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  1. I will keep the principal reason of my pseudo secret 😊. But I can tell you that the two other reasons are because I love numbers and because the simple cipher of Allisnum2er (or All is number) is 119 that is the simple cipher of MEDIOCRIA FIRMA (Francis Bacon's motto) and ROSE CROIX (the French for ROSIE CROSS) 😉 I choose 444 because I was looking for a temple. ... till within soare Of Towring Eagles, to all the Fowles he seems A Phoenix, gaz'd by all, as that sole Bird When to enshrine his reliques in the Sun's Bright Temple, to Aegyptian Theb's he flies. (Paradise Lost - Milton) 444 is the gematria of Mikdash (Temple) and for me, 44 is the gematria of Yeled (Son), Dam (Blood) and chol (Phoenix) ... "The Son with the Blood of the Phoenix". I think that I read your little effort on the "curst tomb" and George, but I do not remember having read your take on rhoda. Edit : 444 = 157 + 287 (Thanks to Light-of-Truth 🙂 )
  2. And of course we must remember that it is the combined total of the two Secret Shakespearean Seal numbers added together. 157 plus 287 equals 444. 😉
  3. Interesting stuff Allisnum2er! (Whyfor that name btw? Dee? or the man from Samos?) And why choose a circle of 444 miles? Signify 4 me please? Re Rhoda etc: Did you read my little effort re Rhoda? Re St George: did you read my little effort re the "curst" tomb, Clarence and George etc?
  4. Hi Peethagoras, I have not the answer, but your question reminded some of my research following the day I learned that Phoenix was the name of a wind. I decided to follow the Phoenix wind from Rhodes ( Rhodon meaning Rose in Greek) and to see what could be find at circa 444 miles from Rhodes. This is how I found the St George Monastery of St Khatalba Benwa in Egypt. At that time, there was a statue of St George slaying the Dragon that seems to have disappeared since then. This monastery being not too far from the Pyramid of Kheops, a thought came to my mind. What if ? 🙂 I decided to trace a line going from Westminster Abbey to the Pyramid of Kheops and ... surprise ! The pedestal of the Statue is perfectly in axis with the "Westminter Abbey- Pyramid" line. I know that it probably means nothing but it is cool ! 😊
  5. 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... 😉
  6. We don't know this about Bacon needing to conceal anything. He left plenty which is not concealed. To suggest it is to allow anyone to speak as if they have access to the unwritten. This is the necessary premise for those who claim what you echo and more. Part of his "job" when he was moving around intelligence with his brother, and others, was to use methods of concealing communication from the continent, especially France and Spain. In the age of exploration what was was sought after most were the best quality maps and positional knowledge of other Kingdoms' holdings. This paid off really well in Drake's time. Elizabeth had one of the largest collections of maps and globes in Europe. It was not just that, though. Anything in the realm of technological advances would have been collected. Better methods of navigation and determining of longitude were sought desperately to command the seas. Are you asking me to give you a reason why two things are displayed side by side? Do you honestly think I could infer why, or that there is a reason that has a discoverable linkage? Bacon's method is about generalizing by inductive reasoning (lumping similar things together by classification in a way that shows a commonality in observed behavior, for example), and on its own it has nothing to do with the current scientific method which relies heavily on falsifying. We don't discover as much as we try and disprove. Statements must be falsifiable. If they are not they aren't even considered by scientific rigor. The Enochian books are the way into the mysterious world of angels and demons. Dee did not invent this. They are in the Bible as leakage from such early writings. Angel numbers and incantations to summon up archangels who hold the knowledge of the end times; that's not the stuff of the mainstream Christianity. There are only hints that this stuff was commonly considered very early on. Why the elite continue to be sucked into the occult has everything to do with people exploiting people in true Machiavellian fashion. Who has ever said that has ended? f you are referring to Nancy Reagan during her husband's puppet reign, we've discussed that here before. It's shameful. To run the affairs of a country with the help of unelected astrological consultants is beyond the pale. That people still bet impressed by such things is testament to a lack of progress, not progress. The example I like to use was the dealing that ensured the Iran hostages stayed held for a total of 444 days to satisfy some occult meaning rather than to have accepted to return them earlier and not reaped the alleged advantage that would come from it. People will always hide their funny beliefs in places that cannot be tested, and today the fools have found the will to use that as political slogans. It is useful for them to recruit among the masses of ignorant people who do the same by speaking of it in their daily lives. In our national media outlet there is a front page astrological forecast. That's not there because there's some accept validity to it. It's there because people come to click on it every day. It's bait. I commend the Machiavellians who exploit it and bemoan that we have such behavior, but that is what it means to be human and suggestible. Baffle linguists? Noam Chomsky has nothing to say about John Dee. Language developed out of our thinking faculty, not as a way to communicate. If we have coded anything today that baffles it is because the encoding is not decipherable. That's not uncommon. I can invent a language that will baffle to. If it has no rules, or if the rule is sufficiently opaque no one will make heads or tails of it. If I told you it allowed communication with angels run...The act of invoking angels would immediately get me some believers, though. Dee may not have been mentally ill, but Kelly likely was. In the end they were both laughing stocks. In popular culture magicians may in fact grow in stature. Thing that get displayed in museums may very well draw more for their occult connections. Something has to pay the bills because the end of the world is not tomorrow.
