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  1. Today
  2. Kate

    First Folio

    Thank you! The reference to Don Quixote too
  3. Thank you. It's long so I'll read properly later, but I see it begins with mention of 33 parchment leaves!
  4. Hi Kate, I do not know anything about Nabokov ! Thank you for sharing ! 🙏 Here are some ideas regarding possible anagrams . 100 = FRANCIS BACON simple cipher Right after the hundred-eyed ARGOS, the hundred-mouthed bard ! 😉 And the Boar's head can be a reference to the Emblem "In Dies Meliora". Have a great day !
  5. I'm not a mason, can anyone explain or comment on these?
  6. The Villard Folio came up in my research- The 13th-century folio of Villard de Honnecourt, an artist connected with cathedral builders in France, includes the following recipe: Retain that which I will tell you. Take leaves of red cabbage, and of avens - this is an herb which one calls 'bastard cannabis.' Take a herb which one calls tansy and hemp - this is the seeds of cannabis. Crush these four herbs so that there is nothing more of the one than of the other. Afterwards you take madder two times more than any one of the four herbs, then you crush it, then you put these five herbs in a pot. And you put white wine to infuse it, the best that you are able to have, being somewhat with care that the potions not be too thick, and that one is able to drink them Villard Folio.pdf
  7. Ir appears he was a probably Baconian: https://researchspace.auckland.ac.nz/handle/2292/718 Vladimir Nabokov's 1947 novel Bend Sinister has long been considered problematic and over-ambitious. ... It is my contention that Nabokov employs the crackpot theories of Sir Edwin Durning-Lawrence, a proponent of the theory that Francis Bacon composed the works of William Shakespeare, as an outlandish tool for reconciling the novel's contradictions, a makeshift mechanism for incorporating the deistic narrator, ghostly Olga and Vladimir Nabokov, the true author, into a metaphor for an otherworld that, Nabokov insisted, was unimaginable. Maybe something to read: https://www.jstor.org/stable/10.7591/j.ctt1g69xb9.14?seq=1 This looks interesting to on a quick scan, but my eyes are SHOT tonight: http://web.utk.edu/~sblackwe/new-or-little-known.pdf In Bend Sinister Bacon is evoked primarily as a token of cryptography via alleged acrostics in Shakespeare (and secondarily as a cipher for science), while in Pale Fire he serves, concealed, as an icon for hidden things that may be discovered by the careful and curious. There is no lack of cryptograms in Lolita, either, and Bacon’s presence along with the “paper chase” and its Shakespearian overtones brings on a double-edged concern. On the one hand, it encourages the continued quest for concealed messages in Lolita and perhaps other works as well (most such quests have been successful in varying degrees); on the other, Nabokov’s disparagement of Baconian acrostic-seekers in Speak, Memory (20) (thanks to Jansy Mello for reminding me of this passage)—they serve as his analogue of Freudian symbol-hunters!—combines with the paper chase’s ultimate futility to suggest that such code-breaking may be beside the point. There is no doubt that anagrams, cryptograms, and acrostics play a significant role in several of Nabokov’s works. To the extent that all of these in some manner hark back to Bacon, they remind us of hidden secrets, of the deceptive simplicity of the visible, and the quest for true knowledge about ultimate sources. Humbert’s situation is much clearer: he could, if he wanted, come to know something of the true Dolly Haze. But his obsession makes it impossible for him to do so; we readers are left to view what we can of her through the bars and cobwebs of his mind.
  8. That is clearly referring to Bacon!! Lethe, I had to look it up. https://en.wikipedia.org/wiki/Lethe In Classical Greek, the word lethe (λήθη) literally means "oblivion", "forgetfulness", or "concealment".[3] It is related to the Greek word for "truth", aletheia (ἀλήθεια), which through the privative alpha literally means "un-forgetfulness" or "un-concealment". He is saying Shakespeare was Bacon's "beloved Lethe".
  9. Yesterday
  10. Kate

    First Folio

    Hi Yann et al, What do we know about Vladimir Nabokov? Second stunning coincidence of the day, I came to post what I’m about to post here earlier and decided not to as I don’t know who to credit. I had screen shotted a tweet with 2 pages of Nabokov entitled Shakespeare, but didn’t note who posted it. Anyway, I had seen the word genius in it and then thought I saw Bacon’s name. I don’t know anything about Nabokov though or if he’d be doing this(?) The coincidence is that I just checked my Twitter feed and the first tweet to meet my eyes was from a guy who AP and I know who is caught between de Vere and Bacon (but tends to side with de Vere) asking who wants to talk about Nabokov! Anyway, here’s the screenshots (I will remove if there’s an issue about no link). What caught my eye as we’d been discussing ‘genius’ was the lines: ”concealing for all time your monstrous genius beneath a mask” F Bacon is in those words.
