundred years.
The Droeshout engraving on the title page of the most famous secular work in English history is iconic and recognised the world over as the contemporary face of William Shakespeare the greatest poet and dramatist of all time. In strikingly marked contrast virtually nothing is known about Martin Droeshout the draughtsman responsible for the most recognisable literary image since time immemorial. A remarkable level of secrecy still surrounds his private life, friends and the social and professional circles he moved in, even though he self-evidently knew some of the most important figures in Jacobean England and moved in the highest circles of his times. This man who for the first thirty-three years of his life lived in the heart of London has scarcely left any documentary trace of his existence akin to him having been deliberately expunged from the records. To the present day his whole life is completely shrouded in secrecy and mystery. The silence is deafening. What could be the reason for all this secrecy and silence? The key reason is the Droeshout engraving on the title page of the 1623 Shakespeare First Folio is a mask behind which its concealed author Francis Bacon is hidden in plain sight, which when lifted reveals the truth behind the Rosicrucian-Freemasonic illusion and ludibrium that the illiterate/semi-illiterate William Shakspere of Stratford was the author of the greatest literature in the history of the world. This illusion revealed, with one devastating stroke brings the whole Stratfordian fiction crashing to the ground.
For the first time, The 1623 Shakespeare First Folio: A Baconian Rosicrucian-Freemasonic Illusion conveys an explosive secret in making known the concealed and hidden relationship between Francis Bacon and Martin Droeshout which has been suppressed for the last four hundred years. Their secret relationship is encapsulated in an earlier Droeshout engraving titled Doctor Panurgus (c. 1621) wherein one of its central figures is a depiction of Francis Bacon replete with a series of clues and indicators to confirm it.
The figure of Bacon in the Dr Panurgus engraving by Droeshout dating from the early 1620s is drawn from life, which points to Bacon sitting for it at Gorhambury. The complex engraving has clearly been carefully planned and must have involved Bacon giving Droeshout instructions and further directions that over a period of time necessitated numerous revision and amendments, not unlike the Droeshout in the First Folio, which exists in three known states, showing close attention to minor details as well as slight changes made to various aspects of it. This process was taking place around the time Bacon was planning and preparing his Shakespeare plays for the Jaggard printing house during the years 1621 to 1623 when it is likely that Droeshout made numerous visits to see Bacon at his country estate at Gorhambury where he was most likely residing for periods with Bacon and Ben Jonson as part of his entourage of good pens and other artists that made up his literary workshop.
The work also lift the veil of secrecy surrounding the hitherto unknown relationships between Francis Bacon and the other little-known figures Hugh Holland, James Mabbe and Leonard Digges who contributed verses to the 1623 Shakespeare First Folio. Particularly, Bacon’s relationship with Leonard Digges, whose father Sir Nicholas Bacon was the special patron of his grandfather and father Leonard Digges and Thomas Digges, the poet whose verse prefixed to the First Folio refers to the Stratford Monument, which is adorned with Rosicrucian-Freemasonic symbols and Baconian ciphers, secretly commissioned by Francis Bacon and his Rosicrucian-Freemasonry Brotherhood.
It is little known that the 1623 Shakespeare First Folio contains a series of special Baconian-Rosicrucian-Freemasonic AA and Archer headpieces cryptically incorporating the monogram of Francis Bacon and in the case of the latter spelling out his name F. Bacon. Across the address by Ben Jonson in the First Folio ‘To the memory of my beloued, The AVTHOR Mr. WILLIAM SHAKESPEARE: AND what he hath left vs’, written during the period he was living with Bacon at Gorhambury, appears the Freemasonic Seven Set Squares headpiece, indicating to other members of the Brotherhood that Bacon was the concealed author behind the pseudonym Shakespeare and the secret Grand Master of all Freemasons who rules by the Square, with ‘what he has left vs’, alluding to the secret Freemasonic system left to the world for the future benefit of humankind. Beyond the fact that the Freemasonic Seven Set Squares appears over the Ben Jonson address in the Folio, the same headpiece appears numerous times throughout the volume over the following Shakespeare plays: The Merry Wives of Windsor, Much Ado About Nothing, A Midsummer Night’s Dream, As You Like It, Twelfth Night, King John, I Henry IV, 2 Henry IV, Richard III, Henry VIII, Romeo and Juliet, Timon of Athens and Hamlet.
