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The Droeshout Portrait : a new discovery ?


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10 minutes ago, Light-of-Truth said:

I have thoughts to share as well. 🙂

Thank you Rob (Light-of-Truth)! ❤️ Now, I look forward to discovering your take on it !😊

By the way, I forget to mention one detail ...

Doctor Panurgus (c. 1620 ?)

https://upload.wikimedia.org/wikipedia/commons/9/9d/"Doctor_Panurgus"_curing_the_folly_of_his_patients_by_purgat_Wellcome_L0023713.jpg?uselang=fr

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One more time, we found the same peculiar "w" than the one in use for the text written on the parchment of Shakespeare's memorial (1740).

scroll.jpg

https://sirbacon.org/gallery/west.htm

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Bennie:

"I'll lose my modesty, and tell your name."

Beautiful F BACON acrostic frames it, on a page A. Phoenix nails down with another important one.

But reading the context bothered me, not surrounded by praise by one friend to another. Yet good friends will speak truth between themselves. Context matters to me. Usually...

Jonson is hinting at Bacon and not being nice when I am reading a few lines very out of context. As if lecturing a friend on their mistakes. But hey, it was Lawrence that taught me the definition of Foole and he was right! Since then we've kicked the Foole (Folly) ball back a forth a few times. LOL Like Bennie and Frankie?

So I keep looking and thinking about it and now see through an illusion. Sometimes in what I do by reading out of context I find a nugget. I read backwards almost as much as forwards!

The entire Jonson collection of the "other" First Folio reeks of fresh cooked Bacon when I look at pages that have num2ers that mean something to me. I assume Ben's other friends are well presented as well.

Then I had a thought; Two levels of "out of context". Read in "out of context in order yet out of context again", maybe there is a story to be revealed about Bennie and Frankie. I am starting to see a Tale being shared. A path for a discoverer, with Treasures along the way.

Ben Jonson did tell Bacon's name a few times on this page. LOL

O N   C H E V'R I L L T H E  L A W Y E R

image.png.21c5ec80aef5379f11640415080a2984.png 

Maybe its just my "strange, and idle imagination"?

 

 

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2 hours ago, Allisnum2er said:

Doctor Panurgus holds the "Wisdome" Bottle that ,being a bottle, belongs to the series of Bottles on the top of the Cabinet.

Thus "Understanding" is, in reality, the 26th ingredient.

What is the real number behind the "Wisdome" Bottle ?

A good swig from the bottle of Wisdom will clean you out. 😉

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It takes "Two druggs" to expell the vicious humors all. Hmm...

To me that is Ayahausca which takes two plants, one is an MOA inhibitor and the other contains DMT which is a chemical we keep in our Pineal gland to be released at just the right moment when we die.

A Shaman must prepare the recipe with both ingredients or it will not work to cure someone who is not at death yet.

Natural MOA destroys DMT in out stomachs, so all these common plants around us do not give us a vision without the "Key" which is an MOA inhibitor. Long story, long history.

It is mostly known today from Peru and South America, but the ingredients are widely available in the Middle East. Syrian Rue is the key in the East, and there is DMT everywhere!

So in one lower left corner of the Droeshout engraving we have the total "evacuation" of a patient's bowels, and in the opposite corner we have the smoke of one's life?

image.png.dca3401fd3c6e399648a23481b0a53fb.png

I was that image in one of my Ayahuasca experiments around 1995 or so using Rue and a Phallaris grass I was growing in my window. I puked so hard I saw every bad moment of my life come out into my shimmering geometric vibrating toilet. LOL

An hour or two later on that nice Easter Sunday everything was incredible beautiful and I was purged of anything bad. I remember the Easter eggs we colored that day having layers upon layers of colors and designs.

My mind was as free as this guy in the oven.

Alchemy?

image.png.64a2be5f57ef49164c60db306aef8e10.png

 

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image.png.89aefe7ff048da60f58671d5a5bd0c47.png

"I have a potion for your worth within"...

And later:

"But now youre manly humors boile so highe - That you must in y Gallants Fornace lye."

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So many messages in this Droeshout engraving. It has a lot of "Detail." The words can mean so many things. I get a solid Alchemy story, but I know nothing about Alchemy! 🙂

I do think burning in y Gallants Fornace is the most important Goal when one is alive and well, for those very few who are so lucky, and have earned it. The experience is one to treasure forever. I suspect Bacon defined the experience in his day. He may not have been the Shaman, or Doctor, but his presence may have been quite memorable. LOL

 

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While there are subtle differences between the Passe and the Marshall, it's obvious that Marshall took much care in the copying of Passe's portrait from life. On the other hand, when asked to copy the Droeshout engraving of "Shakespeare" Marshall "hams it up" as they say in the theatre, making an even more laughable portrait of the Bard than Droeshout's! Marshall has even put a little smirk on Shakespeare's mouth.

One suspects that Marshall was in the know...

Screen Shot 2023-06-27 at 5.37.36 pm.png

Edited by Eric Roberts
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16 hours ago, Light-of-Truth said:

Bennie:

"I'll lose my modesty, and tell your name."

Beautiful F BACON acrostic frames it, on a page A. Phoenix nails down with another important one.

But reading the context bothered me, not surrounded by praise by one friend to another. Yet good friends will speak truth between themselves. Context matters to me. Usually...

Jonson is hinting at Bacon and not being nice when I am reading a few lines very out of context. As if lecturing a friend on their mistakes. But hey, it was Lawrence that taught me the definition of Foole and he was right! Since then we've kicked the Foole (Folly) ball back a forth a few times. LOL Like Bennie and Frankie?

So I keep looking and thinking about it and now see through an illusion. Sometimes in what I do by reading out of context I find a nugget. I read backwards almost as much as forwards!

The entire Jonson collection of the "other" First Folio reeks of fresh cooked Bacon when I look at pages that have num2ers that mean something to me. I assume Ben's other friends are well presented as well.

Then I had a thought; Two levels of "out of context". Read in "out of context in order yet out of context again", maybe there is a story to be revealed about Bennie and Frankie. I am starting to see a Tale being shared. A path for a discoverer, with Treasures along the way.

Ben Jonson did tell Bacon's name a few times on this page. LOL

O N   C H E V'R I L L T H E  L A W Y E R

image.png.21c5ec80aef5379f11640415080a2984.png 

Maybe its just my "strange, and idle imagination"?