  11. Yesterday evening, my last research brought me back to the fifteenth page of the First Folio. https://internetshakespeare.uvic.ca/Library/facsimile/book/Bran_F1/15/index.html%3fzoom=1200.html I took it as a sign, an invitation to take a closer look at this page. And here is the day's pick 😊 ... PRINCE F. BACON , THE SON OF THE VIRGIN ARGOS is the French name of ARGUS. Do you know that there are TWO Argus (Son of Arestor) in the Greek Mythology ? And the last but not the least ...
  12. Hi A Phoenix , many thanks for this new insightful analysis ! ❤️ You really are an immeasurable well of knowledge, knowledge that you always share with us in a delightful way !
  13. Oh yes, I recall the FAST now. Gosh!
  14. Hi , I would say that F. St A. is an anagram of FAST and I noticed that when we have the word "fast" , "Bacon" is never far away, the better exemple being on page 222 with the famous FAST BACON in acrostic. BACON F.St A. 🙂
  15. Do you mean Kate, via the decipherment of Bacon's Bi-literal Cipher, or his simple and kay cipher systems, or via acrostics and anagrams? Or all of the aforementioned?
  16. Reading this one AP, should we be looking more closely for F St A in (throughout) the First Folio?
  17. This is SO synchronistic words fail me. I just logged in to post this image and saw that Ryan had just posted the above and this is a forum topic that has largely been unvisited for months - at least by any of us who regularly post. What are the chances? Anyway the above is fascinating and I was going to write to say I take it all back about deciding there was only a slim chance, due to the printing press procedure, that they were using sacred geometry on the cover and dedication of the sonnets: look at this. It’s in a book I just purchased today. It should/must be credited to Wooden Books and the author Adam Tetlow. Here is where you can purchase your own copy of Harmonic Geometry and others in their amazing series. https://www.amazon.co.uk/s?k=wooden+books&crid=1HRISVPB10R4M&sprefix=wooden+books%2Caps%2C67&ref=nb_sb_ss_ts-doa-p_2_12 This method dates to the 1200s!
  18. THE SECRET CHILD OF PRINCESS ELIZABETH AND THOMAS SEYMOUR. The circumstances surrounding the scandal of Thomas Seymour and Princess Elizabeth as subsequently recounted by conventional historians and numerous biographers was invariably conveyed to posterity through the concealing prism of euphemisms and hints with no serious intention of ever wanting to get to the heart and truth of the matter. They were naturally content to only fleetingly touch upon the scandalous subject of a possible sexual relationship between the fourteen year old princess and Thomas Seymour, a man at the time married to her stepmother and old enough to be her father regarding a secret established sexual relationship widely rumoured to have produced a child. There were however two other sources which carry the subject of sexual intimacy and rumoured pregnancy further, both going as far as to affirm not only was Elizabeth pregnant but a child was secretly stillborn or destroyed. The first of them is found in a manuscript life or memoir of Elizabeth’s contemporary Jane Dormer, afterwards Duchess of Feria (1538-1612). Born second daughter of Sir William Dormer and his first wife Mary, eldest daughter of Sir William Sidney following the death of her mother in 1542 Jane was placed under the care of her grandmother Jane, Lady Dormer with whom she remained until she was taken into the household of Princess Mary. In her younger years Jane was the frequent companion of the young Prince Edward whose tutor and her grandfather Sir William Sidney encouraged her to read, dance and sing with his royal pupil.1 From the time she was admitted to the household of Princess Mary the two of them formed a strong bond and a lifelong friendship. Living with Mary in whose intimate trust she was taken, Jane Dormer was privy to the fact that following the death of Henry VIII Seymour had sought to marry Elizabeth and the two of them closely followed the unfolding scandal at the Parr-Seymour household. Naturally Princess Mary had a personal and political interest in any intended royal match with her sister Elizabeth. As the next in line to the throne Mary reacted with great alarm at Seymour’s intention to overthrow the government of his brother the Lord Protector, which if it succeeded, may very well have prevented her own succession. Aside from what was being done in public, Mary through official and diplomatic back channels was certainly the recipient of news and information of what was taking place in private between her sister Elizabeth and Seymour. Perhaps if anyone outside of the Parr-Seymour household would have known if Princess Elizabeth was pregnant and had secretly given birth to a child her sister Mary would have, information she would likely share with her trusted lady-in-waiting Jane Dormer. It is certainly the case, talk of Princess Elizabeth’s