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If ever there was a way to unlock this question your approach is the most likely to bear fruit. Would you say that your method is falsifiable? There is every reason to believe that the corpus was not the work of just one man. In that regard, what is said about Shakespeare can also be said about Bacon. The 27 test criteria you speak are the meat and bones of the approach. Are they all empirical and statistically informed? I am wondering if any of them take into consideration the detectable points of philosophy which are transmitted in the Shakespearean works in a comparative analysis. Do any of the works ring untrue to the beliefs of the men in question? Is there a common philosophy that is shared by these 6 ghostwriters? Are they, for example, all aboard on the reintegration of the Jews into English society from an early time. Can we say that any of these men shared a membership or affiliation outside of having contributed to this? Were they brought together or were they first together with the goal of producing some great work? Were they all Jacobeans? I guess the next question would be: who is/are the patron(s) behind this? Who is/are the mastermind(s) behind it who are making it all come together after the death of Shakespeare. What would the plan possibly look like if there was one? Is it more likely or less likely that there was one guiding hand, a central figure, which may have served to shape the themes of writings? You are likely to meet up against people who have already concluded that the published plays in the first folio are uniformly doing something along the lines of relaying a constant reference to some things not at all discussed overtly in the works. As you probably know, there is no shortage of aficionados who read in between the lines of Shakespeare to conclude that their theories are backed in very elegant ways. What about such a possibility? Could the thing have come together with the printing of the first folio to allow this uniformity of covert messaging which is said by some to be detectable? On a personal level I am pleased that you mentioned that there are 6 voices detected. This is a number that fits the description of an early group of 7 which existed in England and who went by the name of the Acception (a group which is modeled on a structure common to operative Freemasonry in Scotland). One of them was said to be a prominent statesman, others literary figures. The number of tests you apply is numbered 27? Are you aware that this is the side value of the perfect Masonic stone square ashlar (value of 3 cubed)? If you are not then you have inadvertently found a pleasing parallel to any group with speculative Freemasonry ties. Will look into this some more. I am most interested in your test criteria.

Just wondering if anyone here has visited the Church of St. Michaels (Lawrence?, Phoenixes?) and had a close up inspection of the interior. Nowhere on the internet can I find a plaque or memorial of any kind commemorating the death of Lady Anne Bacon. Surely, there must be something of the sort inside St. Michael's? Not suggesting anything, just puzzled as to how such a great lady could be buried without a trace or mention. Being a devout Christian, she may have preferred to be interred anonymously, perhaps. Why was she not buried in the great and venerable cathedral of St Albans? You can understand why Sir Francis chose St. Michael's - a diminutive and ancient Saxon parish church - as a manageable, relatively private location for his final grand performance. Although it looks as though Francis's relationship with Lady Bacon was difficult at times to say the least, he must have loved her. And yet he chose not to erect even the most humble monument to her memory, as far as I know...

The two look different to me. The Gheeraerts portrait the eyes appear closer together and the face longer with fuller lips. I vote for Anthony Bacon. Interesting the cloth is the same as Elizabeth's, and he is wearing a cloak. 1 cloak /ˈkloʊk/ noun plural cloaks Britannica Dictionary definition of CLOAK 1 [count] : a piece of clothing that is used as a coat, that has no sleeves, and that is worn over the shoulders and attached at the neck 2 [singular] : a thing that hides or covers someone or something The soldiers began their attack under (the) cloak of darkness. Their plans were shrouded in a cloak of secrecy. 2 cloak /ˈkloʊk/ verb cloaks; cloaked; cloaking Britannica Dictionary definition of CLOAK [+ object] literary 1 : to cover (someone or something) — usually used as (be) cloaked a field cloaked in snow 2 : to hide or disguise (something) — usually used as (be) cloaked His caring personality was cloaked [=hidden, concealed] by shyness. — usually + in The plans were cloaked [=shrouded] in secrecy. a company cloaked in mystery — cloaked adjective A cloaked figure [=a person wearing a cloak] entered the room.

https://archive.org/details/b24873573_0005/page/274/mode/2up?view=theater An Historical Sketch of the History of Gorhambury Estate from the Gentleman's magazine, 1891