 

 

 Hi Rob,  Well spotted !!! ❤️

I really don't know if it is just your "strange, and idle imagination" (Page 57).😊

As you know, "good things come in threes".

And here are also more ideas by using "mediocria" 😉 

image.png.6a523de22eaea4d75aec898ddecda7bf.png

WILL, OLD Tudor SON  (h)OLD pen ?

 ON CHEV'RILL = 111  = BACON (Kay cipher) , THE LAWYER

ON OLD COLT = 103 = SHAKE-SPEARE (Simple cipher)

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Here is another interesting thing regarding Doctor Panurgus 😊.

The only two (B) Ingredients beginning with "Con" are "Consideration"(16) and "Continency"(17).

16 + 17 = 33 = BACON

https://upload.wikimedia.org/wikipedia/commons/9/9d/"Doctor_Panurgus"_curing_the_folly_of_his_patients_by_purgat_Wellcome_L0023713.jpg?uselang=fr

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Good Sir Francis Bacon

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1 hour ago, Allisnum2er said:

Here is another interesting thing regarding Doctor Panurgus 😊.

The only two (B) Ingredients beginning with "Con" are "Consideration"(16) and "Continency"(17).

16 + 17 = 33 = BACON

https://upload.wikimedia.org/wikipedia/commons/9/9d/"Doctor_Panurgus"_curing_the_folly_of_his_patients_by_purgat_Wellcome_L0023713.jpg?uselang=fr

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Good Sir Francis Bacon

I would venture a guess that this engraving has an oral explanation that was shared and passed down for a while. I feel sad the original lesson is lost. But maybe it is not at all. Who was the good Doctor? Was it Dee?

I tried ChatGPT after Google left me pretty empty:

I apologize, but I couldn't find any specific information about a historical figure or well-known individual named "Doctor Panurgus" within my training data up until September 2021. It's possible that this person might be a fictional character, a lesser-known figure, or associated with a specific context or work that I'm not familiar with.

DOCTOR PANURGUS is 182 Simple cipher.

ONE EIGHTY TWO is 157 Simple and 287 Kaye ciphers.

Was Doctor Panurgus supposed to refer to Fra Rosi Crosse?

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11 minutes ago, Light-of-Truth said:

Who was the good Doctor? Was it Dee?

Hi Rob,

I've had the same question. And I've had the same thought. 😊

Regarding, Panurgus, this is a reference to Panurge a character of Gargantua and Pantagruel by Francois Rabelais, and it can be linked to the french expression "Mouton de Panurge".

https://en.wikipedia.org/wiki/Panurge

For me, the story of Panurge and the sheeps of Dindenault echoes Matthew 8:30-33 :

30. And there was a good way off from them an herd of many swine feeding.

31. So the devils besought him, saying, If thou cast us out, suffer us to go away into the herd of swine.

32.And he said unto them, Go. And when they were come out, they went into the herd of swine: and, behold, the whole herd of swine ran violently down a steep place into the sea, and perished in the waters.

33.And they that kept them fled, and went their ways into the city, and told every thing, and what was befallen to the possessed of the devils.

And the fact is that Shakespeare makes reference to Matthew 8:30-33 in The Merchant of Venice ...

https://internetshakespeare.uvic.ca/Library/facsimile/book/Bran_F1/184/index.html%3fzoom=1200.html

image.png.f3374f045dd116840d9b5828c519ec07.png

And as a reminder, here is my solution (that I shared with you last year) to the double meaning of the sentence :

"Yes to smell Porke, to eate of the habitation ..."

image.png.0826ad94fc1b707852f415571a1f9924.png

"Yes to smell Porke, to eat BACON "

I showed that Bacon used many times the shape of a HOUSE (The Habitaton) a reference, I think,

both to the House of Solomon and to the Constellation Cepheus ( CEPHEUS = 74 = TUDOR)

 

 

 

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16 minutes ago, Allisnum2er said:

And as a reminder, here is my solution (that I shared with you last year) to the double meaning of the sentence :

"Yes to smell Porke, to eate of the habitation ..."

Thanks for the reminder! House of Bacon, or course! 🙂

19 minutes ago, Allisnum2er said:

Regarding, Panurgus, this is a reference to Panurge a character of Gargantua and Pantagruel by Francois Rabelais, and it can be linked to the french expression "Mouton de Panurge".

Yann, you have an amazingly expansive collection of connections in your mind!

 

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I wish to quickly recognize A. Phoenix for the thorough research and intense production work to offer to us for free. We would not be aware of and obviously not be discussing this Droeshout engraving without the hard dedicated work of A. Phoenix.

I think the Droeshout topic begins in page 79 of the book:

The 1623 Shakespeare First FolioA Baconian Rosicrucian Freemasonic Illusion

image.png.87af1e686250e31a98f953b11ce0d9f6.pnghttps://SirBacon.org/downloads/The_1623_Shakespeare_First_Folio_A_Bacon-2.pdf

Thank you A. Phoenix!

It's not my comfort level to read 333+ pages in sequence, but I am enjoying jumping in wherever I open to and allowing synchronicity to take me where I need to be. I'll surely read every page in some kind of random magical Order! 😉

 

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Hi Rob,

Thank you for all your hard work on producing and maintaining B'Hive and for all your hard work (visible and invisible) on our behalf supporting our work in all the ways that you do. When we have completed a project we always look forward to Lawrence and you putting it up on sirbacon.org and B'Hive and your contributions along with Yann, Eric and Kate, et al, briliantly adding to the material in what is very much a collective process. We are also seriously touched and humbled by all the love and positive reactions which we find emotional as well as pyschologically and physically energising in our joint Baconian quest.❤️🙂

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A. Phoenix, Lawrence and I are planning a little public surprise this coming weekend or so that will hopefully add to the powerful research potential of your critically important work and SirBacon.org's popular search feature. We will announce on the B'Hive in a few days! 😉

 

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12 hours ago, Light-of-Truth said:

Faith Hope Charity

🙂

 

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This is a very interesting observation, Rob.