pregnancy and subsequent birth of a child was current in the household of Mary, and afterwards the household of Jane Dormer, then and many years thereafter. In 1603 Jane Dormer, then Duchess of Feria, took into her household a Henry Clifford who she soon took into her confidence. Under her direction Clifford wrote a memoir of his mistress one which remains the principal authority for the known facts of her life. The surviving manuscript, as we have it, was written in 1643 however it was evidently prepared and drawn up at a much earlier date.2 For two hundred and fifty years this manuscript preserved in the possession of the Dormer family at Grove Park remained hidden from view before it was first published in 1887 under the editorship of the Rev. Joseph Stevenson, S. J., entitled The Life of Jane Dormer, Duchess of Feria. In this Life of the duchess a statement is found that the Princess Elizabeth gave birth to Seymour’s child that did not survive childbirth, and was subsequently destroyed or disposed of: A great lady, who knew her [Elizabeth] very well, being a girl of twelve or thirteen, told me that she was proud and disdainful, and related to me some particulars of her scornful behaviour, which much blemished the handsomeness and beauty of her person. In King Edward’s time what passed between the Lord Admiral, Sir Thomas Seymour, and her Doctor Latimer preached in a sermon, and was a chief cause that the Parliament condemned the Admiral. There was a bruit of a child born and miserably destroyed, but could not be discovered whose it was; only the report of the midwife, who was brought from her house blindfold thither, and so returned, saw nothing in the house while she was there, but candle light; only she said, it was the child of a very fair young lady. There was a muttering of the Admiral and this lady, who was then between fifteen and sixteen years of age. If it were so, it was the judgment of God upon the Admiral; and upon her…The reason why I write this is to answer the voice of my countrymen in so strangely exalting the Lady Elizabeth, and so basely depressing Queen Mary.3 The statement Elizabeth gave birth to Seymour’s child is also apparently hidden in a cipher introduced by Francis Bacon in the Shakespeare plays and inserted in several of his acknowledged works and his various masks. This hidden communication in the arcane form of a word cipher was discovered by Dr Orville Owen and published in Sir Francis Bacon’s Cipher Story in 1894. According to these revelations brought forth by Owen, in a fit of anger and rage Queen Elizabeth blurted out to the fifteen year old Francis Bacon the true nature of his own concealed birth. Dismayed and distressed and still in a state of confusion Francis immediately confronted Lady Bacon telling her what the queen had screamed out and tearfully demanded she tell him whether it was true or not. Since Queen Elizabeth had breached the secret pact between them never to reveal the nature of his true birth Lady Bacon now freed from the constraint of secrecy in the course of explaining the true nature of his origins proceeded to relate the events of Elizabeth’s passionate love affair with the Lord Admiral which involved, she said, “the secret of a very terrible crime, which, led on by the great but licentious Se[y]mour, she committed when a girl.”4 Lady Bacon, then Anne Cooke, maid-in-waiting to Princess Elizabeth told Francis how she tried to prevent these encounters but when she hinted as much to the princess how unseemly it was for the lascivious and adulterous Seymour to “ascend nightly to her chamber” the princess “did strike me” scolding her “will you then, wench, lesson me? Knowest y-not his looks are my soul’s food? He is full of virtue, bounty, worth and beseeming qualities, and I would be his wife; but alas! alas! he is the husband of my stepmother.”5 In the several weeks that followed the pregnant princess confessed her condition to Anne and begged for her assistance for it “is a secret” that “must be locked within the teeth and lips. I fear death, for my conceptious womb will soon give birth to a little child. It almost turns my dangerous nature wild when I dwell upon my fear, for the law of England doth work summary vengeance on the joint partakers of this youthful offence, to have my wrist and shanks fettered and carried headlong to the magistrate a prisoner, to have sentence of death passed.”6 Her trusted maid-in-waiting Anne was reluctantly being drawn into a dangerous conspiracy but she assured the princess that she would keep the matter secret and help conceal her pregnancy. In the winter of 1548-9 according to the word cipher the court resided at Windsor Castle and Anne on advising her mistress to feign sickness and stay in bed in order to conceal her condition applied paints to whiten her face and advised her mistress to deny access to her person. On a cold winter night the princess gave birth to a child and in