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 COPYRIGHT DEPOSnV 
 
STUDIES IN THE BI-LITERAL 
 CIPHER OF SIR FRANCIS BACON 
 
BACON AS A YOUTH 
 
Studies in tKe 
 
 BI -LITERAL CIPHER 
 
 of FTU3\(CIS 'B<iAC03^ 
 
 BY 
 
 Gertrvde Horsford Fiske 
 
 with 
 
 ITALIC ^ "R^MATs^jAUPUAmrS 
 
 Elizabeth Wells Gallup 
 
 Boston. I/ondoTv 
 
 Jol)n W. L'uce & Co. Artliur F. Bird 
 
 MCMXIII 
 
COPYRIGHT, 1913, BY 
 GERTRUDE H. FISKE 
 
 .F5 
 
 |^CI.Ao,"8o67 "stL- 
 
PREFACE 
 
 IT is twelve years since Elizabeth Wells Gallup printed her first translation from the bi- 
 literal cipher of Francis Bacon. During these years she has published more translations, 
 but has made little effort to describe the method of reading the cipher. 
 
 When her book "Francis Bacon's Cipher Story" was first brought to my attention, I 
 spent much time in endeavoring to work out the cipher, but without success. Later, I was so 
 fortunate as to meet Mrs. Gallup, and have had the privilege of receiving instruction from her 
 in deciphering. Believing that what I have learned will be interesting to many, I have en- 
 deavored to show in this book in as simple a manner as possible the laborious way in which 
 the hidden message is brought to light. 
 
 In order to make this book helpful to those who wish to decipher the bi-literal (cipher) I 
 have also collected together examples from several books showing different italic alphabets. 
 All these books contain cipher messages, and all were printed in different years, and in differing 
 alphabets. These alphabets are grouped in fonts, and the letters drawn, and their differences 
 clearly pointed out by Mrs. Gallup. These italic letters are the shapes and sizes used generally 
 in the books of the sixteenth and seventeenth centuries to conceal the cipher messages. Be- 
 sides these there are several sizes of Roman letters in facsimile which are also described. 
 
 Acknowledgements are due to Mrs. Gallup, to Edward J. O'Brien for his assistance in 
 publishing this book, and to Mr. Moore of the Howard Publishing Co. of Detroit, for his cour- 
 tesy in allowing me to print translations never before published. The pen and ink draw- 
 ings of Alphabets, the descriptions of the letters, and all of the decipherings in this book 
 were made by Mrs. Gallup at my request. 
 
 Gertrude H. Fiske. 
 
TABLE OF CONTENTS 
 
 I. Introduction i 
 
 II. De Augmentis Scientiarum, 1638. Cipher KEY TO MESSAGE ON Page 170 7 
 
 III. A Lesson ON THE Key IN De Augmentis Scientiarum, 1632 and 1638 8 
 
 IV. An Example of the Method of Translating the Cipher 12 
 
 V. Second Folio, 1632. L. Digges Poem. Cipher key and deciphered message 16 
 
 VI. The Method of Extracting the Cipher from the Dedicatory Epistle, 
 
 Second Folio, 1632 17 
 
 VII. Second Folio, 1632. Dedicatory Epistle, etc. Cipher key and de- 
 ciphered message 22 
 
 VIII. Peele's The Knight of the Golden Shield, 1599. Cipher key and de- 
 ciphered message 25 
 
 IX. Sylva Sylvarum, 1627. Cipher key 33 
 
 X. New Atlantis, 1627. Cipher key 36 
 
 XI. Second Folio, 1632. Cipher keys: 
 
 ACT0P..S ' Names 43 
 
 First of Ben Jonson's Poem 43 
 
 Last of Ben Jonson's Poem and First of I. M. S. Poem 43 
 
 4. Last of I. M. S. Poem 44 
 
 5. Hugh Holland Poem 44 
 
 6. Poems: "Upon the Effigies," and "An Epitaph." 45 
 
 I. M. Poem 46 
 
 Prologue: Troilus and Cressida 46 
 
 ERRATA 
 
 On page 12, line 15 — for "48" read 51. 
 
 On page 18, line 19— for "57-68" read 60-71 ; line 20 — for "58" read 61. 
 
 On page 23, in Deciphered Message, line i— for "Actors MS" read "Actors Wm. S". 
 
TABLE OF CONTENTS 
 XII. A Description of the Alphabets. 
 
 1. Second Folio, 1632. L. Digges Poem. 
 
 I. Italic Capitals 47 
 
 II. Italic Small Letters 51 
 
 III. Italic Digraphs 55 
 
 2. Second Folio, 1632. Dedicatory Epistle. 
 
 I. Italic Capitals 60 
 
 II. Italic Small Letters 63 
 
 III. Italic Digraphs 68 
 
 3. Second Folio. 1632. Two-Space Letters, Roman Type. 
 
 I. Capitals 72 
 
 II. Small Letters 75 
 
 III. Digraphs 78 
 
 4. Second Folio, 1632. Three-Space Letters, Roman Type, in the 
 
 Headings of the Shakespeare Plays. 
 
 I. Capitals 79 
 
 II. Small Letters 82 
 
 III. Digraphs 86 
 
 5. Second Folio, 1632. Roman Type in L. Digges Poem, etc. 
 
 I. Capitals 87 
 
 II. Small Letters 90 
 
 III. Digraphs 93 
 
 6. Second Folio, 1632. Small Roman Type. 
 
 I. Capitals 94 
 
 II. Small Letters 97 
 
 7. Second Folio, 1632. Small Italic Type. 
 
 I. Capitals 100 
 
 II. Small Letters 104 
 
TABLE OF CONTENTS 
 
 8. Peele's The Knight of the Golden Shield, 1599. 
 
 I. Italic Capitals in Large Type no 
 
 IL Italic Small Letters in Large Type in 
 
 III. Italic Digraphs in Large Type 114 
 
 IV. Italic Capitals in Small Type 114 
 
 V. Italic Small Letters in Small Type 117 
 
 VI. Italic Digraphs, etc., in Small Type 122 
 
 9. Sylva Sylvarum, 1627. 
 
 I. Italic Capitals in Large Script on Engraved Pages .. 126 
 
 II. Italic Small Letters IN Large Script on Engraved Pages 127 
 
 III. Italic Capitals in Medium Script on Engraved Pages. ... 129 
 
 IV. Italic Small Letters in Medium Script on Engraved Paces 130 
 V. Italic Capitals in Small Script on Engraved Pages 131 
 
 VI. Italic Small Letters in Small Script on Engraved Pages 132 
 
 VII. Italic Capitals in Large Type 135 
 
 VIII. Italic Small Letters in Large Type 138 
 
 IX. Italic Digraphs in Large Type 142 
 
 X. Italic Capitals in Medium Type 143 
 
 XL Italic Small Letters in Medium Type 147 
 
 XII. Italic Capitals in Small Type 150 
 
 XIII. Italic Small Letters in Small Type 154 
 
 10. New Atlantis, 1627. 
 
 I. Italic Capitals in large Type 159 
 
 II. Italic Small Letters in Large Type 162 
 
 III. Italic Digraphs in Large Type 167 
 
 IV. Italic Capitals in Medium Type 170 
 
 V. Italic Small Letters in Medium Type 174 
 
 VI. Italic Digraphs in Medium Type 178 
 
 Deciphered Messages. 
 
 I. Second Folio, 1632. 
 
 I. Actors' Names and First of Ben Jonson's Poem 184 
 
TABLE OF CONTENTS 
 
 II. Last OF Ben Jonson's Poem AND First OF I. M. S. Poem. .. . 184 
 
 III. Last of I. M. S. Poem, and Hugh Holland Poem 184 
 
 IV. Poems "Upon the Effigies" and "An Epitaph" 185 
 
 V. I. M. Poem 185 
 
 VI. Prologue, Troilus and Cressida 185 
 
 2. Sylva Sylvarum, 1627. 
 
 I. Prefatory Pages 185 
 
 II. Body of the Work 185 
 
 3. New Atlantis, 1627 186 
 
 "To The Reader" and Catalogue, Second Folio, 1632 188 
 
LIST OF PLATES 
 
 Frontispiece: Bacon as a Youth. 
 
 1. De Augmentis, 1638. Page 167. 
 
 2. De Augmentis, 1638. Page 168. 
 
 3. De Augmentis, 1638. Page 169. 
 
 4. De Augmentis, 1638. Page 170. 
 
 5. Horace, 1564. Title-page. Showing two fonts of italics. 
 
 6. Horace, 1564. Page 158. 
 
 7. L. Digges Poem, Second Folio, 1632. 
 
 8. L. Digges Poem, Alphabet. Capitals. 
 
 9. L. Digges Poem, Alphabet. Small Letters. 
 ID. L. Digges Poem, Alphabet. Digraphs. 
 
 Titlepage. Upper Part. 
 
 TiTLEPAGE. Lower Part. 
 
 Dedicatory Epistle. Upper part of first page. 
 
 Dedicatory Epistle. Lower part of first page. 
 
 Dedicatory Epistle, Upper part of second page. 
 
 Dedicatory Epistle, Lower part of second page. 
 
 To the Great Variety of Readers. 
 
 Upper part of page. 
 
 To the Great Variety of Readers. 
 
 Lower part of page. 
 
 Dedicatory Epistle. Alphabet. Capitals. 
 
 Dedicatory Epistle. Alphabet. Small Letters. 
 
 Dedicatory Epistle. Alphabet. Digraphs. 
 21A. Second Folio, 1632. Illustrations of Digraphs, i to 8. 
 21B. Second Folio, 1632. Illustrations of Digraphs. 9 to 15. 
 
 22. Second Folio, 1632. To the Reader. 
 
 23. Second Folio, 1632. To the Reader. Alphabet. Two-space letters. 
 
 24. Second Folio, 1632. Heading. The Tempest. 
 
 II. 
 
 Second Folio, 
 
 1632. 
 
 12. 
 
 Second Folio, 
 
 1632. 
 
 13- 
 
 Second Folio, 
 
 1632. 
 
 14. 
 
 Second Folio, 
 
 1632. 
 
 IS- 
 
 Second Folio, 
 
 1632. 
 
 16. 
 
 Second Folio, 
 
 1632. 
 
 17- 
 
 Second Folio, 
 
 1632. 
 