  7. OK, wow... I have just now really sat and read this and (sort of) processed what the implications are. I had never heard of the importance of the number 53 for the Rosicrucians before all this- and Sonnet 122... And DAY 123 with the contingent implications- really amazing stuff and work on your part I must say- you are really applying the depth of your knowledge and understating of the subject matter- in ways that I could never... I appreciate the level of interest and dedication to following the leads that you are committing to here- a rare trait from my experience, and this is to include the others I have interacted with here on the forum thus far. I sort of expected more 'brushoff' type stuff, as is typically the case in my experience when someone new shows-up thinking that know something - "Oh, 123 eh? That's nice... now go away!" is kinda what I was preparing for! I am both pleasantly surprised that my insights are being supported by further evidence/clues and also growing a bit terrified! Lol (gulp) All the numerology stuff is pretty wild- I think I mentioned to you in my email that the cipher calculator you provide at Light-of-Truth shows my name equated to 444 (287 first and last) and 157 (middle) in the 26 letter Kaye cipher and 93 in short cipher- I just checked it in a larger database (like 30 or so systems) and it also= 123 in 'reverse reduction' Lol Oh boy... (double gulp) 😉
  8. As I was looking for "Tudor" in books from the 16th and 17th century, my research led me to this Bible published in 1616 : https://www.google.fr/books/edition/The_Bible/4eJBAQAAMAAJ?hl=fr&gbpv=1 Take a look right after the leaf 444, the unnumbered leaves 1 and 2 of the New testament.😉 No, "Tudor" is not used in this book, but it was obviously owned by a Baconian who left some marks all along the book 🙂.
  9. From the previous Square, we can draw a "HOUSE". The "House" contains 84 words (still skipping the I. that is a number). For me, 84 is the simple cipher of ELIZABETH. And I can link this "HOUSE" with the one that I discovered on page 84 of Histories and that represents the constellation CEPHEUS. ( see my first video -1623) Regarding the number 84 and this Essay, I let you appreciate the Armory on page 84 of "The Accedens of Armory" 😉 https://archive.org/details/accedenceofarmor00legh/page/n183/mode/2up But that's not all ! I think that this "HOUSE" is more than just a reference to CEPHEUS (74). To understand, we have to take a look at the comments of Macrobus on "The Dream of Scipio" and more precisely the chapter talking about the septenary. https://archive.org/details/ARes37605/page/32/mode/2up On page 33, we learned the meaning of the Septenary as the union of the Quaternary and the Ternary. And on page 31, we learn that the number 7 represents Virginity and is associated with PALLAS/MINERVA. I think that the use of this simple shape allowed Francis Bacon to make both a reference to his Muse Pallas Athena, to his mother the Virgin Queen and to his princely name WILLIAM TUDOR ( WILLIAM = TUDOR = 74 = CEPHEUS) BUT THAT'S NOT ALL ! Did you noticed the two Angels on top, standing on one foot ? I think that it is a reference of a specific passage of the First Folio that is on the 444th leaf of the First Folio 444 = 157 + 287 ( Thank you again to Rob/ Light of Truth) And 444 is the gematria of MIKDASH the Hebrew for TEMPLE. This is on this leaf, on the following page, that can be found the famous reference to the ROSY-CROSS. Notice that the triangle crosses the feet of the two Angels ... This is not by chance ! This is a reference to two stars of the constellation GEMINI : TEJAT AND ALMEISA. The fact is that Petter Admundsen found a reference to these two stars hidden in the First Folio ... ... on page 169 of HISTORIES. To be continued ...