the absence of a doctor with no experience Anne was forced to perform the part of a midwife and on delivery was unable to help the child to breath who with “fury sprung selfborn, and yet unborn” the “sweet soul in speechless death lie’st in bed as in a grave” lamenting “I was not skill’d enough to play the nurse” to “aid the poor child” who “passed in silence to the fountain of final causes, namely God.”7 The overwhelming urgency and stress of the situation took on a different dimension. She was now faced with the compelling necessity to conceal the body of the “young girl” and with no option for a decent burial or any time to dig a grave, in fear of being discovered by royal attendants Anne was despatched into the cold night to bury the stillborn child wherever she could. Wrapping the “poor cold dead baby” up in her arms she silently crept through the castle and into the garden beyond which lay the vineyard until she finally reached a fish pond covered in thick ice. In a panic she scrambled over the ice to the centre and with some sort of stick or knife to make an opening for the child to sink into. In the process the ice gave way plunging her into the darkness of the freezing cold water terrified and gasping for breath she struggled to the surface but the ice once again broke beneath her. Numbed and enfeebled by the cold with her will to live fading her feet found the bottom and she managed to push up and breathlessly drag herself out of what she feared was to be a watery grave. With no other option available in a terrible state and predicament she plunged the body of the infant into the pool and returned back as speedily as she was able to the apartment of the princess herself still in a terrible state of fear and confusion, who welcomed her return with sobs of joy and enormous relief. Frantically hugging Anne in her arms she asked “Where did you conceal the body-in the earth I hope?” To which she replied “In the water, your highness.” Without any weight attached to corpse came the response. Yes your highness Anne replied. “O God” the princess exclaimed “Others will know my shame”. The weeping princess convinced the body would be chanced upon screamed “Stupid, away in haste and put in the earth.” In despair Anne returned to the pool hoping to recover the tiny corpse but nothing could be found and in vain she returned to the princess to tell her she was unable to find the body. The princess wept bitterly “O woe! O fortunes spight! King Edward will hear I am a common stale.”8 Comforting her mistress Anne removed her bloodstained garments and put a warm shirt on the princess now drained and exhausted they both fell into a fitful slumber only to be awoken at nine in the morning by King Edward standing at the foot of the bed. With an austere look in his face, with bracing tone he asked “Mistress, what body did you bear forth from the castle and, ’twixt eleven and twelve last night throw into the spring adjoining?” The question shook her to the core and initially rendered her speechless “But my love for the princess was stronger than my fear of him.” Hesitating, “Since I knew not what he had heard or seen” Anne at first dissembled “Great Sir, said I, begging your pardon, what body talk you of? I know of no such body” The young king wryly replied “Fair lady, have you made a sinner of your memory as to credit your own lie? What is between you two? Give me up the truth.” Still trying to brazen it out Anne bravely told him “As I do live, my honoured lord ’tis true.” With his patience at an end the king put pay to the pretence “Here porter, here I say! Hast thou brought hither the little child?” yes, the porter replied, passing the tiny copse to the king. With anger and repugnance the king cried out “Thou’rt damned as black-nay nothing is so black-thou art more deep damned than Prince Lucifer. There is not so ugly a fiend in hell as thou shall be, if thou hast slain this child.” Anne mortified at even the suggestion of it “Do but hear me, sir” she roundly begins “Let hell want pains enough to torture me if I by act, consent, or sin of thought be guilty of the baby’s death.” He looked at her and said “I do suspect thee very grievously. Methinks the sentence of damnation sounds; but this deadly plot in thee I’ll pardon if thou wilt deliver the unholy man that hath my wanton sister in shameful, cunning lust enchained.” Still, heroically, trying to shield the princess a resurgent Anne raised up her head “My honoured lord, thy sister is so good a lady no tongue could ever pronounce dishonour of her. But my life she never knew harm doing.” The king was having none of it “Fie upon this compelled falsehood” his anger now returning “Thou hast both but one bare hour to live, and then thou must perpetually be damned; and her paramour, he that wooed her without respect or high regard, I will crop his head. He that hath made the court his mart and turned it into a loathly stew, he shall expound