 18. 
 
 Second Folio, 
 
 1632. 
 
 19- 
 
 Second Folio, 
 
 1632. 
 
 20. 
 
 Second Folio, 
 
 1632. 
 
 21. 
 
 Second Folio, 
 
 1632. 
 
LIST OF PLATES 
 
 24A. Second Folio, 
 
 1632. 
 
 Heading. 
 
 Troilus and Cressida. 
 
 25 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Merry Wives of Windsor. 
 
 26 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Comedy of Errors. 
 
 27 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Much Ado About Nothing. 
 
 28 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Love's Labours Lost. 
 
 29 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Midsummer Night's Dream. 
 
 30 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Merchant of Venice. 
 
 31 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 As You Like It. 
 
 32 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Taming of the Shrew. 
 
 33 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 All's Well That Ends Weli 
 
 34 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Twelfth Night. 
 
 35 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Winter's Tale. 
 
 36 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 King John. 
 
 37 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Richard II. 
 
 38 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 I Henry IV. 
 
 39 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 2 Henry IV. 
 
 40 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 I Henry VI. 
 
 41 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 2 Henry VI. 
 
 42 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 3 Henry VI. 
 
 43 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Richard III. 
 
 44 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 CORIOLANUS. 
 
 45 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Romeo and Juliet. 
 
 46 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 TiMON OF Athens. 
 
 47 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Julius C^sar. 
 
 48 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Hamlet. 
 
 49 
 
 Second Folio, 
 
 1632. 
 
 Heading. 
 
 Cymbeline. 
 
 50 
 
 Second Folio, 
 
 1632. 
 
 Three-space Alphabet. Capitals. 
 
 51 
 
 Second Folio, 
 
 1632. 
 
 Three-space Alphabet. Small letters. 
 
 52 
 
 Knight of the 
 
 Golden Shield, 
 
 1599. Title-page. 
 
 S3 
 
 Knight of the 
 
 Golden Shield, 
 
 1599. Prologue. 
 
 54 
 
 Knight of the 
 
 Golden Shield, 
 
 1599. Page i. 
 
 55 
 
 Knight of the 
 
 Golden Shield, 
 
 1599. Page 2. 
 
 56 
 
 Knight of the 
 
 Golden Shield, 
 
 1599. Page 3. 
 
LIST OF PLATES 
 
 Knight of the Golden Shield, 1599. 
 
 Knight of the Golden Shield, 1599. 
 
 Knight of the Golden Shield, 1599. 
 
 Knight of the Golden Shield, 1599. 
 
 Knight of the Golden Shield, 1599. 
 
 Knight of the Golden Shield, 1599. 
 
 Knight of the Golden Shield, 1599. 
 
 Sylva Sylvarum, 1627. 
 
 Sylva Sylvarum, 1627. 
 
 Sylva Sylvarum, 1627. 
 
 Sylva Sylvarum, 1627. 
 
 Sylva Sylvarum, 1627. 
 
 Sylva Sylvarum, 1627. 
 
 Sylva Sylvarum, 1627. 
 
 Sylva Sylvarum, 1627. 
 
 Sylva Sylvarum, 1627. 
 
 Sylva Sylvarum, 1627. 
 
 Sylva Sylvarum, 1627. 
 
 Sylva Sylvarum, 1627. 
 
 New Atlantis, 1627. 
 
 New Atlantis, 1627. 
 
 New Atlantis, 1627. 
 
 New Atlantis, 1627. 
 
 New Atlantis, 1627. 
 
 New Atlantis, 1627. 
 
 Second Folio, 1632. 
 
 Second Folio, 1632. 
 
 Second Folio, 1632. 
 
 Second Folio, 
 
 Second Folio, 
 
 Second Folio, 
 
 Second Folio, 
 
 Second Folio, 
 
 Page 4. 
 Page 60. 
 Page 61. 
 Page 62. 
 Alphabets. 
 Alphabets. 
 Alphabets. 
 Frontispiece. 
 Engraved Title-page. 
 Printed Title-page. 
 Epistle Dedicatory, first page. 
 Epistle Dedicatory, second page, 
 To THE Reader, first page. 
 To the Reader, second page. 
 Natural History, page i. 
 Natural History, page 2. 
 Natural History, page 3. 
 Natural History, page 4. 
 Script Alphabets. 
 Title-page. 
 Page i. 
 Page 2. 
 Page id. 
 Page ii. 
 Alphabets. 
 Actors' Names. 
 
 Catalogue. Upper part of page. 
 Catalogue. Lower part of page. 
 Hugh Holland Poem. 
 Effigies. 
 Epitaph. 
 L M. Poem. 
 Ben Jonson's Poem. 
 
 Large type. 
 Small type. 
 Small type. Digraphs. 
 
LIST OF PLATES 
 
 L M. S. Poem. 
 
 Epilogue, 2 Henry IV. 
 
 Prologue, Troilus and Cressida. 
 
 Actors' Names, 2 Henry IV. 
 
 Alphabets. Examples or Roman Type in Actors' Names, 
 
 2 Henry IV. 
 
 Henry V. Page 79. 
 
 Henry V. Page 79. 
 
 Love's Labours Lost. Page 144. 
 Second Folio, 1632. Alphabets. Capital letters. 
 Second Folio, 1632. Alphabets. Small Letters. 
 Sylva Sylvarum, 1627. Alphabets. Large Type. 
 Sylva Sylvarum, 1627. Alphabets. Medium and Small Type. 
 Second Folio, 1632. Alphabets. Small Italic and Roman Type. 
 Second Folio, 1632. Alphabets. Roman Type of L. Digges Poem, etc. 
 Second Folio, 1632. Alphabets. Examples of Roman Type in L. Digges Poem, etc. 
 
 90. 
 
 Second 
 
 Folio, 
 
 1632. 
 
 91. 
 
 Second 
 
 Folio, 
 
 1632. 
 
 92. 
 
 Second 
 
 Folio, 
 
 1632. 
 
 93- 
 
 Second 
 
 Folio, 
 
 1632. 
 
 94. 
 
 Second 
 
 Folio, 
 
 1632. 
 
 95- 
 
 Second 
 
 Folio, 
 
 1632. 
 
 96. 
 
 Second 
 
 Folio, 
 
 1632. 
 
 97- 
 
 Second 
 
 Folio, 
 
 1632. 
 
STUDIES IN THE BI-LITERAL 
 CIPHER OF SIR FRANCIS BACON 
 
INTRODUCTION 
 
 IN 1895, Mrs. Elizabeth Wells Gallup, while studying the writings of William Shake- 
 speare and Francis Bacon, came to the conclusion that the chapter in Bacon's De Aug- 
 
 mentts Scientiarum, describing a method of inserting a hidden message in a printed 
 book by means of two differing fonts of type, must have been put there for a purpose other 
 than that which appears in the text. When we consider the facts, we are led to the same 
 conclusion. Methods of sending messages by cipher have been often described, but they 
 are generally for use in letters, though they may be used in printed books. Here we have a 
 cipher which is intended to be used only when the text is set in type. This property of the 
 bi-literal cipher is highly suggestive. 
 
 Let us consider how a cipher of this character can be applied. What people could go 
 to the expense of having a book printed to insert a cipher message in it ? Who would care 
 to send a cipher message in a printed book to posterity .? It would seem as if Francis Bacon, 
 who thought of this kind of cipher, must have had some idea of making use of it. 
 
 In order to get more of an idea of this man and see what may have been his thoughts 
 in this direction, we must review the events of his life. 
 
 History states that he was the son of Sir Nicholas Bacon, born during the reign of 
 Queen Elizabeth. He was trained in the law, and, when a young man, was sent to France 
 where the life of a diplomat, with its secret negotiations and state messages to his home 
 government, gave him training in the art of transmitting information in cipher. In these 
 communications, written letters were used. Afterward, when he had information he wished 
 to transmit to posterity, a cipher in a printed book which v^^as "not for an age, but for all 
 time," was the method he employed. This cipher would keep his message safe till some 
 scholar might correlate the idea of the method of the cipher from the De Augmentts with the 
 books of that period, and thus learn the secret of his life. 
 
 A man who stated that he took all knowledge for his province, who was the first to 
 reduce the investigation of natural phenomena to a systematic experimental basis, and who 
 
2 THE BI-LITERAL CIPHER 
 
 thus laid the foundation of modern science, was one who could realize the lasting value of 
 his writings, though social position forbade him to claim them all as his own. He wished 
 nevertheless that some day he might be recognized as the author of the most wonderful 
 writings the world has yet seen. 
 
 Besides the concealed authorship of the plays of Shakespeare and other works, he had 
 a further message for posterity. Bacon had learned one day by accident the secret of his 
 birth, and that he was the eldest son of Queen Elizabeth and therefore the rightful heir to 
 the throne of England, but he realized that a publication of this fact would cost him his 
 head. As Lord High Chancellor, he held the highest office in the gift of his sovereign; but 
 he wished it to be known after he had passed away that there was a still higher title which 
 was rightfully his. This message for the future must be hidden to be published after his 
 death, but it must be hidden deeply in order that the decipherer might not be influenced by 
 the prejudices of the age, and yet not so deeply that it would be lost before it was delivered 
 to the world. What better means could be devised than the bi-literal cipher? Books he 
 knew would be cherished, and that the plays of William Shakespeare would live for ages. 
 
 He made the cipher in the plays more difficult to read than his concrete example in 
 his De Augmentis, in order that it should not be read too soon. We have waited almost 
 three centuries for the message, and now it has been translated for everyone to read.* For 
 a further knowledge of Francis Bacon's life, the reader is referred to standard books on 
 the subject. 
 
 Let us consider what was the method of the bi-literal cipher. From the name, one 
 might rightly infer that two kinds of letters or type are used. If we examine a page in any 
 book, we will find several kinds or fonts of type on the page, besides the kind in which most 
 of the book is printed. There will be large ones for the headings, and full-faced letters, 
 and italics, wherever they may be needed to assist the meaning or emphasize a special sent- 
 ence. Turn to another page in the same book, and the same fonts of type occur. If we 
 take up a book published in the time of Francis Bacon, we find the same variations of type. 
 B}^ running through many pages, complete alphabets of italic type or large-sized type or full- 
 faced type may be found. 
 