I did some digging. The British Museum has a lengthy piece of information under the picture and (not sure if this has already been mentioned) it is a reworking of this 

IMG_3758.jpeg.78154720c525a68c1def7a3c33eaa287.jpeg

There seems to be dispute as to whether the one we are looking at (with a Bacon figure) is Michael or Martin Droeshout’s work. Wellcome Collection says former. BM seem to say the latter but see last paragraph of further down. 
 

I can’t find how to zoom into this one, but it would be interesting to see if the bottles here say Faith, Hope and Charity.

In the later one; the Baconian figure is said to be the Earl of Somerset but it is surely Bacon shown by the good Sir B reference and what Yann found above in cipher in the numbers. Also notice also the reference to Master C (100) in Master Cittyzsinne and three words beginning with C (so CCC =300)

So with the Faith, Hope and Charity bottles (plus link to Tubingen) it all points to this def being a Rosicrucian reworking full of cipher and symbolism and that ‘Stay good …’ line links to Shakespeare’s grave.

I see a furnace link to the famous Rosicrucian College picture too.

IMG_3759.png.e81a202469f322a8c9a34daba3a3a6be.png

Apologies in advance for length of this but here  is the information from the British Museum about the more recent depiction of Doctor Panurgus just incase there is more to uncover.  https://www.britishmuseum.org/collection/object/P_1854-1113-154

It reads:

Inscriptions

Inscription type: inscription

Inscription content: Lettered with numerous explanatory engraved texts (all transcribed in BMSat), the engraver's initials 'MD sculpsit', and the later addresses 'Sould by P.Stent' and 'Sould by I.Overton at the White Horse without Newgate neere the fountaine tavern'. The text taken as the title is inscribed by the doctor's head. In the lower margin added in pen 'Licensed October 28 1672 Rbt L'Estrange'.

Curator's comments

(Text from Antony Griffiths, 'The Print in Stuart Britain', BM 1998, cat.91)
This plate has a complicated ancestry. It is based on a composition that is known in at least three earlier Continental versions. It was probably French in origin, and the original title was 'Le medecin guarissant Phantasie purgeant aussi par drogues la folie' (a version overprinted with a German text at Wolfenbüttel is W.Harms, 'Deutsche Illustrierte Flugblätter des 16 und 17 Jahrhunderts', Tübingen 1985, I no.53). In this there are four figures: the doctor in his robes at the left purges with a dose of 'sagesse' one patient, who excretes little fools below. In the centre the doctor's assistant feeds the head of another patient into an oven which cooks follies out of him, which can be seen in a cloud emerging above the oven. In a later German version (reproduced from an impression in the British Museum by W.A.Coupe, 'The German Illustrated Broadsheet in the 17th century', Baden-Baden 1966, pl.72) the doctor is called Doctor Wurmbrandt (worm-burner).
Droeshout's version of the 1620s makes significant changes to the standard Continental type. The doctor (now, for some unexplained reason, labelled Panurgus) has lost his assistant, a fashionably dressed couple are added in the middle-ground, and there is a great deal of text added (completely transcribed in the British Museum catalogue of satires). The text makes it certain that the print has nothing to do with the scandal of the Countess of Essex and the Earl of Somerset, as was thought by the earlier literature from Granger onwards (although the woman does bear some resemblance to the Countess, see P.1,278). Panurgus was then interpreted as Dr Forman, who was alleged to have supplied the Countess of Essex with drugs to make her husband impotent. She thus obtained a divorce on the grounds of non-consummation and remarried her lover, the Earl of Somerset.
The manuscript license from the Restoration censor Roger L'Estrange (1616-1704) refers to the republication of this satire by John Overton in 1672, half a century after it was first issued. It is one of five such licenses which have so far been recorded. The others are the set of the Twelve Months by Robert Vaughan in the British Museum (169.b.1; Globe 548); a set of satires on marriage in the Folger Library (Globe 456); a portrait of Mother Louse in the British Museum (BMSat 797); and Hollar's titleplate for 'A new book of flowers and fishes' in Robert Harding's collection (Pennington 2063). All bear the same date, 28 October 1672, and all are publications by John Overton. Clearly Overton had submitted a pile of impressions from his old stock for approval on the same day, presumably in preparation for publishing his broadsheet catalogue which came out shortly afterwards (see Globe p.172). That so many survive implies that they all remained together in some archive for many years.

(Text from Malcolm Jones, www.bpi1700.org.uk, "Print of the Month", November 2006)
The subject of this extraordinary sheet is perhaps in essence a 'complaint on the times', a satire of universal folly in which a tripartite division of the realm into Cuntry, Citty & the Court is symbolised, respectively, by rude Rusticall being purged by the doctor on the close-stool, spruce master Cittyzsinne standing behind the Doctor, and the Gallant (i.e courtier) whose head is just entering the subliming furnace. But as the young man, prey to multifarious follies and devoted to fashionable fads and fancies, has long been the target of the moralists' especial wrath, and the saeva indignatio of the satirists, the follies of dissolute youth are what I take to be the principal subject of this puzzling sheet which, as Griffiths notes, 'has a complicated ancestry'.[1]

The costume of the figures would seem to date to the 1620s, and this agrees with the known dates of activity of the engraver, Martin Droeshout, who has signed the sheet with his monogram: MD sculpsit. The earliest state of the present print to survive, however, was probably issued in the 1650s, bearing Peter Stent's imprint alone, and is held in the Wellcome Institute collection.[2]

The composition derives from a print engraved by Matthaus Greuter, probably c.1600 (itself deriving from one of the emblems in the de Brys' hugely influential Emblemata Saecularia of 1596), which was issued in French/German and German-only editions, the former bearing the title Le medecin guarissant Phantasie Purgeant aussi Par drogues la folie [The doctor curing fantasies, and also purging folly with drugs]. But Droeshout made significant changes to his model, dropping the doctor's assistant, adding a richly-dressed couple, an inset panel in which two pluralists confront each other weighed down by the churches on their shoulders, and a great deal of explanatory text in the form of labels within the image-frame. 

