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Read the latest articles about Sir Francis Bacon regarding his life and the evidence for Shakespeare Authorship.

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First Folio 400 Year Anniversary 1623-2023

By Francis Bacon Society

Dear Members,

8th November 2023

Today is a very special day in that it marks 400 years since the Shakespeare First Folio was first entered on the Stationers’ Register back on 8th November 1623.

To commemorate this milestone anniversary, The Francis Bacon Society has published a special edition of the society’s journal Baconiana edited by A Phoenix.

It features many contrasting areas of research created by 12 contributors from different parts of the world which makes it a truly international publication.

Baconiana is now available to read here:

Kind regards,

Susan McIlroy

The Francis Bacon Society


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The Secret Life and Writings of Francis Bacon in 39 Shakespeare Plays and Poems

by A. Phoenix.


The beginning, experience and the evolving circumstances of the life and mind of a poet and dramatist inevitably pours itself into all great works of art. It illuminates every sinew of its portraiture and canvas infusing it with an unmistakable emotional, psychological and intellectual DNA. If you truly know the man, his mind and acknowledged writings, his sublime incomparable poetry and drama written in the name of another is immediately apparent, emitting a brilliant light of truth that is at once unambiguous, compelling and certain.

The great philosopher-poet Francis Tudor Bacon was the eldest concealed royal son of Queen Elizabeth and Robert Dudley, Earl of Leicester and elder brother of their other royal son Robert Tudor Devereux. He was secretly adopted at birth by her Lord Keeper of the Realm Sir Nicholas Bacon and wife Lady Anne Cooke Bacon.

In his early years he spent his time growing up between the Bacon family estate at Gorhambury and York House on the Strand the official residence of his father Lord Keeper Bacon next to York Place, the royal palace of Queen Elizabeth. From an early age at the Elizabethan court, he grew up in the company of his royal mother and the nobility of the kingdom and those of other countries and states from all over the continent of Europe, surrounded by English and foreign ambassadors and diplomats, and all those great and learned minds the times had to offer. The majority of whom were astonished by the prodigious young man in their midst. It was said by one of his early biographers (who knew of what he spoke) at the age of twelve years old he possessed a mind that was even then beyond the capacity of his peers.

His royal antecedents profoundly engaged his all-encompassing mind and intellect which he afterwards drew upon for his Shakespeare English History Plays with eight of these covering the reigns of Richard II to Richard III whose defeat at Bosworth marked the union of the Roses and beginning of the Tudor dynasty ushered in by his great-grandfather Henry VII, about whom he wrote a celebrated prose history. This was followed chronologically by his Shakespeare play Henry VIII, with its famous scene depicting the birth of his mother Queen Elizabeth, about whom would, he says, in reference to himself, create an heir, who would make new nations, as the concealed Father of our Modern World.    

Following his return from France during which time Bacon had been involved in a great love affair with Prince Marguerite, the inspiration for Romeo and Juliet the greatest love story ever told, he was admitted to Gray’s Inn from where he wrote his early Shakespeare plays for which he drew upon his own personal experiences and circumstances.  With the scene in the Temple Garden in I Henry VI which portrays the beginning of the War of the Roses, with parts of 2 Henry VI located at St Albans, the location of his Gorhambury estate, blessed with St Albans Cathedral which he regularly visited, the final resting place of Humphrey, Duke of Gloucester, the dominant figure in the first three acts of the play. Then there was The Taming of the Shrew in which in its second version Bacon names it titular characters Petruccio and Kate, after the Bacon family scribe Petruccio Ubaldini and his aunt Katherine Cooke Killigrew, younger sister of Lady Bacon, with Petruccio’s father named Antonio, the Italian form of the name of his brother Anthony Bacon, two of whose household servant are named Nicholas and Nathaniel, after his elder half-brothers Sir Nicholas and Sir Natheniel Bacon (no I am not making this up!). Characters with the names of Anthony and Nathaniel also made appearances in Loves Labours Lost. With Anthony Bacon who repeatedly paid off the debts of his beloved brother Francis, the titular character of The Merchant of Venice in which its key characters Antonio and Bassanio mirror the relationship and circumstances of Anthony and Francis Bacon before, during and after the time of the play.

In the history play King John the royal Bastard Sir Philip Faulconbridge (F Bacon) is a portrait of its author the royal bastard Francis Tudor Bacon. The royal bastard child that Titania Queen Elizabeth and Oberon Robert Dudley, Earl of Leicester fight over in A Midsummer Nights Dream.  In As You Like It Rosalind, the daughter of Duke Senior also corresponds to Queen Elizabeth and Robert Dudley, Earl of Leicester shadows the figures of Duke Senior and Sir Rowland de Boys, with their son Robert Tudor Devereux reflected in the usurping brother Duke Frederick and the character of Orlando, youngest son of Sir Rowland de Boys. Dramatically disguised figures or allusions to Robert Tudor Devereux also appear in Henry V, Troilus and Cressida, Coriolanus and Antony and Cleopatra.

As one might expect he saved the best roles for himself not least the greatest of all Shakespearean roles, in a very personal tragedy that tells the tale of its author a disinherited royal prince Francis Tudor Bacon in the towering shape of Hamlet who is denied his rightful kingship by his mother Queen Elizabeth and the exhaustion and death of the Tudor dynasty. In Measure for Measure, he is the God-like Rosicrucian figure of Duke Vincentio one of the longest and most complex roles in the Shakespeare canon with the scientific-philosopher Prospero in the Tempest similarly a disguised dramatic portrait made in the image of his creator the scientific-philosopher Francis Tudor Bacon, the Founding Father of Modern Science and the Modern World.

With this and much more of the secret life and writings of Francis Bacon Tudor inserted by himself into his Shakespeare poems and plays, dispersed throughout the whole canon.

All of it for hundreds of years hidden in plain sight before our very own eyes.


The 1623 Shakespeare First Folio: Part 7

Part 7 of the latest masterpiece by A. Phoenix.

The Hidden Baconian Acrostics and Anagrams in the Shakespeare First Folio

1 Minute Trailer Secret Signatures in the Shakespeare First Folio


The Hidden Baconian Acrostics and Anagrams in the Shakespeare First Folio


The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the B’Hive Forum.

The 1623 Shakespeare First Folio: Part 6

Part 6 of the latest masterpiece by A. Phoenix.

To The Memorie of the deceased Authour Maister W. Shakespeare by Leonard Digges & and the Rosicrucian-Freemasonic Stratford Monument commissioned by Francis Bacon

1 Minute Trailer The Amazing Transformation of the Stratford Shakespeare Monument. . . 


To The Memorie of the deceased Authour Maister W. Shakespeare by Leonard Digges & and the Rosicrucian-Freemasonic Stratford Monument commissioned by Francis Bacon


The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the B’Hive Forum.

The 1623 Shakespeare First Folio: Part 5

Part 5 of the latest masterpiece by A. Phoenix.

To the memory of my beloued, The Avthor Mr. William Shakespeare signed by Ben Jonson

2 Minute Trailer Rare Ben Jonson

Honest Rare Ben Jonson is the star witness for the Stratfordians who claim he was no liar and would not have been party to any deception where in fact the very opposite is demonstrably the case.

The evidence revealed in this article reveals that the great Ben Jonson the lover of ciphers, anagrams, and the art of ambiguity participated in the most remarkable literary ludibrium (a veritable comedy, farce, illusion, etc) in the history of humankind, that the illiterate/semi-illiterate William Shakspere of Stratford was Shakespeare, the greatest poet and dramatist of all time.

By his own admission Ben lied when the circumstances demanded it and Professor Riggs states that he frequently ‘gulls his audience, but Jonson’s falsehood has the capacity to educate as well as to delude.’
Honest Ben Jonson was completely capable of secrecy and ambiguity and in his epistle addressed to his beloved author in the First Folio, he repeatedly conveys to us that his confidante and Rosicrucian brother Francis Bacon is our Secret Shakespeare.

This gives lie to the Stratfordian fraud maintained and perpetrated by orthodox Shakespeare scholars who directly and indirectly benefit from the transparent deception that William Shakspere wrote the Shakespeare works.



To the memory of my beloued, The Avthor Mr. William Shakespeare signed by Ben Jonson


The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the B’Hive Forum.

The 1623 Shakespeare First Folio: Part 4

Part 4 of the latest masterpiece by A. Phoenix.

The Dedication to the ‘Incomparable Paire Of Brethren’ and the address To the great Variety of Readers signed in the names of Heminges and Condell

1 Minute Trailer – The Men Who Gave us Shakespeare?

The whole bedrock of the Shakespeare First Folio is predicated on the illusion that seven years after the death of William Shakspere of Stratford his acting friends John Heminges and Henry Condell edited the First Folio and wrote its dedication to William and Philip Herbert and the address to The Great Variety of Readers, to which their names are signed. This was originally all part of the charade created by Bacon and his divine Rosicrucian-Freemasonry Brotherhood to conceal his true authorship behind the mask of William Shakspere. Of course, Heminges and Condell, did not organise and oversee the enormous enterprise and production of the First Folio, and nor did they write the two epistles to which their names are attached.

Yet even though this now self-evident absurd nonsense has long and repeatedly been exposed for what it is, this false and fraudulent narrative is still perpetrated by mainstream biographers of William Shakspere of Stratford and Stratfordian authors of books on the Shakespeare First Folio, to the present day. All safe in the knowledge the ordinary schoolmen, the casual student and virtually the rest of the world at large, remain ignorant of this central Stratfordian falsehood and lie that Heminges and Condell oversaw the enterprise of the First Folio as a tribute to their fellow actor William Shakspere.

This, despite the fact, that other overlooked and ignored Shakespeare editors and academics in less well-known or accessible publications have long maintained that Heminges and Condell only lent their names to the vast enterprise and that the two epistles signed in their names were most likely written by Ben Jonson. This is all but ignored by modern so-called Stratfordian authorities because when the false and fraudulent fiction that Heminges and Condell oversaw the production of the First Folio is exposed for what it really is it begs the key critical question just who were responsible for producing it behind a wall of silence and secrecy?

The answer to the question is, the production of the 1623 Shakespeare First Folio was organised by its author Francis Bacon and his Rosicrucian-Freemasonry Brotherhood from his country estate at Gorhambury assisted by his good pens including its editor and contributor Ben Jonson who was living with Bacon at the time it was progressing through the Jaggard printing presses. The actors Heminges and Condell did no more than allow their names to be associated with the Shakespeare First Folio and it was Bacon and Jonson who were responsible for producing and composing the two epistles signed in their names. As will be seen, Heminges and Condell did not participate in the production of the First Folio which removes the central plank of the Stratfordian fiction that William Shakspere wrote the Shakespeare works.



The Dedication to the ‘Incomparable Paire Of Brethren’ the Grand Master of England William Herbert, Earl of Pembroke and Philip Herbert, Earl of Montgomery




To the great Variety of Readers signed in the names of Heminges and Condell


The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the B’Hive Forum.

Shakespeare Authorship Question: Unravelling the Mystery

Who wrote the plays and why?

by Kate Cassidy

In 1621, Sir Francis Bacon celebrated his 60th birthday. His close friend Ben Jonson penned a tribute poem that hinted at a mysterious achievement. “Hail, happy Genius of this ancient pile! How comes it all things so about thee smile? The fire, the wine, the men! and in the midst, Thou stand’st as if some Mystery thou did’st!”

Jonson’s cryptic words suggest Bacon had accomplished something monumental, yet undisclosed.

The Baconian belief is that this “mystery” relates to the authorship of the Shakespeare plays and sonnets. On’s What’s New we feature a fascinating article by Kate Cassidy, which will be of interest to those who are completely new to the authorship question, and to anyone who wishes to understand why Bacon would have written the works in Shakespeare’s name and concealed his involvement.

The 1623 Shakespeare First Folio: Part 3

Part 3 of the latest masterpiece by A. Phoenix.


