t2.

80

OF

- -
ABBY
Dedicated to
Lorna, Andrew and Claire.
The Author
Richard Barker is a Research Fellow for
The International Rosicrucian Historical Council
of The Ancient, Mystical Order Rosae Crucis
(of which this book is not an official publication>.
First Edition:
Barker Press, 1986
78 Grange Road
Sutton
Surrey
SM2 6SN
~ Richard John Barker 1986.
ISBN: 1 869906 00 4
All rights reserved. No part of this publication may be quoted,
reproduced, stored in a retrieval system or transmitted in any
form or by any means whatsoever without the prior permission of
the publisher.
Conditions of sale. This book is sold subject to the condition
that it shall not, by way of trade or otherwise, be re-sold,
lent, loaned or circulated, without the prior permission o the
publisher, in any manner with any form of binding or cover
different to that in which it is published. This condition
shall apply to all subsequent purchasers or borrowers.
Printed in Great Britain by Kestrel print, Loxwood, West Sussex
lloUl To Qraefl
, .
rtlJe ~ e e r e t
of
Westminster
A66ejJ
IixirBouCls
HOW TO CRACK THE SECRET OF WESTMINSTER ABBEY
Daily, thousands vis it a famous monument in Poets' Corner
or see its picture on our currency. But on the latter, the
vital part has been blanked out. None know its startling
secret. Cryptic clues hint at the memorial's mystery yet
experts have deliberately ignored them. Those in the know
have kept silent. Until now!
The monument to Shakespeare has a quotation from one of his
plays. But it is wrong and has spelling mistakes! For over
two centuries this provocative puzzle has defied a satis-
factory solution. Now, it has been cracked by an expert in
ancient ciphers. The scientific technique is simple yet
accurate and self-confirming.
Compelling revelations based upon solid facts, not mere
conjecture, will completely revolutionize knowledge of our
heritage.
This book does not investigate the authorship of the works
attributed to Shakespeare. The author's in-depth research
reveals that the Abbey's monument has an ulterior purpose:
the 'landmark' of an ancient brotherhood of sages, the
'invisibles', otherwise known as the Rosicrucians.
A raging controversy developed over the publication, in
1614-1616, of the Rosicrucian manifestos. Amongst other
things, they claimed that the Order had been founded in
Germany and veiled in the deepest secrecy since before the
Battle of Agincourt (1415). Some historians regard it as
being entirely mythical or else an elaborate hoax. Others
say that, if the Order did exist, it did not survive beyond
the mid-1600's.
New discoveries now overturn those theories. The Abbey IS
statue was erected in 1741. And it reveals the true
identity of the brotherhood's secret chief - an English
genius. The monument is not the only evidence that the
Rosicrucians went underground and continued to influence
society and esoteric knowledge. Also, a 360 years-old
prophecy foretold the public revelation
of the monument's secret dimension.
ELIXIR BOOKS
rejuvenate the mind and spirit
ISBN: 1 869906 00 4
the Houses of Parliament
and the River Thames
13th Century Shrine of
King Edward the
Tomb of the
Unknown Warrior
PLAN OF WESTMINSTER ABBEY.
Location of the
Shakespeare Monument
in Poets' Corner
Corner
SECRET
ABBEY
Chapter
HOW
OF
TO CRACK THE
WESTMINSTER
CONTENTS
Page
1-
2.
3.
4.
5.
List Of Illustrations
Monument Of Mystery
Spot The Difference
How To Decipher The Scroll
How To Test The Answer
The Monument's Secret Dimension
Recommended Reading
i
1
3
5
12
16
ILLUSTRATIONS
Plan of Westminster Abbey
Woodcut from 'The New Atlantis'
The Shakespeare Monument .
The Monument's Scroll
. . inside front cover
title-page
facing page i
I
Gustavus Selenus' Book of Ciphers
An Example of a Geometrically
Enciphered Message .. . . .
The 'Simple' Alphabetical Cipher
from Gustavus Selenus . . .
4
5
inside back cover
Acknowledgements
I am deeply indebted to Thomas Bokenham for his instruction
and kind advice and for permission to quote his correspondence.
His labours are the foundation of this book. Also, I am grate-
ful to the society of which he is the honorary Treasurer for
allowing me to photograph Selenus' book of ciphers.
Photographs of the Shakespeare monument appear by courtesy
of the Dean and Chapter of Westminster Abbey, and which were
commissioned by Peter Dawkins. He and his photographer, Kevin
Redpath, rendered help in the hour of my need.
Encouragement from Michael Bennett, MA in the University of
Oxford and sometime Hull Scholar of Pembroke College, Oxford,
added fuel to my fire. Always ready to teach me the finer
aspects of bistory, literature and the Classics, he
ally corrected my writing.
r am also grateful to Marjorie Martin, Don Ford, Peter
Baillie, Peter Allen and Peter Dawkins for their constructive
help and comments upon the manuscript and its publication. In
the latter, my printer, Mike Finnelly, and graphic artist, Ray
Bowler of Bowlorr Signs, grasped the s igni f icance of the work
and became totally involved.
Last but not least, this project could not have been done
without the understanding and support of my dear wife.
R J Barker
- i -
THE SHAKESPEARE MONUMENT.
1
MONUMENT OF MYSTERY
Wouldn't an unusual mistake in Westminster Abbey arouse
your curiosity? Shakespeare's statue points to a famous speech
by prospero in The Tempest. But why is it wrong? And who let
it be engraved with spelling mistakes and re-arranged lines?
Research soon answered only a couple of quest ions: who -'
Alexander Pope; when - January 1741 AD. But 'why?' remained a
mystery. Does the puzzle of Poets' Corner hide a secret?
Imagine my surprise upon leanling that Pope had already
produced an orthodox edition of Shakespeare's plays. Surely
he, of all people, should have got the quotation right? And he
insisted upon the wrong Latin for the same memorial's epitaph.
Was it just one of Pope I s pranks or did he have an ulterior
motive? A secret which he ought to reveal but dare not?
Something else is peculiar. The foreground of the monument
appears behind St George slaying the dragon on 20 notes. But
why is the suspicious script blanked out? This makes the
statue's finger point at nothing. The scaled-down scroll is
certainly big enough for text to have been shown - especially
as anything intricate would combat forgery, even if it were
only hieroglyphics. The omission is very intr iguing. Is ita
subtle hint or deliberate deception?
And why do literary experts ignore this magnificent manu'
ment to the bard? Are they at a loss to explain the adultera-
tion of prospero's speech? Please don't get me wrong; the very
latest research shows this provocative puzzle transcends any
question of Shakespeare I s authorship. I cannot over-emphasise
that fact.