his beastly mind in hell.”9 Begging for forgiveness the princess cast herself before him “O spare me! kill me not! Make me not the laughing stock of the kingdom, I that am the daughter of a king and a queen!” Kneel not down before me he commands her “Rise, I’ll pardon thee thy life, but in perpetuity I’ll conceal thee, as best befits thee, in some reclusive and religious life, out of all tongues, eyes and minds; but by the flaming light of that celestial fire which kindleth love, I will advance the partaker of thy hateful, wicked love as high up as a scaffold.” With quite breathtaking audacity she turns to the king and scornfully asks him “With whom am I accused?” Even more astonishingly, faced as she was with the corpse of her stillborn child she now descended into blatant mendacity “If I be condemned upon surmises (all proofs sleeping else), I tell thee it is rigor and not law. This brat is none of mine; it is the issue of some rotten callet.” Incensed and outraged by her sheer bare-faced denials he violently retorted “Look, reprobate!” I “know the name of thy worthless concubine. He hath confessed, and I am resolved to have his head. Look here he comes. He did betray thee to me.” Just as the king was thundering up his revulsion from the bottom of his bowels a cowed Seymour crept in before them. With fearful countenance “He sues to Edward to let him breath a private man in foreign land” and prays “my lord be good to me! Your grace is accounted merciful and kind, let me live in Athens.” But the king was adamant “No sir,” he said “I’ll not pardon thee. Consenting too ’t would bark mine honour and leave my trunk naked. The discoverie of the dishonour of my sister and the corrupt man saved would make all men abhor us. Hope thou not. It is impossible.” Contemptuously snarling at the disgraced Seymour “Darest thou not die?” telling him for what it was worth “Thou shall have thy trial” before summarily dismissing him from his presence. And “without farewell or sign of peace, His Highness did depart and leave us to our deep despair.”10 Following his conviction for treason Thomas Seymour was condemned to death and executed on 20 March 1549. Princess Elizabeth went on to become the Virgin Queen ruling England for forty five years in which time she gave birth to two other children known to the world as Francis Bacon and Robert Devereux, second Earl of Essex. 1. A. V., Jane Dormer, Dictionary of National Biography and M. J. Rodriguez- Salgado, Jane Dormer, Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004-22). 2. Henry Clifford, The Life of Jane Dormer, Duchess of Feria by Henry Clifford Transcribed from the Ancient Manuscript in the possession of the Lord Dormer By The Late Canon. E. E. Estcourt And Edited By The Rev. Joseph Stevenson Of The Society of Jesus (London: Burns And Oates Limited, 1887), pp. xiii-xiv 3. Ibid., pp. 86-87. 4. Orville W. Owen, Sir Francis Bacon’s Cipher Story (Detroit And New York, 1894), I, p. 109. 5. Ibid., I, p. 109. 6. Ibid., I, p. 110 7. Ibid., I, p. 113. 8. Ibid., I, pp. 116-117. 9. Ibid., I, pp. 118-121. 10. Ibid., I, pp. 121-124.
  19. You might like this, the picture that got me started was Leonardo da Vinci's Bacchus, pointing with both hands - you only need two points to indicate a hexagon grid. Norwegian artist Odd Nerdrum confirmed analysis of two paintings. There are many, but I will attach a few good ones. In The Painter's Manual (1525) Dürer wrote: Considering, however, that this is the true foundation for all painting, I have proposed myself to propound the elements for the use of all eager students of Art, and to instruct them how they may employ a system of Measurement with Rule and Compass, and thereby learn to recognize the real Truth, seeing it before their eyes. Michelangelo thought Dürer's reliance on geometry excessive, and is reported by Vasari (The Lives of the Artists, 1550) to have said "It is necessary to keep one's compass in one's eyes and not in the hand, for the hands execute, but the eye judges." “I began from the background, with the architecture. Once the lines were marked out, I called all my figures, one by one, and they came obediently to take their places in the perspective.” Ingres, quoted in Charles Blanc, Ingres, sa vie et ses ouvrages (1870) When you want to draw on a wall, first level the surface and then attach pieces of wood to the legs of a pair of metal compasses, to make them as long as you want, and tie a brush to one end so that you can mark with color the proportions of the figure and describe their halos. When you have marked the proportions of the figure, take some ochre and draw first with a watery solution. - Dionysius of Fourna, Painter's Manual (1730-34) With larger paintings, I wondered how it was done, and realized you would only need a piece of string and chalk; you would just mark the circumference, then chalk up the string and snap it on the canvas, probably on the floor, to get a grid.