1 Minute Trailer The Secret of the Droeshout Mask

To the present day the life of Martin Droeshout the enigmatic engraver of the Droeshout engraving prefixed to the 1623 Shakespeare First Folio is completely shrouded in secrecy and mystery. The silence is deafening. What could be the reason for all this secrecy and silence?

The key central reason is the Droeshout engraving on the title page of the Shakespeare First Folio is a mask behind which its concealed author Francis Bacon is hidden in plain sight, which when removed reveals the truth behind the Rosicrucian-Freemasonic illusion and ludibrium that the illiterate/semi-illiterate William Shakspere was the author of the greatest literature in the history of the world.

Modern orthodox Shakespeare scholars have conspired in an enormous fraudulent conspiracy and very deliberately lied to the world about the so-called incompetence of its engraver Martin Droeshout to maintain the fiction and illusion William Shakspere wrote the Shakespeare plays.

The key elements of any fraud are very often simple and relatively easy to achieve and execute. The orthodox fraudulent Stratfordian scholar has numerous tools at their disposal. Firstly, they are simply able to take advantage of the trust of their naive uncritical readership who are easily persuaded by a perceived authoritative figure or so-called expert with the accompanying title of professor whose works are published by a prestigious university press. Pitifully, this itself is usually sufficient. Or alternatively, in the face of irrefutable facts and evidence the common response of orthodox Stratfordian scholars is either to simply maintain a wall of silence, or resort to crude systematic suppression and omission. Then there is their well-practiced method of arbitrary distortion and dismissal. Not forgetting of course, the blunt instrument of downright lies and mendacity, all of it skilfully woven into their false, deceitful, and fraudulent narratives.

For centuries the Stratfordian authorities have misled and lied to the world about the one critical fact literally staring us all in the face-the Droeshout engraving is very obviously and irrefutably a mask. The reason why they have repeatedly lied to the world and denied it is a mask is because it would immediately expose the illusion William Shakspere of Stratford wrote the Shakespeare works which in a single devastating and catastrophic stroke would bring the whole fraudulent Stratfordian edifice crashing down all around them.

The secret relationship which has remained hidden for centuries between Francis Bacon and Martin Droeshout the engraver responsible for the iconic image that adorns the title page of the 1623 Shakespeare First Folio is here revealed for the first time, bringing out of the shadows into the brilliant light of day, our sublime poet-dramatist concealed behind the Droeshout mask, exposing and collapsing the greatest literary fraud of all time.



The Title Page and Droeshout Mask of the 1623 Shakespeare First Folio Concealing its Secret Author Francis Bacon




To The Reader Prefixed to the Shakespeare First Folio Opposite the Droeshout Mask signed with the initials B. I. for Ben Jonson


The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the B’Hive Forum.

The 1623 Shakespeare First Folio: Part 2

by A. Phoenix

Francis Bacon and his Rosicrucian brother Ben Jonson Editor of the 1623 Shakespeare First Folio

Part 2 of the latest masterpiece by A. Phoenix.


Francis Bacon and his Rosicrucian brother Ben Jonson Editor of the 1623 Shakespeare First Folio


The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the B’Hive Forum.

The 1623 Shakespeare First Folio: Part 1

by A. Phoenix

The 1623 Shakespeare First Folio: A Baconian-Rosicrucian-Freemasonic Illusion.

Part 1 of the latest masterpiece by A. Phoenix.


Francis Bacon His Rosicrucian Brotherhood & Literary Mask William Shakspere


The entire book by A. Phoenix will be shared over the coming weeks and the discussion will continue on the B’Hive Forum.

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The 1623 Shakespeare First Folio: A Baconian-Rosicrucian-Freemasonic Illusion

by A. Phoenix

Announcing The 1623 Shakespeare First Folio: A Baconian-Rosicrucian-Freemasonic Illusion. The book is available at

Coming in at 404 pages we are also publishing selected chapters as smaller stand alone papers with accompanying videos. Each paper and video will concentrate on a selected facet of the 1623 Shakespeare First Folio.

Follow the discussion on the B’Hive Forum here on


On the 400th anniversary of the publication of the First Folio, The 1623 Shakespeare First Folio: A Baconian-Rosicrucian-Freemasonic Illusion uncovers and reveals unknown and untold secrets about the greatest work of literature in the history of humankind. Here for the first time, it brings forth the hidden and concealed connections of its secret author Francis Bacon and his Rosicrucian-Freemasonry Brotherhood with all the key members involved in its production, printing, and publication. It explores his hidden relationships with its printers William and Isaac Jaggard, and the other members of the First Folio consortium, John Smethwick, William Aspley, and its publisher Edward Blount. It is almost universally unknown that its dedicatee William Herbert, Earl of Pembroke was at the time of its dedication Grand Master of England, one of half of the ‘Incomparable Paire Of Brethren’, with his brother Philip Herbert, Earl of Montgomery, whose joint open and hidden relationships with Bacon went back decades. The other important critical member in the production of the 1623 First Folio was its editor and contributor of its two verses Ben Jonson who at the time the Folio was making its way through the Jaggard printing presses was living with Bacon at Gorhambury, where he was at the heart of the secret plans for bringing together this vast and complex enterprise.

The Droeshout engraving on the title page of the most famous secular work in English history is iconic and recognised the world over as the contemporary face of William Shakespeare the greatest poet and dramatist of all time. In strikingly marked contrast virtually nothing is known about Martin Droeshout the draughtsman responsible for the most recognisable literary image since time immemorial. A remarkable level of secrecy still surrounds his private life, friends and the social and professional circles he moved in, even though he self-evidently knew some of the most important figures in Jacobean England and moved in the highest circles of his times. This man who for the first thirty-three years of his life lived in the heart of London has scarcely left any documentary trace of his existence akin to him having been deliberately expunged from the records. To the present day his whole life is completely shrouded in secrecy and mystery. The silence is deafening. What could be the reason for all this secrecy and silence? The key reason is the Droeshout engraving on the title page of the 1623 Shakespeare First Folio is a mask behind which its concealed author Francis Bacon is hidden in plain sight, which when lifted reveals the truth behind the Rosicrucian-Freemasonic illusion and ludibrium that the illiterate/semi-illiterate William Shakspere of Stratford was the author of the greatest literature in the history of the world. This illusion revealed, with one devastating stroke brings the whole Stratfordian fiction crashing to the ground.

For the first time, The 1623 Shakespeare First Folio: A Baconian Rosicrucian-Freemasonic Illusion conveys an explosive secret in making known the concealed and hidden relationship between Francis Bacon and Martin Droeshout which has been suppressed for the last four hundred years. Their secret relationship is encapsulated in an earlier Droeshout engraving titled Doctor Panurgus (c. 1621) wherein one of its central figures is a depiction of Francis Bacon replete with a series of clues and indicators to confirm it.

The figure of Bacon in the Dr Panurgus engraving by Droeshout dating from the early 1620s is drawn from life, which points to Bacon sitting for it at Gorhambury. The complex engraving has clearly been carefully planned and must have involved Bacon giving Droeshout instructions and further directions that over a period of time necessitated numerous revision and amendments, not unlike the Droeshout in the First Folio, which exists in three known states, showing close attention to minor details as well as slight changes made to various aspects of it. This process was taking place around the time Bacon was planning and preparing his Shakespeare plays for the Jaggard printing house during the years 1621 to 1623 when it is likely that Droeshout made numerous visits to see Bacon at his country estate at Gorhambury where he was most likely residing for periods with Bacon and Ben Jonson as part of his entourage of good pens and other artists that made up his literary workshop.

The work also lift the veil of secrecy surrounding the hitherto unknown relationships between Francis Bacon and the other little-known figures Hugh Holland, James Mabbe and Leonard Digges who contributed verses to the 1623 Shakespeare First Folio. Particularly, Bacon’s relationship with Leonard Digges, whose father Sir Nicholas Bacon was the special patron of his grandfather and father Leonard Digges and Thomas Digges, the poet whose verse prefixed to the First Folio refers to the Stratford Monument, which is adorned with Rosicrucian-Freemasonic symbols and Baconian ciphers, secretly commissioned by Francis Bacon and his Rosicrucian-Freemasonry Brotherhood.

It is little known that the 1623 Shakespeare First Folio contains a series of special Baconian-Rosicrucian-Freemasonic AA and Archer headpieces cryptically incorporating the monogram of Francis Bacon and in the case of the latter spelling out his name F. Bacon. Across the address by Ben Jonson in the First Folio ‘To the memory of my beloued, The AVTHOR Mr. WILLIAM SHAKESPEARE: AND what he hath left vs’, written during the period he was living with Bacon at Gorhambury, appears the Freemasonic Seven Set Squares headpiece, indicating to other members of the Brotherhood that Bacon was the concealed author behind the pseudonym Shakespeare and the secret Grand Master of all Freemasons who rules by the Square, with ‘what he has left vs’, alluding to the secret Freemasonic system left to the world for the future benefit of humankind. Beyond the fact that the Freemasonic Seven Set Squares appears over the Ben Jonson address in the Folio, the same headpiece appears numerous times throughout the volume over the following Shakespeare plays: The Merry Wives of Windsor, Much Ado About Nothing, A Midsummer Night’s Dream, As You Like It, Twelfth Night, King John, I Henry IV, 2 Henry IV, Richard III, Henry VIII, Romeo and Juliet, Timon of Athens and Hamlet.

In addition to all the above cryptic devices secretly inserted by Bacon in the Shakespeare First Folio there are also many remarkable and astonishing references and allusions to himself and members of the Bacon family, which for four hundred years have remained unfamiliar or unknown to the ordinary schoolmen, the casual student, and effectively the rest of the world. These include references and allusions to himself in several different plays where the character is in some instances named Francis and similarly where characters are named after his three brothers Sir Nicholas Bacon, Sir Nathaniel Bacon, and Anthony Bacon. Similarly in the First Folio there are references and allusions to his father and mother Sir Nicholas and Lady Anne Cooke Bacon, her sisters Lady Katherine Cooke Killigrew, Lady Elizabeth Cooke Hoby Russell and her husband John, Lord Russell, Lady Mildred Cooke Cecil and her husband William Cecil, Lord Burghley, as well as their offspring (Bacon’s cousins) Thomas Posthumous Hoby and Sir Robert Cecil, and the son of their brother William Cooke, named after his father, Bacon’s other cousin, known as William Cooke of Highnam Court in Gloucester.

In recent times a very substantial body of academic literature has been produced by orthodox critics and commentators surrounding the subject of Shakespeare and anagrams. Individually and collectively these writings illustrate and determine that not only was Shakespeare, the greatest poet of his age, but he was its greatest anagrammatist. In the First Folio Bacon secretly inserts numerous acrostics and anagrams confirming his authorship among them: I AM FRA[NCIS] BACON, FRANCIS BACON, FRAN [CIS] BACON, F BACON, BY ONE BACON, BY BACON, and BACON.

The Shakespeare First Folio embodies the philosophy and teachings of Freemasonry and contains overt and covert references and allusions to its secret practices, protocols, and customs. It is intimately familiar with knowledge of its degrees of initiations, and the constitution, rules, and regular workings of the Lodge. It is also familiar with the language and terminology of the Freemasonry Brotherhood, its secret signs, handshakes, and other forms of greetings and identification. It is most importantly saturated with the grand philosophical scheme of Bacon to regenerate the world and unite humankind into a truly global society based upon peace and love, the declared aim of his Rosicrucian-Freemasonry Brotherhood, to bring about over time the Universal Reformation of the Whole World.

Review of N. B. Cockburn, The Bacon Shakespeare Question: The Baconian Theory Made Sane (1998): A Classic Worth Reprinting

by Christina G. Waldman

1998 does not seem so long ago to me. That was when N. B.Cockburn, late British barrister, devoted 740 pages to setting forth his evidence in favor of Francis Bacon’s authorship of the works traditionally attributed to “William Shakespeare,” based largely on that name/pseudonym’s being printed on the title page of the 1623 First Folio. Barry R. Clarke (Francis Bacon’s Contribution to Shakespeare (New York: Routledge, 2019)), Brian McClinton (The Shakespeare Conspiracies, (Aubane: Aubane Historical Society, 2006 and Belfast: Shanway Press, 2008)), and other authors, including myself, have acknowledged their debt to Cockburn. Mather Walker has previously reviewed the book for which prints in full its table of contents.