For over two centuries the puzzle has defied solution. But
solid clues took me into the fascinating world of Eli zabethan
and Jacobean cryptography. A beautifully simple method cracks
the puzzle; the whole monument is the landmark of a mystical
brotherhood the' invisibles I. This fraterni ty is perhaps
older and more exclusive than the noble Order of the Garter,
their practical wisdom more arcane than that of Freemasonry.
Let's break the cryptogram together. Six straightforward
steps using a pencil is all it takes. Then we will find out
how the secret message points to that legerrdary brotherhood's
trail through the centuries and which interweaves with that of
its ancient ally, long believed defunct - the Knights Templar.
Little did I suspect that another signpost along that trail
had been close at hand for years. It was in a book.
I had not realised the meaning of. one of its slllall designs.
Then it hi t me between the eyes. Here was a modern clue that
the trail had not petered out. And I could not find any know-
- 1 -
THE MONUMENT'S SCROLL.
MONUMENT OF MYSTERY
ledgeable reference to it anywhere.
On top of that there were other discoveries. Added up,
they give a novel perspective across the past five centuries -
coincident with the era of modern pr inting. The fascination
and enjoyment of exploring this trail continues unabated. Let's
share the excitement of discovery, analysis, solving and check-
ing the mystery. Rare facts, now revealed, will challenge
long-held assumptions and opinions.
May I be so bold as to say that a prophecy is about to be
fulfilled? Three hundred and sixty years ago the man at the
centre of the mystery foretold the awakening of public aware-
ness to his secret yet sacred mission. Back in 1983 my invest-
igations started in earnest by examining the original Folio of
Shakespeare's plays. It dawned upon me that time had gone full
circle since the Folio's publication in 1623. But another and
far more important example of this is connected with the monu-
ment's secret dimension. Only when, I had completed the manu-
script of this booklet did I learn that the period of three
hundred and sixty years equates to 'a time' as told in Biblical
prophecy (see the twelfth chapters of the Books of Daniel and
of The Apocalypse). Is it further evidence of an 'invisible
hand' guiding our advancement?
It is like being at the crossroads of many tracks on a
mountainside. Our individual routes from the valley below have
met here. Where have the paths come from and where do they
lead? The signpost points to only one destination. Yet if we
read between the lines it also tells of the path that goes to
the summit. Shall we ascend together?
- 2 -
2
SPOT THE DIFFEaENCE
,
How can we be sure that Poets' Corner holds a mysterious
secret? Let's start by carefully comparing the monument's
scroll wi th other versions of Prospero' s speech in Act IV of
The Tempest. All the following are exact copies (eg. v printed
as u) but only the scroll's version is given in full.
1. The First Folio of "True Originall Copies" (1623):
Our Reuels now are ended: These our actors,
(As I foretold you) were all Spirits, and
Are melted into Ayre, into thin Ayre,
And like the baselesse fabricke of this vision
The Clowd-capt Towres, the gorgeous Pallaces,
The solemne Temples, the great Globe it self,
Yea, all which it inherit, shall dissolue,
And like this insubstantiall Pageant faded
Leaue not a racke behinde: we are such stuffe
As dreams are made on; and our little life
Is rounded with a sleepe: Sir,
2. Scroll on westminster Abbey's monument to Shakespeare (1741):
The Cloud cupt Tow'rs,
The Gorgeous Palaces
The Solemn Temples,
The Great Globe itself,
Yea all which it Inherit,
Shall Dissolve;
And like the baseless Fnbrick of a Vision
Leave not a wreck behind.
3. John Holt's Remarks on The Tempest (1749):
And like the baseless Fabrick of their Vision,
The cloud-capt Towers, the gorgeous Palaces,
The solemn Temples, the great Globe itself,
Yea all which it inherit, shall dissolve;
And like this insubstantial Pageant faded,
Leave not a Rack behind ...
(Quoted from Professor Vickers' book - see reading list.)
Which is the odd-one-out? the second, its layout
alone sets it apart from the But there is more to it
than that. Do you have a pen or pencil? Before turning the
page, ring the letters, words, punctuation and line in version
number 2 that differ from those of number 1.
- 3 -
SPOT THE DIFFERENCE
On the scroll, normal line length has been halved except
for the transposed line. That exception has been crammed into
the scroll but to do that its letters had to be shrunk. And
its words are wrong. Apart from those glaring oddities, there
are spelling mistakes and the vestigial trace of a cloud (rack)
has become a wreck. Sheer incompetence. Just a clever pun?
Or, perhaps there was an ulterior motive?
In addition to transposing two lines and modernising a
couple or so words, pope changed:
-capt
Towres
fabricke
this
racke
to cupt,
to Tow'rs,
to Fnbrick,
to a,
to wreck.
How was the speech printed in the then current version of
the plays? Theobald's 1733 edition, apart from using modern
English spelling, like its two predecessors, agreed exactly
with the first Folio.
Had the man of letters responsible for the monument's text
copied from his own 1725 edition of the plays? No. That one
was virtually identical to the others. Its only difference
being 'their' instead of 'this' vision.
Whatever made Pope mangle one of the most profoundly philo-
sophical speeches in English literature? No wonder experts shy
away from his eccentric variation.
Examine the Scroll for Yourself
Carefully scrutinise the accompanying illustrations. Visit
Westminster Abbey if you can. Surely the scroll's lettering
must have faded away over time? In places paint has peeled
from the very shallow incisions. But this has not produced the
spelling mistakes. They must have been there all the time. You
will prove to your own satisfaction that every letter is vital
for enciphering a secret message. To paraphrase Occam's Razor:
the proof is beautiful in its simplicity.
THE PIONEER
All credit for being the first to decipher Pope's scroll is
due to T h ~ m a s Bokenham, who announced his trail-blazing in 1975
in ~ h o s e Shakespeare Manuscripts. What follows shows how to do
it yourself and test the result. We shall then consider not the
puzzle's obvious implication but its secret dimension.
- 4 -
GUSTAVUS SELENUS' LATIN BOOK OF CIPHERS,
CRYPTOMENYTICES et CRYPTOGRAPHIAE, 1624.
3
HOW TO DECIPHER THE SCROLL
I
on the Monument in Westminster Abbey
HYPOTHESIS:
Flagrant changes to Prospero 's speech by an edi tor
(Alexander Pope) of the Shakespeare plays suggest
that the quotation may be cryptic. (sources 3 & 4)
SOURCES:
1. Cryptomenytices et Cryptographiae (1624)
Luneburg, Germany by Gustavus Selenus.
