Jump to content

Search the Community

Showing results for '444'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • SirBacon.org's B'hive Community
    • PLEASE READ: Welcome to SirBacon.org's B'hive Community
    • B'hive Information and Help
    • B'hive Member Introductions
    • Baconian Announcements
  • Baconian Discussions
    • Francis Bacon's Life
    • Bacon as Shakespeare
    • Bacon's Royal Birth
    • Bacon Shakespeare Sonnets
    • Bacon and Sacred Geometry
    • Bacon and the Scientific Method
    • Bacon and his Philosophy
    • Bacon and the Law
    • Bacon and Freemason/Rosicrucian Topics
    • Baconian Ciphers
    • Bacon and Don Quixote
    • What's New on Sirbacon.org Discussion
    • William Shakespeare of Stratford, Who was he?
  • Baconian Entertainment
    • Baconian Art and Media
    • Baconian Books
    • Bacon Websites
    • Bacon, Just for Fun!

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


About Me

Found 24 results

  1. Line 444 of the Sonnets is Line 10 of Sonnet 32. http://www.light-of-truth.com/pyramid-GMT.php#Line0444 Had my friends Muse growne with this growing age, 444 is 157 plus 287, so for me I take note whenever I see 444. It's a thing I just do. In fact, the last five lines of Sonnet 32 are important to me. Had my friends Muse growne with this growing age, A dearer birth then this his loue had brought To march in ranckes of better equipage: But since he died and Poets better proue, Theirs for their stile ile read,his for his loue. To spare you the pain of reading paragraphs of my detailed interpretations of almost every word, I'll just throw it out there for now. Sonnet 33 begins in a few hours and all this is just part of the lead into it. So it's not worth spending too much time in these lines. Bacon's "Muse" is Shakespeare, of course. Had his Muse grown during Bacon's life enough to tell his Birth, which it likely did within tiny circles of friends, and marched into "ranckes" with evidence Bacon would have enjoyed being acknowledged for who he was, ranks and all. Was Bacon predicting that it would be after his death when his life would be known? "But since he died and Poets better proue" suggests he knew it would be us in the future who would care enough to look and his muse, the "Poet" would "proue". LOL Had my friends Muse growne with this growing age, A dearer birth then this his loue had brought. These two lines prepare us for Sonnet 33. It is Bacon's prophesy that he would not be alive when his Muse Shakespeare's secrets would be shared publicly to the World. Sonnet 33 begins tomorrow during St. Patty's Day parties. I just listened to the Grateful Dead channel on SiriusXM play March 16, 1990 from Landover MD recorded 33 years ago tonight. 2 and a half days in Sonnet 33 is worth noting for we who pay attention. I may be way to busy to share anything tomorrow, but Sonnet 33 has come up before on the B'Hive a few times already. http://www.light-of-truth.com/pyramid-GMT.php#Sonnet033 Sonnet 33 ends immediately after 11:59:59 PM on March 19th. Hello Sonnet 33... 😉
  2. The Fulwells In the 1560s Lord Keeper Sir Nicholas Bacon was presiding over a long running and complicated law suit brought by Thomas Fulwell and his wife and widow Christabel Fulwell relating to lands leased from the Cathedral of Wells. We learn from a bill in the Court of Chancery addressed by Christabel Fulwell on 13 October 1564 to Sir Nicholas Bacon that the dispute between the powerful Dean of Wells and the Fulwells was settled in their favour. However the lawsuits and protracted legal wrangles arising from the dispute continued for decades and resulted in their son Ulpian Fulwell never gaining custody of the land which his father rented from John Goodman the Dean of Wells which still decades later remained a matter of litigation for his own children. Irving Ribner, ‘Ulpian Fulwell And His Family’, Notes And Queries, 195 (1950), pp. 444-48 and Irving Ribner, ‘Ulpian Fulwell And The Court Of High Commission’, Notes and Queries, 196 (1951), pp. 268-70 #FrancisBacon #Shakespeare #ShakespeareAuthorship #LikeWillToLike Paper: https://www.academia.edu/45176854/The_play_Like_Will_to_Like_written_by_Francis_Bacon_when_he_was_only_seven_years_old_one_of_three_works_written_in_the_name_of_Ulpian_Fulwell_and_their_links_to_the_Shakespeare_Plays Video: https://youtu.be/y42VMzO0ztY
  3. you said: " for me I take note whenever I see 444. It's a thing I just do. " here's something I was working on a while back, perhaps you can dig deeper? (Apologies if it seems a bit opaque) sonnet 4 line 4: And being frank she lends to those are free: first 4 words counted from Lhs --> And being frank SHE : 4th word SHE = 31 = PIG last 4 words counted from Rhs <-- TO those are FREE 4th word --> TO = 33, 4th word <-- FREE = 33. F PIG : 37 = 6 + 31 4 + 4 + 4 = 12 12 x 37 = 444 F = 6 B = 2. 6 x 2 x 37 = 444
  4. The search in the B'Hive works well, just make sure you are searching the whole forum and not just a thread. Scroll down and look at a few cool places where 444 pops up over the past year. https://sirbacon.org/bacon-forum/index.php?/search/&q=444&quick=1
  5. I am slow on the draw. LOL But I did know that 22/7 is considered pi. I did not realize that 11/7 is 1.57142857142... which has the same repeating numbers as pi 3.14285714285... Now I see 33/7 and 44/7 so on share the same repeating numbers. 111, 222, 444, 666 etc. up to 999 divided by 7 all share the pattern. I am exhausted and going to bed, but may dream of numbers. Maybe some Angels will share some revelations with me. But at this moment I am very happy with revelations shared by humans. 🙂
  6. Hmmm... 222/365 is 0.60821917... 222/364 is 0.6098901... which is more exact to the 0.61 you mention. 364 is of interest to me because there are 364 Days in the Sonnet Pyramid design. I pointed to this in an old Baconiana (page 23) about Paracelsus: "His writings, to the number of three hundred and sixty-four, spread all over Europe, were on the counsel of the Archibishop of Cologne, collected after his death, by Huser, and published at the expense of the Elector. They were marked with the letter “ R ” or with a rose." Day 222 in the Sonnet Pyramid begins at Midnight at the beginning of the 18th Tier after end of the 17th Tier ends in a 28 Tier Pyramid. That design is basically where every 13 Days a new Tier begins. It is the major 14 Tier design divided by 2. 13 Day Tiers is as small you can get with perfect transitions at Midnight (13 x 28 = 364). It's not as perfect as the 14 Tier design (26 x 14 = 364) because every 13 days is only 5.5 Sonnets. The 14 Tier design syncs every 11 Sonnets and 154 Lines. But the 28 Tier design still has a vast realm of coincidences and word significance even though I rarely mention it. I believe the math still works for the 444 and 666 as I see them pop up in my work. Plus the letter "R" is the 17th letter which may have some connection to Paracelsus using that letter to Seal his 364 writings. I have not had time to dig in though. And won't this week. Of course 365 is the number most of us think about in regards to a year formula. You, CJ, have brought up how 360 (60) was a mathematical base in the very early days, and it may be that 364 was in place 400 years ago yet to be understood. I will say that the number 365 and 0 (zero) do match up in places. I see it. In the past weeks I'm pretty sure I've described how if we go from high Noon to high Noon, we have 364 Days in a typical year. The Midnight to Noon the first Day and Noon to Midnight the last Day is Day 365 or 0 depending on how you want look at it or count. Maybe Paracelsus was aware of that concept? It's all so fascinating!!
  7. I suppose we could argue that 222/365=0.61 is an attempt to get to the golden mean of the year, so again visiting Plato's idea of the divided line which delineates between things under the Sun and under the influence of the "divine luminosity". It would do so while being in 2:1 proportion with 111 which is of course Agrippa's magic square constant for the Sun. If we took it for a frequency we would have one half of A4, so an octave below it. It's of course related to 666 and 444 by 3:2, the Pythagorean harmonic. Not too surprisingly, we can observe how close that is to the suggestion of the coordinates 44.4N and 66.6 W. When I mentioned Bacon had good reason to suggest this coordinate pairing if he wanted to stay true to some alchemical ideas it's along these lines of identifying numbers with high coincidence in the "Opera Omnia". Where I think we can get further insight is how this relates to eclipses. You can observe 222 synodic months between eclipses in the Saros cycle. The next month (the 223rd) will coincide with the next eclipse, so it becomes a tool to forecast them. The coming together of the Earth, Sun and moon in the syzygy is of high alchemical importance. The first observers of the Saros cycle eclipses were the Chaldeans in Babylonian times. It is rather humbling to think they had figured this out, but in fact it is quite easy to do if you do maths with continued fractions like they were prone to doing. it comes out of the ratio 484/223=2.1704 where 223 is synodic months and 484 is draconic months. Whenever you get an integer number of draconic and synodic months which work out to 2.1704 you will have an eclipse. This is fact an approximation which has been better refined, but it works fine in the small enough time scales (from one eclipse to the next few occurrences). Bacon's possible interest in the Saros cycle eclipse of 1651 would have been informed by this sort of very basic algebra. It's why the magi were eclipse chasers, among other things. Their ability to predict them gave them quite a reputation. Add to that all the meaning that was added to the events in the cases where they would use them to suggest the heavens were announcing things or confirming them and you have a recipe for having that appear like magic to mere mortals.