Read more: Download PDF

Brian McClinton critiques writers with a bias against Bacon

Thanks to Christina Waldman for pointing out Brian McClinton critiques writers with a bias against Bacon
Saving Bacon 4

Brian McClinton’s letter, Sept. 27, 2005, in Prospect Magazine, Nov. 20, 2005.

27th September 2005

In his travesty of the character and ideas of Francis Bacon, Terence Kealey describes him as an “unusually unpleasant” man “who collected… many bribes.” On the contrary, JG Crowther demonstrates (Francis Bacon: The First Statesman of Science, 1960) that Bacon was “fundamentally incorruptible.” Indeed he was almost alone among leading politicians in not paying James I for his offices and promotions. Nieves Mathews in Francis Bacon: The History of a Character Assassination (1996), argues that he was completely innocent of the charges of bribery and that writers such as Macaulay were themselves guilty of slandering Bacon’s reputation and unfairly influencing later generations.

The best judges of Bacon’s character are those nearest to him. To his apothecary Peter Boener he was “a noteworthy example… of all virtue, gentleness, peacefulness, and patience.” To his editor Rawley, “if [ever] there were a beam of knowledge derived from God upon any man in these modern times, it was upon him.” Aubrey tells us that “all that were great and good loved and honoured him.”

As for his ideas, Kealey completely misrepresents his whole philosophy. Bacon’s lodestar was not power, as he suggests, but truth. He spells it out himself in his beautiful Proem: “For myself, I found that I was fitted for nothing so well as for the study of Truth; as having a mind nimble and versatile enough to catch the resemblances of things (which is the chief point), and at the same time steady enough to fix and distinguish their subtler differences; as being gifted by nature with desire to seek, patience to doubt, fondness to meditate, slowness to assert, readiness to reconsider, carefulness to dispose and set in order; and as being a man that neither affects what is new nor admires what is old, and that hates every kind of imposture. So I thought my nature had a kind of familiarity and relationship with Truth.”

In other words, Bacon’s “method” is as provisional as that of Popper, who completely misrepresents him. If modern science is based upon the presumption of error and fallibility, then Bacon remains its true trumpeter. Nor did he rely only on induction, as Kealey implies, for he insisted on a continual interchange between theory and experiment. When he wrote that “knowledge itself is power” he meant not worldly success or useful technology but the proof of scientific theories: “Human knowledge and human power meet in one; for where the cause is not known, the effect cannot be produced. Nature to be commanded must be obeyed; and that which in contemplation is as the cause is in operation as the rule” (Novum Organum). In short, only by making nature act in a certain way—exercising power—can we be sure that we understand how it does act, and only by knowing that can we control it. Bacon realised that science could be useful for the good of mankind but he also believed in knowledge and work for their own sake as “pledges of truth.”

Finally, Kealey goes off the rails altogether in his paean to private funding of science. It was the co-operative and collaborative nature of scientific discovery that concerned Bacon, not the issue of the state’s role.

Frankly, it is a puzzle why so many writers in England persistently misrepresent one of the world’s greatest geniuses. Most of them would improve their scholarship if they read Bacon himself instead of parroting his unreliable commentators.

Brian McClinton, Author of
The Shakespeare Conspiracies : Untangling a 400 year Web of Myth & Deceit.

Lisburn, Northern Ireland
Academic journals

26th September 2005 Letters.

The Play That Solves the Shakespeare Authorship Mystery

A book by Don Elfenbein


One reader of, Don Elfenbein of Morgantown, West Virginia, has recently self-published, through Lulu Press, a short print-on-demand book entitled The Play That Solves the Shakespeare Authorship Mystery: The Allegory of Francis Bacon’s Natural Philosophy in The Tempest.

Click here to read the PDF version.

This essay gathers together and documents a number of incontrovertible but little-noticed facts that speak Shakespeare’s true name loudly and clearly.

Written for general readers and scholars alike, the essay systematizes and extends the investigations of the pioneering researchers who first published, more than a century ago, the provocative contention that The Tempest allegorizes a body of Baconian thought. It demonstrates that fourteen elements of this play having to do with the magus Prospero, the spirit Ariel, and the witch Sycorax resemble and represent fourteen of Bacon’s natural-philosophical ideas, several of which are peculiar to him. Those ideas include not only the general methodological prescriptions for which Bacon is famous but also his unique and largely forgotten conjectures about the inner workings of nature.

These numerous and striking parallels between elements of the play and elements of Bacon’s philosophy, the author argues, together constitute persuasive proof that Bacon wrote this celebrated drama.

Don is a researcher and former law professor who has been interested in the Baconian theory since the 1970s. He is eager to discuss his study with anyone who is interested in examining it and perhaps offering him comments, corrections, or suggestions.

A printed copy of the essay can be ordered from the Lulu Press bookstore:The Play That Solves the Shakespeare Authorship Mystery

The Play That Solves the Shakespeare Authorship Mystery

Don’s email address is

UPDATE: June 1, 2023:


FBS: Shakespeare, aka Sir Francis Bacon – Sir Mark Rylance and Gary Cordice

Video by the Francis Bacon Society

Shakespeare, aka Sir Francis Bacon – Sir Mark Rylance and Gary Cordice celebrate his legacyShakespeare, aka Sir Francis Bacon – Sir Mark Rylance and Gary Cordice celebrate 463 years of his legacy within world culture at his birthday bash in 2023 at the Royal Airforce Club, London  The Francis Bacon Society provides a platform for discussion of subjects connected with the Objects of the Society, but the Council does not necessarily endorse the opinions expressed by contributors or correspondents.  We welcome members of the public to pitch suitable videos they have made or will make which can be uploaded to the Francis Bacon website and/or YouTube Channel. Please contact us at 


Did Francis Bacon really die on April 9, 1626?

by A. Phoenix is excited to share the following work by A. Phoenix on Easter Sunday April 9, 2023 on the anniversary of Bacon’s “passing” on Easter Sunday April 9, 1626.

Did Francis Bacon die in 1626 or Feign his Death with the help of his Rosicrucian Brotherhood?

Join the discussion on the B’ Hive Community Forum!

Baconamania at Greenwich – April 14, 2023

The Francis Bacon Society established in 1886 will be celebrating it’s 137th anniversary on April 14th. If you would like to attend this special event see the information below. If you want to know more about the Francis Bacon Society visit

Friday 14th April Diana and Gary Invite you and your guests to: 


In the dawning of this new age,
Baconamania is all the rage,
Come and meet not just this sage,
Other Knights who went from light to shade.

It is the birthday of prophet Bacon,
Time to rattle chains and to take on
This tour of paintings to you inspire
In the company of certain Knights of the sacred empire.

Come and hear brave stories to incite ire,
Hear what led their fortune to expire,
Then to the tavern we will retire,
Over a cold brew and a cosy fire.










No later than Tuesday 11th April


33 Quotes by Sir Francis Bacon on Poetry, Drama & Theatre

by A. Phoenix

There is a generally held belief that Francis Bacon the serious legal, philosophical and scientific mind had no time for or interest in poetry, drama and the theatre. Nothing could be further from the truth. His works of law, science, philosophy, literature, essays, personal letters and even legal charges are permeated throughout with theatrical metaphors and allusions revealing his extensive and profound interest in poetry, drama and the theatre.

39 Great & Rare Quotes about Sir Francis Bacon

by A. Phoenix

Here’s the next short quote video about the Great One dedicated to Lawrence in celebration of 25 wonderful years of♥️♥️

39 Great & Rare Quotes by Sir Francis Bacon

by A. Phoenix

Following on from Lawrence’s great idea we are going to do a series of short quote videos on and about the Great One. Here’s the first one. We wish to dedicate it to Lawrence in celebration of 25 wonderful years of♥️♥️


25 Years of

By Rob at Light-of-Truth

I am tickled I met Lawrence before was live. He added me as yet another Baconian to his vast list of new Baconians even before he had a website!

It was part his dynamic personality. Dude has energy, and it is contagious. Plus the subject matter is fascinating. For we Baconians thanks to Lawrence, it is as if Bacon is reaching out to all of us today and select individuals like Lawrence Gerald are Bacon’s angels merely handing a thread here and there to allow Bacon to jump in. Laugh as you wish. But I am “just sayin’“.

I knew when I saw the Bacon portrait in their hallway that my life just took a turn, then I met Lawrence to solidify it. launched on October 10, 1997. I visited Lawrence a few weeks later in 1997. What a thrill to see and participate in the creative artwork and hear what articles were pending. It was like a dam broke and a Baconian flood of information was let loose.

It was.

I could go on and on, and I do on the B’Hive often. became a Baconian bulldozer against all odds. Now 25 years of changing lives and connecting Sir Francis Bacon to new friends.

But what I have created is an intimate friend to friend silly video of a ton of old images from that possible only me, Lawrence, and Bacon himself would recognize them all. 😉

Lawrence, congratulations on 25 Years of

With much Love I hope you enjoy!

NOTE: Most of these images are very low resolution. HD is not possible, watch small. 😉



Happy 25th Birthday with eternal Love and Thanks!

By A. Phoenix

When many years ago we first came across we were simply astonished and amazed at the sheer weight of material on the site covering an enormous range of articles and books relating to Francis Bacon and Shakespeare-it was like arriving in a Baconian heaven. To have access to all this material (much of it very rare and inaccessible) gathered together in a single repository represents an unrivalled and incomparable gift to Baconian scholarship and anyone interested in the life and writings of Francis Bacon. For us it was always the first port of call for all things Baconian. All of the Baconian world owes an enormous debt and everlasting gratitude to its founder Lawrence Gerald not only for founding but also for his unstinting love, enthusiasm and support for us fellow Baconian travellers.

This year 2022 saw the inauguration of the B’Hive forum on with fellow companion Rob Fowler at the Baconian helm which provides a public platform for interaction and discussion on all aspects relating to Baconian-Shakespearean scholarship. The B’Hive forum has the added benefit of encouraging and generating new and brilliant discoveries and new areas of research which is evidenced on an almost daily basis from the efforts of its remarkable and innovative contributors. The B’Hive forum is a wonderful ground-breaking innovation to the website and a platform for the Baconian community which reaches out to the four corners of the globe.

Thanks to Lawrence and Rob,, the greatest Baconian-Shakespearean website in the world, will shine a light in perpetuity. Lord Bacon would be very proud of what you have achieved for the benefit of lovers of truth all around the world.

Happy 25th Birthday with eternal Love and Thanks!

The Phoenixes

What Francis Bacon Means to Me

What Francis Bacon Means to Me
By Christina G. Waldman
October 4, 2022

Francis Bacon knew the power of a metaphor, the ability of a story to teach and convey truths. A visionary, he saw through time and attempted to steer the course of history from his “helm” four hundred years ago. My interest in Shakespeare authorship ties in with an interest in legal history that began for me around 1980 with reading Mark Edwin Andrews’ book, Law versus Equity in The Merchant of Venice: A Legalization of Act IV, Scene 1 (Boulder: University of Colorado Press, 1965). The concept of equity as a component of law is one that truly concerned Francis Bacon and should concern all who care about a definition of justice that includes fairness.
Although planted years earlier, my interest in legal history started to bloom when I began researching for my book, Francis Bacon’s Hidden Hand in Shakespeare’s The Merchant of Venice: A Study of Law, Rhetoric, and Authorship (New York: Algora Publishing, 2018). This research began as a book review at Lawrence Gerald’s suggestion. The historical relationship between rhetoric and equity is fascinating. It can be traced back to the ancient Romans, at least. Like the Roman God Janus which faces forwards and backwards, prudence going forward requires a knowledge of past events and accumulated wisdom. These concepts Bacon taught, for example, in his “Wisdom of the Ancients.”