  10. Interestingly, the number is not prime. It has two prime divisors, 2897 and 6493273. 2897 is the 419th prime (419 is itself prime). 6493273 is the 444,328th prime. The precession cycle divided by 2897 is roughly 9 or 3^2. It's possible to derive something that is recognizable from almost any number. The number is around 4 times the age of the Earth. It's larger than the estimated age of the Universe (14 billion). Did you get this from the hall of records? Should we contact NASA?
  11. 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
  12. 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!
  13. 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
  14. The entry for 222 contains a reference to the percussive abilities of solid bodies (Globes, Flats, Cubes, Crosses and Triangles are mentioned) and their interactions and how we should explore the effects of these. The "advice" could be interpreted as a call to consider the interaction of triangles, globes and crosses on a "flat" map/chart as it pertains to musical considerations. In the particular edition I am reading from it is on page 53. It has always interested me to consider what sort of musical ideas came out of this time which have to do with spheres and the music of celestial spheres. If we consider only the "10 centuries" reference as a call out to 1000 then we can divide that into thirds . 1/3 is 333.33...., 2/3 is 666.66.... One third of 666.66...is 222.22. 2/3 of it 444.44... The same exercise performed on 100 yield what are essentially 33 and 67. That can be equated to slicing "Francis Bacon" in simple cipher value in thirds to get both his names. As a devilish way to incorporate this onto a globe, one can demonstrate that if we start by defining a prime Meridien at Jerusalem (that idea already existed for a long time) We can lay out 100 degrees of longitude to the West into slices of 33.3 and 66.6 degrees. The first instance gets you to the Paris longitude and the second gets you to that longitude where there is that point of high interest at the intersection of two Great Circles which appear to have possibly mattered in the earliest colonial planning. That point of intersection in North America is at latitude 44.4 N and 66.6 W of Paris. We get to tie this to music by realizing that longitude and latitude here are 3:2 which is the Pythagorean harmonic ratio of frequencies which allows us to define musical temperaments. That 3:2 ratio is more famously displayed in the version of the Tetractys that I have previously shown which is one of the Holy Royal Arch symbols. We ought to keep in mind that all this business of thirds relates to the Trinity where each third has it's meaning in that symbol. To construct musical chords you use the third with the fifth and the tonic. This is the 1,5,3 suggestion (we can think of it as a harmonious number pairing). 5th and 3rd go best to the ear of all the frequencies with the tonic. This is 53 which also is something we can approximately tease out of the corner of the 3,4,5 right angles triangle. 154 is a sphenic number (made up of 3 prime factors) and so is 182 and 222. 222 is the 20th one (TT) in order of magnitude. The triangular part of the factorial pyramid I have constructed sums to 153. It has that odd 1 above it. There is a way to account for 153 with figurate numbers this way. 153 and 154 also are a well known pair of numbers which share a basic property. They are a Ruth-Aaron pair, specifically the only one whose prime factors sum to 20 (TT, the twin Tees) In my estimation this is all very basic stuff that is well within the bounds of what one might have considered by doing basic number manipulations of the sort that we know were common. What we call these things today does not matter. We now have a symbolic language to refer to these operations. 222 fits in the 3rd century of experiments (200-300) in Sylva Sylvarum. If you remember, I have previously considered if it is possible to tease out triangles from Mercator map positions using what I termed the "Two Taverns" reference taken as positional cues in the SS title page illustration. One of them is a potential reference to Triangulum (the constellation) and the other to an area in the Caribbean that the Spanish maps of the period identify as the den of the great Turk (shown within a triangular joining of small islands near the Caicos). The only reason I have ever done so is because of the suggestion of there being something to discover in SS which we get from Rawley who mentioned that the numbering of the experiments has something hidden to say. He should know, because he is the one who put the work together from Bacon's papers. In many ways he is perhaps the first one to have suggested we look into numbers as carriers of other meaning to discover a "secret". He's also speaking in lieu of Bacon who may not even know of Rawley's intent. It is more likely that Rawley did know something of interest that was worth representing (in his estimation). In my best attempts I have only come up with the idea that there was a reference to a North American point of high coincidence which I have termed the "Hobson's Nose" location (for the name of this place), a tiny island in Mahone Bay, Nova Scotia. As a