  8. Sorry for being obsessed tonight... The word "Shake" is the 157th word, as "if" to attract attention to it. https://internetshakespeare.uvic.ca/doc/Tmp_F1/page/4/index.html https://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/22/index.html%3Fzoom=850.html The word "speake" is the last word on the 33rd line: Yea, I know, "Shake-speake" is not the same as "Shake-speare". Silly me and my wild imagination! LOL But wait! There are 67 words (Simple cipher of FRANCIS) between "speake" and "mother": Funny how there are 84 words (Simple cipher of Elizabeth) between "mother" and mother". If we want to count all the characters AND spaces we might have (if MS Word is counting right) 444 characters (157 + 287 = 444).
  9. NOTE: As I hit submit on this post, we are in Line 1414 of the Sonnets, the 13th line of Sonnet 101. In a few hours we begin Sonnet 102. August 27, 2022, 12:51:54 PM GMT Then do thy office, Muse; I teach thee how Line number 1414 of the Sonnets and Line 13 of Sonnet Number 101 during Day Number 239 in Tier number 10 of the Sonnets Pyramid. http://www.light-of-truth.com/pyramid-GMT.php#Line1414 Sonnet 102 is very important in the Sonnets story of who Shakespeare was and strongly supports one particular view of what the Sonnets story reveals. For now, Part 1 of this post is just about some numbers; 157 and 287. I hope to have time later today to share the story told with graphics, links, word counts, letter counts, Day numbers, etc. that tell the story told in these Sonnets, even on this one page in the original 1609 edition: But for right now, just the Secret Shakespearean Seal numbers; 157 and 287. ONE HUNDRED TWO spelled out is 157 Simple and 287 Kaye ciphers with the Elizabethan cipher codes. http://www.light-of-truth.com/ciphers.html I bring that up often here on B'Hive because the number 102 seems to show up in just the right place and I always state that 102 is a Seal Signature with 157 and 287! In the Sonnets Pyramid design, Day 157 and Day 287 are two of the most important places in the design. Day 157 is the first Day of Tier 7 beginning with Sonnet 67 immediately after passing through Sonnet 66. http://www.light-of-truth.com/pyramid-GMT.php#07 For a detailed explanation of Sonnet 66, read this thread: What is demonstrated is that there are two T's and an 11 that one must pass beyond in Sonnet 66 to begin Day 157. Likewise, you pass through Tier 11 then Day 287 is the first Day of the 12th Tier which begins in Sonnet 122. http://www.light-of-truth.com/pyramid-GMT.php#12 There is a typo in the 1609 original so that two T's are at the beginning of Day 287. We see that both Day 157 and 287 have an 11 and double T's to pass through when starting the days. So what about Sonnet 102? I make the claim that 102 is a Seal Signature for 157 and 287. Will we see an 11 and two T's before we can start Sonnet 102? We pass through Sonnet 101 before we get to Sonnet 102. We could say that the zero is a null character in 101 to get an 11. But I prefer to think of 101 more visually, like this from Peter Dawkins collection of title page and frontpieces: I O I You see the 11 represents Two Pillars as do the two T's. Above we see the Two Pillars with a globe between them. Like a 101. The final two lines of Sonnet 101 begin with the letter T. Now we have the double T's we would expect. We pass beyond Two Pillars in an 11, then the two T's as we do with Days 157 and 287. ONE HUNDRED TWO is 157 Simple cipher and 287 Kaye cipher. Here we see a clue that it is indeed a Seal Signature. Notice the first line of Sonnet 102. If we add up the cipher total of the regular size letters we get 444 Simple cipher. Y loue is strengthned though more weake in see- Remember that 157 + 287 = 444. Let me share another 444 that is on my mind. It is on page 10 of the Secret Shakespearean Seals book: A ROSICRUCIAN PORTRAIT. = 444 Kaye cipher, 157 + 287. The initials, A R P add up to 33 Simple cipher. No surprise to me. 😉 http://www.light-of-truth.com/ciphers.html Well anyway, these are some of the numbers to see. I hope I added a little evidence to the idea that 102 is indeed a Seal Signature and used as such throughout Shakespeare's works. Now for the next part I'll try to get started on the actual story being told with Sonnet 102 and surrounding clues. The "fun" stuff!
  10. INTRODUCTION THERE IS no doubt that in her later years, Sarah Pardee Winchester was an exceptionally private individual, so it is no surprise that her life – and more importantly, her vast architectural legacy – have dwindled to mere fiction. This illustrated pamphlet is offered in the hope that her motives and activities may be better understood by a new generation. It is offered not as a speculative or sensationalist work, but rather as a carefully researched, carefully assembled resource for young Baconians and aspiring Freemasons to reference when visiting the House. DISCLAIMER: The word Baconian as used here refers simply to the theory of Shakespeare authorship and the community of serious thinkers associated with it. As Richard Allan Wagner, a highly respected Baconian scholar with whom I have shared a delightful acquaintanceship so rightly put it, “…there's no shortage of kooky Baconians (such as those who perpetually try to connect Bacon with the ‘Oak Island Treasure’, or with the notion of the man as a deified ‘Ascended Master’).” This is a serious resource for serious Baconians, not conspiracy theorists. In fact, the entire purpose of this study is to discredit conspiracy theories. I have coined the term Llanadian to describe any people, matters, interests, or pursuits pertaining to the House, Llanada Villa, or the architect herself. It is my hope that in time, the word will become an epithet among Stratfordians and embracers of the “haunted house” literature, as has the word Baconian. Does the House require any introduction? In all likelihood, you have heard of the “Winchester Mystery House,” or even set foot inside it. Perhaps, you have heard the stories tirelessly recited by House tour guides – stories of hauntings and seances, which have been collectively referred to by Llanadians as “The Folklore” – the WMH’s marketing campaign. If these stories seem obviously fake to you, congratulations: you are a full step ahead. The WMH literature all reads very similarly: Sarah Winchester, recently widowed, and the sole heiress to the Winchester Repeating Arms Company fortune, consulted a medium after her husband’s death. The medium, Adam Coons, told her that the spirits who had killed her husband and daughter – spirits of men slain by Winchester rifles – were plotting further revenge, and that her only option was to move far away and build a labyrinthine mansion in which to hide from them. This Folklore has been widely accepted, and most Americans who know of the House believe every word of it. There is, however, little evidence to suggest that any of the Folklore is true. There are no direct sources which state that Mrs. Winchester ever believed in spirits, let alone attempted to communicate with them. And as for Adam Coons the spiritualist, there are no records of Mrs. Winchester ever having attended a séance with him. Some will argue that the House is proof enough; its abruptly ending staircases, maze-like hallways, and doors-to-nowhere are undoubtedly suggestive of a labyrinth. But there are many reasons to construct a labyrinth, and the deception of ghosts would seem, to any rational person, the least obvious. Once the myth has been dispelled, two important questions arise: 1. If the myth is so obviously false, how did it originate and why is it so widely believed and accepted? 2. If we are to suppose that the myth is false, what was Mrs. Winchester’s real motive for building such a strange house? These questions and others will be answered soon enough. THE BACONIAN LITERATURE THE BACONIAN school of thought and its literature can be traced to one influential thinker, Delia Bacon (no relation to Lord Bacon), who, throughout her career, published many essays claiming that Francis Bacon was the true author of the Shakespearian works. In addition, Mrs. Bacon gave numerous lectures on the subject and attracted the attention of such intellectuals as Nathaniel Hawthorne and later, Samuel Clemens (Mark Twain.) Her theory is still accepted by many, but to paraphrase Wikipedia, “is generally dismissed by Shakespeare scholars.” I do not know what qualifies as a “Shakespeare scholar;” however, I know for certain that anyone who has taken the time to read and study his work can reasonably make such a claim. This now brings us to two more important questions: 1. If Wikipedia is indeed right, how has her theory, despite being widely discredited, endured so long? 2. Why did Mrs. Bacon challenge such a widely accepted belief, and how did she succeed in convincing such a large academic population? The first question is answered easily: There will always be critical thinkers. There will always be some who question the histories they have been taught. However, there is danger in saying this, for a critical thinker is not a person who blindly accepts every theory contradictory to the establishment. A critical thinker is someone who weighs all the options, even the ones they may be biased against, and selects the one that fits the problem best. With regards to the second question, it is not the purpose of this pamphlet to convince the reader of the Baconian Theory. An appendix of Baconian works is included in the last pages, and I advise you to examine them. As I have stated, this work is not a direct argument for the Baconian Theory. Its purpose is to explain Sarah Winchester’s personal connection to Bacon as a historical figure, and her use of his symbols and cypher devices in her architecture. BACONIAN CYPHER DEVICES IN ACCORDANCE with the Baconian Literature, Francis Bacon used multiple cypher devices in his writing, particularly the four Elizabethan cypher tables, the Kaye, the Simple, the Short, and the Reverse. In addition, the literature states that he also developed the Pythagorean Cypher – Sarah