Bacon is Shake-Speare | Page 2

cities and of men that has never been surpassed.
Who was in existence at that period who could by any possibility be supposed to be this universal genius? In the days of Queen Elizabeth, for the first time in human history, one such man appeared, the man who is described as the marvel and mystery of the age, and this was the man known to us under the name of Francis Bacon.
In answer to the demand for a "mechanical proof that Bacon is Shakespeare" I have added a chapter shewing the meaning of "Honorificabilitudinitatibus," and I have in Chapter XIV. shewn how completely the documents recently discovered by Dr. Wallace confirm the statements which I had made in the previous chapters.
I have also annexed a reprint of Bacon's "Promus," which has recently been collated with the original manuscript. "Promus" signifies Storehouse, and the collection of "Fourmes and Elegancyes" stored therein was largely used by Bacon in the Shakespeare plays, in his own acknowledged works, and also in some other works for which he was mainly responsible.
I trust that students will derive considerable pleasure and profit from examining the "Promus" and from comparing the words and phrases, as they are there preserved, with the very greatly extended form in which many of them finally appeared.
EDWIN DURNING-LAWRENCE.

CONTENTS
I. Preliminary
II. The Shackspere Monument, Bust, and Portrait
III. The [so-called] "Signatures"
IV. Contemporary allusions to Shackspere in "Every Man out of his Humour"; and "As you Like it"
V. Further contemporary allusions in "The return from Parnassus"; and "Ratsei's Ghost"
VI. Shackspere's Correspondence
VII. Bacon acknowledged to be a Poet
VIII. The Author revealed in the Sonnets
IX. Mr. Sidney Lee, and the Stratford Bust
X. The meaning of the word "Honorificabilitudinitatibus"
XI. On page 136 of the Shakespeare Folio of 1623, being a portion of the play "Loves labour's lost," and its connection with Gustavi Seleni "Cryptomenytices"
XII. The "Householder of Stratford"
XIII. Conclusion, with further evidences from Title Pages
XIV. Postscriptum
XV. Appendix
Addenda et Corrigenda
Introduction to Bacon's "Promus"
Reprint of Bacon's "Promus"
LIST OF ILLUSTRATIONS
PLATE.
I. Frontispiece. Portrait of Francis Bacon, from his "Sylva Sylvarum," 1627.
II. Portrait of Francis Bacon, by Van Somer. Engraved by W.C. Edwards.
III. The original "Shakespeare" Monument in Stratford Parish Church, a facsimile from Dugdale's "History of Warwickshire," published in 1656.
IV. The Shakespeare Monument as it appears at the present time.
V. The original Bust, enlarged from Plate III.
VI. The present Bust, enlarged from Plate IV.
VII. Reduced facsimile of the title page of the first folio edition of "Mr. William Shakespeare's" plays, published in 1623.
VIII. Facsimile, full size, of the original portrait [so-called] of "Shakespeare" from the 1623 Folio.
IX. Verses ascribed to Ben Jonson, facing the title page which is shewn in Plate VII.
X. The back of the left arm, which does duty for the right arm of the figure, shewn on Plates VII. and VIII.
XI. The front of the left arm of the figure, shewn on Plates VII. and VIII.
XII. The [mask] head from the [so-called] portrait by Droeshout in the 1623 Folio.
XIII. Portrait of Sir Nicholas Bacon. By Zucchero.
XIV. The five [so-called] "Shakespeare" Signatures. [The sixth is shewn in Plate XXXVIII., Page 164].
XV. Francis Bacon's Crest, from the binding of a presentation copy of his "Novum Organum," published in 1620.
XVI. Facsimile of the title page of "The Great Assises holden in Parnassus."
XVII.-XVIII. Facsimiles of pages iii. and iv. of the same.
XIX. The original "Shakespeare" Monument in Stratford Parish Church, a facsimile from Rowe's "Life and Works of Shakespeare," Vol. I, 1709.
XX. Reduced facsimile of page 136 of the first folio edition of the plays, 1623.
XXI. Full size facsimile of a portion of the same page 136 of the first folio edition of the plays, 1623.
XXII. Full size facsimile of page F4 of "Loves labor's lost," first quarto edition, published in 1598.
XXIII. Facsimile of a portion of a contemporary copy of a letter by Francis Bacon, dated 1595.
XXIV. Facsimiles from page 255 of Gustavi Seleni "Cryptomenytices et Cryptographiae," published in 1624.
XXV. Facsimile from page 2O2b of "Traicte des chiffres ou secretes manieres d'escrire," par Blaise de Vigenere, published in 1585.
XXVI. Ornamental Heading, from William Camden's "Remains," published in 1616.
XXVII. Reduced facsimile of the title page of Gustavi Seleni "Cryptomenytices et Cryptographiae," published in 1624.
XXVIII.-XXXI Various portions of Plate XXVII. enlarged.
XXXII. Scene from "The Merry Wives of Windsor," from a painting by Thomas Stothard.
XXXIII. Facsimile of the title page of Bacon's "De Augmentis Scientiarum," published in 1645.
XXXIV. Facsimile of the title page of "New Atlantis, begun by Lord Verulam and continued by R.H., Esquire," published in 1660.
XXXV. Facsimile of the title page of Bacon's "Historia Regni Henrici Septem," published in 1642.
XXXVI. Nemesis, from Alciati's "Emblems," published in 1531.
XXXVII. Nemesis, from Baudoin's "Emblems," published in 1638.
XXXVIII.-IX. Portion of the MSS. mentioning Shakespeare, discovered by Dr. Wallace.
XL. Facsimiles of three examples of law clerks' writing of the name "Shakespeare."
XLI. Facsimile of the Dedication of "The Attourney's Academy." 1630.
XLII. Facsimile