 When Francis Bacon wished to infold a cipher message in a book by means of the bi- 
 
 *The Bi-Literal Cypher of Sir Francis Bacon, by E. W. Gallup. 
 Ditto. Part III. The Lost Manuscripts, by E. W. Gallup. 
 
OF SIR FRANCIS BACON 3 
 
 literal cipher, he usually did not use all the text. It was his custom until 1623 to use for 
 the cipher only the words which were printed in italic type. In the First Shakespeare Folio 
 and afterward, he used the Roman letters of the headings, italics, and some fancy letters. 
 There might be a few words on some pages, more or less on others, but throughout the book 
 there were enough for his purpose. His message would then be infolded in these few words 
 scattered throughout the book or possibly in a special place where a large amount of italics 
 were used in the text. 
 
 Suppose that he decided to use italics for the cipher message. The first step would be 
 to make two complete alphabets of italics with which to print the text. These alphabets 
 must differ slightly from each other, not enough to attract the attention of the casual reader, 
 but still sufficiently to enable the decipherer to identify to which alphabet a letter may belong. 
 Let us call one of the alphabets the «-font and the other the ^-font. Now we have a method 
 of inserting the message in the text without attracting attention, viz: — by alternating the 
 a-font and Wont letters according to a definite system. In the De Augmentis of 1623, 
 Francis Bacon gives the key to his system. (Plate i.) 
 
 If the student, having decided on the portion of the text he wishes to decipher, con- 
 siders each letter individually and decides whether it belongs to the a- or ^-alphabet, and 
 then writes "a" or "b", whichever it may be, under that particular letter in the text, he will 
 obtain a row of "as" and "h's" apparently without meaning. But in the De Augmentis 
 we have the key. We are told to divide these off into fives, or five letters in a group, and 
 to each of these groups of five, containing various "as" and "^'s", a letter of the alphabet 
 is assigned. These will spell out the hidden message. (See Plate 3.) In the examples 
 given in the original text, the differences between the a-font and the b-iont are made excep- 
 tionally distinct in order to make it easy for the student and as an illustration of the method. 
 (See Plate 4.) 
 
 In a book in which a real message is infolded, the case is different. The capitals usually 
 are easy to differentiate, but the smaller letters are more difficult. Fear of detection during 
 his lifetime led Francis Bacon to make the letters of the two sets of type very much alike, 
 and were it not that the slight differences are consistent whenever the letter is used in the 
 text, one might be tempted to say that they were imaginary. But when the eye has become 
 trained to note, and especially to remember, these slight variations in type, we find that 
 throughout the book certain peculiarities always brand a letter as belonging to a certain 
 font, as "a" or "b", and by this means the hidden message may be read. Referring now 
 
4 THE BI-LITERAL CIPHER 
 
 to the De Augmentis, we find the key to the meanings of the groups of five (Plate i), two 
 different alphabets given (Plate 2), and an example for the student to try to decipher, be- 
 ginning "Ego omni", etc. (Plate 4); also a translation of the message infolded therein to 
 assist in the translating (Plate 3). Here we simply have the problem of learning the 
 two different alphabets and then writing "a" or "b" underneath each letter in the text, 
 dividing them into groups of five, and then translating the message by means of the key 
 alphabet. 
 
 In a piece of original work of this kind the problem is far more difficult. The decipherer 
 must first differentiate between the two kinds of each letter and then decide to which font, 
 a or b, the letters respectively belong. This is a slow and difficult process, but after the eye 
 has been trained to be on the watch for slight differences, they are more easily detected. 
 In the alphabets given in the De Augmentis (Plate 2), the letters of the a-font are mostly 
 normal and regular in character, while those of the i-font are usually irregular, often of 
 different slope, and more florid in their design. This gives a general guide for the assign- 
 ment of a doubtful letter to the a- or ^-font. Another and more important method of differ- 
 entiating is based on Bacon's key (Plate i). Here, for the complete cipher alphabet? 
 Bacon uses 78 "as" and 52 "b's." We would, therefore, expect un der ordinary circum- 
 stances to have a predominance of a-font letters in the text. 
 
 Having now found two different shapes of the same letter in our text, the next step is to 
 take each shape separately and count the number of times of its occurrence in a given number 
 of pages. The shape which occurs the greater number of times belongs to the a-font and the 
 shape which occurs less often to the b-hnt. Let us take for example the L. Digges and 
 I. M. poems from the Shakespeare folio of 1632, Plates 7 and 88. We have two sets of 
 letters represented. The letter "iv" occurs sixteen times. There are apparently two kinds 
 of this letter on the page. One has two high strokes running parallel, the other has a level 
 top. The former occurs twelve times, the latter four times. The former, as it occurs the 
 larger number of times in the given space, must belong to the a-font, and the other to the 
 ^-font. This process should be carried on v>?ith every letter, thus dividing the "a's" from 
 the "^'s". 
 
 Sometimes a letter will occur in more than two shapes, and when this is the case it has 
 been found best to postpone the assignment of such a letter to either font until the rest of 
 the message has been translated, when it will appear from the context to which font it belongs. 
 When once the letter is established, it remains consistently the same throughout the book. 
 
OF SIR FRANCIS BACON 5 
 
 There is, however, an exception to the latter statement; that is, when dots are inserted 
 in the text. These dots may be inserted either in, or by the side of, a letter; or on the line 
 of writing. The function of the dot in the first position is to reverse the font of the letter 
 in which it is, or by the side of which it occurs. This use of the dot is illustrated in the 
 sample alphabet in the De Augmentis (Plate 2), where the capital "0" of the a-font is 
 changed to the ^-font by the insertion of a dot. This was probably Bacon's method of 
 making the deciphering more difficult. When the dot is on the line of writing as in the 
 I. M. poem, Plate 88, line 3, between "y" and "r" in "tyring room", it marks the beginning 
 of a group of five, — here, "ringr". The position of the dot here is of great assistance in de- 
 termining where to begin to read the cipher. 
 
 Besides the occasional reversing the font of a letter by means of a dot, another of Bacon's 
 ways of making the deciphering more difficult was the insertion of a group of four in the 
 place of a group of five. There is an example of this in the last group of the short poem 
 entitled To the Reader, in the Second Shakespeare Folio of 1632. 
 
 "reade rlook enoto nhisp ictur ebuth isboo keBL". 
 
 bahaa ahahb baaaa aaaaa habaa abaha aabaa babb 
 
 WMR AWL EY 
 
 The translation of this fragment shows that it was the signature of the message infolded 
 in the poem, and that it was signed by Wm. Rawley, Francis Bacon's secretary. The "Y" 
 of the signature is the group of four instead of five as it should be, but it is easy to see that 
 the group "babb" must be translated "Y" by referring to the key alphabet (Plate i), where 
 we see that "Y" is the only letter the first four members of which are "babb". A group 
 of six is occasionally inserted, and may be translated in a similar way. 
 
 In addition to the letters already mentioned, there occur in the text combinations or 
 unions of two letters which are called digraphs. These digraphs may be composed of two 
 letters of the same font or of different fonts, the letters being joined together by a line either 
 straight or curved. Sometimes the line runs above the letters, sometimes below, and some- 
 times diagonally across, thus joining them together. It has been found that the earlier the 
 book was printed, the fewer the digraphs. In 1599, a word ending in "is" was printed with 
 the "i" and "s" as separate letters. In 1622, a digraph was used. 
 
 It is evident that there can be four possible combinations of fonts in these digraphs, viz: — 
 
6 THE BI-LITERAL CIPHER 
 
 1. Two fl-font letters joined. 
 
 2. An a- and a ^-font letter. 
 
 3. A i- and an a-font letter. 
 
 4. Two ^-font letters. 
 
 In these combinations there is often a variation from the regular a- or i-font as it ordinarily 
 appears in the text, and wherever these variations occur it is necessary for the decipherer 
 to refer to the context already translated in order*to]^find out to which font the letter belongs. 
 However, when once the font to vv'hich the doubtful letter belongs has been established, it 
 has been found that throughout the whole book it consistently remains the same. In trans- 
 lating the letters of a digraph, they are assigned to the a- or i-font as if they were single letters. 
 
Liber Sextus, 
 
 Exemplum <$A!phabeti 
 "Biliterariu 
 
 ^jH/iiaaci . itnaap. (laaha-.aaavLaaSaa. aabaS , 
 axiuld . aavph - dSdaa . abnaf . abafd . a faff* 
 
 ffC ^ Q, <^ S 
 
 Mdca^ld^ » abb DO' , aSbbf bcuuui'baM.ah' 
 
 ^ V W X> J ^^ 
 
 (oaf a., faaff fafd^ • fabaS, fabfa. . fabbf» 
 
 Ncque Icvc quidJam obiter hoc modo perfecflum eft. 
 Etcnlin cxhocipio patetModuSj quoadomncm LociDi- 
 flantiam, per Objeda, qua: veiVifui, vcl Audita! fubjid 
 pofTint^ Scnfa Aruml pioferrc^^ fignificarc liceat ; fi modo 
 Objeda ilia,duplicis tantuinDiffercnti^capacjafunt^ vcluti 
 perCampanas^pcr Buccinas^pcr FlainmeoSjper Sonitus ToF- 
 mentorum^ &alia quxcunque, Verum utlncoeptumpcrfe- 
 quamur ,CLini ad Scnbendum accingerisjEpiftolam Intcriorc 
 mjl^haheium hoc Bilitcranum foives. Sit Epillola interior* 
 Fuqe, 
 
 Exemplum Salmon^. 
 tJLa^a^^' iao^pf* ^dppct^' a^e^fan. 
 
 PLATE 1. DE AUGMENTIS, 1638. PAGE 167. 
 iSlwzcnng Baam's explanation of the Bi-Iiteral Cipher.'] 
 
T>e Au^entis Sclentiamftu 
 
 Prxfto iimul fit aliud ^Iphdetum Biforme • nimirum, 
 quod fingulas ^^Iphdeti Communis Literas, tarn Capkaksj 
 quam minores, duplici Form^^ prout cuique commoclum 
 lit^ exhibeat. 
 
 Exemplum <tAlphabeti 
 'Biform^, 
 
 C A a.p. d, p. t^. /. a. /. d, h» d, p. <t. b. 
 