Winchester’s cypher of choice. These tables are self-explanatory, a simple matter of matching a letter to its corresponding number and adding all the numbers in a word. In some cases, the words are added also. One must understand that these cyphers were not designed to render specific encoded messages; rather, numbers and names that were of special importance to Bacon and the Craft of Freemasonry, and which ultimately revealed his authorship. It is important to note that in this cypher system, 0s are regarded as nulls, meaning they are not counted. SOME IMPORTANT CYPHER NAMES, NUMBERS, AND SYMBOLOLOGY SIMPLE CYPHER Shake-Speare = 103 = 13 Fra Rosi Crosse = 157 Francis = 67 Bacon = 33 Francis Bacon = 100 William Tudor = 148 Hiram = 47 PYTHAGOREAN CYPHER Christian Rosenkreutz = 103 = 13 Brother CRC = 103 = 13 Father CRC = 103 = 13 Shake-Speare = 45 Hiram Abiff = 55 Bacon = 17 Francis Bacon = 51 Sarah = 20 = 2 Pardee = 31 = 4 Lockwood = 25 = 7 Sarah Lockwood Pardee = 76 = 13 = 4 William = 34 = 7 Wirt = 25 = 7 Winchester = 52 = 7 William Wirt Winchester = 111 William Winchester = 77 W. W. W. = 555 Sarah Pardee Winchester = 103 = 13 Annie Pardee = 56 Annie Winchester = 77 KAYE CYPHER Bacon = 111 Fra Rosi Crosse = 287 REVERSE CYPHER John Dee = 117 SHORT CYPHER Bacon = 15 SIGNIFICANCE OF NUMBERS 13 – an important Kabbalistic number, later adopted by Sarah Winchester 103 – an important Kabbalistic number, simplifies to 13 22 – Bacon’s birth date, January 22 47 – a reference to the 47th Problem of Euclid’s Elements, otherwise known as the Pythagorean Theorem. 444 – an important Kabbalistic number 287 – one of Bacon’s Fra Rosi Crosse Seals 157 – one of Bacon’s Fra Rosi Crosse Seals 777 – an important Kabbalistic number SARAH AND BACON SARAH WINCHESTER was likely exposed to the Baconian Theory at a very young age. She attended school at the Young Ladies Collegiate Institute in New Haven, Conn, alongside Susan and Rebecca Bacon, daughters of Delia Bacon, the originator of the Baconian Theory. In addition, Judson and N. W. Taylor Root, two of the school’s professors, were respected Baconians as well as Freemasons. There is no doubt that she would have learned the Baconian doctrine from them, and to again quote Richard Allan Wagner, “…the Baconian-Masonic preoccupation with secret encryption techniques using numbered cipher systems most certainly influenced young Sarah’s world view.” But by far the most jarring piece of evidence for the Winchester-Bacon connection lies in the last sentence of Bacon’s Troilus and Cressida: It should be now, but that my fear is this,— Some galled goose of Winchester would hiss: Till then, I’ll sweat and seek about for eases; And at that time bequeath you my diseases. In the Greco-Trojan context of the play, the word Winchester appears unnecessary. Most scholars will argue that the line refers to Elizabethan prostitution – for the term “Winchester Goose” is believed to have been slang for whore. But still this explanation does not address the fact that such a term is utterly out of place in a Trojan setting. A more likely explanation (at least for Sarah,) is that Bacon is leaving an encoded message. To begin, the sentence contains 34 words – discounting Winchester, 33 – Bacon’s favorite code number. The word “galled” = 111 – Bacon in Kaye Cypher. And “goose” leaves 67 in Reverse Cypher (Francis). Winchester is the 15th word from the start of the sentence and the 20th word from the end. You will recall that 15 = Bacon (Short Cypher), and as for 20, in the Pythagorean Cypher, it corresponds to Sarah. And “Winchester Goose” has 15 letters. If that were not enough, Bacon ensured that his message would be understood by selecting the words “Galled,” “Goose,” and “Winchester,” which add up to 100 (Pythagorean Cypher.) Remember that 100 is Francis Bacon in Simple Cypher. To complete the encryption, this sentence is found in Act 5, Scene 10 of the play, and I will remind you that 5 and 10, when combined, render 52 – Sarah Pardee and Francis Bacon in Pythagorean Cypher. With Bacon’s belief in Reincarnation, which is enforced by his Theosophical outlook on life, Sarah must have gleaned from this message that it was her purpose to continue Bacon’s work. SARAH’S GRAND VISION NOW THAT the myth has been dispelled and Sarah’s Baconian background established, again the great question arises: why did she do it? To any Baconian or Freemason, the answer is quite obvious. Sarah’s love of all things Baconian coupled with her vast knowledge of esoteric symbols and reinforced by her ambition to carry on Bacon’s work undoubtedly led to the conception of a great masterpiece on the level of the Shakespearean literary canon. But instead of writing in words on paper, as Bacon had done, she chose instead to express her knowledge through symbols in architecture. And so, the House acts as a visual poem – an architectural metaphor for Bacon’s work. But Llanada Villa is far more than that. Like the Shakespearean works, it is also a tool for initiation, comparable to the famous stone Labyrinth set into the floor of the nave of Chartres Cathedral, symbolizing the initiatic journey, which candidates of the old mystery schools were required to walk. It also can be seen as a metaphor for the great labyrinth on the isle of Crete, or more likely, the initiatic labyrinths conceived by such 18th-century architects as Jean-Jacques Lequeu and Claude-Nicolas Ledoux, both Freemasons. There is no doubt that with her background, Sarah was well aware of these precursors to her design. The symbols of the House will be further explained shortly. THE HOUSE PRIOR TO THE 1906 EARTHQUAKE THE GREAT earthquake of 1906, which devastated San Francisco and the entire Santa Clara Valley, demolished much of the House, a part of its history which is known but rarely explored by Llanadians. In fact, the most stunning feature of the House, the 7-story tower and its 5-story, open-air deck, was among the losses, so, in effect, what remains is not the complete architectural metaphor which Sarah originally conceived, but rather a partly spoiled version from which we must glean all our discoveries. This section explores these lost features and what they might have once symbolized. It is also important to note that the architectural fabric of the House was constantly revised, so that many features were discarded and demolished at Sarah’s own request. One wonders just how massive she believed her creation would be when she planned this demolished construction. The next chapter will explain the symbols which currently exist in the House and how they relate to the initiate’s journey. What follows is a summary of the most distinctive lost features of the House. THE ORIGINAL FARMHOUSE THE ORIGINAL 8-room farmhouse which Sarah purchased in 1885 from Dr. Robert Caldwell was, like the finished House, a distinctive, albeit more modest, example of the Queen Anne style of architecture. Only one photograph of the farmhouse exists, but from this image, we can see that it was fairly typical of California Queen Annes built during the 1880s. One immediately notices the details of the porch, which were copied in the initial remodeling, including the Eastlake baluster design, posts, and gabled entrance, which was moved forward when the porte-cochere was added. The windows are of a design which was copied in subsequent additions. The front gable was later extended and fitted with a Palladian-arched balcony, and still later was removed altogether and replaced with a higher-pitched one, which in turn was replaced after damage from the earthquake with the present architecturally awkward configuration. Of special interest is the Palladian dormer with its jerkinhead gable – a motif that was retained at least twice in later construction. THE FIRST GABLE THE FRONT gable of the original farmhouse was extended forward sometime in the 1880s and was likely one of Sarah’s first alterations. The new configuration was much more attractive, with an arched balcony that mirrored the Palladian dormer. Around this time, a cluster of architectural elements was built near the southwest corner of the façade, one of the only features from this early period of construction which still survives, albeit somewhat changed. Also near the first gable was a cupola that Sarah later demolished. THE STONE CHIMNEY WHEN SARAH added the southwest wing, she conceived an unusual architectural device of placing a window in the center of a chimney and building a flue on either side. This chimney was one of the focal points of the façade and was reduced to rubble in the earthquake. Sarah never chose to rebuild it, opting instead to board up the opening and plant a creeper vine to cover it. THE SECOND GABLE AS THE mansion grew, it became clear that a more striking visual element was needed to crown the façade. Sarah likely constructed the second gable in the same place as the first. It was also faced with a balcony and was topped by a cupola. The balcony conformed to the shape of the bay below and was fitted with delicate fretwork. The earthquake destroyed the balcony, and it was hastily rebuilt to a different design, although the fretwork screens survive and are on display in the House’s attic. THE 7-STORY TOWER AND 5-STORY DECK IN THE early 1890s, Sarah began constructing the most distinctive element of the House: A 7-story tower connected to a 5-story, open-air deck only accessible by a turret in the northwest corner. This feature was by far the most tragic loss of the earthquake, and because there are no close-up images, we can only guess as to what symbolism was intended here. It is possible that the 7 stories were symbolic of William’s name, but that is merely an educated guess. One image suggests that Sarah later built another turret in the southeast corner of the deck to complete the symmetry. SYMBOLS IN THE HOUSE TODAY ALTHOUGH THE earthquake took its violent toll on the House, much of Sarah’s vision has been preserved. It still becomes distinctly clear to any Baconian or Freemason entering the House that Sarah wove an intricate pattern of symbols into its design – symbols that can be read and understood by any candidate willing to put aside their doubts and biases and hone their powers of insight and intuition. THE FRONT GATES THE INITIATIC journey naturally begins at the front gates, the symbolic entrance to the estate. The gates are wrought iron and set between two rusticated stone piers, which are visually supported by two smaller gates which terminate in two secondary piers. It is important to note that the piers originally had the inscriptions, “S. L. Winchester,” and “Llanada Villa” carved into them. The lettering was removed at an unknown date, likely after Sarah’s death. The name “Llanada Villa” is perplexing. It translates from Spanish to “House on the Plain” – of course, superficially a reference to the House’s original setting. But of course, it must carry a deeper meaning. The most elementary approach to this puzzle is to apply the Baconian cyphers to the inscriptions. Upon trying this, one finds that in Simple Cypher, the letters add up to 18 and 20, which simplify to 11. When one counts the number of letters in the names Sarah (5) and Pardee (6), and adds them together, the result is 11. 