Naming the wonder-working doctor Panurgus seems to have been Droeshout's innovation. Why? It is unlikely Droeshout had read Rabelais – most English intellectuals knew only the French author's name, which they used, like those of Aretino and Macchiavelli, merely as a hate-word. Panourgia is a medical term, and Galen uses it for 'adulterated or false drugs', and although the etymological sense of the name is neutrally 'all-work', later English usage similarly tended to interpret the term pejoratively as 'ready to do any work', i.e. including illegal things, as a criminal would be. Notwithstanding this, however, there is no doubt that in our print Dr. Panurgus is a positive figure, able to cure his patients, who come from all ranks of society - as the verses and the figures themselves make clear – of their manifold follies. Significantly, for dating purposes, the Latinate form of the name – which by itself suggests independence of Rabelais' creation - is known to have been used by two English writers in 1619 and 1623 only, and perhaps strengthens the case for an origin in the 1620s.[3]

From the copious inscription text I excerpt a few salient points.

Though concentrating on the foibles and follies of the gallant, who is by definition youthful, the verse makes clear that the Millions who resort to the Doctor come from Cuntry, Citty & the Court – i.e. that folly is no respecter of a person’s rank or origins. By his Waters Drugges ,Conserves & Potions, the Doctor purgeth fancies follies, Idle motions, many of which are detailed in the verses below the image, but also visualised in the phantasmagoria that escapes from the Gallants Fornace. The Doctor is currently pouring a dose labelled Wisdome and Understanding down the throat of a rude Rusticall who sits on a close-stool and through whom passe various animals and birds, including an ass, which is being milked by a man (in the German original only three little fools are excreted). The Doctor informs us that taking the Gallants Braine out and washing it had proved ineffective, but now, subliming his head in the furnace has yielded good Successe - in the form of the Strange Chimaera-Crotchetts visible in the smoke above. They are later referred to as both Projects and ayrie Castles - i.e. 'castles in the air', cf. from Burton’s contemporary Anatomy of Melancholy (1621): That castle in the ayr, that crochet, that whimsie[4] - and include cards, dice, backgammon-board, tobacco-pipes, violin, tennis, masks, feathers, plumed hat, swords, a dressed ape, a woman with a fan, a man teaching a horse to perform tricks, a bear-baiting, a boy flying a kite, a man with wings strapped to his shoulders (attempt at human flight? No Elizabethan/Jacobean candidate known to me, though doubtless they existed – for a while...), a man sliding down a rope from the tower of (Old) St. Paul's (a popular contemporary feat), jug and goblet, limed branch for bird-catching, a man walking a pair of hounds, and a fencer (with wings). Most of these are copied from the German original - the interest for us lies chiefly in those which were not, and which we may thus reasonably consider peculiarly English: they include the bear-baiting, the tobacco-pipes,[5] the St. Paul's rope-slider and the horse being taught tricks - perhaps intended to be William Banks and his celebrated horse 'Marocco'.[6]

To the well-dressed lady with her fan and pet squirrel on a lead the Doctor says,

Once (faire) I knew the tongues Phlebotomie 
Had powre to Cure your Sexes Maladie 
But now youre manly humors boile so highe 
That you must in the Gallants Fornace lye

which looks like a swipe at both the garrulity traditionally attributed to women, as well - interestingly - as evidencing a more contemporary Jacobean concern with manly women, as reflected for instance in the pamplet, 'Hic Mulier: or, The Man-Woman: Being a medicine to cure the Coltish Disease of the Staggers in the Masculine-Feminines of our Times' (1620). The verses claim she has even more wandring Crotchets than the gallant and lists them: 

Steelettoes[7] girdles patches painted brests
Points[8] powders feathers washes[9] & the rest
... Haire breath Complexions all are borrowed ware.

The similarly well-dressed gentleman the Doctor addresses mockingly as Sir Briske, spruce master Cittyzsinne, in which the last, clearly eccentric spelling is presumably to point up a pun, as if he embodies the City’s sin.[10] Though, like his lady, he looks more like a courtier than a tradesman – which has led to much complicated historical speculation, principally that the pair are the Countess of Essex and her lover the Earl of Somerset - the contemporary label identifies one of the ingredients of the potion the Doctor will administer as plaine dealing, and one of the things it will expel as couzening weights. But perhaps it is precisely part of this upstart citizen's presumption that, though a mere tradesman, he apes the dress of the gentry. In the probably contemporary sheet, The Common Weales Canker Worms or the Locusts both of Church, and States, the Merchant similarly says, I cosen these foure [i.e the four preceding characters] and his inset emblem is a pair of scales and a yardstick with the motto, libris et labris lucror furtiuis [I gain by fraudulent scales and measures], while in the verse beneath the engraving, he says, Ile ease your purses with a trick of skill/While mine with waights & measures false I fill. 

Inset into our engraving is a panel – seemingly not a later addition - depicting two divines confronting each other, both with churches on their backs which cause them to stoop, and one of whom carries a second church in his arms. It is tempting to suggest that the square frame in which these pluralists are depicted, and which appears to interrupt the composition, is a post-Droeshout interpolation, perhaps c.1642, when the motif was current (and which is also the earliest known date of Peter Stent’s activity as a print-publisher).[11]

It is captioned

Who bore two Churches & complaind of none 
Nowe being purged findes too much of one.

If this pluralists panel is original, however, we can certainly point to the existence of the iconographic motif this early, for it features prominently in The Mappe of the Man of Sinne issued in 1622. Indeed, it might provide a useful dating indication for the Panurgus print, as the Nowe of the caption perhaps suggests some topical ecclesiastical legislation. 