I believe part of the significance of “Plus Ultra” is that, like a ship’s captain adjusts course in response to new information, so, too, must researchers be willing to consider each “fact” a hypothesis subject to modification by new evidence. That is the major problem I see with considering the case closed in favor of William Shaxpere of Stratford (to whom the works of the poet dramatist published under the name of “William Shakespeare” have been traditionally attributed). While humanity exists, the case for knowledge and truth can never be closed.

Bacon was also interested in the interpretation of dreams, in ways of knowing which cannot be explained logically that involve the unconscious. “There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.” He himself had had the prophetic dream of his father’s house being plastered over in black mortar, at the time of his father Sir Nicholas Bacon’s death, while he was overseas in France in his youth.

Francis Bacon tried to show humanity the way to think clearly, to recognize the “four idols,” and to know the difference between fact and fiction, between appearance and reality, and to learn to read between the lines. Poetry is an important tool in stimulating the full use of human capabilities. Bacon was big on contrasting opposites. In the juxtaposition of two opposites, one may see each thing being compared more clearly in contradistinction. The theatre is a good example of a juxtaposition of the opposites of appearance and reality (stage and audience). Bacon realized the teaching value of the theatre. He praised the Jesuits’ use of it.

My interest in Shakespeare authorship has led me into a desire to better understand Bacon’s teachings and wisdom. It has also given me a way into understanding the Shakespeare plays better.

Bacon’s writing is eloquent, beautiful in the way that the King James Version of the Bible is beautiful. The English language is what it is today because of Bacon, “Shakespeare,” and the King James Version (KJV) of the Bible. In fact, there is evidence that King James did give the KJV over to Bacon for final editing before it saw publication.

The past holds many secrets. Some might argue, what possible good can come of unearthing some of these secrets? But I would say, we should be building history upon a solid foundation of truth, not on shifting sands (as Jesus taught by parable in the Bible). Bacon also recognized that to enter the Kingdom of Heaven one must become as a little child (as Jesus also taught in the Bible).

I am extremely grateful to all at for giving me the tools and encouragement to start out on an adventure of Baconian exploration that has greatly enriched my life. Plus Ultra!


By A. Phoenix

The central alchemical theme of The Chemical Wedding is the path of transformation that is the transformation of the individual and collective consciousness of the whole wide world. Its interior text with its complex code of signs and symbols and other arcana explores an allegorical path of initiation into the consciousness of the higher self on a spiritual quest of enlightenment. It is the key work of the Rosicrucian Brotherhood founded by Lord Bacon and today Day 287 (kay cipher for Fra Rosicrosse) we have a double Chemical Wedding of celebrating the 25th anniversary of founded by Lawrence Gerald along with his companion Rob Fowler who have themselves for the last twenty-five years been on a spiritual quest of enlightenment which we fellows Baconians have been honoured and privileged to have travelled some or all of the way with them.



Kindest Regards and Thanks for Your Great Website Lawrence

By Julie Kemp

Francis Bacon opened my heart and mind (Geminis indeed) when i read a book of faction about his earliest days and what delivered him to his grand gestalt. Somehow the tragedy of his mother’s rejection of him especially with regard to declaring the truth of so much ‘background’ and heritage moved me to some very emotional weeks about 7 years ago.

My personal context at that time was consumed by caring for, then living with my late widowed mother who died in December 2017. I had retired from professional nursing to attend to this role which i sensed would be slightly disconcerting for us both but i could not bear to be nursing others in my state’s capital city whilst Mum was clinically depressed and alone in a country town. Soon i saw Mum come to laugh and enjoy her TV viewing as i had never seen her do before. Initially i was stunned and stung by the mirth and laughter i heard from her bedroom one night – but i did quickly move to enjoy her reactions and fostered such. My sister too came to see this and told me she thought it was a good thing all was working out so well. Of course my ‘buttons’ were pressed but gently so – it alerted me to just how things do pass on down in families. I sought some counselling with a local psychologist who i have come to admire for her poignant and incisive grasp of things! My own sense of childhood losses, stern discipline and lack of connection came into sharper focus. My genealogy work beginning in 2005 also assuaged heartaches and losses which had given me room to digest fresh insights into family and contexts and how we can get stuck within ourselves and not live the life it’s said we came here for.

So i had lots of ‘hangups’ early on and being the eldest (of four siblings) was one of them! I never married although i could have had i dared to trust and like myself. After years of many hard times mixed with the joys of some international travels, obtaining a university degree in 1983, followed by working in the performing arts as a secretary for several years i returned to professional nursing. In the 90’s i ventured into mental health nursing training and sought my own psychotherapy with the author of the book above alluded to, although at that time i was not involved in getting to ‘know’ ‘Shakespeare’. However many years later i consulted with the psychiatrist again and his 2012 book was on his secretary’s counter. Being told it was a book of fiction, a sort of ‘wisdom’ tale that dealt with Queen Elizabeth I, i was intrigued as i wanted some different reading material and i had had some past life regression (1 session only) which featured this lady!

It took a year before i started reading ‘The Way of the Quest’ by Dr, George Blair-West. It took me back to my young days of reading beloved fables and was rapt; it did though help to get back in touch with my ‘sense of injustice’ and the agony of it. I found myself, now in my mid 60’s restricted to time and place as i never had quite been before. It seemed ‘the Universe’ was gently forcing me perhaps to face myself anew. One day i was talking with Mum in her suite and at one point burst into tears telling her about George’s book. I was sobbing as i tried to explain what it was about and how incensed i felt by the forces forever taking aim at Francis. Mum was a very thoughtful if not outwardly demonstrable person but she was tender towards me yet mystified as to why i was so upset. I was at that time not quite able to reply fully.

I want to remember and retain monarchy (constitutional) which so recently has loomed large on the World Stage Itself. Francis was and is King of Literature and a Prince of All Realms. I want his story now to be told in full as so much is declared nowadays in the name of ‘mental health’. But hey, Francis is one great avatar of ‘mental health’ who lived the range of human experience in a massively toxic age that explains our own. Let’s really look at him anew.


Kindest regards and thanks for your great website Lawrence,


The Oxfraudian “Prima Facie Case for Shakespeare”–“Hoist with its Own Petard?”

Christina G. Waldman

The “Oxfraudians” at claim to have stated a “prima facie case” establishing the authorship of William Shaxpere of Stratford to the plays and poems of “William Shakespeare,” the name appearing on the title page of the First Folio of Shakespeare’s plays in 1623. The page, “The Prima Facie Case for Shakespeare,” claims, “The prima facie case does not offer absolute, 100% certainty—it does establish a presumption in support of the conclusion. This conclusion admits only one hypothesis. Shakespeare of Stratford is the author. It may be overcome, but only if there is contrary factual evidence that serves to rebut the conclusion. Supposition, speculation and guesswork are not acceptable. Claiming the evidence has been suppressed or destroyed by a conspiracy is not acceptable.”

Read more…>

GIFT OF GOD – An Extraordinary Tale – by Allisnum2er

by Allisnum2er

In honor of’s 25th Anniversary I wish to acknowledge Thomas Bockenham for his Work and especially for his discovery, thanks to a 13 by 13 square , of the true identity of the Bard concealed on Shakespeare Monument. Corner Statue.mp4

Related documents:

And here are my presents for this special occasion.image.png.85f14b6c7128d1fabcd33d7f306f903e.png

Interestingly, the nef, that is the french word for “nave”, was “a 16th century clock in the form of a ship having mechanical devices to illustrate astronomical movements.” (Merriam-Webster)

With the name FRANCIS BACON forming the two Pillars of Hercules, I think that it is a direct reference to the frontispiece of Francis Bacon’s Book Instauratio Magna .

In regard of the Letter H, I already mentionned on the B’Hive Community that in my opinion, the secret of this letter was given by Ben Jonson in his English Grammar, published posthumesly in 1640 :

 “And though I dare not say she is (as I have heard one call her) the Queen -mother of consonants ; yet she is the life and quickening of c, g, p, s, t, w .”

Talking about the Letter H and the Queen mother, I made a discovery few days ago, as I was looking for the best gift to offer on the 25th anniversary of

This discovery gave birth to the following video that I am very happy to share with you .




In honor of’s 25th Anniversary we wish to acknowledge Maureen Ward-Gandy, and her work as England’s leading Graphologist until her passing in 2019.

Maureen Ward-Gandy B Ed CDE BCFE
Professional Consultant in Forensic Documents and Handwriting Specialist
(registered with the British Law Society)

Related Documents:

In Christina Waldman’s book, “Francis Bacon’s Hidden Hand in Shakespeare’s The Merchant of Venice, A Study of Law, Rhetoric and Authorship,” the full Maureen Gandy Handwriting report can be found.

What’s New is What’s Old


Today, October 10, 2022, 25 years after was launched, we thought we’d share some of our oldest work. The What’s New Page has been a key part of and is still today. When we rebuilt the website we included What’s New content from 2016 forward, but today we are offering a glimpse of the past with the What’s New on Archives containing everything from 1998 through 2015. (Keep in mind websites, links, and email addresses are not permanent. We’ll aim to clean up outdated links in time.)

What's New on Archives


Seeking Contributions for the 25th Anniversary of

Celebrate turning 25 with us in October 2022

Deadline: Midnight September 30, 2022.

Purpose: To collect memories, antidotes, or other thoughts from Baconians on how Sir Francis Bacon or has impacted or influenced you. Your thoughts may be personal, professional, spiritual, none of the above or all of the above. Graphics can be included.

If you are a Baconian, as I am, and Sir Francis Bacon and has meaning or is important for you, please contribute a sentence or two, an essay, or more if you wish. Graphics and artwork will be accepted as well. We’ll try to put something nice together for us all to enjoy.

Send contributions to

For ideas you can view submissions and read the full essays from 2004:

A Selection of Contributors answer the Question: “What does Francis Bacon Mean To You?”

Please pass on this information to Baconians and fans of

Thank you!

CRYPTOGRAPHY: The Biliteral Cipher Reveals the True Author of Shakespeare’s Sonnets

Video By Kate Cassidy

If you are interested in codes and cipher, this video is for you. Sometimes a message has been staring us in the face. We just need the key. This is a further video following on from:

Part 1
Part 2
Part 3

All the videos discuss the true authorship of the works of Shakespeare, as we approach the 400th anniversary of the First Folio in 1623. This video looks at the Sonnets printed separately in 1609.


These are the links to which I refer in the video:

William C Marshall YouTube Video

How to Make Anything Signify Anything…

The new paper on the cryptanalysts: The Friedmans and Cipher in the Shakespeare Works

Cryptomenytices et cryptographiae…


For a PDF on Baconian Ciphers in Shakespeare, see…


by A. Phoenix

The Henry IV plays are some of the most Baconian in the whole of the Shakespeare canon and are replete with references and allusions not only to their author Francis Bacon but to several members of the Bacon family and his St Albans home at Gorhambury, the Bacon family estate.

The Holy Grail of the Shakespeare World

by A. Phoenix

This is the Holy Grail of the Shakespeare World: an original manuscript of a Shakespeare play corrected in the hand of its secret concealed author Francis Bacon

126 page Academic Paper  


It is little known to virtually all Shakespeare scholars, the ordinary schoolmen, and the rest of the world that there exists an early manuscript version of the play Henry IV. This manuscript is the earliest extant manuscript of a Shakespeare play ever discovered, an historical landmark of the utmost importance, that one might be forgiven for thinking that it would not only be well-known and minutely scrutinised by Shakespeare scholars around the globe, as well as known to all and sundry with only the remotest interest in Shakespeare, but celebrated for what it is: a unique artefact of world-wide significance.

The reason this is not the case is because the manuscript itself conceals an explosive secret which it would be difficult to overestimate of the most far-reaching consequences which completely collapses the fiction and illusion William Shakspere of Stratford wrote the Shakespeare works and at the same time confirms the truth that Francis Bacon is our supreme poet and dramatist Shakespeare.