Is this the same person? On the left is an authentic portrait of Robert Devereux, 2nd Earl of Essex, Francis Bacon’s biological brother, painted by Marcus Gheeraerts sometime in the late-1500s. On the right is a portrait by Nicholas Hilliard painted in 1594. This picture resides at Gorhambury House. Until today I had never seen this three-quarter length portrait, but I immediately recognized the face of Anthony Bacon: https://en.wikipedia.org/wiki/Anthony_Bacon_(1558–1601) https://www.facebook.com/Francis.Bacon.Research.Trust/posts/pfbid02KFoXhGky9nFCTivohdys7BMr3f2vx66TVMFv4tZsgNG21Q8DnkcAbX26Wyt59iful The link above to the FBRT Facebook pages raises another equally challenging art history puzzle. The portrait below of Elizabeth by Nicholas Hilliard was a gift to Sir Nicholas Bacon as thanks for his hospitality during one of her visits to Gorhambury where, as far as we know, the picture still resides today. Queen Elizabeth visited Sir Nicholas (at Gorhambury) in 1572 and again in 1577, 'coming thither on Saturday, 18 May, before supper, and continuing till Wednesday after dinner following.' A list of all the expenses incurred during the visit, including a cup presented to the queen, amounting to £577 6s. 7d., is preserved. The queen in return for this entertainment gave Sir Nicholas her portrait painted by Hilliard, which still remains at Gorhambury. https://www.british-history.ac.uk/vch/herts/vol2/pp392-405#anchorn46 Both Hilliard paintings appear to have remained at Gorhambury for their entire existence. What is odd – as Peter Dawkins and others have pointed out - is the fact that both subjects are wearing clothes made of identical fabric. https://www.facebook.com/Francis.Bacon.Research.Trust/photos/portrait-of-queen-elizabeth-i-attributed-to-nicholas-hilliard-gorhambury-collect/1131136830265421/ Would Anthony have worn a sword, even ceremonially? And would he have dressed so ostentatiously in gold embroidered trousers, even in a portrait for posterity? But if it is Francis Bacon’s other, biological brother, Robert Devereux, then Nicholas Hilliard’s painting barely resembles any of the many famous portraits of the Earl. Whether it is of Anthony or Robert, that both pictures belong to Gorhambury House; that Elizabeth gave her Hilliard portrait to Nicholas Bacon; and that both subjects are wearing the same cloth, suggest a close connection between the two sitters. Any thoughts on the identity of the man in the painting?

I suppose the first question I would like to ask is whether any works of Francis Bacon were included in those 303 texts? If so, which ones? Keep in mind that here on the B'Hive forum we are not what you might consider the general public as we are Baconians and most of us have been studying the evidence for many years. You might enjoy reading this thread:

Introduction by Dr William Rawley #FrancisBacon #Shakespeare #Rosicrucians #Freemasonry #KingJames #Buckingham Paper: https://www.academia.edu/51468107/Did_Francis_Bacon_die_in_1626_Or_did_he_Feign_his_Death_with_the_Help_of_his_Rosicrucian_Freemasonry_Brotherhood Video: https://www.youtube.com/watch?v=lTnZDpMy8uM&t=217s

Commemorative Verses #FrancisBacon #Shakespeare #Rosicrucians #Freemasonry #KingJames #Buckingham Paper: https://www.academia.edu/51468107/Did_Francis_Bacon_die_in_1626_Or_did_he_Feign_his_Death_with_the_Help_of_his_Rosicrucian_Freemasonry_Brotherhood Video: https://www.youtube.com/watch?v=lTnZDpMy8uM&t=217s

Grand Master of the Rosicrucian-Freemasonic Brotherhood #FrancisBacon #Shakespeare #Rosicrucians #Freemasonry #KingJames #Buckingham Paper: https://www.academia.edu/51468107/Did_Francis_Bacon_die_in_1626_Or_did_he_Feign_his_Death_with_the_Help_of_his_Rosicrucian_Freemasonry_Brotherhood Video: https://www.youtube.com/watch?v=lTnZDpMy8uM&t=217s