11, like 13, (as will later be revealed), was one of Sarah’s favorite numbers. But still more symbols can be found in the three gates, namely the sunburst and daisy motif, which appears on all four panels. The sunburst disk symbol was used frequently in the engravings which accompanied Bacon’s work and carries multiple meanings. To begin, the symbol has been used for centuries as the insignia of the Senior Deacon of a Masonic Blue Lodge. Any Mason will know that it is the S. D's job to oversee the initiation ceremony and guide the candidate to his enlightenment. Sarah invites her candidates to pursue enlightenment by including this symbol in the gates’ design. Furthermore, the daisy motif set in the center of each sunburst represents the two most important qualities possessed by any worthy initiate: Fidelity and Innocence. As you will see, the daisy is a metaphor used repeatedly throughout the House. To once more quote Wagner, Many species of the daisy have 13 petals. Moreover, most daisy species have 13 branches growing out of their stalks (when they mature), and they possess another remarkable feature—the head of every daisy flower forms a “Fibonacci Spiral” consisting of 34 tiny florets spiraling clockwise, inward, from the outer ring to the center—and, 21 florets spiraling, outward, counter-clockwise from the center to the outer ring. The “invisible difference” is 13. The Fibonacci Spiral which Mr. Wagner is alluding to was clearly very important to Sarah, firstly because 13 was her code number, and secondly, because the Spiral has many properties associated with Phi, the Divine Ratio. The Fibonacci Sequence, which accompanies the spiral, is a numerical sequence in which each number can be reached by adding the two preceding ones. 13 occupies the 8th ordinal point – meaning it is the 8th digit from the start of the series. Thus, 8 and 13 share a remarkable relationship. Sarah makes certain that we see this relationship by showing us 8-petaled daisies, which do not exist in nature. THE FRONT FACADE EVERY OBSERVER must remember that the façade of the House changed drastically after the earthquake. The left gable, as previously stated, was once fitted with a fretwork balcony and topped by a cupola, both of which were destroyed. The right Palladian balcony was originally semi-detached but was encased in a second large gable, most likely after sustaining damage. The current façade is an architectural mess, the result of the shoddily repaired damage, but it still retains aspects of its original design. As in all well-executed Queen Anne architecture, the façade is asymmetrical, but balanced. Notice that the second story literally hovers over the porte-cochere, supported merely by the wooden posts cemented into the stone wall below. The first story of the central portion is symmetrical, but as one’s gaze moves higher up the façade, asymmetries begin to appear. The entrance is in the exact center of the porte-cochere. One immediately notices that the House faces East, towards the rising sun. In a Blue Lodge room, the Worshipful Master sits in the East, for East is the direction associated with enlightenment in the Masonic literature. It was also the direction which King Solomon’s Temple faced, and as will later be revealed, the House is in many ways a modern metaphor for this original House of Enlightenment. Upon entering the gates, one first sees the façade through two palm trees. These trees represent the Masonic pillars of Boaz and Jachin, which originally appeared at the entrance of the first Temple. It must be noted that the two palms were planted by Sarah after the earthquake and were not a part of the original design. The original plantings were much denser, so the House could not be seen well from the street. In the garden’s pre-1906 configuration, a drive led straight through the gates to the entrance, but now the path curves around a lawn containing the trees. THE FRONT DOORS RICHARD A. WAGNER, certainly the most respected Llanadian, states that to enter the House, the candidate must first climb the Winding Stairs in the northwest corner. While this is certainly a valid statement, regarding the House prior to the earthquake, one must recognize that the Winding Stairs were not added until sometime in the 1910s or 20s, as evidenced by the marks on the walls left by a previous stairway configuration. And so, we have a conundrum: What was Sarah’s motive for building the Winding Stairs, (which, as any Mason will know, represent the candidate’s ascension to greater knowledge, and thus are obviously the symbolic point of entrance), when the impressive front doors were already installed? There is no obvious answer, and as we only have the partially intact version of the House to work with, we cannot ever fully understand Sarah’s complete vision. This resource will focus the initiate’s entrance on the front of the house, by way of the vestibule doors. The doors are, simply put, a work of art. But as with all the art in the House, they contain a metaphor. The doors were crafted in Europe to Sarah’s own specifications and contain superb art glass. The upper glass panels consist of two 3s facing each other, representing Bacon’s code number 33. The space in the center is occupied by 7 fleur-de-lis – so, with two panels, two 7s. The fleur-de-lis is a well-known Baconian symbol, appearing 3 times on his crest. The significance of the “double 7” will be explained later. If one peers closer, he will notice that each of the 3s is made up of two C-like symbols. These symbols are called Tubal-Cains, and they are a revised version of the original symbol used by John Dee, Bacon’s mentor, as his hieroglyphic signature. The original version of the Tubal-Cain had a very erotic appearance, and so, Sarah, being a respectable lady, had to change it. The new symbol consists of a C wrapping around two balls and appears elsewhere in the House. The design is also likely a reference to Bacon’s famous “double C” headpiece, which he used on the title page of nearly all his works. The lower glass panels in the doors each have 11 fleur-de-lis – 11 representing the name Sarah Pardee, as does the “Llanada Villa” inscription on the right gate pier. At the bottom of both panels, we find a symbol that is not easily traced to Bacon, and whose meaning is yet undiscovered. THE “BALLROOM” JUST OFF of the entrance hall is a room known today as the Ballroom, although there is no evidence that this was ever its use. The room is undoubtedly the grandest in the House and is one of the only rooms finished in the high Eastlake style, with the others being a simple Queen Anne style. The room is constructed entirely without nails, yet another reference to King Solomon’s Temple, and the floor is a checkerboard parquet pattern reminiscent of the black-and-white checkered mosaic which can be found in every well-established Masonic Lodge. The focal point of the Ballroom is the wall opposite the entrance, which sports an intricate system of display shelving, a fireplace with an overmantel mirror, and two large stained glass windows. The windows are essentially mirror images of each other, and that is not simply a design choice on Sarah’s part, for the mirror that reflects light and knowledge is a well-known Baconian symbol. In addition to this, the elongated tear-drop shape filled with beveled glass in the center of each window can be seen as a kind of mirror. The most surprising element of the windows’ design is a winding banner (another Baconian symbol) which wraps around the central beveled portion of each window. The banner on the left reads: WIDE.UNCLASP THE.TABLES.OF. THEIR.THOUGHTS. These words were taken from Act 4, scene 5 of Bacon’s Troilus and Cressida, and are Sarah’s way of saying, “Open the sacred book of knowledge.” (One must note that in Bacon’s time, many books had metal clasps.) Here, the “book” is a reference to the House itself, for as previously stated, the House can be seen as a great metaphorical book containing secret knowledge. The banner on the right reads: THESE.SAME. THOUGHTS.PEOPLE THIS.LITTLE.WORLD This, in effect, means, “When you have learned the symbols, pass them on to others.” The number 45 is not an accident, nor is the number 55. 45 is Pythagorean Cypher for Shakespeare, and 55 is Pythagorean Cypher for Hiram Abiff. Hiram Abiff was an allegorical figure created by Bacon to aid in the symbolism of the Masonic 3d degree ritual. He is known to this day as the mythical builder of the first Temple. When the two numbers are added together, the product is 100 – Francis Bacon in Simple Cypher. Sarah also made sure that the first word in each of the original sentences was omitted from her design, leaving only seven words in each inscription, which can be viewed as the number 77. The explanation for this number lies in the coffered ceiling. The ceiling consists of 9 large coffers, the center one containing the medallion which supports the great chandelier. The number 9 refers to the Pythagorean Cypher, which Sarah invites us to use in this part of the puzzle. Each of the 8 major coffers surrounding the center one contains 13 smaller coffers, so, she is also inviting us to multiply 9 times 13. The result is 117 – John dee in Reverse Cypher. 