2. Remaines Concerning Britaine (1605) London,
by William Camden.
3. The Gentleman's Magazine (February & May 1741).
4. The Dunciad (1744) London, by Alexander Pope.
METHOD:
1. Transfer plain-text to a grid of squares.
2. Put each letter in one square.
3. Ignore punctuation and spaces.
RULES:
1. The secret message must be in a geometrical pattern.
2. Pattern's position must be symmetrical within grid
(source I: Liber 4, pp 138-140)
3. The message and its position should be confirmed by
either:
a) the content of the plain-text itself, or
b) the 'Simple Cipher' equivalence, using the
Elizabethan alphabet where A=l, B=2 etc but,
as in Latin, J is I and U is V which makes Z=24.
(source 1; Liber 4, P 141>
Note that H may be treated as a 'null'.
(source 2; chpt 'Anagrams')
CLUES:
1. may be indicated by the shortest line.
2. Grid size may be given by the number of letters in
that line, ie. 13. This is the numerical equiva-
lent of the first subsequent mistake, ie. n for a.
SOLUTION:
The following instructions based upon the above method
and rules will explain how to crack the cryptogram. No doubt
you will be pleasantly surprised how simple it is to find and
ver ify the secret message. All we do is follow the clues and
rewri te the scroll so that its last three lines precede the
others. Then it can be transferred into? 13 x 13 grid.
- 5 -
SELENUS' EXAMPLE OF A GEOMETRICALLY ENCIPHERED MESSAGE.
HOW TO DECIPHER THE SCROLL
The right way to complete each step is seen in the subsequent
one. Here's the plain-text:
The Cloud cupt Tow'rs,
The Gorgeous Palaces
The Solemn Temples,
The Great Globe itself,
Yea all which it Inherit,
Shall Dissolve;
And like the baseless Fnbrick of a Vision
Leave not a wreck behind.
STEP 1. Clue number 1 re-arranges the quotation thus:
Shall Dissolve;
And like t ~ e baseless Fnbrick of a Vision
Leave not a wreck behind
The Cloud cupt Tow'rs,
The Gorgeous Palaces
The Solemn Temples,
The Great Globe itself
Yea all which it Inherit,
Clue number 2 provides the grid dimensions:
1 2 3 4 5 6 7 8 9 10 11 12 13
1
2
3
4
5
6
7
8
9
10
11-
12
13
STEP 2. On the next page please wr i te the rearranged text
into the enlarged grid from where I have left off.
Put one letter per square, omit punctuation and
spacing - watch the spelling! Write continuously
from one row to the next. The quotation takes up
all but the last twelve spaces. Those have been
completed by repeating from the beginning of the
rearranged verse.
- 6 -
HOW TO DECIPHER THE SCROLL
Shall Dissolve;
And like the baseless Fnbrick of a Vision
Leave not a wreck behind
The Cloud cupt Tow'rs,
The Gorgeous Palaces
The Solemn Temples,
The Great Globe itself
Yea all which it Inherit,
1 2 3 4 5 6 7 8 9 10 11 12 13
1
2
3
4
5
6
7
8
9
10
11
12
13
S h a 1 1 D i s s 0 1 v e
A n d
S h a 1 1 D i s s 0 1 v
How are we to find a pattern in that jumbled mass?
Perhaps that first 'mistake' (n) is the key.
- 7 -
HOW TO DECIPHER THE SCROLL
STEP 3. This diagram shows the completed grid omitting the
scroll's words or letters which differ from the
orthodox versions. Please complete the blanks.
Maybe you are just reading rather than working the
puzzle. Even so, it would be useful to do this
. step because it highlights the alterations listed
in Chapter 2. The spelling differences appear in
step 4. What would happen if it were all to be re-
written for the other versions? Clearly, many of
the letters would not be in the same positions.
(You can try this later.)
S h a 1 1 D i s s 0 1 v e
A n d 1 i k e t h e b a s
e 1 e s s F b r i c k 0
f V i s i 0 n L e a v e
n 0 t a b e h i
n d T h e C 1 0 u d c
P
t T 0 s T h e G 0 r
9
e 0 u s P a
.-
a c e s T h
e S 0 1 e m n T e m
p
1 e
s T h e G r e a t G 1 0 b
e i t s e 1 f
y
e a a 1 1
w h i c h i t I n h
e
r i
t S h a 1 1 D i s s 0 1 v
.rl
2
3
4
5
6
7
8
9
10
11
12
13
1 2 3 4 5 6 78
- 8 -
9 10 11 12 13
HOW TO DECIPHER THE SCROLL
I
STEP 4. We now have a
l
correctly completed grid. Examine
the letters around the first mis-spelling, Fnbrick.
As 'n' is in the central column it may possibly be
the focal point of a symmetrical pattern. Of the
several possibilities, one is a naI:row doorway or
arch in the columns numbered 6 and 8, as shown
below:
1 2 3 4 5 6 7 8 9 10 11 12 13
t
J
1
2
3
4
5
6
7
8
9
10
11
12
13
S h a 1 1 D i s s 0 1 v e
A n d 1 i k e t h e b a s
e 1 e s s F
...!!...-_ b
r i c k 0
f a V i s i
--2-
n L e a v e
n 0 t a w r e c k b e h i
n d T h e C 1 0 u d c u
P
t T 0 w r s Ii' h e G 0 r
q
e 0 u s P a 1 a c e s T h
e S 0 1 e m n T e m
p
1 e
s T h e G r e a t G 1 0 b
e i t s e 1 f
y
e a a 1 1
w h i c h i t I n h e r i
t S h a 1 1 D i s s 0 1 v
Can anything be made of the framed letters?
- 9 -
t
I
F
,..!!....
b
i
f--
n
r
f--
c
C
f--
a
s h
f--
a a
HOW TO DECIPHER THE SCROLL
STEP S. Now we should write down the letters appearing in
that framework which is here repeated on its own.
1 2 3 4 5 6 7 8 9 '10 11 12 13
1
2
3
4
5
6
7
8
9
10
The letters are, for the 4th to 8th rows:
in column 6, F
in column 8, b
The mis-spelling in row 3, column 7 has become the
keystone of the arch-shaped pattern.
STEP 6. Are the two groups anagrams of two words or names?
If names, let's try the F and b as initials. As n
is the 'keystone' perhaps it is permissible to use
it with either group. Also, rule 3b (h as 'null')
may have to be used.