Bacon's Monument #FrancisBacon #Shakespeare #Rosicrucians #Freemasonry #KingJames #Buckingham Paper: https://www.academia.edu/51468107/Did_Francis_Bacon_die_in_1626_Or_did_he_Feign_his_Death_with_the_Help_of_his_Rosicrucian_Freemasonry_Brotherhood Video: https://www.youtube.com/watch?v=lTnZDpMy8uM&t=217s

The Marriage Dilemma Now that Queen Elizabeth and Lord Robert Dudley were privately married they had the enormous problem of whether to make their marriage public. It will be recalled that in the previous letter by De Quadra to Philip II (22 January) he assured his royal master in reference to any marriage with Dudley ‘I am certain also that without your Majesty’s sanction she will do nothing in public’, or as rendered in the Calendar of State Papers: 'I am certain that if she do not obtain your Majesty’s consent she will not dare to publish the match.' [Martin S Hume, ed., Calendar Of Letters And State Papers Relating To English Affairs, Preserved Principally In The Archives Of Simancas. Vol.1. Elizabeth 1558-1567 (London: printed for Her Majesty’s Stationery Office, 1892), p. 180. Their dilemma resulted in a duplicitous diplomatic strategy designed by Elizabeth and Dudley via foreign ambassadors and diplomats especially with a view of obtaining the approval and support of Philip II of Spain that continued for years. The issue of a public marriage was so grave and perilous a matter, so complex, so fraught with intractable difficulties on all sides, one dangerous to both the lives of Elizabeth and Dudley, the lives of the people of her kingdom, either through possible invasion and/or civil war that it proved the critical Gordian knot of her reign. #ElizabethI #VirginQueen #RobertDudley #FrancisBacon #RobertDevereux #PregnancyPortrait #HamptonCourt #RoyStrong #FrancisCarr Paper https://www.academia.edu/45006558/The_Pregnancy_Portrait_of_Queen_Elizabeth_I_and_The_Secret_Royal_Birth_of_Francis_Bacon_Concealed_Author_of_the_Shakespeare_Works Part 1 https://youtu.be/AFSxRYGxgjk Part 2 https://youtu.be/HWpuy13KHiA

Royalty - Born in the Purple To unmistakably reinforce and confirm the allusion that Bacon was born of royalty, his first biographer then explicitly states he was ‘born in the purple’: as everybody knows purple is the colour of royalty, and Queen Elizabeth herself forbade anyone except close members of the royal family to wear it; thus in other words, Bacon was born in the purple to royalty, a glaring confirmation, that he was the royally born son of Queen Elizabeth. (When Bacon later married at his own wedding he wore a suit ‘purple from cap to shoe’). His biographer declares moreover that Bacon ‘saw himself destined one day to hold in his hands the helm of the kingdom’ (helm: in control or head of the country), meaning as son and heir of Queen Elizabeth, that one day he was destined to be King of England, and that he had from a young man studied all forms of government in anticipation of his role as royal head of state for the governance of his kingdom. #ElizabethI #VirginQueen #RobertDudley #FrancisBacon #RobertDevereux #PregnancyPortrait #HamptonCourt #RoyStrong #FrancisCarr Paper https://www.academia.edu/45006558/The_Pregnancy_Portrait_of_Queen_Elizabeth_I_and_The_Secret_Royal_Birth_of_Francis_Bacon_Concealed_Author_of_the_Shakespeare_Works Part 1 https://youtu.be/AFSxRYGxgjk Part 2 https://youtu.be/HWpuy13KHiA

Royal Ancestry So what kind of ancestors leave so ‘many marks of their greatness in history that honour and dignity seem to have been at all times the spoil of his family’? A description consistent with the Tudor royal family which derived its ancestry from the Houses of York and Lancaster: Henry IV, Henry V, Henry VI, Edward IV, Richard III, Henry VII and Henry VIII (all reigns covered by Bacon in his Shakespeare plays and prose history of Henry VII) that clearly left countless marks of their greatness in history. #ElizabethI #VirginQueen #RobertDudley #FrancisBacon #RobertDevereux #PregnancyPortrait #HamptonCourt #RoyStrong #FrancisCarr Paper https://www.academia.edu/45006558/The_Pregnancy_Portrait_of_Queen_Elizabeth_I_and_The_Secret_Royal_Birth_of_Francis_Bacon_Concealed_Author_of_the_Shakespeare_Works Part 1 https://youtu.be/AFSxRYGxgjk Part 2 https://youtu.be/HWpuy13KHiA