  20. Bacon's unorthodox biography (Elizabeth being his mom) fits the mythological hero archetype outlined in Otto Rank's Myth of the Birth of the Hero (1909). That was really the seminal book which prefigured the more famous work of Carl Jung (archetypes) and Joseph Campbell (hero's journey or monomyth). Royal birth, conception in secret, adoption by those of a lesser station, fears that the child will be a danger to the state. These similarities are the more striking, as the myths deal with an abandoned prince who returns to overcome his father; Bacon gave us modern science, the tool with which humanity challenges our common Father. How many heroes are born to virgins? usually royal virgins, the list includes Jesus, Heracles, Perseus, Romulus, Sargon, Theseus, Apollo, Dionysus, Asclepius, Karna, Ion, and Llew Llawgyffes. Rank begins: The prominent civilized nations—the Babylonians and Egyptians, the Hebrews and Hindus, the Persians, the Greeks and the Romans, as well as the Teutons and others—all began at an early stage to glorify their national heroes—mythical princes and kings, founders of religions, dynasties, empires, or cities—in a number of poetic tales and legends. The history of the birth and of the early life of these personalities came to be especially invested with fantastic features, which in different nations—even though widely separated by space and entirely independent of each other—present a baffling similarity or, in part, a literal correspondence. After laying out many different examples, he sums up p.65: The standard saga itself may be formulated according to the following outline: The hero is the child of most distinguished parents, usually the son of a king. His origin is preceded by difficulties, such as continence, or prolonged barrenness, or secret intercourse of the parents due to external prohibition or obstacles. During or before the pregnancy, there is a prophecy, in the form of a dream or oracle, cautioning against his birth, and usually threatening danger to the father (or his representative). As a rule, he is surrendered to the water, in a box. He is then saved by animals, or by lowly people (shepherds), and is suckled by a female animal or by an humble woman. After he has grown up, he finds his distinguished parents, in a highly versatile fashion. He takes his revenge on his father, on the one hand, and is acknowledged, on the other. Finally, he achieves rank and honors. From Wikipedia: Lord Raglan, in 1936, developed a 22-point myth-ritualist Hero archetype to account for common patterns across Indo-European cultures for Hero traditions, following myth-ritualists like James Frazer and S. H. Hooke: 1. Mother is a royal virgin 2. Father is a king 3. Father often a near relative to mother 4. Unusual conception 5. Hero reputed to be son of god 6. Attempt to kill hero as an infant, often by father or maternal grandfather 7. Hero spirited away as a child 8. Reared by foster parents in a far country 9. No details of childhood 10. Returns or goes to future kingdom 11. Is victor over king, giant, dragon or wild beast 12. Marries a princess (often daughter of predecessor) 13. Becomes king 14. For a time he reigns uneventfully 15. He prescribes laws 16. Later loses favor with gods or his subjects 17. Driven from throne and city 18. Meets with mysterious death 19. Often at the top of a hill 20. His children, if any, do not succeed him 21. His body is not buried 22. Has one or more holy sepulchers or tombs
  21. I checked the article in Baconiana and can't tell, is the child in shadow intended to represent Oxford? some say he was the first child of Elizabeth and Leicester.
  22. Here at the B'Hive Cipher Department, we strive for discovering and promoting the Truth. The biliteral cipher is one that could be proven scientifically and also present a Truth. All of the ciphers we kick around here can not be denied by science. Anyone can duplicate what we do using the same techniques. So as a first scientific test they all pass. The hidden messages we often see are not provable by science. There are infinite possibilities. But science would prove that the one theory we interpret is possible. It works by rules, so it is possible. Then we think about all the ciphers we've seen and shared. Some scientific probabilities of other interpretations shrink. We see ciphers and patterns and know where to look. Bacon left clues and it is obvious. He left them where it mattered, and there were some rules we follow. The Friedmans teach a lot of those techniques and rules while deceiving the Starfordians. I think it's time Stratfordians start to pay attention if they don't want to be embarrassed the day the Truth is provable. 😉
  23. Last week
  24. An Explanation of Bacon's Bi-Literal Cipher in The Hints to the Decipherer.
  25. Instructions for the Bacon Bi-Literal Cipher in the Hints To The Decipherer.
  26. The Hints to the Decipherer endorsing the Bacon Bi-literal Cipher as deciphered by Elizabeth Wells Gallup.
  27. Since Friday morning I have been pretty much in full web development/administrative mode solving serious issues and technology with a new client. It is usually the hat I wear every day. But I have had a slow few months and have been all about Bacon. Funny, I stop in the B'Hive all day when I can, thinking in the back of my brain. But the Baconian "scientific" rigid hat for computer work changes my mind processes and it takes the Shakespearean/Rosicrucian "creative and imaginative" hat to seek ciphers. Obviously it is not a switch that I can flip and go from one to the other in an instant! 🙂
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