This manuscript was discovered in 1844 preserved in the collection of the eighth Baronet Sir Edward Dering (1807-96) at Surrenden Hall near Pluckley in Kent. It had previously formed part of the library of the first Sir Edward Dering (1598-1644), an antiquarian with an interest in literature and drama, named after his uncle the Puritan preacher Edward Dering patronised by the Cooke sisters Lady Anne Cooke Bacon, Lady Elizabeth Cooke Hoby Russell, Lady Mildred Cooke Cecil and Lady Cooke Killigrew. The relatively obscure Sir Edward Dering (1598-1644) about whose early life very little is known was-here revealed for the first time-a close friend and relative (twice over) of the author of Henry IV Francis Bacon.

To the present day the so-called Dering manuscript is presented to the world as a handwritten version of an abridgement of I and 2 Henry IV mainly written by a scribe, with revisions in the hand of Sir Edward Dering, possibly for a court performance at the court of James I or a private performance at his house in Kent c.1623. It is said that the manuscript is or is apparently based on the 1613 quarto edition of I Henry IV and 1600 quarto edition of 2 Henry IV meaning the manuscript dates from no earlier than 1613 and as Dering’s revisions appear to incorporate some emendations in the First Folio, the MS or parts of the MS, may be dated sometime between 1622 to 1624.

One hundred and twenty years after the so-called Dering MS was first discovered which was afterwards purchased in  great secrecy by Henry Folger, who secreted it away in the Folger Shakespeare Library, a Secret Baconian-Rosicrucian-Freemasonic Institution, a facsimile edition of it was published in 1974.

The edition entitled The History of King Henry The Fourth as revised by Sir Edward Dering published by the Folger Shakespeare, edited by George Walton Williams and Gwynne Blakemore Evans, is not generally well known and remains unfamiliar to the ordinary schoolmen and casual student, and is not quite what it appears to the uninstructed eye.

Its joint editor G. Blakemore Evans worked for US Intelligence serving in the Army Signal Corps alongside William Friedman at Bletchley run by British Intelligence, the centre of allied cipher and code-breaking during the Second World War. In their book The Shakespearean Ciphers Examined the Fraudulent Friedmans falsely maintained that there were no Baconian ciphers used in the Shakespeare works, in perpetrating one of the greatest academic and literary frauds of all time.

However as the present writer demonstrated in The Fraudulent Friedmans: The Bacon Ciphers in the Shakespeare Works their fraudulent book The Shakespearean Ciphers Examined is itself an elaborate cryptogram containing hidden Baconian ciphers conveying the concealed cryptographic message that Francis Bacon, Brother of the Rosy Cross, is Shakespeare. The Friedmans knew there were Baconian ciphers present in the Shakespeare works, a secret cryptically incorporated throughout their work aided by the Folger Shakespeare Library, revealing and confirming Bacon is Shakespeare.

Similarly, while in the open plain text of The History of King Henry The Fourth as revised by Sir Edward Dering its editors George Walton Williams and Gwynne Blakemore Evans himself an expert in cryptography, maintained the fiction of the so-called Dering manuscript, its title page incorporated a number of hidden Baconian ciphers, revealing and confirming that the manuscript of Henry IV was of Baconian origin and likewise that Bacon is Shakespeare.  

In contrast to Williams and Evans and several other Shakespeare scholars who have maintained and repeated the fiction of the so-called Dering manuscript, the orthodox scholar Professor Hardin Craig observed that the MS contains a number of differences and peculiarities which remain unchanged by any contact with the fifth 1613 quarto of I Henry IV. He further observes that it was written in a normal Elizabethan hand with no discernible Jacobean intermixtures, and most importantly, concludes it may be older than the earliest 1598 quarto edition of I Henry IV, and that it is a manuscript of Shakespeare’s play when it was originally one and not two plays.

This whole illusory house of cards rests entirely on the presence of Dering’s hand in the manuscript. If his hand is not present, Dering self-evidently had nothing whatsoever to do with its composition, or its revision, cuts, its division into acts and scenes, its numerous additions of fifty lines and half lines, the introduction of original material in prose and verse, or its wholesale and extensive corrections. All from a person who never wrote a single drama in his entire life or is known to have heavily revised and amended any other play, never mind a Shakespeare play, in the same fashion or manner. The very premise on which this theory rests is self-evidently absurd and more importantly demonstrably false.

The large formatted edition of The History of King Henry The Fourth as revised by Sir Edward Dering totals two hundred and thirty-eight pages, comprising an introduction, a Note on the Transcription and Textual Notes, The Names of All the Characters, a facsimile and transcription with textual notes of the manuscript itself, and a Descriptive and Historical Collation. There is however one absolutely critical piece of evidence missing, namely a facsimile of Dering’s handwriting.

There is no reasonable and rational explanation whatsoever why Evans and Williams did not reproduce what constitutes the most important evidence in their whole Dering theory. By now the intelligent and alert reader will probably strongly suspect or more likely readily realise there is something wrong, something very wrong when the modern authorities on the Dering manuscript have unmistakably and very deliberately not reproduced facsimiles of Dering’s handwriting in this standard edition of the so-called Dering manuscript.

What was it then they wanted to conceal from other ordinary scholars and the rest of the Shakespearean world? Simple, the hand of Dering is nowhere present in the so-called Dering manuscript, a very simple fact which at a stroke completely and incontrovertibly exposes and collapses this whole charade and irrefutably demolishes a fraud or illusion (secretly known to some for more than a century) once and for all.    

The known and undoubted examples of Dering’s hand bears no resemblance whatsoever to the handwriting (including its corrections) to any of the handwriting in the so-called Dering manuscript, or the handwriting in the obverse and reverse of the scrap of paper. It fact not only is it manifestly plain that Dering’s known hand and the hands in the so-called Dering MS do not even remotely resemble each other, it is difficult to conceive of any other specimens of handwritings, being more different.

What then is the reason for the fraud and the false insistence on Dering’s handwriting being present in the so-called Dering MS? The reason is because it masks and conceals its true status, provenance and date. In other words it misdirects the eye away from a great historical secret, one known to some since it was first discovered, and others who were made privy to the secret afterwards.

The so-called Dering manuscript is a single-five act Shakespeare play of Henry IV and is earlier than the first printed quarto of The Historie of Henrie the fourth issued in 1598 and the quarto edition of The Second part of Henrie the fourth printed in 1600. The MS represents the play as Bacon originally composed it when it was one play and not two before developing his original version into two separate parts. Furthermore, we can be reasonably precise regarding the date of the manuscript. It is widely agreed Henry IV followed closely upon Richard II as not only is Henry IV next chronologically its predecessor Richard II clearly points to a sequel. The earlier Richard II is believed to date to around late 1595 or early 1596, and Henry IV was probably composed shortly after, sometime in 1596.

There appears to be three hands in the so-called Dering MS two of which were scribes. It appears the manuscript was copied from another MS now lost. The so-called Dering MS was begun by one scribe who copied out the whole of page one and for some unknown reason after he had completed the first page the task was turned over to a second scribe, who copied out the rest of the manuscript.

The manuscript is intimately connected to Bacon’s literary workshop of writers, scribes and copyists that produced Bacon’s Northumberland MSS, which once contained his Shakespeare plays Richard II and Richard III, that dates from around 1596/7. On the outside cover of the Northumberland MSS in a contemporary hand there are more than a dozen examples of various forms of the name Bacon or Francis Bacon and his literary mask Shakespeare or William Shakespeare. Above the entry for the Shakespeare play Richard II is written ‘By Mr. ffrauncis William Shakespeare’ and where the name ‘William Shakespeare’ has been written further down the page the word ‘Your’ is written twice across it, so thus reads ‘Your William Shakespeare’. The writing on the outer cover of the manuscript is chiefly in one hand with occasional words in another, and a few words written at angle, possibly by a third. One of the hands was undoubtedly Bacon who was also responsible for the monogram signature ‘W.S.’ at the top right hand corner. As with the so-called Dering manuscript, the main content of Bacon’s Northumberland MSS is written in two or more hands. One of the works contained within it generally referred to by the title Leicester’s Commonwealth is itself written by two different scribes whose identity remains unknown. On examining the facsimiles of the so-called Dering MS and the aforementioned work in Bacon’s Northumberland MSS it appears that one of the scribes who copied out Leicester’s Commonwealth was also responsible for copying out the so-called Dering MS from the second page onwards. It appears that in producing the so-called Dering manuscript one of these scribes was most likely working from Bacon’s original (‘foul papers’) manuscript of I Henry IV, producing an authorial fair copy of the play, which Bacon later gifted to his friend and relative Sir Edward Dering.

The so-called corrector’s hand in the so-called Dering manuscript is Bacon’s own cramped hand, as one would expect, from the author of the play.

It is now more than fitting that instead of it being referred to as the Dering manuscript it is hereafter known by its right and proper designation as Francis Bacon’s 1596 manuscript of Henry IV, the unique and earliest known extant manuscript of a Shakespeare play, the holy grail of Shakespeare scholarship.    


Reports of the Death of the Case for Francis Bacon’s Authorship of Shakespeare Have Been Greatly Exaggerated!

by Christina G. Waldman

Dedicated to the memory of Brian McClinton, author of
The Shakespeare Conspiracies Part One: Thirteen Points of Evidence

Download PDF

The Folger Shakespeare Library A Secret Baconian-Rosicrucian-Freemasonic Institution

by A. Phoenix


The unique and greatest Shakespeare repository in the world the Folger Shakespeare Library is to the present day still shrouded in secrecy and mystery with an untold secret history which stretches back to Elizabethan and Jacobean England to the time of the publication of the Shakespeare First Folio the bedrock on which the library is founded.

The Folgers trace their colonial descent directly back to Peter Folger (1617-1690) translator and government official born in Norwich, England, in 1617, the son of John Folger and Meriba Gibbs. His father John Folger was born in 1594 in the county of Norfolk and his wife Meriba Gibbs two miles east of the county of Norfolk, England in 1600. Virtually nothing is known about either John and Meriba Gibbs Folger and the early years of their son Peter. There is however every likelihood that the Folgers knew members of the Bacon family. The twin counties of Suffolk and Norfolk of East Anglia were the political strongholds of the prominent Bacon family, whose wide and extensive private and social circles, extended across the whole region. The great scion of the family the philosopher-poet Francis Bacon, concealed author of the Shakespeare works, the inspiration of Henry and Emily Folger for the Folger Shakespeare Library, successively served as the Member of Parliament for Ipswich in the county of Suffolk in 1597, 1601, 1604 and 1610.

This was the period of the great expansion into North America secretly directed by Francis Bacon and his Rosicrucian Brotherhood that was to forever change the future direction of the modern world. In 1606, the Virginia Company was formed to organize and promote the colonisation of Virginia and shortly after the first permanent English speaking settlement in North America was established at Jamestown, Virginia in 1607, the seed which grew and evolved into the first modern constitutional and federal republic, the United States of America.

It is conceivable that through knowledge of the activities of Francis Bacon and the London Virginia Company and the first permanent English settlement in Jamestown, followed by Bermuda (1609), Newfoundland (1610), and afterwards Massachusetts, founded by the Pilgrims transported across the Atlantic in the Mayflower in 1620, that the Folger family developed the idea of emigrating to the New World.

The elusive John Folger and his eighteen year old son Peter Folger emigrated to Massachusetts in 1635. During his voyage to America on the vessel Abigail, Peter first met Mary Morrill, whom he married in 1644. Their youngest daughter Abiah, was the mother of the great writer, scientist, and philosopher Benjamin Franklin, the most important Rosicrucian-Freemason of his time and one of the Founding Freemasonic Fathers of the United States of America. Franklin was also a member of the Baconian-Rosicrucian-Freemasonic Royal Society and for several years he regularly corresponded with the great eighteenth-century Shakespearean actor David Garrick and Dr Samuel Johnson, editor of the Shakespeare works.

