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  1. On the heels of discovering some things about a pesky little elongated triangle of 18 degrees I have made a series of other observations that help to work out some other nagging questions I have which relate, in part, to the Droeshout engraving of a gentlemen I like to refer to as "geometric man". Some know him as William Shakespeare, but that is of little interest to me at this point. I am more interested in how this image was put together as a geometric composition. I have previously showed that at the heart of the Droeshout portrait (almost perfectly centered) is a 40,60,80 degree triangle which one can equate to the Summer triangle asterism made up of Deneb, Vega and Altair who are the main stars in Cygnus, Lyra and Aquila. The presence of the 40,60,80 triangle has been noted in an analysis of the Compass and Square representation which is treated empirically. It appears in rounded off fashion as triangle LIC here where the angles are (41,59,80). Of interest now is the fact that the elongated triangle CLm is part of it. It is also adjacent to the triangle ELI (27,53,100). As previously noted elsewhere, it is my suggestion that Bacon did in fact plan symbolically using this arrangement in the selection of two great circles used for navigation on the globe and also using a Mercator map projection. I'm going to show here that the same sort of scheme is applicable to the Droeshout portrait design. Elements in the portrait appear to confirm the scheme. Previously, I showed this: What I have termed the (40,60,80) triangle comes out of two parallels involving both tips of the collar, the rounds of the eyes and the prominent button hem line across them. Here we can see that line segments drawn from periods (Ed. to TRAGEDIES.), (Copies. to the intersection of the hem), (center of the O in original to tip of collar). A similarity to the use of the point in the O as an origin is seen on the hem line. Notice here that the (40,60,80) triangle has been centered upon the image and that is oriented with the 60 degree angle at the top, so it is tilted compared to the C&S symbol orientation. Simply by integrating the Compass and Square geometry to this we can proceed to build the square that contains it. That looks like this: abc is (41,80,59), adb is the elongated (18, 80, 79), cbg is the elegant (27,100,53). Completing the square produces some interesting correspondences. ae projects to the bottom corner. The line originating in the O which goes through c-d-b intersects ak in the center of the square (the G in the traditional Compass and Squared depiction). Adding the blue lines to show the framing square produces the intersection at c atop the Summer Triangle. gch projects to the top of the A in Shakespeare above. Of possible interest is the new triangle ach (22, 63,95). That one contains the eye, nose, ear and mouth. We have 22 and 158 here (not quite 157, but maybe close enough to suggest it). If we project beyond ah we hit ROS and &. That's a fancy way to give Rose or Rosy. hk is, of course, perpendicular to it and gives us the Cross(ing) which we can construct a ROSY CROSS suggestion with if we want to. There's also an additional line starting from the period after "Blount." which goes through the intersection of the lines ae and hk right through R C. This forms an angle at R involving the letters C R O S and &. In that regard the corner there gives a more direct Rosy Cross suggestion. The frame of the image seems to have been sized with the square in mind. This can be seen by showing: If one encircles the Square shown in yellow the blue circle produced is of exactly the same width as the frame of the image. Centering a circle atop the frame produces small Vesica which has a divider that is parallel to adk and the arm of the framing square. That divider intersects the middle of the right eye. The circle around the yellow square also touches the edge of the page. Alot of thought has gone into this to make all this appear. Remember that it all starts with a centered (40,60,80) suggestion that we can liken to: The great similarity we see with Bacon's geo planning is with the use of the triangles that play positional roles. I contend Bacon used three celestial triangle asterisms, the Summer Triangle, the Mitre of St Peter (Triangulum) and the Winter Triangle to set up a pair of Great Circles whose intersection corresponded with a Mercator map alignment from the Nile Delta through the Pillars of Hercules to NA (Alexandria to Alexandria if you want). The Droeshout portrait is is showing is a similar planning in its layout. The entire thing has parallels in the Masonic Compass and Square geometry. Bacon obviously looked into nature saw the elegant correspondences (it does not appear to be just a series of simple coincidences that fit well together). However, we have to be very cautious in attributing this portrait to Bacon. Any individual with knowledge of the Compass and Square geometry could have involved it. The compass and square were being used in printers marks at this time. Treating them geometrically and exactly, if it was already a common idea, would necessarily produce a 40,60,80 relative that can bridge us back to Bacon and an idea of celestial navigation. The Rosy Cross suggestion here is very compelling. It appears to perhaps suggest that an early ACCEPTION group called ROSY CROSS may have had a hand in the printing of the first folio. This seems at least possible. The portrait of the geometric man serves to tell us that we are likely dealing with some careful planners.
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