There may well be a 'quotation' from Doctor Panurgus in a print issued some fifty years later entitled 'The Committee; or Popery in Masquerade' (1680). This holds up the various nonconformist sects for ridicule, including the Quakers; they are depicted as constituting a committee listening to petitions from a dog, a horse, a man and a woman. To the left, the various victims of the Civil War appear in chains, while on the right, a Church of England priest is forced to vomit forth his living - a detail which may well owe something to the fact that its designer, Sir Roger L'Estrange, the most effective of the Tory propagandists at this period, was also the Restoration censor, and in that capacity had personally accorded Doctor Panurgus his imprimatur eight years earlier; indeed, the present impression (one of only two known) is signed and dated by him, 'Licensed October 28 1692, Ro. L'estrange'. 
FOOTNOTES
[1]. Antony Griffiths, The Print in Stuart Britain 1603-89 (London, 1998), pp. 146-8 (no. 91).  
[2]. This is based on the fact that it does not appear in his first, 1654 advertisement, but is listed in that of 1662 as 'One plat of Dr. Pennargus'. Griffiths was thus mistaken in thinking the British Museum's impression - in a state of 1672 - is the only one known.  
[3]. Just about everything known about Rabelais 'reception' at this period will be found in A.L. Prescott, Imagining Rabelais in Renaissance England (New Haven, 1998), especially pp. 86-102, 'Quicksilver Interlude: Panurge and Panourgia in England', though Droeshout's use of the name is missed.  
[4]. I. iii. i. ii. (1651 ed.), p. 187 (cited in Oxford English Dictionary s.v. castle); H. Jackson (ed.), Robert Burton, The Anatomy of Melancholy (London, 1972), p. 394.  
[5]. These first two, interestingly also figure together in the Itinerary of the German visitor, Paul Hentzner, writing in 1598, who notes in his description of bear-baitings that 'At these spectacles, and everywhere else, the English are constantly smoking the Nicotian weed, which in America is called Tobaca... and generally in this manner: they have pipes on purpose made of clay'- cited in W.B. Rye, England as seen by Foreigners in the Days of Elizabeth and James the First (London, 1865), p. 216.  
[6]. See J. Bondeson, The Feejee Mermaid and other Essays in Natural and Unnatural History (Ithaca, 1999), pp. 1-18. Banks and Marocco performing are the subject of a woodcut illustrating Maroccus extaticus (1595).  
[7]. i.e. daggers, not high heels! 
[8]. laces. 
[9]. for the complexion.  
[10]. The same equivoque occurs, for example in Dekker's Lanthorne and Candle Light (1608), sig. C2, in the court of Hell, The Cittizen is sued here and condemned for the Citty-sinnes (and Jonson, Poetaster (1601), II.i.122, Citi-sin). In relation to brisk , note also OED's definition of this sense 3 of the word: 'smartly or finely dressed; spruce', and three citations only, for the period 1590-1603.  
[11]. Later uses of the motif include two tracts published in 1642, 'Purge for Pluralities, shewing the unlawfulnesse of men to have two Livings, Or, The Downe-fall of Double Benefices', and 'A Remonstrance against the non-residents' - Milton referred to 'The non-resident and plurality-gaping Prelats' [Milton, Works (1851 edition), vol. 3, p. 307, cit. OED s.v. non-resident] in his Apollo Smectymnus published in the same year. It is also to be found on at least two single-sheets issued in 1681, The Protestant Mirrour, in proper Postures and Principles: Or, The Careful resident, and the Careless Non-Resident, and Non-residency and pluralities, justly exposed: or, The Pluralist and non-resident honestly and truly characterized.

(additional information)
June Schlueter argues on the basis of the form of the monogram that the engraver is not Martin Droeshout, but his father Michael (see 'Print Quarterly' XXVII 2010, pp.253-62).

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Normally I’d just have supplied the link, but I know lots of people never click on them, so by copy and pasting (and attributing) the whole notes from the British Museum, someone on here (or reading from outside) may cast their eye over this and spot hitherto missed anomalies or connections.

IMG_3763.jpeg.626fb531632719056006d707f0c106c9.jpeg

Adding picture so you can see why I see vague similarities 

Edited by Kate
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Ah ok I am on to something. The picture that I just added above shows The Rosicrucian Temple of the Rosy Cross picture by Teophilus Schweighardt Constantiens but it’s a pseudonym.  He wrote  Speculum Sophicum Rhodostauroticum  (Mirror of the Wisdom of the Rosy Cross, 1618) under that pseudonym and Jhesus Nobis Omnia – Rosa Florescens (1617) under the pseudonym Florentinus de Valentia.

He was a Doctor!!

I don’t have time to read it until later but here is the first one. This is a great link as it has all the RC texts.

https://archive.org/details/RosicrucianTexts

 

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3 hours ago, Kate said:

This is a very interesting observation, Rob.

I did some digging. The British Museum has a lengthy piece of information under the picture and (not sure if this has already been mentioned) it is a reworking of this 

IMG_3758.jpeg.78154720c525a68c1def7a3c33eaa287.jpeg

There seems to be dispute as to whether the one we are looking at (with a Bacon figure) is Michael or Martin Droeshout’s work. Wellcome Collection says former. BM seem to say the latter but see last paragraph of further down. 
 

I can’t find how to zoom into this one, but it would be interesting to see if the bottles here say Faith, Hope and Charity.

In the later one; the Baconian figure is said to be the Earl of Somerset but it is surely Bacon shown by the good Sir B reference and what Yann found above in cipher in the numbers. Also notice also the reference to Master C (100) in Master Cittyzsinne and three words beginning with C (so CCC =300)

So with the Faith, Hope and Charity bottles (plus link to Tubingen) it all points to this def being a Rosicrucian reworking full of cipher and symbolism and that ‘Stay good …’ line links to Shakespeare’s grave.

I see a furnace link to the famous Rosicrucian College picture too.

IMG_3759.png.e81a202469f322a8c9a34daba3a3a6be.png

Apologies in advance for length of this but here  is the information from the British Museum about the more recent depiction of Doctor Panurgus just incase there is more to uncover.  https://www.britishmuseum.org/collection/object/P_1854-1113-154

It reads:

Inscriptions

Inscription type: inscription

Inscription content: Lettered with numerous explanatory engraved texts (all transcribed in BMSat), the engraver's initials 'MD sculpsit', and the later addresses 'Sould by P.Stent' and 'Sould by I.Overton at the White Horse without Newgate neere the fountaine tavern'. The text taken as the title is inscribed by the doctor's head. In the lower margin added in pen 'Licensed October 28 1672 Rbt L'Estrange'.