 (L. P. d,P,a., b'd.L{i. f.<tS,d. f. dS. d, 
 yi%ru.iuO.O.c.a^£f>j. (l^jM-tj 
 
 h, d,h,d.p, dP. d. kd.b,cu. b,d.p.d.p. 
 A. h, d.a<L . b , d,L d,p,d,kd.i.ci.L 
 
 PLATE 2. DE AUGMENTIS, 1638. PAGE 168. 
 \_Showing Bacon s explanation of the Bi-literal Cipher. ~\ 
 
iLlBER SeXTUS. 
 Turn dcm mn Fpifloix Intcriori^ jam fadla; BiliuraU^ 
 FpiRoIam ExTcriorcm Biformem, literatim accommo- 
 dabis^& poflci dcfcribcs. Sit Epiftola Exterior • 
 ^ancre te Dolo donee 'Venero^ 
 
 Exemplum (Accommodation^, 
 a ab db.b aa b v.dd v a a^aa/ b a^tt^ 
 
 Appofuimus etiam Exemplum aliud larglus cjufdcm 
 
 Ciphrar^ Scnhendi Omnia fer Omnia. 
 
 Epiftola Interior, ad quam delegi- 
 
 mus EpijloUm S^artanam^ miiTam 
 olim in Scytale. 
 
 lercntuc 5\^. Mtnmni-s ceciditjmfiieS'>> 
 csanunt Jlcamhinc nos cxfrtcaw/imm, 
 flic diuhus mancrc fosisumw . 
 
 Epiftola Exterior, fumpta ex Epifiol^ 
 
 jTrima Ciceronis^ in qua Bpifiefa Spar- 
 una involvitur. 
 
 PLATE 3. DE AUGMENTIS, 1638. PAGE 169. 
 \_Shoivmg Bacon s explanation of the Bi-literal Cipher.^ 
 
Ve Aw^nentis ScienthiriurL^ 
 
 ZDq'o- cm7iv cnncto, acvdUxistidaUeraxito- 
 caticris jdiupicw ammms: JMmtiPHnim- 
 mi am- sciitsmcto , Minfa. ^st cmrmncuiiu ' 
 
 J (Lin fiL, mslpirhctci re, at mc n<rfi conmtos^ 
 fvj ego, auui non idcw nv huv cansd ifjkzo^ 
 tiHrtimiBcsst accrbn-mpiUnt . mc(^^ 
 ^dMtcmnt: Jimmomm i/x^u-^iiim 
 
 \9^ctmd$7Jicrcdiiores;'ptt auiys^ ownufu^m^ 
 
 ^nit Clint juljmdsitM^mmts ndzmipz 
 
 PLATE 4. DE AUGMENTIS, 1638. PAGE 170. 
 lS/tou'ni£- Bacon's explanatio7i of the Bi-literal Cipher. '\ 
 
II. 
 
 DE AUGMENTIS SCIENTIARUM, 1638 
 
 Cipher Key to Message on Page IJO. 
 
 eGOOm niOff Icioa cpoTI uSpie TatEe rgate caEte Rissa tiSfa CiooM nIbUS 
 mlhii pSEnu nquAM satis Facio TanTA EsteN immAg niTud otuOr uMerg 
 ameME ritor UmvTq uOnIA mTuni sIpEr fEcta RedEm enOnc OnquI esTie 
 GoquI AnoNI Demin tUaca UsaEF fICio VitAm mlHie ssEac eRBAM PutEM 
 inCau saHAE cSunt aMMon iusRe gISle gATuS AperT epEcu NiAnO SopPu 
 Gnatr eSagi turPe reosd Emcre diTor eSPer quOsc uMTUA DerAS agEba 
 tuRRE gisca UsasI quiSU nTqui VellN Tqulp aUcis UntOM NesaD pOmPE 
 iumre mDEfe rrlvo Lunts enAtu sRELi glOnI ScalU MniaM NonRE llglO 
 NesED MalelJ oLENt iaEtl ILIus ReGia elarg ition isinu idiac ompro bat l^c. 
 
 Deciphered Messages. 
 Perditae Res Mindarus cecidit Milites esuriunt Neque hinc nos extricare neque his uiutius 
 manere possumus 
 
III. 
 
 A LESSON ON THE KEY IN THE 
 
 "DE AUGMENTIS SCIENTIARUM" 
 
 1623 AND 1638 
 
 PLATES I, 2, 3, and 4 are facsimiles of Bacon's Key to the bi-literal cipher given in 
 the De Augmeritis of 1623, and reprinted in facsimile in the De Augmentis in the 
 Baconi Opera of i6^S. This key is made up of curious letters designed by Bacon. 
 Bacon, however, did not design all the italic letters he used for putting cipher in his books. 
 On page 310 of The Bi-Literal Cypher by Mrs. Gallup, edition of 1901, in her translation 
 from the De Augmentis of 1624, the cipher reads "Where, by a slighte alteration of the 
 common Italicke letters, the alphabets of a bi-literate Cyphar having the two forms 
 are readily obtain'd (instead o' letters that I cut out because I feare anie eye might 
 reade what is hid in Cyphar, had such as are seene heere beene employed in an 
 example) in every booke I send forth I use," etc. The examples of sixteenth century 
 "common Italicke letters" in the facsimiles from the Horace given in Plates 5 and 6 show 
 two forms of many letters. The two forms of capital "D" are very noticeable and interest- 
 ing, as they are forms almost invariably used by Bacon. 
 
 Looking at the key it will be noticed that there are two distinct alphabets given, each 
 having its own characteristics. So clearly defined are these differences that after a little 
 study it should not be difficult on being shown a letter to say at once: — "This letter belongs 
 to the a-font alphabet or to the i-font alphabet." 
 
 Taking the first two capital letters, a-font A and ^-font A, it is evident that the a-font 
 letter is a plain, unadorned letter, while the b-font has a drooping flourish drawn downward 
 from the top of the letter. It is a difference easily seen, and characteristic of the b-(ont 
 capital letters. 
 
 A, B, D, F, H, K, M, N, R, T, V and W, when they have this drooping flourish, are 
 i-font letters. Capital E of the a-font has the same flourish, which emphasizes the fact 
 
H O R A'T I F S 
 
 M. ANTONII 
 
 MVRETI IN £VN- 
 
 DEM ANNOTi\. 
 T I O N E S 
 
 jiLDI M A N VTII BE 
 metris Horatiam's. 
 
 Eiufdcm Annotationcsin Horatium. 
 
 L V G T) V N I, . 
 APVD GVLIEL. ROVILLIVM, 
 
 M. D. LXllll. 
 
 PLATE 5. HORACE, 1564. TITLE PAGE. 
 ]^Showing two fonts of Italics. 1 
 
158 EPI SrOLA RfTM 
 
 Per brumam Tiber is, Sextili menfe carninus. 
 'Dumlicet:(^ vultumfruat firtuna bemgrium: 
 Homalaudetur SamoSyCr Chios,& Rhodes ahfefts. 
 Ttt quamcuntjue Deus tilifirtunauerit hcram 
 Grata fume mantunec dulcia differ in annum: 
 Vt quocunque IccofuerisyvixiJfcUlenter 
 Tedicas. ti am Ji ratio, & prudentia ai ras, 
 iVe» loctts effitfi late marts arbiter aitfert: 
 Ccslum,mn animum mtttat, qui trans mare currtit. 
 Strefiuafiosexercetinertia:nauibHs,atijue 
 ^^adrigiipetimiubeneviuere-cjuodpetisyhicefi: 
 £Jt Flubris:arjimKsfi te nen deficit £quHS. 
 
 K T> ICCIVM- 
 
 FRtlSHbus ^griff£ SicttliSi<]uos colligis.Icci 
 Si rectejrueris.-non eji vt copia maior 
 ^b loue donaripojfit tili.tolie querelas: 
 Pauper enim ncn eft cut rerum fkppetit vftu. 
 Siventribencfi Uteri eftpedilufque tuis:nil 
 Diuitiapctertint regales addere mains. 
 SifirteifimediofofitorumabftemiuSfherbil 
 V}uis,(^vrtica:ficviues,pretinns vt te 
 Confefiim liquidm jurtufu ritms itiauret. 
 Velquianaturam mutareyecuma nefcit: 
 yd quia cunUa put as vna virtute minora. 
 Miramur,/! Democritipecds edit agellos, 
 Cultajjtdumferegre eft animHS fine cerpore velox: 
 Cum tu inter fcabtem tantam,& contagia lucri 
 J\Iilparuumfapias:dradhKcfubUmiacures? 
 Qu£, mare compefcant caujf£:quidtemperet annu: 
 StelUfpontefua iujf£'nevagentt(r,& errent: 
 Omdpremat obfatrur/tLun£,quidproferat orbem: 
 Q uid veltt, &po(fit rerum concur dia Sfcors: 
 
 Emfed 
 
 PLATE 6. HORACE, 1564. PAGE 158. 
 \_Showhig two fonts of Italics. '\ 
 
THE BI-LITERAL CIPHER 
 
 that, as Mrs. Gallup found, often one or more letters of the a-font were changed to the 
 other font. C, G and S all have curious upward turning flourishes resembling each other, 
 but not like the above. 
 
 The a-font / is plain: the ^-font / has a long tail belov? the line. 
 
 The i-font L has a loop at.the top. 
 
 The b-font has a dot in the centre. 
 
 The P's differ in the curve at the foot of the upright. 
 
 The Q in the Wont is like the figure 2. 
 
 X, Wont, has a cross line through the middle. 
 
 T, b-{ont, has a narrow opening at the top. 
 
 The small letters a, i, m, ii and n are rounded letters in the a-font, while in the Wont 
 they are sharply pointed. 
 
 The two fonts of the letter r differ in the small right line at the top. 
 
 The y. Wont, has a small opening at the top while the Wont y has a wide opening. 
 
 The letters b, d, h, k and / have a loop at the top of the stem in the Wont, and are 
 plain letters in the a-font. The a-font p has the oval joining the stem with a slanting line, 
 no flourish, while in the b-iont letter p the oval joins the stem with a short straight line. A 
 long flourish is on the end of the stem. 
 
 The letter g in the Wont has a serif or nose and the oval or skirt below the line slants 
 upward,' but Wont g has no nose, or serif, and is a plain letter; o. Wont, is also a plain 
 letter, while o, ^-font, has a flourish across the top. 
 