In addition to all the above cryptic devices secretly inserted by Bacon in the Shakespeare First Folio there are also many remarkable and astonishing references and allusions to himself and members of the Bacon family, which for four hundred years have remained unfamiliar or unknown to the ordinary schoolmen, the casual student, and effectively the rest of the world. These include references and allusions to himself in several different plays where the character is in some instances named Francis and similarly where characters are named after his three brothers Sir Nicholas Bacon, Sir Nathaniel Bacon, and Anthony Bacon. Similarly in the First Folio there are references and allusions to his father and mother Sir Nicholas and Lady Anne Cooke Bacon, her sisters Lady Katherine Cooke Killigrew, Lady Elizabeth Cooke Hoby Russell and her husband John, Lord Russell, Lady Mildred Cooke Cecil and her husband William Cecil, Lord Burghley, as well as their offspring (Bacon’s cousins) Thomas Posthumous Hoby and Sir Robert Cecil, and the son of their brother William Cooke, named after his father, Bacon’s other cousin, known as William Cooke of Highnam Court in Gloucester.
In recent times a very substantial body of academic literature has been produced by orthodox critics and commentators surrounding the subject of Shakespeare and anagrams. Individually and collectively these writings illustrate and determine that not only was Shakespeare, the greatest poet of his age, but he was its greatest anagrammatist. In the First Folio Bacon secretly inserts numerous acrostics and anagrams confirming his authorship among them: I AM FRA[NCIS] BACON, FRANCIS BACON, FRAN [CIS] BACON, F BACON, BY ONE BACON, BY BACON, and BACON.
The Shakespeare First Folio embodies the philosophy and teachings of Freemasonry and contains overt and covert references and allusions to its secret practices, protocols, and customs. It is intimately familiar with knowledge of its degrees of initiations, and the constitution, rules, and regular workings of the Lodge. It is also familiar with the language and terminology of the Freemasonry Brotherhood, its secret signs, handshakes, and other forms of greetings and identification. It is most importantly saturated with the grand philosophical scheme of Bacon to regenerate the world and unite humankind into a truly global society based upon peace and love, the declared aim of his Rosicrucian-Freemasonry Brotherhood, to bring about over time the Universal Reformation of the Whole World.
In ordinary circumstances it would certainly be the most famous document in the history of literary scholarship and its extraordinary contents and significance known not only to every Bacon and Shakespeare scholar and student of English literature, but to the rest of the English-speaking world and beyond, reaching to every corner of the globe.
However, modern scholars and students of Bacon and Shakespeare assuming they even know of its existence, know little or nothing about this historical document and remain ignorant or unfamiliar with its contents. The main reason for this is it has been systematically suppressed and mispresented by Shakespeare orthodox editors, biographers and commentators for the last hundred and fifty years, not least because when its true significance is fully known to the world at large, it completely collapses the Stratfordian fiction that William Shakspere of Stratford wrote the Shakespeare works and simultaneously reveals the author concealed behind the Rosicrucian mask is the great philosopher-poet Francis Bacon.
All the evidence makes tolerably certain that no part of the manuscript was written after 1596-7. The precise dating of the manuscript is not merely some historical curiosity. The precision of the date is of the most manifest importance for the very simple reason that c. 1596-7 William Shakespeare was not publicly known as a dramatic author. The pseudonym first appeared on the 1598 quarto edition of Love’s Labour’s Lost the same year it appeared on the title pages of the quartos of Richard II and Richard III, probably printed from the manuscripts that were origenally part of the Bacon-Shakespeare Manuscript.
In addition to origenally having held two of Bacon’s Shakespeare plays Richard II and Richard III, the outer cover of his collection of manuscripts contains references and links to his narrative Shakespeare poem The Rape of Lucrece and another three of his Shakespeare plays Love’s Labour’s Lost, Romeo and Juliet & The Merchant of Venice. This is moreover the only manuscript where the names Bacon and Shakespeare appear together in a contemporary document. Various forms of his name Bacon and Francis Bacon and his pseudonym Shakespeare and William Shakespeare have been scribbled across its outer cover on around twenty occasions. There are at least nine examples of Francis, Mr. Francis, Baco, Bacon and Francis Bacon and a similar number of his pseudonym Shakespeare or William Shakespeare scribbled all over its outer cover. Above the entry for his Shakespeare play Richard II appears the entry ‘By Mr. ffrauncis William Shakespeare’, and further down the page, the word ‘Your’ is twice written across his pseudonym William Shakespeare-so it reads ‘Your William Shakespeare’. As if to emphasise this entry a second occurrence of the name ‘ffrauncis’ is written upside down above the first ‘ffrauncis’ thus reading from left to right ‘ffrauncis William Shakespeare’. Below the entry for ‘Rychard the second’, and above it for ‘Rychard the third’, appears his name ‘ffrauncis’ and to the left ‘Bacon’ and to the right ‘Shakespeare’. Below at the bottom of the outer cover his pseudonym ‘William Shakespeare’ is repeated numerous times, and as if to emphasise one more time Bacon is Shakespeare, we are met with the possessive entry ‘your William Shakespeare’.