F
8
A spelling mistake forms the keystone of a perfectly symm-
etrical arch or doorway revealing a famous person's name. The
left column (with keystone) is his first name with his surname
in the right column. Alexander Pope described him as, liThe
greatest genius that England, or perhaps any other country,
- 10 -
HOW TO DECIPHER THE SCROLL
ever produced".
The left pillar is: F, i, r, C, s, a; plus n.
The right pillar is: b, n, c, 0, h CnulU, a.
Together, the anagrams give 'Francis Bacon', who lived
1561-1626. He was Viscount St Albans, Lord Chancellor, Parlia-
mentarian, poet, philosopher and essayist. Ben Jonson hailed
him as, "The mark and acme of our language". King James I
asked Bacon to editorially vet his Authorised Version of the
Bible but later, when Lord Chancellor, demanded that he be his
sacrificial lamb.
CONFIRMATION:
1. In simple cipher (where I=J), Bacon = 2+1+3+14+13 = 33.
2. Keystone n of 'Fnbrick' is 33rd letter of the grid.
3. Pattern is contained in 3rd to 8th rows of the grid;
and, when added, 3+4+5+6+7+8 = 33.
4. The scroll has 33 complete, unabbreviated, words.
5. Symbolically, an arch or gateway is represented by 33.
6. Pattern's shape reflects that of the monument's
surrounding doorway and of its epitaph's tablet.
CONCLUSION:
Another person's name has been hidden in the quotation on
the memorial to Shakespeare. As you will prove in the next
Chapter, this could not have been achieved by using either the
1623 Folio or a contemporary version of The Tempest. Pope had
to change the orthodox wording in several places in order to
hide the secret name.
The monument was erected in Poets' Corner, Westminster
Abbey by public subscription 124 years after Shakespeare's
death. This was over 100 years before the controversy arose
over his authorship and a couple of decades before the incom-
parable David Garrick popularised the plays. The undeniable
fact that Bacon's name is hidden on the memorial may suggest
that he had a clandestine involvement in our bard's works.
On the other hand, it possibly has nothing at all to do
wi th the authorship question. Pope's use of the square, arch
and 33 may be of Masonic significance. However, there is yet
another hidden but far more tantalising implication.
- 11 -
4
HOW TO TEST THE ANSWER
By using the Selenus method we can prove that Pope's vari-
ation of Prospero's speech is unique. The following grids based
upon versions 1 and 3 (as in Chapter 2) should be completed.
Only t h ~ pertinent parts of each version and top nine rows of
each gr id are shown. The latter have been left blank in the
arch, apart from 'F b', and where their spelling differs from
that of the monument. A ~ you have discovered how easy it is to
break ciphers by the squaring method, you should be able to
check your work at this stage.
Version 1. The First Folio of "True Originall Copies" (1623):
* And like the baselesse fabricke of this vision
The Clowd-capt Towres, the gorgeous Pallaces,
The solemne Temples, the great Globe it self,
Yea, all which it inherit, shall dissolue,
* And like this insubstantiall Pageant faded
Leaue not a racke behinde: we are such stuffe
with the * lines transposed to match the scroll, and everything
re-arranged as in Step 1 this becomes:
shall dissolue,
And like the baselesse fabricke of this vision
Leaue not a racke behinde:
The Clowd-capt Towres, the gorgeous Pallaces,
The solemne Temples, the great Globe it self,
Yea, all which it inherit, shall dissolue,
Does the 'F' b' arch give the same anagram as in the scroll?
Use the following blank lines to find out.
Possible anagrams are:
F
B
- 12 -
HOW TO TEST THE ANSWER
Version 1 (1623)
shall dissolue,
And like the baselesse fabricke of ' this vision
Leaue not a racke behinde:
The Clowd-capt Towres, the gorgeous Pallaces,
The solemne Temples, the great Globe it self,
Yea, all which it inherit, shall dissolue,
1 2 3 4 5 6 7 8 9 10 11 12 13
1
2
3
4
5
6
7
8
9
S h a 1 1 d i 5 5 0 1 u e
A n d 1 i k e t h e b a 5
e 1 e 5 5 f b r i c k
,-
i 0 f v 5 0 n
L e a u e n t
i
I---
h C 1 b e h n e
I---
0 d c
P
T w 5
I---
t h e g 0 r e u. 5 P a
T h e 5 0 1 e
Keystone letter is
Letters of 3rd to 8th rows;
in column 7,
in column 9,
F
b
- 13 -
HOW TO TEST THE ANSWER
version 3. John Holt's Remarks on The Tempest (1749):
* And like the baseless Fabrick of their Vision,
The cloud-capt Towers, the gorgeous Palaces,
The solemn Temples, the great Globe itself,
Yea all which it inherit, shall dissolve;
* And like this insubstantial Pageant faded,
Leave not a Rack behind .
With the * lines transposed to match the scroll, and everything
re-arranged as in Step 1 this becomes:
shall dissolve;
And like the baseless Fabrick of their Vision,
Leave not a Rack behind
The cloud-capt Towers, the gorgeous Palaces,
The solemn Temples, the great Globe itself,
Yea all which it inherit, shall dissolve;
Does the 'F b' arch give the same anagram as in the scroll?
Use the following blank lines to find out.
possible anagrams are;
F
B
.................................................
- 14 -
HOW TO TEST THE ANSWER
Version 3 (1749)
shall dissolve;
And like the baseless Fabrick of their Vision,
Leave not a Rack behind
The cloud-capt Towers, the gorgeous Palaces,
The solemn Temples, the great Globe itself,
Yea all which it inherit, shall dissolve;
1 2 3 4 5 6 7 8 9 10 11 12 13
1
2
3
4
5
6
7
8
9
S h a 1 1 d i s s 0 1 v e
A n d 1 i k e t h e b a s
e 1 e s s F b r i c k 0
f
,-
i
S-
s 0 n L
e a v e n t b
e h i n d ~ c 1 0 d
~
c
P
t T w s t h e
-
g
0 r
g
e u

e s T h e s 0 1 e m n T e
Keystone letter is ___
Letters of 3rd to 8th rows;
in column 6,
in column 8,
F
b
- 15 -
5
THE MONUMENT'S SECRET DIMENSION
The puzzle of Poets' Corner was only one part of a much
larger and more elaborate mystery. Just another piece to add
to my collection for a fantastic jigsaw. A tapestry of time
devoted to secret schemes behind historic events. How could I
begin to fit the pieces together without knowing the design or
if vital pieces were missing?