 The 0, i-, t and z in the a-font are all plain letters, and o, s, t and z in the Wont have 
 flourishes at the top or across them. To the plain Wont x is added, in the Wont, a cross 
 piece. There are four shapes of the small letter u, — two pairs. In the first pair the Wont 
 letter is pointed and open at the top, and the i>-font is rounded and drawn close at the 
 top. In the second pair the a-font u is a rounded letter, and the b-(ont sharply pointed. 
 The letters may vary in other characteristics, but these are fixed. 
 
 To read the cipher message in the example beginning "Ego", etc., it will assist to mark 
 off a sheet of paper into rectangles holding easily five letters, and then, beginning with "Ego" 
 write out five letters in each space, as 
 
 Egoom 
 
 moff 
 
 raoa 
 
 cpoti 
 
 uspie 
 
10 THE BI-LITERAL CIPHER 
 
 The first letter is capital E. By the flourish it should be a b-iont letter, but the capital E 
 was the exception, so it must be marked a, or by a dash, or as we please, to define it. The 
 next letter is g. This has a slanting oval with a little serif or nose, and a slanting skirt or 
 oval below the line. It is a b-iont letter, and should be marked b, or by a perpendicular line, 
 or by any mark, to define it. Then, looking through all the groups of five for other ^'s, 
 there is one in "erga te", line i. It is easily recognized, is the plain letter, and should be 
 marked a-font. The next g is in "magnitudo" (3)*, also a-font; the next in "erga me" (4), 
 a-font; in "ego" (6), b-iont; and so on until all are marked on the piece of paper. The next 
 letter is o. There are two o's here. Both have the mark across the top, and are ^-font 
 letters. They should be so marked in the space. There are two o's in "officio" (i). The 
 first is of course b-iont. The second, however, is an a-font letter. The in "potius" (i) is 
 an fl-font letter; in "satisfacio" (2), also an a-font 0. Mark every before taking the next 
 letter. This is m, a rounded letter, and is therefore fl-font, as is the letter n in the next group 
 of five. The m in "omnibus" (2), is sharp-pointed, and is a i-font letter. The n 
 next to it is again a-font. Mark now every m and n on your sheet of paper. Next comes the 
 first small i. Compare it with the next i, the first in "officio" (i). See how much sharper 
 is the first / in "officio" (i). The ; in "omni" (i) must be a-font; the first / in "officio" (l), 
 Zi-font; and the second i, a-font; while the / in "potius" (i) is a i-font letter from its sharp 
 curves. 
 
 Now, after marking all the i's, look at what is accomplished. The first group ot 
 five is marked and three in the second group. The two letters remaining are both a-font, 
 as they have no flourish on the long end below the line. This gives the second group: a a b a a 
 =e. Notice how helpful it is to mark every letter down the page as soon as you recognize it. 
 In deciphering the message in a long work the alphabets should be learned, and, as each 
 letter has to be recognized and counted, they will naturally be learned quite thoroughly 
 before the translation begins. It is, however, until they are learned, a great help to mark 
 all the letters of one kind on one page at once, while the differences are clear to the eye. 
 
 Before beginning the examples from the Second Folio, the student is strongly advised 
 to work out the whole of this example. 
 
 *Figures enclosed in parentheses refer to line numberings on Plate 4. 
 
OF SIR FRANCIS BACON 
 ALPHABET 
 
 A 
 a a a a a 
 
 F 
 a a b a b 
 
 L 
 a b a b a 
 
 Q 
 
 a b b b b 
 
 W 
 b a b a a 
 
 B 
 
 a a a a b 
 
 G 
 a a b b a 
 
 M 
 a b a b b 
 
 R 
 b a a a a 
 
 X 
 b a b a b 
 
 c 
 
 a a a b a 
 
 H 
 a a b b b 
 
 N 
 a b b a a 
 
 S 
 b a a a b 
 
 Y 
 b a b b a 
 
 D 
 a a a b b 
 
 I 
 a b a a a 
 
 o 
 
 a b b a b 
 
 T 
 b a a b a 
 
 z 
 
 b a b b b 
 
 E 
 a a b a a 
 
 K 
 a b a a b 
 
 P 
 a b b b a 
 
 U 
 b a a b b 
 
IV. 
 
 AN EXAMPLE OF THE METHOD OF 
 
 TRANSLATING THE CIPHER 
 
 THE poem by L. Digges in the Second Folio has three lines in Roman letters "TO THE 
 MEMORIE of the deceased Author, Master W. SHAKESPEARE," and then a fancy 
 "S" beginning the word "Shakespeare" in Roman letters before the italic letters begin. 
 In the Second Folio, as in the First, the Roman letters in the headings are used for the cipher, 
 but although in the First Folio the fancy letters at the beginning of the several poems and 
 generally throughout the book are used in the cipher, in the Second Folio Wm. Rawley, 
 Bacon's chaplain, who put in the cipher, did not make use of them. 
 
 Leaving out the Roman letters, the first letter is the a in "at length", line 4. Mrs. 
 Gallup's book. The Lost Manuscripts, on pages 108 and 109 gives the grouping for the 
 L. Digges Poem. The first italic group is "atlen" (4)*. To analyze it in the same way as 
 the Key from the De Augmentis was analyzed, the differences between the two fonts of the 
 small letter a must first be studied. According to the descriptions of the small letters on 
 page ,48? " the a-font a has a somewhat broad oval, shorter than the stem at the base of 
 the letter. The last stroke is light and free. The Zi-font a has a narrow oval standing on a 
 line with the stem at the base of the letter. The last stroke is close." The letter a in "at" 
 (4) is rather blotted, so that it looks broader than it is. It stands on a line with the stem; 
 the last stroke is close, and it is dotted. It is a ^-font letter dotted to an a-font. 
 
 The next letter a is in "name" (6), a typical a-font letter, having a broad oval shorter 
 than the stem at the base, and the last stroke free. The a in "that stone" (6) is carelessly 
 drawn by some workman who drew the hand-made type long ago. It has the oval and 
 stem of the a-font, but the last stroke is not free. It is what Mrs. Gallup calls a hybrid 
 and leaves unmarked until the context tells what it must be. The next a is in "alive" (8), 
 
 ^Figures enclosed in parentheses refer to line numberings on Plate 7. 
 
THE BI-LITERAL CIPHER 13 
 
 and is a typical Wont letter; the a in "shall" (8) is a-font; in "Brasse" (9), a-font; in "and" 
 (9), fl-font; but in "Marble" (9), the narrower oval of the letter tells which font to put it in. 
 
 The t's of the two fonts are thus described, "^-font t is a well-formed letter with a 
 light stem. The cross-bar is often a distinct nail-head, last stroke free. The Wont t is a 
 heavy letter with rounded base, the last stroke close." The t in "at" (4) is heavy with a 
 rounded base. In order to find if it is closer than the a-font, the angle between the stem 
 and the line of writing must be bisected. This done, it evidently is drawn to curve inward: 
 it is a h-(ont letter. The i in "thy pious" (4) has a nail-head cross-bar, and is a typical a-font 
 letter. The t in "length" (4) is an a-font letter blotted, but the tall, straight stem is plain 
 and the cross-bar is a nail-head: — it is an a-font letter. The t in the second "thy Workes" 
 (5) is a heavy letter with rounded base, and the last stroke curves inward; it is a ^-font letter. 
 The t in the first "thy Workes" (5) is a-font. The t in "out-live" (5) has the rounded base 
 and last stroke close and is a ^-font letter. 
 
 The / in "length" (4) is a heavy letter, rounded at the base. The serif at the top is 
 slanting and the last stroke close: it is a typical ^-font letter. The / in "World" (5) is the 
 same. The / in "out-live" (5) has a very close stroke for the last stroke, and there is no 
 doubt but that it is also a ^-font letter. The / in "dissolves" (7) is a-font. It is differently 
 drawn, but it has no rounded base. The /'s in "alive" (8) and "looke" (9) are both a-font 
 also. 
 
 The four forms of e given in the descriptions are these. In "the first form of e (a-iont) 
 the line bisecting the loop makes a large angle with the line of writing, and at the same time 
 the curve is long and open. Second, the bisecting line makes a less angle, but the curve 
 is short and close. In the b-iont e, first form, the line bisecting the loop makes a large 
 angle with the line of writing, while the curve is short and close; and in the second form the 
 bisecting line makes a more acute angle, and the curve is long and open." 
 
 These four forms of the letter e take much and careful study, since once their differ- 
 ences are mastered it is not only for this alphabet but for all alphabets, for, although some- 
 times the a-font forms here given are i-font in another alphabet, or one is a-font and one 
 Wont, there are the same four forms in every book Mrs. Gallup has translated. Take 
 the e in "at length" (4). The line bisecting the loop makes a large angle with the line of 
 writing, or, to put it simply, the loop is slanted upward, and the curve is long and open; it 
 is a-font. The first e in "Fellowes" (4) is the same; the second e in "Fellowes" (4) is the first 
 form of the i-font e. The e in "give" (4) is the second form of the a-font e; in "The 
 
14 THE BI-LITERAL CIPHER 
 
 World" (5), it is the first form of the ^-font e. Both the first and second "Workes" (5) have 
 (3-font e of the first form. The word "out-live" (5) has a ^-font e of the second form. 
 "Tombe" (6) and "name" (6) are both a-font, first form. 
 
 The "n, a-font, has a clean, thin hne at commencement of the curve, broad at base, 
 free lines at top and bottom. 5-font has slight shading in curve at top, is narrow at base, 
 last stroke close." A comparison of the n in "and Marble" (9) and the n in "nobly" (20) 
 with the n in "at length" (4) will show that the latter resembles the n in "nobly" (20), and 
 therefore is a ^-font n. The n in "name" (6) is a broad letter and is a-font; in "when" (6), 
 it is i-font; and in "rent" (6), it is a-font. This gives for the first group a b b a b. 
 
 The second group is gthth. "The a-font g has the lower loop pointed at the left 
 side; the nose is a hook. The ^-font g has the lower loop angular at the left side; the 
 nose is a straight line or a nail-head." Compare the ^'s in the examples given in "feeling" 
 (23) and in "Stage" (17). The g in "length" (4) is a ^-font letter, and like the one in 
 "give" (4). In "give" (4), however, it is a dotted letter reading a. The g in "Ages" (10) 
 and in "prodigie" (11) are i-font letters. The g in "wit-fraught" (15) is a-font, and in 
 "parlying" (21) is i-font dotted to a-font. 
 