symbol the location is extremely elegant, but It is also not much more than that. It does, however, have a documented history of having been visited in 1830 by men who came by ship to remove something from the ground there. As you know, I have made an effort to point out how the details in that eyewitness account which is referenced by one local historian later served as details in the Oak Island crafting of stories where a Bacon document cache will also be introduced as a plot twist in the 1890s. Sylva Sylvarum represents Bacon's "swan song". In that regard it is like the Tempest for Shakespeare fans. As a standalone work it is strange and it is not considered to reflect a body of work that Bacon actually performed. In some cases there are references to Bacon having done some experimenting. In 222 there is a reference to the ringing of a golden bell by Bacon. I've always liked that because it aligns with the idea that Lewis Carroll may have been referring to Francis Bacon as the Bell man in his poem about that famous voyage to find the Snark. I think that 222 is certainly worth investigating as a pointer to things of potential interest. It has that very important 2:1 relation to 111 (the sum of the 66.6 and 44.4 coordinates) also. The important ratios in the Holy Royal Arch are threefold-- 2:1, 3:1 and 3:2 (the reciprocals 1:2, 1:3 and 2:3 are equally valued). In fact, one set is the other inversed or seen "through the looking glass". There seems to be a direct way to get back to a lot of what other mystery "explorers" have teased out of their own observations which demand meaning. Here I must admit that even what I have considered does involve a simple cipher consideration of Bacon's name. It is so basic that I think it is an excellent thing to have exploited as a cue for someone who described himself as very capable of seeing similitudes in natural phenomena (here music and the mapping of globes). "The Tempest" and "Sylva Sylavrum". Are a neat TT and SS pair. I have to admit that I have been somewhat interested in the fact that the Shakespeare tomb epitaph mentions the DIGGing the DUST. We could possibly infer that there is also a clever DD and VV pair to value. VV is often enough seen as the given for the W in Shakespeare's name. This, I recently saw, may refer to Virtu and Virtue (force and reason), two of Bacon's bedrock ideas about how to tame nature. The DD one could be anything, but I have been piqued by the "Digg the Dust" of the epitaph. If we were to consider simple cipher sums DD + VV + SS + TT that would yield 122 (111+11 or 11 x 11 +1). As a number it is the sum of the square divisors of 11. You might want to go look at what Psalm 122 has to say in the Bible. [I rejoiced with those who said to me, “Let us go to the house of the Lord.”] That's the eternal equivalent Solomon's house (his Temple which housed the HH in the Jewish stories. If we consider the 4 oriented Tau representation of the 24 character alphabet within the 5x5 square we figuratively see a representation of the Holy of Holies and a square "tomb" in the middle. In fact there is even a 6x4 (proportion 3:2) block of 20 characters I have highlighted that can double as the ARK suggestion in that famous plan for the HH. The central block of four empty spaces could in fact house the letters DUST we are asked to not stir up. To ask us not to is almost to ask us to do so in terms of how likely humans are to listen to commandments, lol. All around the "tomb" are the characters VST (4 occasions of them). A playful man may have noticed how the word DUST can serve his epitaph/riddle, 4 also being the value of D. Should we Digg the Dust when warned not to? I like to think of this as perhaps a warning that no real meaningful treasure is to be found by our endeavors. You have to meet your maker to ever get your treasure. Efforts to make you accept that you have a maker is likely why we are bombarded with all these elegant similarities. The point is for you to accept the suggestion that you have a geometric maker who has left clues in the way the world is made. This I can square with Bacon's views. The Great Architect of the Universe has a method to his madness which you can discover but not find the "why" for. "Remember death" is your warning. Music in the key of F will give you serenity when you contemplate the tomb. If you are a 154 type of person then there is the blues which employs the tonic, the 5th and the 4th in its progressions. 153 is considered to be cheerful "piano chords".
  15. 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).
  16. 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
  17. 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
  18. 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 ...
  19. 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. 🙂
  20. 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!!
  21. 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.
  22. 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!
  23. 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..
  24. 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.
  25. 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. 🙂
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