Then glimpses of the scenario flashed into mind. Inspired
I could fit some pieces together. Was it by intuition or some-
thing else? Who knows? The way I was led over many years from
one find to another, steered this way then that, had doubts and
questions answered quickly is too uncanny to relate. That is
why this b o o ~ sticks to facts.
I suspected that a very rare and ancient German code-book,
written in Latin, would playa vital role in my investigations.
Would you believe that I was intrQduced to an owner of the
Selenus book who lives only a few miles from me? He showed me
how it reveals surprising information put into the classics of
our early literature. And he was the first to apply one of
that tome's techniques to the monument's scroll. Mr Bokenham,
Treasurer of The Francis Bacon Society, has since written me:
"This Abbey monument and its cipher message are
extremely important and the message so far revealed is
only part of a fuller message which is even more sensa-
tional (the monument) really forms part of a trail
which I believe was meant to be discovered and followed,
not by the R.C. initiates, but by a layman through the
process of inductive reasoning which Bacon advocated so
strongly. I attempted to show this trail, so far incomp-
lete, in Baconiana and in my Brief History of the Bacon-
Shakespeare Controversy."
The scroll's further revelations use all of its spelling 'mis-
takes' The nature of the other messages suggest that Bacon
himself may have been the originator of the puzzle.
We, however, are to consider a different dimension from the
literary one. One that has not, to my knowledge, been invest-
igated and reported by historians, biographers or writers; not
even by those whose speciality is secret brotherhoods. As well
as being a Freemason, Pope was a vital link in the chain of
esoteric wisdom. He and a few others made the Abbey monument
covertly celebrate Bacon's most sacred yet secret mission for
the Rosicrucians. This is clearly indicated by:
1. The quotation's odd change of 'capt' to 'cupt' towers.
2. The statue's finger points to 'Temples' on the scroll.
3. The background design and the tablet's setting therein.
4. The use of inappropriate Latin for the epitaph.
- 16 -
THE MONUMENT'S SECRET DIMENSION
These signals d i r e c ~ the informed observer to highly rele-
vant early seventeenth century books: the anonymous manifesto,
Fama Fraternitatis (Cassel, Germany 1614) and Robert Burton's
The Anatomy of Melancholy (Oxford, 1628 edition). The former
and its sequels caused a rag ing controversy throughout Europe
for several years. They were issued by a generally unknown
brotherhood - that of the Rosy Cross.
Burton's famous treatise is a medley of observations and
anecdotes upon his times and a mine of information about class-
ical and English literature and history. It went through nine
edi tions between 1621 and 1700. Some knowledgeable writers
have said that it can prove Francis Bacon to have been the real
author of the Fama. A strict analysis shows it does not quite
do that. Who werethose mysterious Rosicrucians?
Imagine that we are renovating our clubhouse. An ancient
memorial plaque has to be taken down. A last almighty heave on
its large nail brings down a chunk of wall. The surprising
glimpse of a hidden door knocks out all ideas of the work in
hand. Who would have suspected another room here?
The door's odd inscription, "After 120 years I shall be
opened" heightens curiosity. A gentle push and we are dazzled
by a brightly lit vault. Its treasure confers rare, unusual
powers that compel us to tell the whole world. But there is
just one catch: we have to remain anonymous. Things will never
be the same from now on.
In a nutshell, that was the impulse behind the issue in
1614 of the Fama Fraterni tatis, or I Discovery of the Laudable
Order of the Rosy Cross'. Mainly an account of the birth of
the Order, it claimed that Christian Rosencreutz, a German
youth, had travelled to the Near East and North Africa and had
returned to Europe through Spain to teach his profound discov-
eries only to encounter hostility from the established author-
ities. Undaunted, he went on to Germany where:
" ... he built
a fitting habitation on a Ii ttle hill or mount, and on
the hill there rested always a cloud, and he did there
render himself visible and invisible at his own will and
discretion".
This is from John Heydon's 1660 version of the Fama, upon which
he had, "elaborated (and) perfected with diligent care".
(Remember the 'cloud cupt Tower'.)
There, Christian Rosencreutz and a few brethren founded his
Order. At the age of 106 years, in 1484, he died and his per-
fectly preserved body was entombed in a vault, the location of
which became forgotten. In 1604, one hundred and twenty years
later, the Order's architect had to enlarge the premises. Upon
removing a memorial plaque, the hidden, tiled door to the lost
- 17 -
THE MONUMENT'S SECRET DIMENSION
vault was discovered. (Remember the Shakespeare monument's
dark, odd-shaped epitaph on a light, bricked-up doorway.) The
vault was a mine of arcane lore and tremendously increased the
Order's wisdom and silent power.
It is my opinion that Pope wished to allude to the discov-
ery of the buried vault containing the tomb of Christian Rosen-
creutz . Combined, the ambiguous epitaph, the cryptic quotation
and the whole design of the Abbey's monument support this idea.
The detailed proof must, of necessity, be reserved for another
book.
As Pallas Athena, Greek goddess of wisdom, had sprung full-
grown from the brow of Zeus, so too did the Rosicrucians burst
upon an unsuspecting world in 1614. Their mission and means of
achieving it were also identical. Her task was to slay the
serpent of ignorance. Armed with only a spear but protected by
a reflective shield and helmet of invisibility, the maiden
goddess stalked her quarry. To the ancients she was known as
'the spear-shaker'. The Rosicruc ians adopted her modus operandi
and took her as their muse.
The issue, in Germany, of several editions of the Rosicru-
cians' manifestos in only three years caused great exci tement
in the world of learning. They said that the brethren possess
the most advanced and practical knowledge of the nature of
humanity, of the world and its Creator. An in-depth treatment
of this historic episode can be found in other books. Any
cursory consideration soon reveals the manifestos' revolution-
ary tone; not from Sovereign or Church but from a conclave of
unknown men. In a feudal society 'the doors of wisdom are
thrown open to the world'. The best knowledge was offered to
'prince and peasant alike' with the promise to reform govern-
ments, overthrow false theology and to reconcile the contra-
dictions of science and religion. No wonder they wore Athena's
helmet.
Alarmingly, nobody could put a face to them. And the Fama
claimed they had been veiled in deepest secrecy since before
the Battle of Agincourt (1415). They invited all the learned
of Europe who approved of their aims to join them. yet still
remained unknown. So, they became known as 'the invisibles'.