It was Freemason David Garrick who organized the Grand Shakespeare Jubilee of 1769 which put Stratford-upon-Avon, home of William Shakspere, as the false centre of the Shakespeare world on the map, a Rosicrucian-Freemasonic ludibrium, that still fools and deceives nearly all and sundry around the Shakespearean globe to the present day.

In homage to his great ancestor Benjamin Franklin, the originator of the magnificent and unique Folger Shakespeare Library, Henry Clay Folger said that he had not collected Shakespeareana he would have collected Frankliniana.

In her recent work The Millionaire and the Bard on the obsessively secretive Henry Folger and the Shakespeare Folger Library its author Andrea Mays states that ‘The Folger Library maintains the culture of modesty and secrecy established by its founders’ and told how Henry and Emily Folger filled the Folger Shakespeare library with all kinds of ‘sophisticated and obscure symbols and images’ as well as ‘secret words and signs’ that ‘formed a silent composition’ that only ‘a time traveller or a scholar could comprehend’.

She did not however provide an explanation that would shed light on or explain the meaning of all the secret, arcane signs, images, symbols, and the ubiquitous so-called ‘Tudor Rose’, that all formed part of the silent composition encoded into the Folger Shakespeare Library; and thus far, no one has hitherto been able to comprehend, decipher, and decode them.

Disclosed here for the first time, the Folger Shakespeare Library is a complex Baconian-Rosicrucian-Freemasonic cryptogram that when decoded conveys the explosive far reaching secret known to the Folgers, namely, the concealed identity of the true author of the Shakespeare works, Francis Bacon.


“The Shakespeare Conspiracies : Untangling a 400 Year Web of Myth and Deceit”

By the Late and Great Brian McClinton


The Shakespeare Conspiracies : Untangling a 400 Year Web of Myth and Deceit

1. The Shakespeare Paradox

Shakespeare is widely regarded not only as the world’s supreme poet but also as its most ordinary. A prosaic man of the world, he apparently cared little for his own manuscripts, which are all missing, and even less for books in general, of which not one owned by him has ever been found. He penned no letters to family or friends, no prose works on contemporary events and no poems in memory of his dead son or in praise of his wife, daughters, friends or fellow writers. In fact, apart from six dubious signings, he left not a single word in his own hand. Nor did anyone ever report him as having said anything of any note. In terms of the life of the mind, he was truly William the Silent. Apart from acting, his everyday affairs were preoccupied with the mundane and mercenary externals of tax evasion, property ownership, money lending and selling corn and malt. Yet in the midst of this life so ordinary he is said to have written the world’s greatest poetry and drama. He is, we might say, the most famous nonentity in history.

Read more:
The Shakespeare Conspiracies : Untangling a 400 Year Web of Myth and Deceit

This Man Told Us Who Wrote Shakespeare (includes an update on cycles)

Video By Kate Cassidy

“This is a short addendum to my Part One and Part Two videos about the Shakespeare authorship question and the Mystery Schools.

Part One

Part Two

Stunning Secret Ciphers in Shakespeare. Part Two

Video By Kate Cassidy

“Be the first to hear this information. More codes and ciphers in the works of Shakespeare revealed. Some never seen before.”

Find Part One at and Part Three at

The Fraudulent Friedmans

by A. Phoenix


We have produced a 340 page book entitled The Fraudulent Friedmans (supported by 81 illustrations and 756 references) accompanied by a I hour and 40 minutes video. Given the length of the book in the following days and weeks we will be providing extracts highlighting important pieces of evidence and information relating to the lives and writings of the Friedmans and their involvement in the greatest literary fraud in history concerning Francis Bacon’s concealed authorship of the Shakespeare works.

Here are the links for the video trailer, the full video and the book:

For the video trailer:

For the video that explores the full story see:

For a detailed paper on ‘The Friedman Fraud’ see:

Please find a synopsis below:


 By A Phoenix 

For over sixty years deluded Bacon and Shakespeare scholars supported by universities around the four corners of the globe, fanned by the international news media, have deceived the rest of the world into believing that the Friedmans, the two greatest cryptographers of the twentieth century, had once and for all in their book The Shakespearean Ciphers Examined put an end to the notion of Baconian ciphers being present in the Shakespeare plays, a falsehood which continues to deceive the world to the present day.

This is a story about one of the greatest literary frauds of all time fully revealed here for the first time that will absolutely shock Shakespeare scholarship and the rest of the world and necessitate a complete re-assessment of Francis Bacon’s true authorship of the Shakespeare works.

From a very early age Francis Bacon was given a baptism into ciphers and codes and other arcane cryptic devices for concealing and communicating secret and hidden information. His father Lord Keeper and de facto Lord Chancellor of England Sir Nicholas Bacon and his uncle Secretary of State Sir William Cecil were the twin pillars of the Elizabethan Reformation and effectively the heads of the secret state. The lifeblood of the Elizabethan state and the English Secret Service headed by Sir Francis Walsingham were secret ciphers and codes and its three principal pillars Bacon, Cecil and Walsingham went to extraordinary lengths to maintain a cryptographic hegemony over their dangerous European rivals and the domestic enemies of the English government. Early in the Elizabethan reign Sir William Cecil and Sir Nicholas Bacon directed the great mathematician and cryptographic expert Dr John Dee to seek out a rare manuscript copy of Johannes Trithemius’s Steganographia. The spy, intelligencer and secret government agent Dr Dee had a profound and extensive interest in cryptology and after tracking down a prized manuscript of Steganographia on the continent he returned with it to England, where a copy of it was placed in the hands of his political masters. He was afterwards a mentor to the young Francis Bacon who possessed an all-consuming and profound fascination for all ciphers and codes and other cryptographic devices necessary for a life in the English Secret Service.

In 1576 a fifteen year old Francis Bacon travelled in the train of the Ambassador-elect Sir Amias Paulet for a three year stay at the English Embassy in Paris which stood at the very centre of European intrigue and espionage where he was joined by the great English cryptographer Thomas Phelippes with the two of them occupied with ciphers and other areas of cryptography on an almost daily basis. It was during his time in Paris that Bacon later recalled how he invented his famous bi-literal cipher, a cipher system he later secretly inserted into his Shakespeare works. Living in Paris at the time when Bacon was busy working with and inventing new ciphers was the diplomat and cryptographer Blaise de Vigenère with whom Bacon is believed to have collaborated on his Traicte des Chiffre or secret ways of writing.  

In 1591 there appeared in London a Latin edition of a milestone work on cryptology by the Italian polymath and playwright Giambattista della Porta entitled De Fvtivis Literarvm Notis printed by John Wolfe, and dedicated to Henry Percy, Earl of Northumberland. Some two centuries later there was discovered at Northumberland House (at the time in the ownership of his ancestor Earl Percy, afterwards the Duke of Northumberland) what has come to be known as the Northumberland MSS that originally contained several of Bacon’s writings among them his Shakespeare plays Richard II and Richard III. On the outer-cover of The Northumberland Manuscript the name of Bacon/Francis Bacon and his pseudonym Shakespeare/William Shakespeare are scribbled on more than a dozen occasions. Down the left side appears Honorificabiletudine a variant of the long word honorificabilitudinitatibus in Loves Labours Lost (5:1:41). Further down the page we are met with the entry ‘revealing day through every crany peepes and see Shak’, line 1086 of The Rape of Lucrece ‘revealing day through every cranny spies’. In particular above the entry for Bacon’s Shakespeare play Richard II appears the entry ‘By Mr. ffrauncis William Shakespeare’ and further down the word ‘Your’ is twice written across his pseudonym William Shakespeare-so it reads ‘Your William Shakespeare’.

With the spymaster Sir Francis Walsingham now dead the headquarters of the English Secret Service had been transferred to Essex House on the Strand the grand stately residence of the royal favourite Robert Devereux, the second Earl of Essex. Under the roof of Essex House, Francis and Anthony Bacon ran a vast domestic and foreign intelligence network of spies and intelligencers operating across the European continent. Working out of Gray’s Inn and Essex House, Francis and Anthony also set up a literary workshop with connections to English printers and publishers employing writers, translators, and scribes for distribution of private manuscripts, books, plays, masques and other entertainments. This Bacon-Essex circle included the Earl of Southampton to whom Bacon dedicated Venus and Adonis and The Rape of Lucrece and to whom many of his Shakespeare sonnets were addressed.

Francis and Anthony Bacon were the joint heads of the foreign and domestic arms of the English Secret Service that evolved into British Intelligence in other words the equivalent of MI5 and MI6. They were in charge of gathering intelligence domestically and from all over Europe for which they employed a highly organised network of secret agents and spies whose important intelligence and information was conveyed through secret codes and ciphers and the interception of ciphered correspondence of enemy agents, deciphered by Francis, Anthony, and Thomas Phelippes.

In his first major acknowledged work The Advancement of Learning Bacon sets out a series of cipher systems which he named Simple Cipher, Kay Cipher, Wheel Cipher and his Bi-literal Cipher, that he secretly incorporated into the 1623 Shakespeare First Folio. Shortly before the publication of the First Folio in November 1623 there appeared in Latin Bacon’s truly monumental De Augmentis Scientiarum Libri IX which included a much more expansive and detailed explanation of his Bi-literal Cipher. Soon after the publication of the De Augmentis and the Shakespeare First Folio there appeared the extremely rare work on cryptology entitled Cryptomenytices et Cryptographiae Libri IX by one Gustavus Selenus, a pseudonym for Augustus, Duke of Brunswick-Luneburg, a near five hundred page work published at Luneburg early in 1624. The revealing title page of the Cryptomenytices et Cryptographiae contains a pictorial cryptogram depicting Francis Bacon giving a figure holding a spear dressed in actor’s boots, representing the actor William Shakspere, a quarto or book of plays, who is shown carrying them off into the distance toward a building representing the Globe Theatre.

Some three centuries later the discovery of the presence of Bacon’s Biliteral Cipher was announced to the world in a series of volumes published by the remarkable Elizabeth Wells Gallup entitled The Bi-literal Cypher of Sir Francis Bacon Discovered in his Works. On examining the prefatory material of the 1623 Shakespeare First Folio Gallup deciphered a series of revelations about Francis Bacon’s secret life and enormous corpus of writings revealing that not only was he the secret author of the Shakespeare works but also the works published in the names of among others Spenser, Greene, and Marlowe, and that he was the concealed royal son of Queen Elizabeth and Robert Dudley, Earl of Leicester.

News of these revelations soon reached the ears of Colonel George Fabyan who had had set up his  Riverbank estate located west of Chicago which is still shrouded in secrecy and mystery to the present day. It was here that Colonel Fabyan provided Gallup with a staff and extensive resources to continue her investigations into the Bacon Bi-literal Cipher and its presence in the Shakespeare works and other Baconian publications set forth anonymously or in the names of others. She was afterwards joined at Riverbank by William F. Friedman and his future wife Elizebeth Smith, the widely acclaimed duo who went on to become the two greatest cryptographers of the twentieth century and the authors of The Shakespearean Ciphers Examined.

The years spent by the Friedmans at Riverbank are not well-documented and what we know or believe of their time there almost entirely derives from the story told by the Friedmans themselves in a series of unpublished manuscripts and lectures and their book The Shakespearean Ciphers Examined.   

For the next few years the Friedmans worked closely alongside Elizabeth Wells Gallup assisting her in a complex and minute study of the Bacon Bi-literal Cipher and its links to the Shakespeare First Folio and soon after the Friedmans were appointed the joints Heads of the Riverbank Department of Ciphers.

During this period the Riverbank Cipher Department headed by the Friedmans produced a series of pamphlets known as the Riverbank Laboratories Publications on Cryptography. These comprise of a series of important ground-breaking technical monographs dealing with cryptography and cryptanalysis and several dealing with Gallup’s work on the Bacon Bi-literal Cipher. A number of the volumes on the Bacon Bi-literal Cipher were issued anonymously and the identity of their author (s), who were of course known to the Friedmans, remain unknown to the world at large to the present day.