Curator's comments

(Text from Antony Griffiths, 'The Print in Stuart Britain', BM 1998, cat.91)
This plate has a complicated ancestry. It is based on a composition that is known in at least three earlier Continental versions. It was probably French in origin, and the original title was 'Le medecin guarissant Phantasie purgeant aussi par drogues la folie' (a version overprinted with a German text at Wolfenbüttel is W.Harms, 'Deutsche Illustrierte Flugblätter des 16 und 17 Jahrhunderts', Tübingen 1985, I no.53). In this there are four figures: the doctor in his robes at the left purges with a dose of 'sagesse' one patient, who excretes little fools below. In the centre the doctor's assistant feeds the head of another patient into an oven which cooks follies out of him, which can be seen in a cloud emerging above the oven. In a later German version (reproduced from an impression in the British Museum by W.A.Coupe, 'The German Illustrated Broadsheet in the 17th century', Baden-Baden 1966, pl.72) the doctor is called Doctor Wurmbrandt (worm-burner).
Droeshout's version of the 1620s makes significant changes to the standard Continental type. The doctor (now, for some unexplained reason, labelled Panurgus) has lost his assistant, a fashionably dressed couple are added in the middle-ground, and there is a great deal of text added (completely transcribed in the British Museum catalogue of satires). The text makes it certain that the print has nothing to do with the scandal of the Countess of Essex and the Earl of Somerset, as was thought by the earlier literature from Granger onwards (although the woman does bear some resemblance to the Countess, see P.1,278). Panurgus was then interpreted as Dr Forman, who was alleged to have supplied the Countess of Essex with drugs to make her husband impotent. She thus obtained a divorce on the grounds of non-consummation and remarried her lover, the Earl of Somerset.
The manuscript license from the Restoration censor Roger L'Estrange (1616-1704) refers to the republication of this satire by John Overton in 1672, half a century after it was first issued. It is one of five such licenses which have so far been recorded. The others are the set of the Twelve Months by Robert Vaughan in the British Museum (169.b.1; Globe 548); a set of satires on marriage in the Folger Library (Globe 456); a portrait of Mother Louse in the British Museum (BMSat 797); and Hollar's titleplate for 'A new book of flowers and fishes' in Robert Harding's collection (Pennington 2063). All bear the same date, 28 October 1672, and all are publications by John Overton. Clearly Overton had submitted a pile of impressions from his old stock for approval on the same day, presumably in preparation for publishing his broadsheet catalogue which came out shortly afterwards (see Globe p.172). That so many survive implies that they all remained together in some archive for many years.

(Text from Malcolm Jones, www.bpi1700.org.uk, "Print of the Month", November 2006)
The subject of this extraordinary sheet is perhaps in essence a 'complaint on the times', a satire of universal folly in which a tripartite division of the realm into Cuntry, Citty & the Court is symbolised, respectively, by rude Rusticall being purged by the doctor on the close-stool, spruce master Cittyzsinne standing behind the Doctor, and the Gallant (i.e courtier) whose head is just entering the subliming furnace. But as the young man, prey to multifarious follies and devoted to fashionable fads and fancies, has long been the target of the moralists' especial wrath, and the saeva indignatio of the satirists, the follies of dissolute youth are what I take to be the principal subject of this puzzling sheet which, as Griffiths notes, 'has a complicated ancestry'.[1]

The costume of the figures would seem to date to the 1620s, and this agrees with the known dates of activity of the engraver, Martin Droeshout, who has signed the sheet with his monogram: MD sculpsit. The earliest state of the present print to survive, however, was probably issued in the 1650s, bearing Peter Stent's imprint alone, and is held in the Wellcome Institute collection.[2]

The composition derives from a print engraved by Matthaus Greuter, probably c.1600 (itself deriving from one of the emblems in the de Brys' hugely influential Emblemata Saecularia of 1596), which was issued in French/German and German-only editions, the former bearing the title Le medecin guarissant Phantasie Purgeant aussi Par drogues la folie [The doctor curing fantasies, and also purging folly with drugs]. But Droeshout made significant changes to his model, dropping the doctor's assistant, adding a richly-dressed couple, an inset panel in which two pluralists confront each other weighed down by the churches on their shoulders, and a great deal of explanatory text in the form of labels within the image-frame. 

Naming the wonder-working doctor Panurgus seems to have been Droeshout's innovation. Why? It is unlikely Droeshout had read Rabelais – most English intellectuals knew only the French author's name, which they used, like those of Aretino and Macchiavelli, merely as a hate-word. Panourgia is a medical term, and Galen uses it for 'adulterated or false drugs', and although the etymological sense of the name is neutrally 'all-work', later English usage similarly tended to interpret the term pejoratively as 'ready to do any work', i.e. including illegal things, as a criminal would be. Notwithstanding this, however, there is no doubt that in our print Dr. Panurgus is a positive figure, able to cure his patients, who come from all ranks of society - as the verses and the figures themselves make clear – of their manifold follies. Significantly, for dating purposes, the Latinate form of the name – which by itself suggests independence of Rabelais' creation - is known to have been used by two English writers in 1619 and 1623 only, and perhaps strengthens the case for an origin in the 1620s.[3]

From the copious inscription text I excerpt a few salient points.

Though concentrating on the foibles and follies of the gallant, who is by definition youthful, the verse makes clear that the Millions who resort to the Doctor come from Cuntry, Citty & the Court – i.e. that folly is no respecter of a person’s rank or origins. By his Waters Drugges ,Conserves & Potions, the Doctor purgeth fancies follies, Idle motions, many of which are detailed in the verses below the image, but also visualised in the phantasmagoria that escapes from the Gallants Fornace. The Doctor is currently pouring a dose labelled Wisdome and Understanding down the throat of a rude Rusticall who sits on a close-stool and through whom passe various animals and birds, including an ass, which is being milked by a man (in the German original only three little fools are excreted). The Doctor informs us that taking the Gallants Braine out and washing it had proved ineffective, but now, subliming his head in the furnace has yielded good Successe - in the form of the Strange Chimaera-Crotchetts visible in the smoke above. They are later referred to as both Projects and ayrie Castles - i.e. 'castles in the air', cf. from Burton’s contemporary Anatomy of Melancholy (1621): That castle in the ayr, that crochet, that whimsie[4] - and include cards, dice, backgammon-board, tobacco-pipes, violin, tennis, masks, feathers, plumed hat, swords, a dressed ape, a woman with a fan, a man teaching a horse to perform tricks, a bear-baiting, a boy flying a kite, a man with wings strapped to his shoulders (attempt at human flight? No Elizabethan/Jacobean candidate known to me, though doubtless they existed – for a while...), a man sliding down a rope from the tower of (Old) St. Paul's (a popular contemporary feat), jug and goblet, limed branch for bird-catching, a man walking a pair of hounds, and a fencer (with wings). Most of these are copied from the German original - the interest for us lies chiefly in those which were not, and which we may thus reasonably consider peculiarly English: they include the bear-baiting, the tobacco-pipes,[5] the St. Paul's rope-slider and the horse being taught tricks - perhaps intended to be William Banks and his celebrated horse 'Marocco'.[6]