 The t's being marked, the next letter is h. The a-font h has a loop rounded at the top. 
 The line bisecting the loop does not make a large angle with the line of writing. The ^-font 
 h has a loop pointed at the top. The line bisecting the loop makes a large angle with the 
 line of writing. The two h's in the first line are the examples given in the descriptions, 
 and are well-drawn letters. When looking for the pointing of the loop at the top of the h, 
 look inside the loop as well as outside, as the outside of the loop is often rounded in the 
 printing of the letter. The h in "The World" (5) and the first "thy Workes" (5) are both 
 ^-font. In the second "thy Workes" (5), the h is a-font, as the round top and large angle 
 made by the bisecting line distinctly show. In "which" (5), the first h is an a-font, and 
 the second a b-iont, letter, as the distinctive angles show. This marks two groups of five. 
 The second group is gthth=baaab. 
 
 The third group is ypiou. The y is a-font as its wide mouth shows. The y in the first 
 "thy Workes" (5) is a ^-font letter, as the opening at the top is distinctly narrower. The y 
 in the second "thy Workes" (5) is a-font; in "by which" (5), is a-font; and in "Thy 
 Tombe" (6), is ^-font. 
 
 "The p in a-font is a broad, well-formed letter; in b-iont the head is blunt, the loop 
 is narrow in the lower part, and it slants to the stem." The a-font example is seen in 
 
OF SIR FRANCIS BACON 15 
 
 "pious" (4), and the b-iont example in "prodigie" (n). Note especially in the h-hnt the 
 way the loop slants to the stem. In "parlying" (21) is another a-font letter. 
 
 The two fonts of the letter / are not difficult to distinguish. The examples given are 
 found in "give" (4) and "pious" (4). The sharp angles of the / in "give" (4) are con- 
 trasted with the rounded angles in "pious" (4), which is a ^-font letter. The i in "out- 
 live" (5), however, is an a-font letter. 
 
 The fl-font is somewhat pointed at the base. The line bisecting the letter does not 
 make a large angle with the line of writing. The ^-font o is rounded at the base, and the 
 bisecting line makes a large angle with the line of writing. "Fellowes" (4), "World" (5), 
 "Workes" (5), "out-live" (5), and "Tombe" (6), all contain a-font letters. The in "pious" 
 (4) is ^-font, as also in "stone" (6), the second in "looke" (9), and in "to all Ages" (10). 
 
 The us is a digraph. In the Descriptions of the digraphs, page 59, " us is the union 
 of a broad letter u having a short free line at the commencement, with a simple form of 
 short s in font a." It is the combination aa. The marking of this group ypiou is abbba. 
 Thus the first three italic groups have been shown to be 
 
 atlen gthth yptou s 
 
 abbab baaab abbba a 
 
 O S P 
 
 To the beginner, these slight differences between the two fonts may seem almost 
 imaginary, but if Bacon's sample alphabet in the De Augmentis (Plate i) is referred to, 
 it will be found that the differences between the two alphabets in this case are of the same 
 general character. 
 
V. 
 SECOND FOLIO, 1632, L. DIGGES POEM 
 
 I. Cipher Key. 
 
 tOtHE memor iEOft HeDEc eASeD aUtHo rmaST eRWs hAKeS peAre hAkES 
 PearE aTLeN GthtH yPIOu sfell oWEsg iveTH EworL dtHYW orkes ThyWo 
 rkesb ywhIC HouTL ivEth YtoMb eThyn aMeMU stWhe NthaT stONE isRen 
 TaNdt iMeDI ssolv EsTHy stRAT fordm oNUMe NtHer eweAl ivESH aLlVI 
 EwthE EstiL ItHiS boOKE wHenb rasSE andmA RblEF AdeSh AllmA KetHE 
 eloOk efRES hTOal laGes Whenp osTer Itles HALIL oAThw HaTSn Ewthi 
 nkEal lispr OdiGi eTHAt Isnot shake sPear EsevR yllne eAcHv eRSeH eREsH 
 aLlrE vivER eDeEM etHee fROmt hYHer sENoR FiRen OrcaN kring AgEAs 
 NasoS alDoF hiStH ywitf rAugh Tbook esHal lonce InvaD EnoRS halll EreBE 
 leEve Orthi NkeTh eEdea dtHOu GhmiS TunTI Llour Bankr ouTst aGEbe 
 speDI mpOss IblEW ithso mEnew sTRai neTou tDoEp AsSIo NsofI ulIET 
 aNDhE RroME oOrTi IHHE aReas cENem OreNo Blyta KetHA nwHEN thYha 
 IFeSW oRDpA Rlyin gyOma nSSPa keTil ITHes EtilL anyOF tHyvo lumES 
 Rests HaLLW iThmo rEFir emOre fEeli ngBeE xPres tBEsu reoUR ShaKE 
 sPEAr eTHoU cANst never DyeBU tcRow Ndwit HLawr EULi veete rnalL 
 yLdIg geS. 
 
 2. Deciphered Message. 
 
 many old poems o' Sp. an' Sh. at a due time shew, mayhap, vv'ch MSS. F. hid. But such 
 nere won great praise — look'd, men now say, so faire, a subverti'g surrende' vainely should 
 intrude. 
 
 More pens did shine I find upon a veritable — . 
 i6 
 
TO THE MEMORfE 
 
 of the deceafed Audior, Mafter 
 
 VV.S 
 
 HAKESPEARE. 
 
 |Hake-{peare,4^ length thyfiom Fellowes^he 
 ^ The World thy Workes : thy Workesfy ft^hich^outJiVe j 
 ' 77y Tombe/hy name mujli Ifhen thatftoneis rent, 
 
 And Tune dijfobes thy Stratford Monument^ 
 
 Here l^e alive Jhall wieli^ thee fliU. This !Booke, 
 
 When Sraffe and Marble fade,J}?all make thee looke 
 
 FreJJ) to all Ages : when fojleritie , q 
 
 Shall loath what's nelV^thinke aH is prodigie 
 
 That is not i'hakefpearcs j evVji Linejeach Verfe 
 
 HerefJhiU reVi Ve^redeeme thee from thy Herfe. 
 
 l>(or pire^mr cankring Jge/s ^zCoJaid, 
 
 Of his, thy ^Vit' fraught 'Booke [hall once inVade. ^ ^ 
 
 Norf?all J c'rekleeve^or thinke thee dead 
 
 (Though ?mjl)mitill our hankrout Stage hej^ed 
 
 ( Jf'ipoj5ihle)Vuhfome ne'^Jlraine t'out-dee 
 
 'Pafsions oflulkZjand her Romeo j 
 
 Or till I heare a Scene more nohly take^ 2 
 
 Than fphen thy halfe^fwud^cirhmg Yomznsj^ah, 
 
 TiHthefefiHany ofthyVotnrdes reft 
 
 Shall with more fire^more feeling be exprefty 
 
 'Befure^ourShske-i'^z^Ye^thou cmft never dye, 
 
 ^ut crofi^nd ivith LaHor ell five eternally, 23 
 
 U Digges. 
 
 PLATE 7. SFXOND FOLIO, 1632. L. DIGGES POEM. 
 
/^yir A i^ont B 
 
 F.^t 4 f.i,fB 
 
 AJ 
 
 
 
 'B'B 
 
 (p (P 
 
 cc 
 
 5^^ 
 
 c c 
 
 ^^ 
 
 Dt> 
 
 6^5 
 
 E E 
 
 TT 
 
 F P 
 
 VV 
 
 G G 
 
 WW 
 
 HH 
 
 I 
 
 I ! 
 
 
 KK 
 
 
 LL 
 
 
 MM 
 
 
 NK 
 
 
 PLATE 8. SECOND FOLIO, 1632. L. DIGGES POEM. ALPHABETS. CAPITAL LETTERS. 
 
Fohr A F.»t-8 
 
 Font A roYir-B 
 
 a a 
 
 m m 
 
 h h 
 
 n n 
 
 c c 
 
 
 
 d d 
 
 f f 
 
 e e e c 
 
 ^ ^ 
 
 f f 
 
 r r 
 
 is 
 
 fs fs 
 
 h h 
 
 t t 
 
 • • 
 
 u u 
 
 kk 
 
 1>0 w 
 
 I I 
 
 X X 
 
 
 y y 
 
 
 K. 
 
 PLATE 9. SECOND FOLIO, 1632. L. DIGGES POEM. ALPHABETS. SMALL LETTERS. 
 
PLATE 10. SECOND FOLIO, 1632. L. DIGGES POEM. DIGRAPHS. 
 
 Note. The digraph "us" marked [ad] should be marked [bb\. The digraph "us" marked [ba] 
 should be marked [aa]. 
 
. — t.'-ciioTru ro ' / 
 
 M'^VVILLIAM 
 
 SHAKESPEARES 
 
 COMEDIES, 
 HISTORIES, and 
 TRAGEDIES. 5 
 
 Tubliftied according to the true OrfginallCopies. 
 theficmi'jmfrepm, 
 
 PLATE 11. SECOND FOLIO, 1632. TITLE-PAGE. UPPER PART. 
 
 LOKDOn, 
 Pfintect by Tho.Gtesfot. 7lohertM§t,ztiji are t© bs fold at the figne 
 
 oftheBlaGkeBcawia Pauls Church-yard, i ^ 3 a» '0 
 
 PLATE 12. SECOND FOLIO, 1632. TITLE-PAGE. LOWER PART. 
 
TO THE MOST NOBLE 
 
 INCOMPARABLE PAIRE 
 
 OF BRETHREN, 
 
 William 
 
 Earlc of Pcmbroke,6cc. Lord Chamberla/ne to the 
 
 IQngsmo/l Excellent z5Md]eJlie^ 
 
 AND 
 
 Phil ip 
 
 EarleofMontgomcry,6cc. Gentleman of hfs Majefties 
 
 Bcd-Chambcr. Both Knights of the moft N»blc Order 
 
 of the Garter, and ©ur Angular good 
 
 LORDS. 
 
 PLATE 13. SECOND FOLIO, 1632. DEDICATORY EPISTLE. TOP OF FIRST PAGE. 
 