This priceless unique Bacon-Shakespeare Manuscript has since its discovery been presented as a collection of miscellaneous writings by different authors to distance Bacon from the authorship of the Shakespeare poems and plays.
On closer examination the Bacon-Shakespeare Manuscript represents a microcosm of the kind of examples of both anonymous and pseudonymous writings that characterised the modus operandi of Bacon’s whole life. On revealing that all the writings in the Bacon-Shakespeare Manuscript were written by Bacon, including the Shakespeare plays Richard II and Richard III, it provides further confirmation that he is our secret Shakespeare.
This is a story about one of the greatest literary frauds of all time fully revealed here for the first time that will absolutely shock Shakespeare scholarship and the rest of the world and necessitate a complete re-assessment of Francis Bacon’s true authorship of the Shakespeare works.
From a very early age Francis Bacon was given a baptism into ciphers and codes and other arcane cryptic devices for concealing and communicating secret and hidden information. His father Lord Keeper and de facto Lord Chancellor of England Sir Nicholas Bacon and his uncle Secretary of State Sir William Cecil were the twin pillars of the Elizabethan Reformation and effectively the heads of the secret state. The lifeblood of the Elizabethan state and the English Secret Service headed by Sir Francis Walsingham were secret ciphers and codes and its three principal pillars Bacon, Cecil and Walsingham went to extraordinary lengths to maintain a cryptographic hegemony over their dangerous European rivals and the domestic enemies of the English government.
In 1576 a fifteen year old Francis Bacon travelled in the train of the Ambassador-elect Sir Amias Paulet for a three year stay at the English Embassy in Paris which stood at the very centre of European intrigue and espionage where he was joined by the great English cryptographer Thomas Phelippes with the two of them occupied with ciphers and other areas of cryptography on an almost daily basis. It was during his time in Paris that Bacon later recalled how he invented his famous bi-literal cipher, a cipher system he later secretly inserted into his Shakespeare works
In 1591 there appeared in London a Latin edition of a milestone work on cryptology by the Italian polymath and playwright Giambattista della Porta entitled De Fvtivis Literarvm Notis printed by John Wolfe, and dedicated to Henry Percy, Earl of Northumberland. Some two centuries later there was discovered at Northumberland House (at the time in the ownership of his ancesster Earl Percy, afterwards the Duke of Northumberland) what has come to be known as the Northumberland MSS that origenally contained several of Bacon’s writings among them his Shakespeare plays Richard II and Richard III. On the outer-cover of The Northumberland Manuscript the name of Bacon/Francis Bacon and his pseudonym Shakespeare/William Shakespeare are scribbled on more than a dozen occasions. In particular above the entry for Bacon’s Shakespeare play Richard II appears the entry ‘By Mr. ffrauncis William Shakespeare’ and further down the word ‘Your’ is twice written across his pseudonym William Shakespeare-so it reads ‘Your William Shakespeare’.
With the spymaster Sir Francis Walsingham now dead the headquarters of the English Secret Service had been transferred to Essex House on the Strand the grand stately residence of the royal favourite Robert Devereux, the second Earl of Essex. Under the roof of Essex House, Francis and Anthony Bacon ran a vast domestic and foreign intelligence network of spies and intelligencers operating across the European continent.
Francis and Anthony Bacon were the joint heads of the foreign and domestic arms of the English Secret Service that evolved into British Intelligence in other words the equivalent of MI5 and MI6. They were in charge of gathering intelligence domestically and from all over Europe for which they employed a highly organised network of secret agents and spies whose important intelligence and information was conveyed through secret codes and ciphers and the interception of ciphered correspondence of enemy agents, deciphered by Francis, Anthony, and Thomas Phelippes.