To the well-dressed lady with her fan and pet squirrel on a lead the Doctor says,

Once (faire) I knew the tongues Phlebotomie 
Had powre to Cure your Sexes Maladie 
But now youre manly humors boile so highe 
That you must in the Gallants Fornace lye

which looks like a swipe at both the garrulity traditionally attributed to women, as well - interestingly - as evidencing a more contemporary Jacobean concern with manly women, as reflected for instance in the pamplet, 'Hic Mulier: or, The Man-Woman: Being a medicine to cure the Coltish Disease of the Staggers in the Masculine-Feminines of our Times' (1620). The verses claim she has even more wandring Crotchets than the gallant and lists them: 

Steelettoes[7] girdles patches painted brests
Points[8] powders feathers washes[9] & the rest
... Haire breath Complexions all are borrowed ware.

The similarly well-dressed gentleman the Doctor addresses mockingly as Sir Briske, spruce master Cittyzsinne, in which the last, clearly eccentric spelling is presumably to point up a pun, as if he embodies the City’s sin.[10] Though, like his lady, he looks more like a courtier than a tradesman – which has led to much complicated historical speculation, principally that the pair are the Countess of Essex and her lover the Earl of Somerset - the contemporary label identifies one of the ingredients of the potion the Doctor will administer as plaine dealing, and one of the things it will expel as couzening weights. But perhaps it is precisely part of this upstart citizen's presumption that, though a mere tradesman, he apes the dress of the gentry. In the probably contemporary sheet, The Common Weales Canker Worms or the Locusts both of Church, and States, the Merchant similarly says, I cosen these foure [i.e the four preceding characters] and his inset emblem is a pair of scales and a yardstick with the motto, libris et labris lucror furtiuis [I gain by fraudulent scales and measures], while in the verse beneath the engraving, he says, Ile ease your purses with a trick of skill/While mine with waights & measures false I fill. 

Inset into our engraving is a panel – seemingly not a later addition - depicting two divines confronting each other, both with churches on their backs which cause them to stoop, and one of whom carries a second church in his arms. It is tempting to suggest that the square frame in which these pluralists are depicted, and which appears to interrupt the composition, is a post-Droeshout interpolation, perhaps c.1642, when the motif was current (and which is also the earliest known date of Peter Stent’s activity as a print-publisher).[11]

It is captioned

Who bore two Churches & complaind of none 
Nowe being purged findes too much of one.

If this pluralists panel is original, however, we can certainly point to the existence of the iconographic motif this early, for it features prominently in The Mappe of the Man of Sinne issued in 1622. Indeed, it might provide a useful dating indication for the Panurgus print, as the Nowe of the caption perhaps suggests some topical ecclesiastical legislation. 

There may well be a 'quotation' from Doctor Panurgus in a print issued some fifty years later entitled 'The Committee; or Popery in Masquerade' (1680). This holds up the various nonconformist sects for ridicule, including the Quakers; they are depicted as constituting a committee listening to petitions from a dog, a horse, a man and a woman. To the left, the various victims of the Civil War appear in chains, while on the right, a Church of England priest is forced to vomit forth his living - a detail which may well owe something to the fact that its designer, Sir Roger L'Estrange, the most effective of the Tory propagandists at this period, was also the Restoration censor, and in that capacity had personally accorded Doctor Panurgus his imprimatur eight years earlier; indeed, the present impression (one of only two known) is signed and dated by him, 'Licensed October 28 1692, Ro. L'estrange'. 
FOOTNOTES
[1]. Antony Griffiths, The Print in Stuart Britain 1603-89 (London, 1998), pp. 146-8 (no. 91).  
[2]. This is based on the fact that it does not appear in his first, 1654 advertisement, but is listed in that of 1662 as 'One plat of Dr. Pennargus'. Griffiths was thus mistaken in thinking the British Museum's impression - in a state of 1672 - is the only one known.  
[3]. Just about everything known about Rabelais 'reception' at this period will be found in A.L. Prescott, Imagining Rabelais in Renaissance England (New Haven, 1998), especially pp. 86-102, 'Quicksilver Interlude: Panurge and Panourgia in England', though Droeshout's use of the name is missed.  
[4]. I. iii. i. ii. (1651 ed.), p. 187 (cited in Oxford English Dictionary s.v. castle); H. Jackson (ed.), Robert Burton, The Anatomy of Melancholy (London, 1972), p. 394.  
[5]. These first two, interestingly also figure together in the Itinerary of the German visitor, Paul Hentzner, writing in 1598, who notes in his description of bear-baitings that 'At these spectacles, and everywhere else, the English are constantly smoking the Nicotian weed, which in America is called Tobaca... and generally in this manner: they have pipes on purpose made of clay'- cited in W.B. Rye, England as seen by Foreigners in the Days of Elizabeth and James the First (London, 1865), p. 216.  
[6]. See J. Bondeson, The Feejee Mermaid and other Essays in Natural and Unnatural History (Ithaca, 1999), pp. 1-18. Banks and Marocco performing are the subject of a woodcut illustrating Maroccus extaticus (1595).  
[7]. i.e. daggers, not high heels! 
[8]. laces. 
[9]. for the complexion.  
[10]. The same equivoque occurs, for example in Dekker's Lanthorne and Candle Light (1608), sig. C2, in the court of Hell, The Cittizen is sued here and condemned for the Citty-sinnes (and Jonson, Poetaster (1601), II.i.122, Citi-sin). In relation to brisk , note also OED's definition of this sense 3 of the word: 'smartly or finely dressed; spruce', and three citations only, for the period 1590-1603.  
[11]. Later uses of the motif include two tracts published in 1642, 'Purge for Pluralities, shewing the unlawfulnesse of men to have two Livings, Or, The Downe-fall of Double Benefices', and 'A Remonstrance against the non-residents' - Milton referred to 'The non-resident and plurality-gaping Prelats' [Milton, Works (1851 edition), vol. 3, p. 307, cit. OED s.v. non-resident] in his Apollo Smectymnus published in the same year. It is also to be found on at least two single-sheets issued in 1681, The Protestant Mirrour, in proper Postures and Principles: Or, The Careful resident, and the Careless Non-Resident, and Non-residency and pluralities, justly exposed: or, The Pluralist and non-resident honestly and truly characterized.