Right Honourable, 
 
 )Hd^i^eJludy to he thanl^efull in our jjarticular^ for \j 
 ' the many favors 'm have recehed from jour L. L 
 Vpc arefalne upon the ill fortune ^ to mingle tm th$ 
 mofl divers things that can be^feare^ andrafhnefp^ 
 rajhnefje in the enterprise ^ midfeareofthefuc^ 
 ceffe, For,\vhen\vee value the places jour Ht. H. fujlalne^ me zo 
 cannot hut kiwvo their dignity greater^ than to dejcendt$ the reading 
 ofthefe trifles: and^vphtley^e name them trifles ,, we hay e deprivd 
 €urf elves of the defence of our T> edication* ^ut fince jour L, L . 
 haye heene pleas d to thin^e thefe trifles fomethtng^ heretofore ^ and 
 have profequutedboththeniy^^ their Author livingy^vithfo muchfa^ 2j 
 your: we hope, (that they out -living him^mdhe not having the fate, 
 common mthfome , to he Exequntor to his ovpne mitings^yon voill 
 ufe the fame indulgence^ tovcard thatu , jou have done unto their 
 0/^2 parent* 
 
 PLATE 14. SECOND FOLIO, 1632. DEDICATORY EPISTLE. LOWER PART OF FIRST PAGE. 
 
The Epiftle Dedicatory, 30 
 
 parent, There u agreat difference ^ Vi>hether any ^ool^ choofe his 
 ^atrones^orfinde thent^ : This hath hne both* For Jo much were 
 jourL,L. lifyigs of the feverall parts ^%'i'hen they ivere aHed, as be- 
 fore thej vcere publifhedythe Folumne ^l(d to be jours ^ iVe haye 
 hut collected them^^and done an of fee to the dead:, to procure his Or- 35 
 phaneij^uardians'^ without ambition either offeife^profit.orfarne: 
 onely to\epe the memory of fo worthy a Friend^ and Fellow alive, 
 as was our S hakespear E^bj humble offer of hisT kycs^toyour 
 moft ^JS(oble Tatronage, ff^hereinyas Vf€ haye ]uflly obferi )ed^ no 
 mantocomeneereyour L.L.butw'tth a kind of religious addreffe- ao 
 it hath been the height of our careen ho are the Trejenters^ to make 
 the Trefent worthy of your H.H> by the Ter fiction . "But, there we 
 mufl alfo craye our abdities to be conftdcred^my Lords, We cannot 
 
 PLATE 15. SECOND FOLIO, 1632, EPISTLE DEDICATORY. SECOND PAGE. UPPER HALF. 
 
. goe beyond our ovonefomrs. (^omitrey hands , reach forth Mill^^ 
 Qreame ^Fruits yOr yi>hat they have: and many U^tions (v^ehave 45 
 heardyhat hadnotCjmnmes and fncenfe^ obtained their requejli 
 with a^ leayened Ca^e^-^ ft ivas no fault to approach their 
 godsjbj v^hat meanes they could: ^ndthe mofl , though meane ft ^ 
 of things ^are made more precious , ivhen they are dedicated to 
 Temples, fn that name therefore ^ we mo/i humbly conjecrate^ to jo 
 your H.H thefe remainesofyourferyant Shakeipeare • that what 
 delight is in them^may be every our L,Lu he reputation his, and the 
 faults ours Jif any be committed^by a falre focarefulltojlocw their 
 gratitude both to the liying^and the dead^as is 
 
 Your Lordfliips m ofl bounden S5 
 
 John Hminge, 
 Henry CondelL 
 
 PLATE 16. SECOND FOLIO, 1632. DEDICATORY EPISTLE. LOWER PART OF SECOND PAGE. 
 
To the great yarietj o/^aders. 
 
 Romtliemoftable^to him chateau butfpell : There 
 you arenumberd. We had rather you were weighd. 
 Efpecially^wheu the fate of all Bookes depends up- 
 on your capacities : and not of your heads alone, 5 
 butofyourPurfes Well,it is novvpublike,andyou 
 will ftand for your priviledgcs^we know : to reade, 
 and cenfure. Doe fo,but buy it firft. That doth befl 
 commend a Booke^the Stationer fayes. Then, how oddelbeVeryour 
 braines be^or your wifcdomes^makeyour licence the (ame, andfpare lo 
 not. ludge your (ixe-pennyorth^yourfhillings worth, your five fhil- 
 lings worth at a time, or higher, io you rife to the ju ft rates, andweL- 
 come. But, whatever you doe,buy . Cenfure will not drivo a Trade, 
 or make the lackegoe. And though you be aMagiitrate of wit, andiic, 
 on the Stage at 'Black-Fryers^ or thtCeck-pltj toarraignePlayes dayly, k 
 know^thefe Playeshavc had their triall already, and Itood out all Ap- 
 peales ^ and doe now come forth quitted rather by a Decree of Court 
 then any purchas'd Letters ofcommendacion. 
 
 -It had beenea thiag,weconfefre,worthy to have beene wifhed,that 
 the Author himielfe had liv'd to have fet forth, and overfeene his ownc 20 
 
 PLATE 17. SECOND FOLIO, 1632. TO THE GREAT VARIETY OF READERS, UPPER HALF OF PAGE. 
 
WritingSjBut finceit hath been ordain'd other wire,and he by death de- 
 parted from that right,wepray you doc not envy his Friends ^ the office 
 of their care^and paine^to have colle(5ted and publifh'd them; and fo to 
 have publiOit them, as where (before) you were abus'd with divers 
 ftolne, and (urreptitiousCopies,maimed and deformed by the frauds 2% 
 andfleakhs of injurious Impoftors^ that expos'd them : even thofe, are 
 now offer'd to your view cured^and perfect of their limbes 5 and all the 
 reft,abroluce in their numbers as he conceived them. Who, as he was a 
 happy imitatorof Nature^x^vas araoll: gentle exprcfTer of it. His mindc 
 and harfid went together : And what he thought, he uttered with that 30 
 ca{inefle,thatvvehave icarce received from him a blot in his Papers. 
 But it is not our Province^who onely gather his workes,and give them 
 youtopraifehim. It is yours that reade him. And there we hope , to 
 your divers capacities , you will findeenough,bothto draw,and hold 
 you ; for his wit can no more lie hid,then it could be loft. Reade him, 35 
 therefore,- andagaincjandagaine: Andif thenyoudoenotlikehim, 
 furelyyouare infomemanifeftdanger^nottounderftand him Andfb 
 we leave you to other of his Friends, who , if you need, can be your 
 guides rifyouneede them not, youcanleadeyourfeives, and others. 
 And fuch Readers wc wifh him. ^ 
 
 A 4 Joh Hemiftge. Henrj Cettdell, 
 
 PLATE 18. SECOND FOLIO, 1632. TO THE GREAT VARIETY OF READERS, LOWER HALF OF PAGE. 
 
Poht A Font B 
 
 A>.* A ^o,t 3 f,^f A f^^B 
 
 A a 
 
 LL WW 
 
 B S 
 
 M,5M 
 
 (^C CC 
 
 K^ 
 
 T) © 
 
 
 
 E S 
 
 T T 
 
 F F 
 
 ^^ 
 
 9 9 
 
 % \ 
 
 H H 
 
 s s 
 
 I f 
 
 7 T 
 
 K-^ 
 
 vv 
 
 PLATE 19. SECOND FOLIO, 1632. DEDICATORY EPISTLE. ITALIC CAPITALS. 
 
Font a rovrB 
 
 f.,lA f..rg 
 
 Ti^t A Fa^tO 
 
 a a 
 
 a 
 
 t t 
 
 bh 
 
 i I 
 
 u u 
 
 c c 
 
 mm 
 
 l; V 
 
 dd 
 
 n n 
 
 t» Vf 
 
 e e e e 
 
 
 
 X X 
 
 ff 
 
 PF 
 
 y y 
 
 gg 
 
 ? ^ 
 
 
 hh 
 
 r r 
 
 
 t i 
 
 sffs 
 
 
 PLATE 20. SECOND FOLIO, 1632. DEDICATORY EPISTLE. SMALL LETTERS. 
 Note. The b-font f should slant more to the right, the a-font o to the left, and the b-font 
 to the 7'ight. 
 
l_^>>^inyi^ciyf-^'-^s<^^ 
 
 /Id. 
 
 cU- 
 
 /-t 
 
 U 
 
 ^ a 
 
 ^ ^ 
 
 <e tx 
 
 X £ 
 
 as 
 
 
 
 
 a 
 
 a 
 
 3 
 / 
 
 a 
 
 fi 
 
 fi 
 
 / 
 
 fi 
 
 
 
 fl 
 
 fi 
 
 u 
 
 u 
 
 is 
 
 is 
 
 « 
 
 U 
 
 11 
 
 11 
 
 Jh 
 
 Jh 
 
 Jh 
 
 
 fi 
 
 
 # 
 
 fi 
 
 JT 
 
 
 
 f 
 
 fi 
 
 fi 
 
 fi 
 
 fi 
 
 US 
 
 
 
 
 PLATE 21. SECOND FOLIO, 1632. DEDICATORY EPISTLE. DIGRAPHS. 
 
3 
 
 J Bus Quarms. Sc^emTrima. 
 
 Enter VnfenJine^ Speed, andcertaint Out-lawej. 
 r,OHt-f. Fellovves.ftand £iQ:: I fee a paflenger. 
 
 £g, i will not fajlc your Ladifliip; 
 Good morrow (gentle Lad)'.) 
 Si/. Good morrew, kinde Sir Bglamort^ 
 
 ^cana 
 
 qmnta. 
 
 ScanaQmrta, 
 
 Lau. When a maas fervant (hall play the Curre \v:t: 
 
 T E mTe S T 
 
 5 iiABusTrmus. ScienaTrima, 
 
 Inter Hon,Smplf,Taljl4e,'Bitrdo}fi,E^ 
 
 V/icch. 
 
 z.'^rtt. i Will not (by to night for all chi 
 Therefore awayjco get our ftuffe aboord. 
 