Dame Frances Yates, the late, distinguished Renaissance
scholar, examined the emergence of the Rosicrucians in the
early 1600's from a purely historical rather than esoteric
viewpoint. In Chapter 9 of The Rosicrucian Enlightenment, she
noted the similarities and differences between the movement in
Germany and Francis Bacon's writings in England. Both are con-
cerned with magico-scientific advancement for the purpose of
improving Mankind's lot, and to the glory of the Creator. The
German wri ters were more profoundly magico-Hermetic than the
sober, scientific approach of the Baconians. She argues that
- 18 -
THE MONUMENT'S SECRET DIMENSION
the main reason for the ~ i f f e r e n c e is the character and outlook
of King James I. He waS deeply fascinated by,1 yet fearsome of,
witchcraft and sorcery. In this respect, Bacon must have also
taken into account that king's disgraceful treatment of one of
Queen Elizabeth's intellectual giants - the Mathematician and
Astrologer Dr John Dee. The influence of the sage from Mortlake
upon the foundations of the Rosicrucians in Germany is now well
recognised. But it came to frui tion in the Palatinate during
the rule of its Elector, Prince Frederick, and his wife, James'
own daughter Elizabeth. Both were close friends of Bacon. He,
therefore, had to tread extremely carefully, especially during
that time of mounting witchcraft hysteria. Whatever the cost,
Bacon's mission of reforming and advancing knowledge must not
be jeopardised. He had pursued it relentlessly since awakening
to it when a boy at Trinity College, Cambridge.
Frances Yates notes that The Advancement of Learning by
Bacon preceded the Rosicrucian manifestos by ten years. In it,
he examines the then present state of knowledge only to find it
severely wanting. Consequently, he proposes a means of remedy-
ing the situation and demands the establishment of a transnat-
ional brotherhood of learning. Dame Frances does not instruct
readers that our greatest philosopher could 'both imagine like
a poet and execute like a Clerk of Works'. That is, he must
have carefully laid the foundations for achieving his noble
ambition and planned its realisation beyond his short span of
65 years. In later, Latin editions of The Advancement (Book 6)
is said to be found Bacon's note about hi s method: "Traditio
Lampadis sive Methodus ad Filios". It is the ancient method of
bequeathing the Lamp of traditional, or esoteric, knowledge to
the Sons of Wisdom.
The New Atlantis more than sums up Bacon's outer life-work
and aims for it is thoroughly imbued with Rosicrucian ideas.
They are not copied directly from the manifestos but are rather
a modern, practicable interpretation of them. It is the alleg-
orical account of sailors who discovered the Island of Bensalem
in the south Pacific after they had sailed from Peru. Although
unknown to the world, its inhabitants had enjoyed a perfect
society since the rule of their King Solomona in about 300 BC.
He had instituted the Society of Solomon's House, also known as
the College of Six Days' Work; an order of priest-scientists
who undertook research into all the arts and sciences. They
possessed the most advanced scientific knowledge and instru-
ments; the telephone, telescope, television, microscope and
submarines and aircraft. Every twelve years the Society sent
members on a fact-finding mission to the outside world. They
had to travel incognito and return with the latest advances in
learning made by all civilisations. That is, they were indeed
'invisible' merchants of 'light'. Such a highly evolved civil-
isation had readily accepted Christianity in the early days
from the Apostle Bartholomew. It had been received in a myst-
ical manner which also gave them possession of the Bible and of
- 19 -
THE MONUMENT'S SECRET DIMENSION
its lost books. Before the sailors landed, an off icial gave
them a scroll of instructions. It was signed with a stamp of a
cherubin's wings by which was a cross. The Rosicrucian Fama
was similarly sealed at the end but with an associated motto,
"Sub Umbra Alarum Tuarum Jehova" - under the shadow of Thy
wings, Jehova.
That: excellent historian is struck by the great influence
that the Rosicrucian works had upon Bacon's unfinished utopian
work. She draws a dozen or so parallels between them yet
remains caught in a cleft stick because she cannot admit Bacon
as having been associated with the Order of the Rosy Cross.
Yet she admits that John Heydon's writings of the 1660's more
or less indicated to Baconians' that their Francis was a Rosi-
crucian. Heydon was the first to publicly make this link. One
of his several works about the brotherhood was The Voyage to
the Land of the Rosicrucians. It is a virtual re-write, with
suitable changes, of The New Atlantis. In it Bacon's 'House of
Solomon' becomes the 'Society of the Rosie Crucians'. I agree
with Manley Hall that:
"John Heydon was no clumsy plagiarist
or deceiver.He could not possibly have expected his use
of Bacon's fable to pass unnoticed and uncriticised. He
must have realized that a Society of scientists and
scholars, patterned upon the college of New Atlantis,
had been in the process of integration for some years."
Hall means The Royal Society, the founders of which were mainly
Baconians. In 1667 the off icial but not deep account of this
great institution's origins and growth was published. Thomas
Sprat's The History of The Royal Society has a fine engraving.
Its central feature is a pedestal with bust of Charles II, the
royal founder, with the Society's first president on his right
and the Society's father on his left. Both are seated and hat-
less. William Brouncker points with his right hand to the
inscription on the pedestal. Francis Bacon points beyond the
picture with his left. An unequivocal hint to search elsewhere
for the Society's true, 'invisible' inspiration. The Order of
the Rosy Cross? Behind Bacon a standing angel with trumpet
crowns the bust with a wreath of fame. Frances Yates poign-
antly declares:
"Bacon is under the angel's wing. One cannot
help noticing this now, and wondering whether it could
be an allusion to 'Under the shadow of Jehova's Wings',
and whether the trumpeting angel was meant to recall
the Fama, and those hopes of long ago, so long deferred
and now, at last, realized."
John Heydon was one of three men responsible for the
considerable revival of interest in that august brotherhood
between 1650 and 1665. His own connection with it is believed
to have been through a close relative, Sir Christopher Heydon.
The other two principals were Thomas Vaughan and Elias Asmole.
- 20 -
THE MONUMENT'S SECRET DIMENSION
The first published was once thought to have been the
first English translation of The Fame and Confession in 1652.
(The author Adam Maclean recently found an older one, by about
twenty years, in the Scottish Records Office.) The other was
renowned for his antiquarian work and museum at Oxford. Others
closer to the times also knew of Bacon's connection with it.