(additional information)
June Schlueter argues on the basis of the form of the monogram that the engraver is not Martin Droeshout, but his father Michael (see 'Print Quarterly' XXVII 2010, pp.253-62).

Hi Kate. Here's a better copy of the Matthaus Greuter engraving c. 1600.

https://commons.wikimedia.org/wiki/File:A_surgery_where_all_fantasy_and_follies_are_purged_and_good_Wellcome_V0011656.jpg

 

Edited by Eric Roberts
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The great article shared by Kate talks about Emblemata Seacularia (1596) as the origin of "Le Médecin Guarissant".

https://commons.wikimedia.org/wiki/Category:Emblemata_Saecularia_(1596)#

800px-De_narrendokter_ARTE_MEA_CEREBRUM_NISI_SIT_SAPIENTIATOTUM_%28titel_op_object%29_Emblemata_Saecularia%2C_1596_%28serietitel%29%2C_RP-P-BI-5230.jpg

Emblemata Saecularia - Planche  44

ARTE MEA CEREBRUM NISI SIT SAPIENTIATOTUM

"By my art everyone's brain becomes wisdom"

I wonder if one element of Droeshout's Engraving could be, under the supervision of Francis Bacon, a reference to Emblemata Saecularia.

image.png.27e935069f5efd56c62ecd990eb7bde6.png

https://upload.wikimedia.org/wikipedia/commons/9/9d/"Doctor_Panurgus"_curing_the_folly_of_his_patients_by_purgat_Wellcome_L0023713.jpg?uselang=fr

Note the vestment that is different than the one in "Le Médecin Guarissant"...

image.png.d72db056d3097168c512c45c2e2277f6.png

https://commons.wikimedia.org/wiki/File:A_surgery_where_all_fantasy_and_follies_are_purged_and_good_Wellcome_V0011656.jpg

800px-Het_ongelijke_liefdespaar_DUCERET_UT_VETULAM_IUVENIS%2C_FACIT_AMPLACRAMEN_%28titel_op_object%29_Emblemata_Saecularia%2C_1596_%28serietitel%29%2C_RP-P-BI-5219.jpg

Emblemata Saecularia - Planche 33

800px-thumbnail.jpg

Emblemata Saecularia - Planche 29

800px-Drie_minnende_paren_in_kasteeltuin_SI_RECT%C3%89_MEMINI%2C_VITAE_EST_AMOR_ESCA_BEATA_%28titel_op_object%29_Emblemata_Saecularia%2C_1596_%28serietitel%29%2C_RP-P-BI-5191.jpg

Emblemata Saecularia - Planche 5

If I am right, the same kind of vestment appears in only 3 emblems of Emblemata Saecularia  : 33 , 29 , 5 

And still playing with numbers ...

33 = BACON

33 + 29 = 62 # F.B.

33 + 29 + 5 = 67 = FRANCIS

Once again, these are just some ideas that I share with you on the fly.

I know that it was kind of a clothing in fashion at that time, but in my view, the link with the numbers is interesting.

 

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image.png.b8c74f56d5551c745119c268cf9d3db8.png

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Thanks Eric. 
 

Yann, do any of these say Faith, Hope and Charity in a row? You can zoom in, it’s hi-res. I can see he’s pouring wisdom into the guy’s mouth and can also see virtue and reason. 

IMG_3769.jpeg.df2d9138b5851d96752013658ee78d21.jpeg

That link you posted https://commons.m.wikimedia.org/wiki/Category:Emblemata_Saecularia_(1596)#

Wow! There are some seriously weird images in there! 

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8 minutes ago, Kate said:

Thanks Eric. 
 

Yann, do any of these say Faith, Hope and Charity in a row? You can zoom in, it’s hi-res. I can see he’s pouring wisdom into the guy’s mouth and can also see virtue and reason. 

IMG_3769.jpeg.df2d9138b5851d96752013658ee78d21.jpeg

That link you posted https://commons.m.wikimedia.org/wiki/Category:Emblemata_Saecularia_(1596)#

Wow! There are some seriously weird images in there! 

Hi Kate ,

No, despite the fact that there are more "ingredients" (35) in "Le Medicin Guarissant" than in the Droeshout's engraving (26) Faith, Hope and Charity are just not there ! 🙂 Piety is there, this is the 3rd bottle ! 

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The fact is that the Tric Trac and the Deck of cards that we see in the Droeshout's engraving appear in the Emblem 44 of Emblemata Saecularia, but not in "Le Medicin Guarissant".

This is a good proof the persons at the origin of the Droehout's engraving were perfectly familiar with Emblemata Saecularia  and "Le medecin Guarissant".

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I think that I've just found another possible hidden meaning regarding one of the Ingredients ! 😊

In Doctor Panurgus, Francis Bacon's Councell is :

"A dosis Sir where the Ingredients be Religion Truth plaine dealing Honestie."

In "Le Medicin Guarissant" Truth and Plaine dealing are not there.

But "Honestie" is present ... almost in the middle (Mediocra).

image.png.00f393f188b4db0ad3a7bd8be0d71363.png

https://upload.wikimedia.org/wikipedia/commons/c/ca/A_surgery_where_all_fantasy_and_follies_are_purged_and_good_Wellcome_V0011656.jpg

Then I wondered if I could find Continency and Consideration.

I found "Consideration" that as if by chance is the 33rd Ingredient but not "Continency".

Instead of "Continency" we have "Contentment", that is not the same thing.

image.png.f1cee9e08a6f2228414695d118a70ed7.png

And guess what I found as I was looking for the meaning of Continency/Continence in the 16th century ? 😊

https://en.wikipedia.org/wiki/The_Continence_of_Scipio

undefined

https://en.wikipedia.org/wiki/The_Continence_of_Scipio#/media/File:Nicolò_dell'Abate_-_The_Continence_of_Scipio_-_WGA00015.jpg

SCIPIO AFRICANUS ... our TERENCE ! 🙂 

I think that we have to take it into "Consideration" ! 😊

 

 

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