117 can be broken into 11 and 7 which, when multiplied, render 77 – Annie Winchester, William Winchester, and the words “Winchester Goose” in Pythagorean Cypher. It should be noted that 117 also simplifies to 72, which as previously stated, renders Sarah Winchester (Pythagorean Cypher). On a deeper level, there are 7 letters in the name “William” and 11 letters in the name “Shakespeare.” THE MAIN STAIRWAY THE MAIN stairway is a fine example of late Victorian craftsmanship. At the bottom, it terminates in a fairly typical Queen Anne newel topped by a beautiful 4-globe light fixture. The newel has 3 daisies carved into it on each side. The staircase itself has 13 steps, and at the landing is a magnificent Tiffany stained glass window, the most expensive in the House. This window represents the “great golden window” in Solomon’s Temple, which faced north, towards the star Sirius, an Egyptian symbol of the afterlife. (More on the window shortly.) One of the most famous Masonic Lectures appears in the Fellowcraft degree, during which the candidate must walk a floorcloth representing the mythical “Winding Stairs,” which lead upward to knowledge and enlightenment. Although the Winding Staircase traditionally has 15 steps, Sarah likely chose a 13-step version because 13 was her code number of choice. Another possibility is that the Stairs also represent the 13-step Egyptian version of Jacob’s Ladder, the path to heaven. It was believed that the first 12 steps were easily achievable, but the 13th step could only be reached by those worthy of it. At the top of this metaphorical staircase was a door that led to ultimate truth, represented here by Sarah’s Tiffany window. It is important to note that the window swings open, rather like a door. The window itself contains a myriad of symbolism. To begin, there are 11 Tubal-Cains, which by now the initiate must remember stand for Sarah Pardee. In the upper portion of the window is a ribbon design that forms the letter W on top and two mirrored Ss on the bottom. WS stands for “Winding Stairs” and “William Shakespeare,” and SW stands for “Sarah Winchester. THE “7-11” STAIRWAY NEAR THE main stairway is an architectural feature that has come to be known as the “7-11” stairway – due to the fact that 7 steps continue up from the landing in one direction and 11 steps continue up in another. Of course, this number is a reference to John Dee and the name William Shakespeare. But also, it is symbolic of the Masonic “fork-in the road,” which is one of many tests given to the initiate – a test in which he must choose between an easy path (7 steps) and a more difficult but also more rewarding path (11 steps). THE CRESCENT IN THE middle of the central courtyard is a curious garden feature forming a crescent moon-shaped hedge filled with chrysanthemums. The significance of this unique feature, as with nearly every symbolic device in the House, is multi-layered. As a starting place, research confirms that Sarah contributed often to a literary magazine published by the Young Ladies Collegiate Institute called The Crescent. Also, the crescent can be seen as a version of the letter C, which was important to Bacon for various reasons and appeared on his family crest. SARAH’S BEDROOM CEILING THE CEILING of Sarah’s bedroom is coffered, like the ballroom. It consists of 49 perfectly square coffers. One must remember that there is always a reason for the most prominent features of the House, and this is no exception. To start, 4+9=13. But 49 can also be divided into three 7s, and 777 times 13 is 10101, or, 111, because 0s are not counted. I will remind you that 111 is Bacon in Kaye Cypher. THE SANCTUM SANCTORUM WMH TOUR guides will tell you that the small, cube-like room in the center of the House is where Sarah conducted nightly seances, but there is absolutely no evidence that this was ever its purpose, and now that her Masonic connection has been established, the story can be readily discarded. The room is, in fact, her Sanctum Santorum, or Holy of Holies. The Sanctum is an essential for every practicing Rosicrucian. When design permits, it is always located near the center of the practitioner’s home. This is important because, as a room of quiet reflection and prayer, it must be as self-contained and shut-off from the outside world as possible. In Freemasonry, a similar room is sometimes used, called the Chamber of Reflection. The main difference in the Masonic version is that the Chamber is a solemn place where the prospective initiate is encouraged to contemplate death and the tragedies of life. As previously mentioned, the Sanctum at Llanada is built in the shape of a cube. This is important because it represents the Holy of Holies in Solomon’s Temple – so shaped because a cube is the shape which represents the three-dimensional geometry of the World, while a sphere represents the higher dimensional geometry of the heavens. The room measures 11 ft. by 11 ft. by 11 ft. On a superficial level, I will remind the observer that 11 is one of Sarah’s favorite code numbers, representing the name Sarah Pardee. But she clearly expects us to understand that 11 times 3 = 33, of course, rendering Bacon in Simple Cypher. Furthermore, the Sanctum was originally painted blue, like a Masonic Blue Lodge room. JACOB’S LADDER IN THE northwest corner of the mansion, near the attached carriage house, is a staircase known by Llanadians as Jacob’s Ladder. Jacob’s Ladder is a symbolic ramp which rises around 7 turns to heaven, as taught in the Hebrew and Masonic literature. In the Masonic tradition, the 7 turns represent the 7 liberal arts and sciences. In addition, the staircase has 44 steps. 44+7=51, Francis Bacon and Sarah Pardee in Pythagorean Cypher.
  11. The 157th day of the year is June 6th (6/6) 'Francis Bacon January 22 1561' = 444 (Kaye Cipher) 157+287=444 Earlier this year was the 396th anniversary of Bacon's passing 7515 days after 9/11/2001 mirror that # and you get 5157 Maybe that 5 in front represents 1 2 3 4 5 B A C O N Also, Queen Elizabeth passed away 517 days after her husband Philip Philip passed away on the anniversary of Bacon's passing Here's a cherry on top 9/11/1605 to 4/9/1626 (Bacon's passing date) is the same distance as 9/11/2001 - 4/9/2022 btw 4/9 was 154 days ago
  12. Here is a second proof ... https://shakespearedocumented.folger.edu/resource/document/john-shakespeare-identified-glover https://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/444/index.html%3Fzoom=850.html Can I have a piece of the cake ? 😄
  13. Yann and Light-of-Truth, can you help me to see where you are getting that, please. Janus, the two-headed god, doorkeeper, from which the word "janitor" comes, looks both forward and back, like Bacon. The "J" could be an "I," sounding kind of like "Yann." A search of opensourceshakespeare.org reveals just one use of "Janus" in Shakespeare, in The Merchant of Venice, I, 1, 54 (1864 Globe ed.). At 50: Not in love neither? Then let us say you are sad, Because you are not merry: and 'twere as easy For you to laugh and leap and say you are merry, Because you are not sad. Now, by two-headed Janus, Nature hath framed strange fellows in her time: Also, just a note on something that is confusing: Bacon wrote The Advancement of Learning in English (1605). He expanded (augmented) it in the Latin De augmentis scientiarum ("De aug"), 1623 (as the notes to the Internet Archive copies explain). Bacon greatly expanded his treatment of ciphers in the De aug. Watts' 1640 translation of the De aug has been criticized. His title is (deliberately?) confusing: "Of the advancement and proficience of learning; or, The partitions of sciences· Nine books. Written in Latin by the most eminent, illustrious, and famous Lord Francis Bacon Baron of Verulam, Vicount St. Alban, Councellor of Estate, and Lord Chancellor of England. Interpreted by Gilbert Watts."). Spedding's translation of the ciphers text in the De Aug is at vol 4, p. 444. See also Spedding's appendix on the art of writing in cipher, Spedding vol 1, p. 841 (Longmans ed., 1857-1874)). It can be read at HathiTrust, the University of Michigan site, if you can access it. As to the 1640 Watts translation, from the Dictionary of National Biography, regarding the confusing title, "Watts translated Bacon's ‘De Augmentis Scientiarum,’ and his rendering called ‘Of the Advancement and Proficience of Learning, of the Partitions of Sciences,’ Oxford, 1640, fol., was highly praised on its appearance. https://en.wikisource.org/wiki/Dictionary_of_National_Biography,_1885-1900/Watts,_Gilbert. Here is Joseph Deavey's translation. Book 6, chapter 1, page 247, https://archive.org/details/advancementofl00baco. Or here: https://oll.libertyfund.org/title/bacon-the-advancement-of-learning Looks like a De augmentis translation is planned for volumes 9 and 10 of the Oxford Francis Bacon. http://www.oxfordfrancisbacon.com/planned-volumes/ The Folger Library has William T. Smedley's copy of the book. https://collections.folger.edu/detail/De-augmentis-scientiarum-English/cd4e5ab4-bf6e-4231-b24c-3651ade2721d. https://collections.folger.edu/detail/De-augmentis-scientiarum-English/86cf341c-707c-43aa-bdcc-9718f8bd1832 William T. Smedley, Baconian scholar, author of The Mystery of Francis Bacon (1912). You can download the book in pdf here at SirBacon. https://sirbacon.org/the-mystery-of-francis-bacon-by-william-t-smedley/ and do the google search here on this site for other entries for Smedley at SirBacon. Sometimes it is really worth poking around on the internet! JUST FOUND! YOU ALL WILL WANT TO READ THIS! "Shakespeare and Bacon (by Dr. Gervinus)," Anthologia, Sept. 10, 2022 https://www.anthologiablog.com/post/dr-gervinus-shakespeare-and-bacon OK, that's enough from me for now.