The original Fama published in Germany in 1614 was bound
with another work:-IUpon publication it thus seemed to be only
an appendage to that preceding work. Some historians have con-
sidered them to be unrelated but there certainly appears to be
a def ini te reason for their having been issued together. The
other work, known as 'The Universal and General Reformation of
the Whole, Wide World' was a reprint of the '77th Advertise-
ment' from Boccalini's De Ragguagli di Parnasso (News from
Parnassus) published in two parts in 1612 and 1613. It is a
commentary upon the state of the world at that time and set in
the imaginary court of Apollo. The Greek divinity laments the
miserable situation of mortals, and ancient and modern person-
ages come to discuss and suggest remedies. All of them are
considered i.mpracticable, although the most promising idea is
that of 'lovingness' - the practice of real, Christian benevol-
ence and charity. As nothing can be done about that the status
quo remains unreformed. The contrast between such a
ening story and its 'appended' Fama is brilliant - help is at
hand. Clearly, co-publication of the two works was deliberate.
The manifesto offers the remedy, and much more besides. And it
is just as necessary and applicable today.
An anonymous version of Boccalini's story was published in
1645 as The Great Assizes Holden at Parnassus. It is attrib-
uted to the poet and satirist George Withers. He had previously
done a magnificent tome on emblemata - pictures and poems of an
allegorical meaning. In his later work, the god Apollo decrees
that certain poets and authors are to be tried for their crimes
against truth and literature. He presides over his court on
the 'hill of learning', that is, Parnassus. Next in authority
to Apollo is 'Lord Verulam, Chancellor of Parnassus' (Francis
Bacon) ably assisted by Sir Philip Sidney and Ben Jonson.
William Shakespeere (sic) is relegated as one of the jurors who
are really the malefactors (he is described as 'The wri ter of
weekely Accounts').
Li terature, music and prophecy were the especial care of
Phoebus/Apollo, the sun god and leader of the 'choir' of nine
Muses. Bacon's admirers identified him with, or ranked him
superior to, his own muse, Athena, was accorded greater
eloquence than the original nine put together. Ridiculous
adulation? Maybe, but it is the main theme of the 'Manes Veru-
lamiani' (Shades of Verulam), a rare collection of thirty three
funereal elegies to Lord Bacon. without any shadow of a doubt,
its contributors regarded him as incomparably surpassing all
the poets and sages, even divinities, of antiquity.
- 21 -
THE MONUMENT'S SECRET DIMENSION
Back to Boccalini. (The name is said to suggest 'little
mouth'. The first translation, in 1669, of his work was by
Henry, Earl of Monmouth - 'my mouth'.) Boccalini' s chief hero
wa-s Henri IV of France, King of Navarre, Templar and champion
of mystics. In one of the first 'Advertisements' from Parnas-
sus, he has Apollo in bi t ter tears over the news of Henri's
assassioation and all hope of improving the world's terrible
state has gone. Francis had become very friendly with this
monarch during his stay at the court of the previous king,
Henr i III. His dear, elder brother Anthony spent most of his
life in south France as Walsingham's chief agent and he too
remained very close to Henri IV. So, we have yet another simi-
larity between Apollo and Bacon.
Why did Withers write Bacon as 'Chancellor of Parnassus'
and mouthpiece of Apollo? Is there any significance in Apollo's
attempted reform of the world as a 'preface' to the Fama? The
evidence we have considered strongly indicates that;-as Bacon
was regarded as Apollo, the printing of the 'Universal Reform-
ation' with the Fama points to his deep involvement in, if not
authorship of, the Rosicrucian manifestos. Count Michael Maier,
the fraternity's main German apologist, underlines the direct
relevance of the mythological theme. In Themis Aurea (1618),
or 'Golden Laws', he reveals yet conceals information about the
order. He alludes teasingly to its:
" ..Olympic Houses not
far from a river, and a city which we t ~ i n k is called
S. Spiritus - I mean Helicon, or Parnassus, in which
Pegasus opened a spring of overflowing water . This
will suff iciently instruct an intelligent reader, but
more confound the ignorant."
There is an intriguing fact about The New Atlantis. It was
published the year after Bacon's passing in 1626 and its title-
page bears a prophetic device. Within a circle, it depicts
Chronos, old Father Time, by an unblocked cave helping a naked
figure, wearing a crown, out of its dark depths. The Latin
motto translates as, 'Time brings forth the hidden truth'.
Now, a circle is described by a 360
0
arc. If regarded as
years, one full cycle of time has elapsed since 1626. Perhaps
Bacon had this in mind when he drafted in his will:
" .. for
my name and memory, I leave it to foreign nations, and
to mine own countrymen after some time be passed over."
Isn't that last clause curious? Why wish to expressly withhold
a noble reputation from one's fellow countrymen? It implies
that Lord Bacon really did lead a mysterious, double-life. A
few months before his passing he had slightly amended it to
foretell:
" . for my name and memory, I leave it to men's
charitable speeches, and to foreign nations, and the
next ages "
- 22 -
THE MONUMENT'S SECRET DIMENSION
Yet it still means thatlforeigners would him better.
And how right he was! I
Why is Bacon's name hidden on Westminster Abbey's memorial
to Shakespeare? We have proved that 'Francis Bacon' is there.
The obvious implication connects him with the bard's works. The
Se1enus squaring method is a powerful tool for breaking ciphers
and lends credence to the contention of the Baconians.
However, we have discovered an alternative implication. One
that transcends personality cults: a pointer to the educational
mission of a once-secret brotherhood. Or, perhaps there was a
third reason for hiding his name in the national shrine to our
heroes. Could it be something to do with the prophecy in his
Will? Was his identity enciphered therein to await the public
revelation of the secret dimension in 1986?
Since Bacon's passing in 1626, his Rosicrucian descendants
have commemorated his work for the brotherhood. In each succ-
essi ve century they left a permanent, public testimonial of
this. The puz zle in Poets' Corner is that of the eighteenth
century. Those of the early nineteenth and twentieth centuries
are just as surprising. The many clues that I have found have
either been missed or not appreciated by other investigators.
The full details will be disclosed in another book for those
who are impelled to know about:
> The peculiar accounts of the erection of the monument to
Shakespeare in Westminster Abbey.
> Unusual proofs of the link between the modern and ancient,
original Rosicrucian Order.
> The art of invisibility in the Rosicrucian manifestos, and
as practised by the modern brotherhood.
> The true status of the Hermetic Order of the Golden Dawn.
> Nazi persecution of esoteric fraternities and the remark-
able escape of a Disciple of Pythagoras during Gestapo
interrogation.
> Shambhala, its awesome power, and an encounter with Hitler.
> The Kabbala and Freemasonry's 'pagan' password.
> Knowledge of the 'Lost Word' and of the Triple Tau.
> An alternative explanation of the clues about the Priory of
Sion (the mystery of Rennes-1e-ChAteau).