For more than half a century the Friedmans had every opportunity to reveal the identity of the authors of these anonymous Riverbank publications on the Bacon Bi-literal Cipher but repeatedly refused to do so. The reason why, is the Friedmans themselves, were the anonymous authors of these tracts in which it is emphatically stated that the presence of Bacon’s cipher system identified by Elizabeth Wells Gallup has been repeatedly tested and dissected, and was and is, demonstrable beyond any and all doubt.

In 1997 there appeared a still virtually unknown work entitled The Sabines at Riverbank: Their Role in the Science of Architectural Acoustics by John W. Kopec. The book issued by the Acoustical Society of America was limited to only a thousand copies on a subject which falls outside the ordinary scope of literary scholarship and largely for this reason still remains unknown to Baconian and Shakespearean scholarship.

In researching the work Kopec fully immersed himself in the history of Riverbank, a history which has barely been glanced at. Virtually all of what little is known of the Riverbank Cipher Department has come down to us through the lens of the Friedmans. Their three main repositories (two unpublished) where they discussed their time at Riverbank provide us with only a very carefully edited version of the circumstances and events surrounding it and their parts played in the authorship of the Riverbank publications on the Bacon Bi-literal Cipher. Their various accounts about their time at Riverbank are marked by inconsistency, factual discrepancy, deliberate omissions, falsehoods, and deceit. Now here for the very first time was a book on Riverbank by an author who had spent more than two decades on site with unlimited access to what records remained of its secret, obscure and hidden past. Kopec’s book is dedicated to Don Williams, son of Fabyan’s chauffeur Bert Williams, who drove the limousine that picked up Elizebeth Smith Friedman from the Newberry Library in Chicago, marking the beginning of her career at Riverbank from 1916 to 1920.

The long-time Riverbank chauffeur Bert Williams knew the Friedmans well and for the years the couple lived on the estate he was in almost daily contact with them, as he was with Elizabeth Wells Gallup, providing him with first-hand inside information about the Riverbank publications on the Bacon Bi-literal Ciphers and their authorship.  

Outside of the records Don Williams ‘Mr. Riverbank’ who was born there in 1920 was a critical source of information for Kopec. Don ‘Mr Riverbank’ Williams, worked at Riverbank for 35 years before retiring in 1985, and knew more about it than any other person alive. In the main body of the text Kopec devoted several pages to the period spent by the Friedmans at the Riverbank estate. His informative discussions with Don Williams included the explosive and far-reaching statement of enormous historical importance to Baconian and Shakespearean scholarship and the truth about Lord Bacon’s authorship of the Shakespeare works: namely, the anonymous The Greatest Work of Sir Francis Bacon issued by the Riverbank Cipher Department was written by the Friedmans, confirming the presence of the Bacon Bi-literal Cipher in the Shakespeare canon.                 

For the rest of their lives the Friedmans remained silent about their authorship of The Greatest Work of Sir Francis Bacon endorsing the presence of the Bacon Bi-literal Cipher in the Shakespeare works and decades later when both Fabyan and Elizabeth Wells Gallup were long dead wrote The Shakespearean Ciphers Examined wherein they fraudulently pretended in the open plain text that no Bacon ciphers were used in the Shakespeare poems and plays in one of the greatest academic and literary frauds of all time. However revealed and demonstrated here for the first time The Shakespearean Ciphers Examined is itself one very elaborate cryptogram containing hidden secret Bacon ciphers repeatedly conveying the concealed cryptographic message that Francis Bacon, Brother of the Rosy Cross, is Shakespeare.

The Friedmans knew there were Bacon ciphers present in the Shakespeare works and that Bacon is the true secret author of the Shakespeare works, a secret which at a single stroke completely collapses the Stratfordian fiction and illusion that the illiterate/semi-illiterate William Shakspere was the author of the Shakespeare plays. It was a secret they took to the graves but not beyond it. For on the tombstone of William and Elizebeth Friedman, one designed by themselves, the two greatest cryptographers of the twentieth century, left a secret cryptographic message:


De Vere, Bacon or Shakespeare? You Decide!

Video By Kate Cassidy

Kate Cassity, a valued member of SirBacon’org’s B’Hive Community, produced a fascinating video for us. It is one to watch through to get the most from it. Kate is a Baconian to pay attention to. Watch the entire video!

De Vere, Bacon or Shakespeare? You Decide!

“The Shakespeare authorship question has been one of the enduring mysteries of our time. Hear the evidence. See the evidence and you decide.

This video also contains reference to planetary cycles, little known to those outside of astronomy and astrological circles and shows secret cipher in the First Folio and Sonnets.”

Essay : The Esoteric Francis Bacon

by Ryan Murtha

The writings of Francis Bacon contain numerous discussions of esotericism. In a general sense, the essay “Of Simulation and Dissimulation” stresses the importance of knowing “what things are to be laid open, and what to be secreted, and what to be showed at half lights, and to whom and when.” In New Atlantis, members of the scientific fraternity “take all an oath of secrecy, for the concealing of those [inventions and discoveries] which we think fit to keep secret.” In The Advancement of Learning Bacon distinguishes between “disclosed” (exoteric) and “enigmatical” (esoteric) writing, the latter allowing the author “to remove the vulgar capacities from being admitted to the secrets of knowledges, and to reserve them to selected auditors, or wits of such sharpness as can pierce the veil.” In Valerius Terminus he again extols the practice of esoteric writing “both for the avoiding of abuse in the excluded, and the strengthening of affection in the admitted.” Hence it is possible that we do not yet fully understand Bacon; the first serious attempt to investigate his religious opinions was Steven Matthews’s excellent 2008 book Theology and Science in the Thought of Francis Bacon. In the present essay, I argue that Bacon was prone to visionary or religious experiences, about which he wrote in the form of alchemical tracts published under a number of pseudonyms.

Read more…

Bacon-Shakespeare Secret Republican Father of the Modern World

by A. Phoenix

Both Bacon and Shakespeare (obviously treated separately by orthodox scholars) have very largely been presented as conservative political thinkers whereas more recently several modern scholars have finally begun to partly recognise the republican themes running through both the canons, which completely revolutionises and transforms our understanding of the first philosopher-poet of the modern world.

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A Line In Hamlet’s Speech Taken From Masonic Ritual

by Richard Allan Wagner

Hamlet’s “To Be or Not to Be” speech is, possibly, the last place people would expect to find a line from Masonic ritual—yet, word-for-word, there it is—hiding like an “undiscovered” treasure as countless actors throughout the centuries have unwittingly spoken the words without gleaning the full measure of their meaning or origin.

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An Enlightened Spirit : Authorship Question Part 4

By Deslie McClellan

An Enlightened Spirit : Authorship Question Part 4 : A Chapter from Deslie McClellan’s uplifting book : Prince of Our Dreams : Young Shakespeare

“The most compelling proof that Bacon was Shakespeare is the enlightened–one might say, luminous–spirit of the author. The Bard has a matchless understanding of the moral beauty of life and its diviner mysteries. His spirituality is exquisite. Dr. Bucke, cited earlier, calls it cosmic consciousness, whereby the author palpably feels the radiance of heaven’s wisdom and heaven’s love in his own awareness, and inevitably must express it, so wholly compelling is that “muse” of divine inspiration within him.”

Read more:
An Enlightened Spirit : Authorship Question Part 4

Francis Bacon’s Portraits from Life Gallery

By Eric Roberts

“The purpose of this gallery of portraits is to provide a visual complement to the countless written texts by and about Sir Francis Bacon. We can be fairly certain that Francis himself commissioned at least ten of the fourteen pictures in this inventory of portraits produced during his lifetime. It is also certain that he wanted future generations to be able to see what the man behind the words actually looked like. During the course of research, it soon became evident that the only digital copies of Francis Bacon’s portraits available online were of small size and low resolution, and that there was a genuine need to provide public access to better quality images. Only then could the subtle details and facial expressions captured in these portraits be appreciated.Thus, the decision to purchase and assemble the best images available on behalf of all Baconians and admirers of the life and works of Francis Bacon was a ’no brainer’. This project would not have been realized without the help of Lawrence Gerald, Rob Fowler, Peter Dawkins, Gary Keegan, A. Phoenix, and The Francis Bacon Society.”

View the Gallery: Francis Bacon’s Portraits from Life

Shakespeare Sonnet 55 : Francis Bacon’s Ode to Hiram Abiff

by Richard Allan Wagner

When I was initiated into the Freemasonic Fraternity, I was immediately struck by the uncanny similarity between the words in Masonic Ritual and the words in the Shakespearean plays and sonnets. It’s as if those words had been forged in the same crucible. Furthermore, many parallels of Masonic language and symbolism, as well as specific bits of business in Masonic Ritual, show up again-and-again throughout the pages of Shakespeare, the most important of which is to be found in Sonnet 55. Actually, the wording of Sonnet 55, unlike the other 153 sonnets, is designed to serve as a bridge connecting Freemasonry with Shakespeare.

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See more on Hiram Abiff :

The Stratford Shakespeare Monument

by Peter Dawkins

Peter Dawkins has wriTTen an Illuminating article about the Shakespeare monument in Stratford while describing some very interesting ciphers embedded  in the inscription. It is a must read for any of us.

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Honorificabilitudinitatibus: Bacon’s Magical Word

by Richard Allan Wagner

The word that seems to have loomed most prominently in Francis Bacon’s mind was the 27 letter Latin word honorificabilitudinitatibus (Act 5, Scene 1 of Love’s Labor’s Lost). Although the word had been toyed with by many of Bacon’s predecessors, it was destined to be his magical word—his, and his alone. We can see evidence of his tinkering with roots of the word in his Promus: honoris, honores, honorem, honorificabo, and in his parchment folder (now known as the Northumberland Manuscript) we see honorificabilitudini. Why was Bacon so drawn to the word? What special properties did it possess?

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Folio Ciphers

Video by A. Phoenix

View this video  that illustrates the presence of Baconian ciphers on the title page of the 1623 Shakespeare First Folio cryptographically confirming that Francis Bacon is Shakespeare.


Is Sir Francis Bacon Shakespeare?

Video by Susan Roberts member of the Francis Bacon Society

Susan Roberts, a member of the Francis Bacon Society, delivers with clarity a fascinating, erudite and comprehensive account of Francis Bacon’s life. The theories of Authorship and the Royal Birth are carefully examined using compelling historical detail.

This video was made independently of the Francis Bacon Society.

An invitation to all viewers. If you would like to contribute your creative work, concerning Francis Bacon, to be shown on the Francis Bacon Society Youtube channel, please email’s B’hive Community Forums

Announcing a new exciting feature on!

Now offering a Baconian community to discuss topics related to Sir Francis Bacon.

This is a forum by Baconians for Baconians!’s B’hive Community

JOIN and participate!

The Precious Gem of Hidden Literature: Francis Bacon 1576-1655

by Ryan Murtha


Introduction 1
1. Anti-Machiavel 18
Parallelisms 29
2. The Anatomie of the Minde 63
Parallelisms 69
3. The French Academy 90
Parallelisms 93
4. Vindiciae contra tyrannos 122
Parallelisms 126
5. Don Quixote 142
Parallelisms 152
6. The Alchemy of Eugenius Philalethes 160
Appendix: The Labyrinth of the World
and the Paradise of the Heart (1631) 172

SAT Conference 2019 – 5 – Peter Dawkins – Francis Bacon, Shakespeare and the Earl of Essex

Peter Dawkins, founder of the Francis Bacon Research Trust delivers his lecture ‘Francis Bacon, Shakespeare and the Earl of Essex’ at the Shakespearean Authorship Trust conference November 24th, 2019, “Shakespeare, Essex and Authorship.”

The Play’s The Thing

by A. Phoenix

A video to celebrate the birthday of Sir Francis Bacon & his authorship of the Shakespeare Works revealing the clues he left behind in the plays.