  14. Today is July 1, 2022. It is Day 182 of the year. Tomorrow, July 2 is Day 183, the middle day of the year with 182 days before and 182 days after. Let’s make an imaginary pyramid. We’ll start by laying out a foundation on January 1 that has square building blocks. Our base will be 365 blocks across and 365 blocks deep. That will take 133,225 blocks to create. On January 2 we add a layer of blocks to the foundation skipping the outside rows, so the 2nd tier will be 363 blocks across and 363 blocks deep. (We subtract two which is one on each side.) January 3, same thing; we add a tier with 361 blocks across and 361 blocks deep. We are on our way to building our pyramid. Every day the number of blocks across and deep is two blocks less. On Day 182, today, our imaginary workers carry 9 imaginary blocks up the pyramid to make the 182nd tier. It will be 3 blocks across and 3 blocks deep. On Day 183, we need just one block to be placed at the top in the center. At that point, which would be tomorrow, lets grab some water and climb to the top of the pyramid and stand on the 183rd tier. Yay! We are at the top of the pyramid we built! No matter which way we look down, there are 182 steps to the bottom. 183 steps up and then 182 steps back down for a total of 365 steps. Good thing I have strong imaginary knees because my real ones would never make it! OK, some fun now. ONE EIGHTY THREE is 157 Simple cipher and 365 Kaye cipher. This is an amazing coincidence to me. How perfect! ONE EIGHTY TWO is 157 Simple cipher and 287 Kaye cipher. 157 and 287 are the Shakespearean Seal numbers. They are the simple and Kaye ciphers for: FRA ROSIE CROSS It’s possible they may be a symbol of the Two Pillars as well, Boaz and Jachin. They very well could be related to the Double A’s we see in many of Bacon’s works. http://www.light-of-truth.com/keys.htm The numbers 157 and 287, the Two Pillars, the Double A’s, may be one and the same on some level, interconnecting in various way. So as stand on the top of the pyramid, on Day 183, we are surrounded on all sides with the Seal Numbers 157 and 287, Two Pillars, and maybe even the Double A’s. It is a very special place to be for Rosicrucian’s, Freemasons, and Baconians. What about the Sonnets Pyramid? Day 182 is the last day of Sonnet 77 at the end of the 7th Tier. All three end at midnight tonight and it is the half-way point of the Sonnets with 77 Sonnets before and 77 Sonnets after to make 154 total. http://www.light-of-truth.com/pyramid-GMT.php#Day182 The 7th Tier began on Day 157 with Sonnet 67. It ends with Day 182 (157 and 287 ciphers) and Sonnet 77. Look at the original 1609 page where Sonnet 77 begins. There are two lines of Sonnet 77 at the bottom of the page. THy glasse will shew thee how thy beauties were, Thy dyall how thy pretious mynuits waste, Two T’s can represent Two Pillars and also Thirty-Three. 33 is the Simple cipher of BACON. The page begins with “To” and TO = 33 Simple cipher a possible hint at BACON. The first two lines of the page begin with Ts, again Two Pillars and Thirty-Three. There are 33 lines of poetry on the page: We can also count the remaining 15 letters on the page, SHAKE, SPEARE, and THE and add to the number of words of those 33 lines to get 287 which is one of the Seal numbers. The last line on this page is the second line of Sonnet 77: Thy dyall how thy pretious mynuits waste, A dial was how Bacon talked about clocks. Shakespeare has several places in the works where a Dial is a Clock. This is one example. Sonnet 77 is the last Sonnet of the first half of the Sonnets. It we look at the Sonnets design as a 12 hour clock in a 24 hour day, then Sonnet 77 would be the end of the first 12 hours ending at high noon when Sonnet 77 ends and Sonnet 78 begins at 12:00 on the clock. The line refers to “the pretious mynuits” which the Sonnets Pyramid counts down to each lines. The odd spelling of DYALL is 102 Kaye cipher. ONE HUNDRED TWO, like ONE EIGHTY TWO is 157 Simple and 287 Kaye ciphers. It is a perfect way to Seal this page for we to see. Before we leave this page, notice the line in Sonnet 76: That euery word doth almost fel my name, If we count “every word” after “name”, there are 74 words remaining in the final lines: 74 is Simple cipher for WILLIAM and TUDOR. Also, the last line on the page adds up to 155 Short cipher which is the Simple cipher of WILL TUDOR: OK, the next page of the 1609 original: First we see 34 lines of poetry on this page which is the facing page of the one we talked about above. 33+34=67. Perfect, we have 33 BACON and now 67 FRANCIS simple cipher 67. On this page there are 444 characters from the beginning of the lines to “booke”. 444 is 157+287. So “booke” is the last word of the first half of the Sonnets. The end of Day 182 and also the end of Sonnet 77 and the 7th Tier. That word happens, and it is 11:59:59 PM on July 1st. Remember the imaginary pyramid we built a while back. Remember the Sonnets Pyramid. Midnight tonight as Day 182 ends is a big place in the design. We’ve seen the Seal Numbers pop up, and it is important. The Friedmans could validate the math, as everyone else can. My interpretation, which is what to argue. The math, even a cold computer could validate it. Does 157 and 287 matter? Does 33 and 67 matter? That is for we who have eyes to see and know how to pierce the veil. BOOKE is 100 Kaye cipher using the 26 letter codes. Curious it is the last word of the first half, and everything that relates to. Does 100 matter? In a super major place? I’ll come back to that in a moment. If we count “every word” from to the line on the previous page in Sonnet with “my name”, up to the very last line of Day 182 and Sonnet 77, we have 157 words. Maybe if this was some random place in the Sonnets Pyramid design and in our year cycle that happens every year, I may be less excited. I am still standing on Day 183 at the top of our imaginary pyramid seeing Two Pillars, 157 and 287, and Double A’s all around me. I’m up there naked in my imaginary world waving my arms around like a maniac chanting BACON, BACON, DEE, DEE, BACON, BACON…with lightning shooting out of my fingers. I can see Bacon and Dee waving back! We all are laughing like mad! One more thing really quick as it is getting late already. Sonnet 78, the italic word, ALIEN. SO oft haue I inuok'd thee for my Muse, And found such faire assistance in my verse, As euery Alien pen hath got my vse, And vnder thee their poesie disperse. If we count “every word” that almost “fels my name” on this page, the italic work “Alien” is there at word 111. We read the open words and see that and know it is a clue for us that we need to look at. ALIEN is 39 Simple cipher, the same as F BACON. It is word number 111 which is BACON in Kaye cipher. OK, I need to wrap up, leaving out so much. But one thought I want to get out today. Sonnet 77-78, Day 182-183 is BIG. It is the safe midway point of the year, and the Sonnets as well. But, in my year with the Sonnets Pyramid design I see four arrangements that work. I think they are all valid. I am not the first Baconian to get that the Sonnets have more than one arrangement. I know four, each quarter has a breaking point with the beginning of each quarter as the beginning and the end. They all have fascinating results. So, if we take the first 77 Sonnets and make them the end, the last word of the Sonnets is “booke.” The last line: Shall profit thee, and much inrich thy booke. The Short cipher of that line is 174 the Simple cipher of FRANCIS BACON TUDOR. Then that means the Sonnets would begin with: SO oft haue I inuok'd thee for my Muse, And found such faire assistance in my verse, As euery Alien pen hath got my vse, And vnder thee their poesie disperse. Who was Bacon’s Muse, he would invoke? It was Athena. When Bacon says “thy booke”, he means the Shakespeare works. ATHENA is 103 Reverse cipher, the Simple cipher of SHAKESPEARE. In this arrangement Bacon begin’s his life story bringing up his muse, and the final words are “thy booke”. All of the numbers and Tiers still work, actual seasons appear to be better in sync, and it is the same story with a different twist. So much to share, but I want to get this out now as this weekend is crazy for me. Sorry for typos, this day has zipped by!
  15. Thank you dear Janus-like Moderator for your feedback ! 🙂 I must admit that my nights were also shortened since a few days ! But it is for a good reason. "If Rosicrucian, I'd expect more. I would have made it the 3 cent stamp so 3 3 would be on it. Or had some count come up to 157 or 287. But they chose 6 cents. Why?" YOU ARE TOTALLY RIGHT ! You just do not have the BIG PICTURE ! Just for the anecdote, as I was looking for the Type "2" Stamp of Francis Bacon, three years ago, I found a seller who selled 4 stamps of Newfounland together : 1561 !!! I took it as the sign that I was on the right path, and that something was concealed in these stamps. We are talking about the "GUY TERCENTENARY" Series. Let's take a look at the "JOHN GUY" Stamp ... HERE IS THE 33 !!! And as if by magic, the "GUY TERCENTENARY" Series become the " 33(BACON) TERCENTENARY" Series And John Guy is mentionned in a second stamp ... This is the only stamp of the Series with the number appearing three times. Notice the line forming the number four-4-four and the PYRAMID (444). ALL IS NUMBER and 444 is the gematria of MIKDASH : THE TEMPLE. "I have seen where the letter "I" has different possibilities, one is it could be "EYE" which is 33 Simple cipher. "I (eye) in the pyramid", etc. I have spent many hours years past looking at where the letter "I" is centered in various places and could have importance." Do you see the EYE right in the middle of the Pyramidal Temple (444) ? You need to rise above the situation ! 😉 And the fact is that BACON used the same principle to hide the Pyramide and the Eye in the Frontispiece of his "Novum Organum" published in 1620. To be continued ...
  16. In Much Ado About Nothing the page that has the FBACON acrostic has some interesting word play. The word "Count" appears four times and "name" twice in the opposite column as FBACON. "Grace" shows up several times on the page as well. GRACE is 33 Simple and 92 Reverse cipher same as BACON. https://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/124/index.html%3Fzoom=850.html Notice just before the FBACON is the would "Looke" as if a hint. And obviously we might want to "Count" with "name" in mind. This is what I came up with so far: Start with the word after "conference" (end of BACON) there are 444 words stopping with "Prince. Will". 444 is 157 + 287. Of course WILLIAM TUDOR I is 157 Simple cipher and 287 Kaye cipher. There are 52 lines. The Simple cipher of WILL is 52. There is a line that says, "Speake Count, tis your Qu." So if we take a Que to start counting, there are 174 words up to "Will". 174 is the Simple cipher of FRANCIS BACON TUDOR. So happens I believe he tells us he was born as William, or "Prince Will." He also tells us on the page "I was borne to Speake." We know he also shook a spear. 😉 Heading out, might share more later..