> The survival of the military Order of Knights Temp1ar after
its cruel suppression.
> The Temp1ar secret signs in our early, printed literature.
> An intriguing coincidence concerning the common ancestor of
our future King and Queen, Charles and Diana.
These further discoveries substantiate the inescapable
conclusion that Westminster Abbey has not only the tomb of an
Unknown Warrior but also an unknown memorial to the legendary
Christian Rosencreutz.
- 33 -
LIB E R Q.y II R T us. Cap.6.
1+1
CAPUT 1'1
De Comparatione Arbitraria l11ediante
Clave: IterhFortuita nlediallte
Infrrumento.
Eellndul PrincipAl" ModM pendet aClave. Ad eujUl
nor11l111 hie L.lter" 'p<!!L C1 'PfA Litera eD,
(vid. f. c. 8. Lib. 2. )ftofjue ordmt, fjuoJlat inAf;hAbeto
doctt, fjuoto 10(0 Allera (ollo(and4fit: E.g. StAnte
AlphAbtto:
/. 4j 5.7. !.p.10.11.12.1j.141j.16.17T!.l9.20.21.22.2j.24.
abeJefgbi It I 11In 0 pifr.ft 1J7J7Jxy <;
SiStcrdumjit Fuge oeyus: pon4t11t' Litera F, fj/{" 'llionial r;xt4
ii, orJineeOAlpbAbtti,hmeft'llltnl Literll U1JoDtAmftxtolocojijitndA:
Et ellmU 20.ftti" AlpbAbeto, bine'VigeflmolocopoDLiterA11I Ueol/oeAn-
JA Liter4G.l1ntiefidell", 1Ilotlilmpergit,exSecre/otAlit exftrgerepot-
eR OrAtio.
. ,Fauf1:ius ee.fte .nihil gratius ell:. tuo quem fpe
CltyUS aeeeleraf1:1. Nl emm If1:ud taaumfudfec, IOgens rebus euis
damnum,&c.
NotAndllm bJ( ,Ji nUNltrJU LiterA dnplictt1lr, IAxiore11l tI"r; hieft-
(1Iltlltem (onfi(iendi orAtionem,.
Tertilll Modmpendet J deeAntAto illo injlrumento IJr411t'.t peifo..
r"t",lIbi r"tioneflrA11Iinit 'Vel l"ti'Vel"'11ujfi,ftribunturunA'Vt'1p"'Ttl
Secreti Liter", A/file ejrudtmbenejieio, Lec/ori 'Vieijli11l delegun/ur. Cu..
JIMInfiru11Ienti eon[t8ionem, Ciperil/udSerilJendi Mod"", exCardano
cJ Glauburgio, in Expofitione ad Polygraph. Triehemij) Porta.,..,
Lib. 2. e.18. /ucllienter"peruit: Ideoqllt nihilultraadtlimur. Vide
fup. Lib.2. e. 9. Ci inf.Lib.6. e.lo.&2o.Nt'lmInflnt-
mentA ilJidejiriptA) hue noninfjJte
'luAdrAnt.
CAPUT
THE 'SIMPLE ALPHABETICAL' CIPHER, FROM SELENUS.
RECOMMENDED READING
ALLEN, Paul (Ed.): A Christian Rosencreutz Anthology, 1974.
BOKENHAM, Thomas: A Brief History of the Bacon-Shakespeare
Controversy, 1981.
B U R T O ~ , Robert: The Anatomy of Melancholy - 25 edns. 1621-1961.
CARPENTER, Edward: A House of Kings - The Official History of
Westminster Abbey, 1966.
COBB, Noel: Prospero's Island, 1984.
DODD, Alfred: The Martyrdom of Francis Bacon, c1946.
DU MAURIER, Daphne: The Winding Stair, Francis Bacon, His Rise
and Fa11,1976.
DUNSTAN, victor: The Invisible Hand, 1984.
FIDO, Martin: Shakespeare, 1978.
FOX, Levi: In Honour of Shakespeare, 1972
GOODACRE, Clive: In Search of the 'Inimitable Note'
(The 'Penrose' Review), 1982.
GRUNDY, W G C (Ed.): Manes Veru1amiani (1626), facsimile, 1950.
HALL, M P: Orders of universal Reformation, 1949.
HALLIDAY, F E: Shakespeare - A Pictorial Biography, 1969.
HARTLEY, Sir Harold (Ed.): The Royal Society, its Origins and
Foundations, 1960.
HEYDON, John: The Rosie Crucian Infallible Axiomata, 1660.
KAHN, David: The Codebreakers, 1974.
LEE, Sidney: Great Englishmen of the Sixteenth Century, 1904.
LEWIS, H S: Questions & Answers with a Complete History of the
Rosicrucian Order, 1929.
LINGS, Martin: The Secret of Shakespeare, 1984.
MACK, Maynard: Alexander Pope - A Life, 1985.
MACLEAN, Adam (Ed.): Compendium of the Rosicrucian Vault, 1985.
MCDUFF, Ewen: The 67th Inquisition, 1972.
MCINTOSH, Christopher: The Rosy Cross Unveiled, 1980.
OVERTON FULLER, Jean: Francis Bacon, A Biography, 1981.
PARES, Com. Martin: Knights of the Helmet, 1964.
PHILALETHES, Eugenius : The Fame and Confession of the
Fraternity of R:C:, 1652.
POTT, Mrs Henry: Francis Bacon's Secret Society, 1891.
QUENNELL, Peter: Alexander Pope - The Education of Genius,l968.
SCHOENBAUM, S: William Shakespeare - A Documentary Life, 1975.
" ." Shakespeare, The Globe and the World, 1979.
William Shakespeare - Records and Images, 1981.
SELENUS, Gustavus: Cryptomenitices et Cryptographiae, 1624.
SMEDLEY, William: The Mystery of Francis Bacon, c1912.
STANLEY, A P: Historical Memorials of Westminster Abbey, 1924.
TENISON, Archbishop Thomas: Baconiana or, Certain Genuine
Remains of Sir Francis Bacon, 1679.
TREVOR-ROPER, Sir Hugh: Renaissance Essays, 1985. .
VICKERS, Prof. Brian (Ed.): Shakespeare Volume III 1733-1752
- The Critical Years, 1975.
WAITE, A E: The Real History of the Rosicrucians, 1887.
" " The Brotherhood of the Rosy Cross, 1925.
WITTEMANS, F: A New and Authentic History of the Rosicrucians,
1938.
YATES, Dame Frances: The Rosicrucian Enlightenment, 1972.