Clues to Royal Birth There is clearly in the below passage several phrases and observations which point to and confirm that Francis Bacon, or should we say, Francis Tudor, was of royal birth. Firstly, it explicitly and directly refers to his ‘ancestors, who have left so many marks of their greatness in history that honour and dignity seem to have been at all times the spoil of his family.’ It is completely without any doubt whatsoever that this does not refer to the ancestors of Sir Nicholas and Lady Anne Bacon. They came of relatively modest and humble stock none of whom left any marks of greatness in history. #ElizabethI #VirginQueen #RobertDudley #FrancisBacon #RobertDevereux #PregnancyPortrait #HamptonCourt #RoyStrong #FrancisCarr Paper https://www.academia.edu/45006558/The_Pregnancy_Portrait_of_Queen_Elizabeth_I_and_The_Secret_Royal_Birth_of_Francis_Bacon_Concealed_Author_of_the_Shakespeare_Works Part 1 https://youtu.be/AFSxRYGxgjk Part 2 https://youtu.be/HWpuy13KHiA

A new computational-linguistic author-attribution method was applied to 303 texts. All of them fell into only 6 linguistic groups. The data is publicly-accessible here: https://github.com/faktorovich/Attribution Comparing biographies to the publication dates indicated that these ghostwriters were: Ben Jonson, William Percy, Richard Verstegan, Gabriel Harvey, Josuah Sylvester and William Byrd. The now available for sale 20 volumes of the “British Renaissance Re-Attribution and Modernization” series (BRRAM): https://anaphoraliterary.com/attribution present overwhelming proof for these re-assignments. The computational method, together with structural, biographical and various other attribution approaches that led to the attribution conclusions, are discussed in “Volumes 1-2: Re-Attribution of the British Renaissance Corpus”. "A Restitution for Decayed Intelligence in Antiquities (1605): Volume 18" is the first Old English dictionary, and the first text to introduce the Anglo-Saxon British-origin myth. "Job Triumphant in His Trial and The Woodman’s Bear (1620): Volume 20" is the only verse translation of the "Book of Job" from the Old Testament; the original Hebrew was in verse, so this translation is closer to the intentions of the original author(s). "The Thirsty Arabia (1601): Volume 5" is the first Renaissance play to have put Prophet Muhammad on the stage. "Look Around You (1600): Volume 11" is the unacknowledged by previous critics first part of the trilogy that established the now popular Robin Hood narrative. "Hamlet (First Quarto: 1603): Volume 12" is a translation of the First Quarto that has never been translated before, and which more clearly explains that this play is about the outlawed homosexual love between Hamlet and Horatio. And "A Comparative Study of Byrd Songs: Volume 17" is an anthology that includes excepts from all 29 texts in the Byrd-group and explains how "Shakespeare's" “Sonnets” (1609) is similar to other works like poems erroneously assigned to "Raleigh" and "Dyer". BRRAM is cataloged in the World Shakespeare Bibliography and in the Play Index (EBSCO). A few sections out of BRRAM have been published in scholarly journals: “Manipulation of Theatrical Audience-Size: Nonexistent Plays and Murderous Lenders” in "Critical Survey", Issue 34.1, Spring 2022; “‘Michael Cavendish’s’ '14 Airs in Tablature to the Lute' (1598)” in "East-West Cultural Passage", Volume 22, Issue 2, December 2022; and the "Journal of Information Ethics" published: “Publishers and Hack Writers: Signs of Collaborative Writing in the ‘Defoe’ Canon” (Fall 2020) and “Falsifications and Fabrications in the Standard Computational-Linguistics Authorial-Attribution Methods: A Comparison of the Methodology in ‘Unmasking’ with the 28-Tests” (Spring 2022). Email me at director@anaphoraliterary.com for free pdf review copies of the series. The series' website includes the detailed descriptions of the findings, press clippings and the like. I hope to start a discussion here regarding my findings, as I am interested in the public's perspectives.