  17. A. Phoenix you did not bring up the line before, "Speake and be hang'd". "Hang'd" always gets our attention! You knew one of us would look! 🙂 There are multiple Bacon anagrams/acrostic here, and another down the page that is very interesting. https://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/712/index.html%3Fzoom=850.html https://firstfolio.bodleian.ox.ac.uk/text/714 Quickly, the "I Worthy Timon" caught my William Tudor I eye, of course. But I discovered that TIMON is 67 Simple cipher, the same as FRANCIS. But let me move on. Word counts and character counts are curious. If you count "hang'd" then the "And" in your example there are 33 words, or we can count only the "true words" skipping the number 1 and there are 33 words. Starting with the word "Be" in the above, count 67 words and you are at "one consent." If "one" is an "A", you have a Bacon acrostic. Starting with the same "Be" counting 287 characters you are at the "f" of "of" immediately after the Bacon I just pointed out to make "F Bacon". There are other interesting counts as well. For instance there are 365 characters up to the word "For" that starts the F BACON you pointed out. There are 444 words in the column on that page. 444 - 157 + 287. After "I Worthy Timon" count 33 lines and the line is Allowed with absolute power, and thy good name But wait! Check this other BACON out down the page!! "Bore"? You mean "Boar"? LOL Do you see "Shakes peace"? Mightly close to Shakespeare in my eye. Staring with the word "For" in your example, there are 287 words up to "peace". Remember that line with the "For"? For each true word, a blister, and each false If we only count the words, skipping the numbers 1 and 2 that are on the page (two Senators from previous page), there are 287 words between "Speake" (Speake and be hang'd) and "Shakes". Shakespeace and ShakesSpeake? With F BACON, BACON, BORE, HANG'D, and 287 letters and words in various counts, and THY GOOD NAME. This is a very strange line, if you ask me Well sir, I will: therefore I will sir thus: Is it a hint at "Sir I Will Tudor I Will Sir"? "Therefore Timon." TIMON = FRANCIS. From the end of the page, see 287 characters: If we count the words skipping the 1, (For each true word) there are 67 words after "Sword" to the end of the page. Start counting everything with "thy good name" there are 33 words before "Sword". SWORD is 74 Simple cipher and 100 Kaye cipher the exact same as TUDOR. I've never looked at this play before, and see more already. But enough for now. 🙂
  18. Hi Rob (Light-of Truth), A lot of things happened right after the reading of your GREAT post and the answer of FB1561, related to the number 119. For me , 119 is an important number, 119 being the simple cipher of both Mediocria Firma (Francis Bacon's motto) and All is number. This is also the simple cipher of Rose-croix. Facing the pyramid with the "Eye of the Providence" in your post, made me wonder if something worthwhile could be hidden behind MDCCLXXVII. https://en.wikipedia.org/wiki/Eye_of_Providence#/media/File:Dollarnote_siegel_hq.jpg Then I noticed for the very first time that the first letters of each word almost spelled BACON (In fact SACON). That made me wonder where could be the missing letter B. Then, it came to my mind that the Pyramid was on the One Dollar Bill. What if ? ( I do not know if it was intended, but it is an interesting mind game.) Then the post of FB1561 and his reference to FRANCIS BACON-JANUARY=444 brought a question to my mind : "Where does the word JANUARY appear for the very first time in the First Folio?" https://www.opensourceshakespeare.org/search/search-results.php Oh surprise !!! 😃 "January" appears for the very first time on the first page of the play "Much Adoe about Nothing" that is the page 101 of COMEDIES and the 119th page of the First Folio. https://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/119/index.html%3Fzoom=850.html As if by chance, this is the page I 3 # I.C. (3=C) # I SEE There are 100 lines in total ( 100 = FRANCIS BACON Simple cipher) There are 93 lines (I.C.) if we only count the lines of dialogue. And here is what I have caught ... I think that I have caught Lord Bacon aka Will Tudor !😄 Have a nice sonday ! 😉
  19. It's been almost 20 years since I took note of all the basic number ciphers up to 444. So I had to look again at 277. TWO SEVENTY SEVEN is 157 Reverse cipher, for whatever that is worth. http://www.light-of-truth.com/ciphers.html
  20. Yann, I poked around with 543 for a few minutes this morning. Line 543 of the Sonnets, Line 11 of Sonnet 39 in Day 92: http://www.light-of-truth.com/pyramid03.php#Sonnet039 To entertain the time with thoughts of love, You said, Line 1690 of the Sonnets, in Sonnet 121 the final Sonnet of the 11th Tier: http://www.light-of-truth.com/pyramid-GMT.php#Sonnet121 Noe,I am that I am,and they that leuell Reverse cipher of that line is 444, or 157+287. Reverse looking back when one passed the first Pillar at Day 157 and now is about to pass beyond the second Pillar, Day 287. 🙂 Note 322 as the Simple cipher using the 26 letter codes. Day is 322 is November 18 which sounds familiar to me. 😉
  21. Rob (Light-of-truth), I have just one word : AWESOME ! ❤️ Indeed, all is in your signature ! You have the 11 A of Sonnet 66, and the gematria of the Hebrew Letter A (Aleph - ALP) is ... 111 ! Tyr (157) AAAAAAAAAAA Tyr (287) with Tyr (Jakin - 157) and Tyr (Boaz - 287) the two Pillars of Solomon's Temple. And 157 + 287 = 444 that is the gematria of Mikdash , the Hebrew word for TEMPLE !
  22. See Google Kenneth Patton, this website, for his views on Friedman, in Setting the Record Straight: An Expose of Stratfordian Baconian Tactics, bk 1. https://sirbacon.org/pattonstrs.htm, https://sirbacon.org/commentaryfriedman.htm, (Book I ; 94 pages; internet exclusive) includes his "A Vindication of William Stone Booth" and a detailed critical analysis of Elizebeth & William Friedman based on their book, The Shakespeare Ciphers Examined (in Bibliographies, SirBacon.org.). In his book, Friedman himself set the standards by which he said the evidence failed. No man should be judge in his own cause. He tried to discourage amateur cryptologists from looking at the Shakespeare plays. I find both Elizabeth Wells Gallup's (based on Bacon's biliteral cipher) and much of William Stone Booths' work to be credible. Those are the ones I am familiar with (my book, appendix 2). Friedman himself studied Bacon's biliteral cipher for several years for the NSA. Granted, they were important cryptologists whose work during WWII was invaluable. What is reading itself but decoding and deciphering? Bacon was a linguistic genius who used codes and ciphers in his intelligence work as a matter of course. To say there are no secrets buried in the Shakespeare works and other literary works of the period would be just plain wrong. There was a huge interest in cryptology in the Shakespeare age. To hide puzzles for other people to find was fun, for both the creator and finder, just as people enjoy working crossword and other puzzles today. It's a mental workout. Some things are harder to find than others. Some secrets lie just under the surface, and others take more digging. It's like in the story "The Emperor's New Clothes" where it is the little child who states the obvious. Also, maybe we should consider the source when it is the expert Stratfordians saying "Don't go there." Yes, evidence should be judged by standards, but the Friedmans were writing sixty-five years ago. Has science not progressed since then? We know it has. Bacon's biliteral cipher was the basis upon which modern computer coding is based. Friedman in his book and in his lectures at the NSA which were declassified said Bacon's biliteral cipher was the one theory he thought had the most validity. Elizabeth Wells Gallup ruined her eyesight looking for tiny differences in font in looking for Bacon's biliteral cipher. She, and a team at the Riverside Lab, deciphered a whole play, "The Tragedy of Anne Boleyn." That is the only one I have read, of her published work. I think it is pretty amazing how she deciphered that play by following clues which led her to a number of different literary works, not just "Shakespeare's." A whole play was written by taking lines from here and there to make a coherent work of art. Maybe the proof is in the pudding. (Edit: added 4-14-2022: Perhaps more of an explanation is required. Maybe proof is the wrong word, but the finished product is rather remarkable. Some, including Stratfordians, find it incredible that the well-educated Elizabeth Wells Gallup could have spent thirty years using Bacon's biliteral cipher to decipher whole plays, by following the cipher to take lines from various works, including works with Bacon and Shakespeare on the title page, but also including works by Burton ("T. Bright"), Greene, Peele, Marlowe, et al (set out in the appendix toThe Tragedy of Anne Boleyn). Some have claimed she even borrowed lines from Spedding's claimed original loose translation of Bacon's In Felicem Memoriam Elizabethae Angliae, which Rawley says he first translated into English (London, 1658. Bacon had said in a prior will draft that he desired for it to be published). Neither Rawley, Spedding, nor Gallup (nor Bacon for that matter) are here to ask, but there may be a reasonable explanation that does not involve fraud as to why Gallup's few lines from In Felicem are close to Spedding's. What I had wondered when I read the play for the first time was what Henry VIII had actually said when his daughter was born. Spedding had commented in prefatory remarks that he did not know why Bacon had spent so much time defending Anne Boleyn in In Felicem. Like many, no doubt, I do not fully understand Gallup's method, but she does explain it in her 1906 book, in which she also replies to criticisms, as she did in a Pall Mall article (vol. 27, no. 109, May, 