Bacon is Shakespeare: Pictorial Proofs Video

by A. Phoenix

See the Video:

Bacon is Shakespeare: Pictorial Proofs Video

Francis Bacon (Bassanio/Bellario) and Anthony Bacon (its titular character Antonio) and The Merchant Of Venice

by A. Phoenix

Following his return to England in February 1592 after a twelve absence abroad working closely with spymaster Sir Francis Walsingham for the English Secret Service, Anthony Bacon went to live with his brother Francis Bacon who was then already heavily in debt at Gray’s Inn. From the moment Anthony returned to England he immediately became involved in supporting and assisting his brother Francis with his money troubles and considerable debts. Francis and Anthony set up a literary workshop with connections to printers and publishers employing writers, translators, scribes and copyists for the distribution of private manuscripts, books, plays, masques and other entertainments. The enormous crippling costs of running and financially supporting this literary workshop resulted in Francis and Anthony further entering into a never ending cycle of debt incurred by having to raise large loans from money-lenders through bonds (legal agreements for loans) and other legal instruments.

The Bacon brothers were still dealing with various loans and mounting debts when in Trinity Term 1597 a goldsmith named Sympson of Lombard Street who held a bond for £300 principal, sued Francis for repayment but agreed to respite the satisfaction of it until the beginning of the following term. However without any warning a fortnight before Michaelmas Term commenced, Bacon was walking from the Tower of London when at the instigation of the moneylender Sympson he was served with an execution and arrested with a view to confining him to the Fleet prison. The events were to inform and colour the most famous legal play in the history of English drama, The Merchant of Venice, whose titular character is named Antonio, the Italianate form of Anthony named after and modelled upon Anthony Bacon. It was entered as a new play on the Stationers’ Register on 22 July 1598 and was first published in 1600 as The Most excellent Historie of the Merchant of Venice.

In the modern Arden edition of the play Professor Drakakis makes the obvious but very important observation ‘The central drama of The Merchant of Venice revolves around the relationship between the merchant Antonio and the Venetian Lord Bassanio.’ The character of Bassanio is modelled upon its author Francis Bacon. In The Merchant of Venice the two characters Antonio and Bassanio mirror the complex relationship and circumstances of Francis and Anthony Bacon before and during the time the play was written, revised and performed.

Apart from Bassanio, the spectral presence of Bacon is dispersed through several other characters in the play. Professor Lamb voices that not only does Bassanio resemble Bacon but so too its heroine Portia. Then there is the character of Dr Bellario who as pointed out by the orthodox scholar Mark Edwin Andrews also represented Bacon which is further substantiated by the videos and lectures of Simon Miles and Christina G. Waldman the first to publish a full-length work on the subject entitled Francis Bacon’s Hidden Hand in Shakespeare’s The Merchant of Venice (2018). In his work Law Versus Equity in The Merchant of Venice as its title indicates Mark Edwin Andrews reads the play as an allegory of the conflict between law and equity which constitutes the consensus among modern scholars that the trial scene dramatizes the struggle between the common law courts and the equitable Court of Chancery. From the outset of the trial Andrews juxtaposes a prose version alongside the text of the play in which he substitutes Bacon for Dr Bellario.

The Merchant of Venice is about love and friendship particularly focused on the characters of Antonio (Anthony Bacon) and Bassanio (Bacon); about usury (a subject on which Bacon composed an essay and legal paper); money-lending mirroring the real lives of the Bacon brothers; and a bond between Antonio and Shylock similar to the bond between Bacon and Sympson. It’s also partly an allegory about the issue of debt and assumpsit that was finally decided in Slade’s Case (Slade v Morley), in which Bacon appeared for the defendant Morley, whose first substantive arguments made before the Justices of the Exchequer occurred in the Michaelmas Term of 1597 and 1598, at the very time Bacon was planning, writing and revising The Merchant of Venice, the most dramatic legal play in all world literature.


See the Video:

Francis Bacon (Bassanio/Bellario) and Anthony Bacon (its titular character Antonio) and The Merchant Of Venice by A. Phoenix

Portraits of Sir Francis Bacon

by Eric Roberts

This brief inventory of contemporary portraits of England’s most illustrious polymath, Sir Francis Bacon (1561 – 1626), makes no claims of being complete or without inaccuracies. Primarily, it is an open invitation to interested scholars and art historians to contribute to a more informed understanding and appreciation of the surviving portraits of this central figure in the evolution of human thought, language and culture. Problems with the identification, dating and attribution of contemporary art works purporting to be of Francis Bacon remain to be solved.

Bacon’s Use of Gematria and the 26 Letter Alphabet

by Richard Allan Wagner

Question: “When did the English Language adopt the 26 Letter Alphabet?” Go to any online search engine and ask that question. Invariably, the answer will be: “Around the mid-16th century.” Now ask any Baconian scholar: “Did Francis Bacon work with a 26 Letter alphabet or a 24 Letter alphabet?” For many the answer will be: “A 24 letter alphabet.” Why the discrepancy?

Read more…

Bacon’s Use of Gematria and the 26 Letter Alphabet wishes to thank Mather Walker for gifting his book, “Plus Ultra : Francis Bacon’s Design in His Shakespeare First Folio” to the readers of

by Mather Walker

Mather has been an astute observer on all things Francis Bacon for over 60 years and has been a great contributor to

Plus Ultra is in pdf available for download and has each Chapter hyperlinked so you can click on any of the Chapters and you are there. Enjoy.

PLUS ULTRA : Francis Bacon’s Secret Design in his “Shakespeare” First Folio

Francis Bacon & The Law In His Early Shakespeare Plays Reflected In His Life & Writings

by A. Phoenix


The philosophical, political and legal DNA of Francis Bacon runs through the very veins and arteries of the Shakespeare poems and plays. As the son of Sir Nicholas Bacon, the Elizabethan Lord Keeper and de facto Lord Chancellor of England from a very early age he drank in, assimilated and internalised, the inner workings of the law, the superstructure of its legal machinery, and all its procedures, practices and operations. Under the guidance of his father Bacon was admitted to Gray’s Inn where with his extraordinary intellectual gifts and masterful comprehension of the law he enjoyed a stellar rise that eventually led to him occupying all the major legal offices of state, solicitor-general, attorney-general, Lord Keeper and Lord Chancellor of England.

During his time at Gray’s Inn Bacon was de facto Master of the Revels writing and producing several masques, entertainments and plays, several of which have survived. Most importantly, Bacon wrote a play entitled The Misfortunes of Arthur (a political allegory about Queen Elizabeth and Mary, Queen of Scots) which was performed by members of Gray’s Inn before Queen Elizabeth at Greenwich on 28 February 1588, a date notable for the very singular fact that it marked the beginning of what is known as the Shakespearean era. Its themes and language find expression and are demonstrably echoed in a significant number of his early Shakespeare plays including the first tetralogy of I Henry VI, 2 Henry VI, 3 Henry VI and Richard III, written around the same time or shortly after the Misfortunes, and from the same early period Titus Andronicus, King John, Richard II and The Comedy of Errors.
These plays display an intimate familiarity with the principles and practices of all the major branches of the law: common law, civil law, statute law, and the maxims of English law, as well as  its principles, complex technicalities, customs and jurisprudence. Their legal language and phrases readily flow from his pen and in the plays his characters talk in a language of the law straight out of Bacon’s Legal Tracts: from Slades Case, The Maxims of the Law, The Postnati Case, The Charge of Francis Bacon Touching Duels, The Elements of the Common Laws of England, etc, none of which were published in his lifetime.

Several of these plays also reflect some of his other political-legal tracts (also not published during his lifetime), most notably Certain Observations Upon a Libel (c. 1592) commissioned by and written in defence of his uncle Sir William Cecil, Lord Burghley (married to Lady Mildred Cooke Cecil, elder sister of his mother Lady Anne Cooke Bacon) aspects of which are reflected in 2 Henry VI wherein the Duke of Gloucester is modelled on Cecil and Dame Eleanor points to his wife Lady Mildred Cecil. Their son Sir Robert Cecil, with whom Bacon grew up, he painted in the titular character of Richard III and in his essay Of Deformity.

In the less well-known The Troublesome Reign of King John Bacon explores the law of bastardy, in particular the law surrounding royal bastardy, through the most important and largest role in the play, the royal bastard Sir Philip Faulconbridge, universally regarded as the hero of the play. It is revealed here for the first time that the character of the royal bastard is a disguised dramatization of its author Bacon, the secret concealed royal son of Queen Elizabeth and Robert Dudley, Earl of Leicester.

For the best part of a year Bacon organised and directed the magnificent Gray’s Inn Christmas Revels (1594-5) which witnessed the premier of his legal play The Comedy of Errors in which a programme of legal reforms began by Sir Nicholas Bacon and continued by Francis Bacon found dramatic expression. On the last of its Grand Nights which took place on 3 January 1595 Bacon wrote six speeches on the Exercise of War, the Study of Philosophy, the Eternizement and Fame by Buildings and Foundations, the Absoluteness of State and Treasure, Virtue and a gracious Government, and Persuading Pastimes and Sports, in the fifth of which, he sets forth arguments for the extensive reform of the machinery of the law, the courts of law and justice, and its delays and abuses, necessary for the peace and security of the kingdom, completing the cycle of his early Baconian-Shakespearean legal plays.

A Dedicated Sleuth Finds Picture-Puzzles Long Buried: A Review of Russell Storrs Hall, Bacon Shakespeare Conundrum: Direct Evidence of Francis Bacon’s Shakespeare Authorship (posthumously published, 2012)

By Christina G. Waldman. 9-29-2021

“Bacon Shakespeare Conundrum was published posthumously by the author’s daughter, Janice Gold-Orland. Researching for this book was her father’s lifetime passion, she says. It is obvious from his book that Hall has studied the Bacon-Shakespeare authorship question in some depth. One of his main points is that “The only way out of the authorship enigma is to be found in the Shakespeare Folio of 1623″ (p. 12). There is a great deal of other evidence, of course, but that is the course he sets for himself in this book.” Read more:

Review Russell Storrs Hall by CGW 9-29-2021.pdf

Richard Allan Wagner points out an Acrostic Signature in “Loves Labours Lost”

by Richard Allan Wagner

“Francis Bacon appears to have been a miser when it came to the use of acrostic cipher signatures. Of the acrostics he devised, I think there is one that surpasses all of the others.” Read more:

Bacons Most Beautiful Acrostic Signature.pdf

Perhaps the most significant and consequential letter ever written to Sir Francis Bacon was written on Oct 11th. by his private secretary and confidant, Thomas Meautys (TM)

Thanks to the A.Phoenix team and the Lambeth Palace Library for providing the original letter.

To find out more about this letter (Pages 41-) and the historical circumstances that it references see :


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Click image for full-sized wishes to thank the A. Phoenix team for permission to share these slides from their Video Slideshow :

Did Francis Bacon die in 1626 or Feign his Death with the help of his Rosicrucian Brotherhood?
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“The Missing Elegies to Shakespeare: The Manes Verulamiani (Shades of Verulam)”

by Jono Freedman

When the decoy man from Stratford died, there was a deafening silence from his contemporaries, not a word was written in commemoration of his work or his passing. Conversely, when Sir Francis Bacon – Baron Verulam of Verulam – departed, the literary world paid great homage to the true Instaurator behind the English Renaissance recorded in a 1626 book of published eulogies called “Manes Verulamiani” (Shades of Verulam).
Jono Freeman in his latest creative and entertaining video presents 10 of the Verses or Elegies from Bacon’s peers, found within this sacred and vital collection, that are in tribute to Francis Bacon as an Outstanding Poet, Dramatist and the Mask behind Shakespeare.

This Video has scenes from Grays Inn Law School in London with the beautiful Bacon Statue, the remains from the estate of the Bacon Family in Gorhambury, the Bacon Statue from St.Michael’s Church in Gorhambury right outside of St. Albans and at the very end, Jono has a moment of performance in the remains of the outdoor Roman amphitheatre in Gorhambury (Verulamium)

More about Manes Verulamiani see :

The Manes Verulamiana by W.G.C. Gundry, Barrister-at Law