I just tried to access Internet archive ... 😢

WOW ! First of all, great analysis Rob !❤️ Secondly, this is an incredible synchronicity ! Yesterday, I learned about the existence of the Statue of William Shakespeare in Stratford Town Hall. And I smiled discovering the text engraved on the scroll, a passage of page 159 of the First Folio that is the 177th page of the Book. I planned to share this with the B'Hive community in the 4th part of my series but I have no other choice than to share it with you today.😊 And I remind you that this is in this 177th page of the First Folio, that we can find the following passage ... https://internetshakespeare.uvic.ca/Library/facsimile/book/Bran_F1/177/index.html%3fzoom=1200.html 33 words, 33 = BACON MAB is, for me, the acronym of Marrow And Bones. And the the reference to the transfiguration is , in my view, a reference to one of the 153 emblems of Evangelicae Historiae Imagines (1593) https://sirbacon.org/bacon-forum/index.php?/topic/77-the-last-portrait/#comment-1859 The transfiguring of Francis Bacon ! 😉

A library can buy a book, put it on their shelf for me to read. I can walk in, grab the book and read it for free. I can also walk over to the copier and copy some pages, and take photos with my iPhone. There may be times, if the book is available for purchase that I might buy a copy for my own library. Its hard for me to drive, park, and go to a library, so I like to research from my home. Internet Archive has been a wonderful resource. I respect copyright, but if a library can share to anyone, why can't an online library do the same thing? I know its more complicated than that.

I don't know who designed this before it was executed and put to paper. We are given only the name of the engraver. I don' t know who the likeness is supposed to represent. I don't think it's main function is to present a very good likeness. It appears to have been more important that the features be guided by the geometric composition that may have been handed to an engraver.as a starting point. What got produced is something rather stiff and cartoonish. Altrnatively you could suggest that the engraver did this on his own. The geometric feature with the most obvious intent is the positioning of the 80,60,40 triangle. It's center is also the center of the rectangle which contains the image. That tells you it was engineered to be that way. It is elegant enough that it was made to come out, but to have it be concentric means it was likely started with. That's about all I have to say about it. This we can show. The point of it is another story. The main composition is guided by a geometric idea for what Bacon and Brahe accepted as the cosmology of our solar system. It was an improvement over Ptolemy's system of epicenters, but it is still wrong. I doubt that Shakespeare would have had any opinion about that, but he could have. I don't know why anyone would have wanted to show that even if WS did hold that belief. It appears to me to be the idea of someone still living who has a hand in the production of the folio, and of someone who had an acute interest in the Summer triangle asterism. As you know, I feel we are well within our abilities to show that Bacon imagery was utilizing this triangular asterism as a celestial beacon in other places. I also think he used Triangulum. I feel we can show that someone was suggesting the use of this pairing. It's never more suggested than in Sylva Sylvarum, a work that was Bacon's Swan Song. What it all means is something I can only speculate about. If something is detectable and elegant, does it have a meaning? It must have had a meaning to someone.

Indeed, this would be a tragedy for researchers around the world. https://www.gizmodo.com.au/2023/03/internet-archive-faces-uphill-battle-in-lawsuit-over-its-free-digital-library/ https://blog.archive.org/2022/10/17/the-cdl-lawsuit-and-the-future-of-libraries/

🤞🤞🤞 I keep my fingers crossed for the Internet Archive lawsuit. I'm hoping the B'Hive to be ETERNAL !

I'm hoping the B'Hive will be immortal as well. 🙂 It may depend on how the Internet Archive lawsuit pans out. I know I'd be very sad to see the Wayback Machine and the online facsimile treasures go away forever!

Thank you again Rob ❤️ I am touched and at the same time I think that it is too much praise . I am just a Bacon enthusiast as each of us, happy to bring my contribution . For me , there will always be only two Immortals ... The Great One and ... Connor Mc Leod !😊

The Immortal Allisnum2er, Yann! 🙂 As long as people talk about Shakespeare, your name will always be alive!

Hi A Phoenix, I don't know what to say, except my heartfelt thanks for your moving comment !🙏❤️