1902) https://archive.org/details/sim_pall-mall-magazine_1902-05_27_109/page/122/mode/2up and a forty-page pamphlet published the same year, for those who truly wish to understand it. She did not ignore her critics. You can read more at links here: https://onlinebooks.library.upenn.edu/webbin/book/lookupname?key=Gallup%2C Elizabeth Wells%2C 1846-. Before anyone decides, they ought to read her own defense of her work. Some Stratfordians have said she just pieced together a bunch of plagiarisms. Not all Baconians believe her work is valid (see articles in Baconiana). True, her work has not been replicated, but it took her thirty years. Consider whether a "crazy" person is capable of sustained work at that level of engagement. Who today would be willing to give thirty years to such a project? Was Bacon capable of making such an encryption? I would say yes. What motivation? To help preserve the truth to be discovered in future generations? To get people reading the old books again, to keep alive their memory? Because that was one of the things a genius who had spent years in intelligence work did for fun in his spare time? Because it was fun to create a new work of art out of old works of art? All I know is, when I was writing my book, Francis Bacon's Hidden Hand (New York: Algora Pub., July, 2018), I google-searched one line from The Merchant of Venice which Portia speaks: "For the intent and purpose of the law hath full relation to the penalty," and the only other place that line showed up was The Tragedy of Anne Boleyn (first pub. London: Gay & Bird, 1901; Detroit: Howard Pub. later Chicago: Riverside Labs, 1916 (which wrongly says, unlike the 1901 version, on the title page it is from the "Novum Organum ... described in his Advancement of Learning," but Bacon only barely mentioned ciphers in the Adv. of Learning. It was in the De Augmentis (Spedding 4:444) that Bacon more fully discussed his biliteral cipher--not in the New Organon. Why did that error occur, which was not on the 1901 title page?). How closely did the Friedmans work with Mrs. Gallup at Riverbank Labs, Geneva, Illinois? They say, in their book, from 1915-1920, minus the war years, or beginning in 1915 for Mr. Friedman, in 1916 for Mrs. Friedman, and that they left to work as cryptologists for the United States during the war years, after that back to Riverside for a year-and-a-half, leaving again in 1920 (William F. and Elizebeth S. Friedman, The Shakespearean Ciphers Examined (New York: Cambridge University Press, 1958; online Feb. 8, 2018), pp. 208, 211). When did Mrs. Gallup first come to Riverbank? It looks like 1912; that was when Col. Fabyan built lodgings for her and her team there. I didn't find any date on her arrival at Riverside in the Friedmans' book, though they say she "stayed until well into the 1920's (Friedmans, 205-208, 205). I have a suspicion her eyesight, which she was complaining had been strained by the close work of deciphering as early as 1900, were played out long before that, and Col. Fabyan had been providing her with a respectful retirement in her later years (There's a 1900 newspaper article written when Elizabeth Wells Gallup and her sister Katie Wells returned home from England if you search "Milford Times, Dec. 1, 1900, "The Baconian Cipher" (https://milfordhistory.org. Or, it's on p. 4 of this https://digmichnews.cmich.edu/?a=d&d=OaklandMT19001201-01.1.4&e=-------en-10--1--txt-txIN---------- ). It looks to me like she had already done all her important work of deciphering, and had it published, long before joining Riverside Labs, but appearances can be deceiving. The coincidence of my finding that line only in The Merchant of Venice and in The Tragedy of Anne Boleyn still intrigues me. There are lines in the play that are funny when put, as they are, into the mouth of Cromwell. The play hangs together as an actual play that could be performed. That takes a certain skill. Mrs. Gallup was not a playwright. What would have been her motivation for fraud? Money? Delusion? No, I do not think the Friedmans treated her fairly in their 1957 book. They insinuated she was not rational (p. 197, footnote reference to Freud). Again, one might ask: what motivation? Was her work perceived to threaten the British line to the throne? To be part of a German plot? Amelie Deventer Von Kunow's book and lectures faced a prejudice of anti-German sentiment, as well. In sum, I have only read the one play, of those she claims to have deciphered. I can't prove one way or the other whether her work is valid, but I don't think it can be proven conclusively it is not. In the end, though, whether Mrs. Wells Gallup's work is valid is peripheral to the core of strong evidence linking Bacon with the authorship of the Shakespeare works that is not dependent upon ciphers.
  23. In his Book "Of the Advancement of Learning" (Book 6 - Chapter 2) published in 1605, Francis Bacon mentions the "Traditionem Lampadis" or the Delivery of the Lamp, which represents the passing on of the LIGHT/TRUTH/WISDOM. And what Francis Bacon writes is very important! "Of which kind of Delivery, the Method of the Mathematicks in that subject, hath some shadow, but generally I see it neither put in ure nor put in Inquisition; and therefore number it amongst Deficients ; and we will call it Traditionem Lampadis, the Delivery of the Lampe, or the Method bequeathed to the sonnes of Sapience." https://archive.org/details/ofadvancementpro00baco/page/176/mode/2up Let's take Francis Bacon's word for it. As if by chance, this passage is on page 177 of "The Advancement of Learning". 177 is the simple cipher of WILLIAM SHAKE-SPEARE. Inquisition comes from the Latin word Inquisitio meaning search, investigation, collecting of evidence. What if we apply "the Method of the Mathematiques" to "Traditionem Lampadis" and "number it" ? The simple cipher of "TRADITIONEM LAMPADIS" is 193. 193 is 100 + 93 100 is the simple cipher of FRANCIS BACON and 93, or IC (I see), a reference to Iesus Christ. Now, let's take a look at WILLIAM SHAKE-SPEARE'S FIRST FOLIO. By counting from the Droeshout's Portrait of WILLIAM SHAKE-SPEARE, the 193th page is the page number 177 of "The Merchant of Venice". 177 ... the simple cipher of WILLIAM SHAKESPEARE. In the following video, you will discover, among other things, the importance of numbers 93 and 177 in the First Folio, and how Francis Bacon used these numbers, as well as the number 84, to conceal the Truth : https://fb.watch/b8O50Sw_6C/ But there is much more! As Baconians, you know the famous Jacob Cat's Emblem "Lampado Trado" published in his book "Alle de Wercken" in 1655, and depicting "The passing on of the Lamp of Tradition" between John Dee and Francis Bacon. https://sirbacon.org/lamp.htm Another "Lampado Trado" Emblem appears in Lychnocausia, a Book of Emblems by Robert Farlie, published a few years earlier (1638). https://archive.org/details/lychnocausiasive00farl In this emblem, the character is a Shakespearean Actor (Could it be Shakespeare himself ?) Now, what if I told you that Francis Bacon concealed "The passing on of the Lamp of Tradition" in the First Folio ? The fact is that he concealed the Truth in "The Tempest", a tribute to Master John Dee, his mentor. Portrait of Francis Bacon by Paul van Somer (1617) As you know, Free was used by Francis Bacon as a signature because: BACON = FREE = 33 (simple cipher) BACON = FREE = 111 (Kay cipher) The French word for FREE is FRANC or LIBRE an anagram of LIBER , a reference to LIBER , the Free-one, an Italic God of wine like Bacchus/Bacco. (See The Shakespeare Enigma by Peter Dawkins - Chapter 13) And here is a link to the work of Peter Dawkins on the subject (page 14) https://www.fbrt.org.uk/wp-content/uploads/2020/06/Baconian-Rosicrucian_Ciphers.pdf « Freedome,high-day,high-day freedome,freedome, high-day, freedome ! » Free is used for times. and 4 times "Free" equals 4 x 111 = 444 ,that is the gematria of MIKDASH the Hebrew word for TEMPLE. FRANCIS BACON TELLS US THAT HE IS THE NEW MASTER OF THE TEMPLE ! Let's take a look at the 444th leaf and at the 444th page of the First Folio. 444th leaf: The Tragedie of Cymbeline (Tragedies - page 389) VENERABLE IS THE FRENCH WORD FOR WORSHIPFUL MASTER 444th page: The life of Henry the Fift ( Histories - page 90) In conclusion, Francis Bacon confirmes that he is the Worshipful Master in "The Comedie of Errors", on the misprinted page 88(86) ,which interestingly enough is the 103th page by counting from Ben Jonson's Eulogy (To The Reader). And as you know, 103 is the simple cipher of SHAKE-SPEARE !
  24. I replied this morning with 007 (Admin hat) by accident. Last night I had to go into the admin and raise the limit of responses a member can make in a day and left it signed on. I thought about deleting and reposting it, but just left it. 😉 444 is 157+287 as you probably know. I am curious why they did not make a 7, 11, 13, or 14 cent stamps. They do have the other numbers. But I saw another 'complete" set of stamps that were not the Guy stamps with the same missing numbers. So maybe that is just an old stamp policy. No 7, 11, 13, or 14 cents stamps? I did find Bacon and John Guy name's together in Law Sports at Gray Inn PDF on SirBacon: I have no idea what any of it means though, other than Bacon was present when a "John Guy was admitted into the office of paniarman of this house." LOL As far as the stamps, perhaps looking at the entire series is the way to go. There are 33 words that lead up to Bacon: 1 - King James I, who granted charter to Guy 2 - Arms of the London & Bristol Company for colonising Newfoundland 3 - John Guy who established first permanent colony 4 - Guy’s ship the Endeavour 5 - View of Cupids 6 - Lord Bacon, the guiding spirit in colonization scheme 8 - View of Mosquito 9 - Logging Camp. Red Indian Lake 10 - The paper mills. Grand Falls 12 - King Edward VII 15 - King George V Anyway, thanks for keeping my interest! I have to run out for a bit...
×
×
  • Create New...