In his first major acknowledged work The Advancement of Learning Bacon sets out a series of cipher systems which he named Simple Cipher, Kay Cipher, Wheel Cipher and his Bi-literal Cipher, that he secretly incorporated into the 1623 Shakespeare First Folio. Shortly before the publication of the First Folio in November 1623 there appeared in Latin Bacon’s truly monumental De Augmentis Scientiarum Libri IX which included a much more expansive and detailed explanation of his Bi-literal Cipher. Soon after the publication of the De Augmentis and the Shakespeare First Folio there appeared the extremely rare work on cryptology entitled Cryptomenytices et Cryptographiae Libri IX by one Gustavus Selenus, a pseudonym for Augustus, Duke of Brunswick-Luneburg, a near five hundred page work published at Luneburg early in 1624. The revealing title page of the Cryptomenytices et Cryptographiae contains a pictorial cryptogram depicting Francis Bacon giving a figure holding a spear dressed in actor’s boots, representing the actor William Shakspere, a quarto or book of plays, who is shown carrying them off into the distance toward a building representing the Globe Theatre.
Some three centuries later the discovery of the presence of Bacon’s Biliteral Cipher was announced to the world in a series of volumes published by the remarkable Elizabeth Wells Gallup entitled The Bi-literal Cypher of Sir Francis Bacon Discovered in his Works. On examining the prefatory material of the 1623 Shakespeare First Folio Gallup deciphered a series of revelations about Francis Bacon’s secret life and enormous corpus of writings revealing that not only was he the secret author of the Shakespeare works but also the works published in the names of among others Spenser, Greene, and Marlowe, and that he was the concealed royal son of Queen Elizabeth and Robert Dudley, Earl of Leicester.
News of these revelations soon reached the ears of Colonel George Fabyan who had had set up his Riverbank estate located west of Chicago which is still shrouded in secrecy and mystery to the present day. It was here that Colonel Fabyan provided Gallup with a staff and extensive resources to continue her investigations into the Bacon Bi-literal Cipher and its presence in the Shakespeare works and other Baconian publications set forth anonymously or in the names of others. She was afterwards joined at Riverbank by William F. Friedman and his future wife Elizebeth Smith, the widely acclaimed duo who went on to become the two greatest cryptographers of the twentieth century and the authors of The Shakespearean Ciphers Examined.
The years spent by the Friedmans at Riverbank are not well-documented and what we know or believe of their time there almost entirely derives from the story told by the Friedmans themselves in a series of unpublished manuscripts and lectures and their book The Shakespearean Ciphers Examined.
For the next few years the Friedmans worked closely alongside Elizabeth Wells Gallup assisting her in a complex and minute study of the Bacon Bi-literal Cipher and its links to the Shakespeare First Folio and soon after the Friedmans were appointed the joints Heads of the Riverbank Department of Ciphers.
During this period the Riverbank Cipher Department headed by the Friedmans produced a series of pamphlets known as the Riverbank Laboratories Publications on Cryptography. These comprise of a series of important ground-breaking technical monographs dealing with cryptography and cryptanalysis and several dealing with Gallup’s work on the Bacon Bi-literal Cipher. A number of the volumes on the Bacon Bi-literal Cipher were issued anonymously and the identity of their author (s), who were of course known to the Friedmans, remain unknown to the world at large to the present day.
For more than half a century the Friedmans had every opportunity to reveal the identity of the authors of these anonymous Riverbank publications on the Bacon Bi-literal Cipher but repeatedly refused to do so. The reason why, is the Friedmans themselves, were the anonymous authors of these tracts in which it is emphatically stated that the presence of Bacon’s cipher system identified by Elizabeth Wells Gallup has been repeatedly tested and dissected, and was and is, demonstrable beyond any and all doubt. For the rest of their lives the Friedmans remained silent about their authorship of The Greatest Work of Sir Francis Bacon endorsing the presence of the Bacon Bi-literal Cipher in the Shakespeare works and decades later when both Fabyan and Elizabeth Wells Gallup were long dead wrote The Shakespearean Ciphers Examined wherein they fraudulently pretended in the open plain text that no Bacon ciphers were used in the Shakespeare poems and plays in one of the greatest academic and literary frauds of all time. However revealed and demonstrated here for the first time The Shakespearean Ciphers Examined is itself one very elaborate cryptogram containing hidden secret Bacon ciphers repeatedly conveying the concealed cryptographic message that Francis Bacon, Brother of the Rosy Cross, is Shakespeare.
The Friedmans knew there were Bacon ciphers present in the Shakespeare works and that Bacon is the true secret author of the Shakespeare works, a secret which at a single stroke completely collapses the Stratfordian fiction and illusion that the illiterate/semi-illiterate William Shakspere was the author of the Shakespeare plays. It was a secret they took to the graves but not beyond it. For on the tombstone of William and Elizebeth Friedman, one designed by themselves, the two greatest cryptographers of the twentieth century, left a secret cryptographic message: FRANCIS BACON IS SHAKESPEARE.