 4. Alius Qmntus, Sc^rm 1 
 
 f'^Ur the Merchant anith; Goldfi 
 
 '^^Li. I am lorry Sir that I have hiadrc< 
 But I proceft he had the Chaine of mc, 
 
 I fcare my /«//<« would not deigne my \hxs, 
 R^^ivjng them from luch a worthlcHe oof 
 
 6 Scitna Secunda^ 
 
 Sfiter Itflia And Lxcena, 
 /»/. But fay Lucetta(now arc we alone) 
 
 I dayfreedcme. 1 
 
 J ^f, O brave Monfteri lead the way Exeunt. 
 
 ^ JSusTcrtius. Sc^mTnma, 
 
 ^ ScamTertia. 
 
 PLATE 21 A. SECOND FOLIO, 1632. ILLUSTRATIONS OF DIGRAPHS. 
 
ror 1 attend heere , Butiieieeyouioonc. 
 Bia;^. 'Tis very good : I muft bccircumftanc'd. 
 
 £x(HntOmei, 
 
 A^us nanus , Sdena Trima* 
 
 Enter Othello ^and lage, 
 lago. Will you thinke fo ? 
 
 7 vo Gentlemen of 
 
 10 
 
 ^Uus Trimus^ Scana Tri 
 
 Vrothetu ^and Speed. 
 
 'I'-niine. 
 Je,my loving TrethetM ; 
 
 Is eaten by the < 
 Even fo by Lo 
 Is turned to fol 
 Lofinghisverc 
 
 And all the fail 
 
 The Scene^an un-inhabitedlfland. 
 3\(arnesofthc aJHors^ 
 
 ALonfo^Kmg of Naples. 
 Sebafiiift hiihr$tker. 
 Pr6(j>ero^the right Vttke o/Milia/af. 
 Ambomg his Brother^ the ufarptai Duke of Hi^Aim. 
 
 12 
 
 The fir jl Tart of^ng Hmry the 
 
 daycs havclwarchc, 
 I? Boy doe thou watchj 
 
 How far'ft thou, Mirr< 
 One of thy Eyes, and 
 Accurfed Tower, ace 
 
 13 
 
 14 
 
 The fir jh Tart oflQpg Henry the Sixt. 
 
 iiAlh Well that ends WelL 
 
 aged Back agaiaft mine Arme, 
 icemyDifeaie. 
 )fi a Cafe, 
 tu/ixt-ycwif/AtJnr! me : 
 
 ReJpHm and my brother. 
 
 0%r/.Thou doTt then wrong n cocke, aad will keepe him 
 Which givcch many VVounJs, v\ ^' (mufled 
 
 Mourne nor, except thou forrcv 
 Onely gi vt order t'or my Fur.erall 
 
 Bequeathed downe; 
 Which were the gr 
 Inmcetoloofe.Thu 
 Brings in the Cham; 
 
 15 
 
 The fir fl Tart of Henry the Sixth. 
 
 PLATE 21 B. SECOND FOLIO, 1632. ILLUSTRATIONS OF DIGRAPHS. 
 
To the Reader^ 
 
 This Figure5that thou here feeftput, 
 
 It was for gentle Shakefpeare cut; 
 Wherein the Graver had a ftrife 
 
 With Nature, to out-doo the life : 
 Ojcouldhe but have dravvne his Wit 
 
 As well inBraffejas he hath hit 
 His Face; the Print vvould thenfurpafle 
 
 Alljthat was ever writ inBrafle. 
 Butjfmce he cannot^Reader^looke 
 
 Not on his Pifture^but his Booke. 
 
 B.L 
 
 PLATE 22. SECOND FOLIO, 1632. TO THE READER. 
 
r-o^-t A F^xrS 
 
 fe>y\ti\ FtifB 
 
 F-oni- h Foxtd 
 
 h<»,t A To^tB 
 
 AA 
 
 TT 
 
 a a 
 
 t t 
 
 BB 
 
 VV 
 
 b b 
 
 V V 
 
 CC 
 
 WW 
 
 c c 
 
 u u 
 
 DD 
 
 
 d d 
 
 WW 
 
 EE 
 
 
 e e 
 
 
 F F 
 
 
 f f 
 
 
 GG 
 
 
 B 8 
 
 
 HH 
 
 
 h k 
 
 fl" 
 
 I I 
 
 
 i i 
 
 fT 
 
 
 
 k k 
 
 ft 
 
 LL 
 
 
 1 I 
 
 
 MM 
 
 
 m m 
 
 
 NN 
 
 
 n n 
 
 
 OO 
 
 
 o o 
 
 
 PP 
 
 
 PP 
 
 
 RR 
 
 
 r r 
 
 
 SS 
 
 
 f s s f 
 
 
 PLATE 23. SECOND FOLIO, 1632. TO THE READER, TWO-SPACE ALPHABET. 
 
VI. 
 
 THE METHOD OF EXTRACTING THE CIPHER 
 
 FROM THE DEDICATORY EPISTLE, 
 
 SECOND FOLIO. 1632 
 
 THE trained decipherer would first select and drav/ out the letters of what he thought 
 were the two alphabets. These he would carefully count and arrange in fonts, and then 
 take two or three lines of the Epistle anywhere and test the markings. To test the mark- 
 ings, after thirty or more letters have been marked a or b, three or more consecutive ^-font letters 
 must be sought for. In a group of five these would read ahhba, ahbhh, aabbb, aaabb, and 
 babbb. Remembering that no group begins with two i-font letters, the groups must be 
 marked off on either side of the group or groups containing the three i-font letters. It 
 will then be found by elimination what must be the proper groupings. For example, take 
 "at length thy ptous Fellowes give the World" 
 ab babbaa aba bbbaa aaaaabba aaaa bbb aaaba. 
 Here are two groups of three i-font letters each. Taking "hypto" for the first trial group, 
 the five letters before it are 
 
 "ngtht" 
 
 bbaaa. 
 
 This is a group beginning with two b's and obviously wrong. Changing now 
 
 "hypto" 
 
 babbb 
 
 to 
 
 "ypiou" 
 
 abbba 
 
 = p, the group before it will be 
 
 "gthth" 
 
 baaab 
 
 = s, and the groups after it, 
 
18 THE BI-LITERAL CIPHER 
 
 "iveth" 
 aaahb 
 = d. This gives "SPand", and is correct. Having thus estabhshed the alphabets, he 
 can begin to decipher. 
 
 As the alphabets are practically the same in both First and Second Folios, it is not very 
 difficult to take Mrs. Gallup's translation of the Dedicatory Epistle* in the First Folio and 
 marking it by letters of the two fonts, obtain thus the alphabet of the Dedicatory Epistle 
 of the Second Folio. This has been done successfully, as the variations are iew. 
 
 However, Mrs. Gallup's groupings and described alphabets make either of these 
 arduous steps unnecessary in this book. 
 
 The message begins with the first word on the Title page, but the first italics are "Kings 
 most Excellent Majestie", line 7, on the next printed page. The alphabets of Italic letters 
 will be found in Plates 19-20, and the descriptions on pages S7^^^ The first group is 
 "Kings". The first letter is capital K. Turning to the description, page ^, it is at once 
 evident that this is A J-font letter, since it is the example given, and is also a well-made 
 letter. The a-font letter K is not found in the Dedicatory Epistle. Small letter i is the 
 second letter in the group. If of the a-font, it should be rounded at top and bottom, and 
 the stem should be of uniform thickness, while the ^-font / begins with a hair line and has a 
 delicately shaded stem, as in "thankefull in our", line 15, and the first i in "ambition" (36).** 
 The / in "Kings" (7) has a rounded top and bottom and the stem is of uniform thickness; 
 it is an a-font /. As two b-font letters never begin a group, it would be necessarily an a-font 
 letter. The i's in "Majestie" (7), "Whilst" (15), "particular" (15), "mingle" (17), "divers" 
 (18), "things" (18), etc., are a-font letters. The i's in "have received" (16), "ill fortune" 
 (17), and "their" (21), and the first / in "dignity" (21) are ^-font letters. 
 
 *Francis Bacons Bi-Literal Cypher, page 165. 
 
 **Figures enclosed in parentheses refer to line-numberings on Plates 13-16. 
 
OF SIR FRANCIS BACON 19 
 
 The small letter n is the third letter of the first group, but before studying it all the 
 small i's on the page should be marked. The description of the n is practically the descrip- 
 tion of the Z»-font m. "It is delicately formed, the hair line shows distinctly in the loop, 
 and the last stroke is light and free." The n's in "thankefuU" (15), "fortune" (17), "things" 
 (18), "rashnesse" (18), and "rashnesse in" (19) are a-font letters: in "in our" (15), 
 "many" (16), "falne" (17), "upon" (17), "mingle" (17), and "can be" (18), they are ^-font 
 letters. The n in "Kings" (7) is a Zi-font letter. 
 
 Small letter g in the a-font "has a prominent nose. The lower loop is somewhat 
 pointed at the left side. The line bisecting the upper loop makes a large angle with the 
 line of writing," as in "Kings" (7), "mingle" (17), "dignity" (21), "greater" (21), "reading" 
 (21), and "something" (24). A more delicate letter, a small horizontal line generally but 
 sometimes a hook for a nose, lower loop wide at the left and the angle of the upper loop with 
 the line of writing smaller than the a-font g, are the characteristics of the Zi-font g. Look 
 at "divers things" (18). 
 
 The s in "Kings" (7) is the short form. It is a heavy letter, and the curve is close at 
 the top. It is an a-font letter. Other a-font letters are seen in "favors" (16), "things" 
 (18), "places" (20), "them trifles" (22), "trifles something" (24), and "writings" (27). The 
 s, b-iont, has a free, open curve at the top, as in "divers" (18), "these trifles" (22), "our 
 selves" (23), and "pleased" (24). This ends the first group, "Kings": habaa =w. 
 
 The next group is "mostE". The m in "most" "has loops nearly alike, both rounded 
 and shaded at the top. The last stroke is close." Other a-font letters are in "many" (16), 
 "from your" (16), "most" (18), and "name" (22). The b-iont m "is delicately formed, 
 the hair line showing distinctly in the second loop and in the last stroke which is light and 
 free," as in "mingle" (17), "them trifles" (22), "both them" (25), "much favour" (25), and 
 "common" (27). 
 
 The (2-font is "somewhat heavy and is narrow at the base like the oval of the small b 
 in this font." The /i-font o "is delicately made and is somewhat wide and rounded at the 
 base like the oval of the letter b in the ^-font." Compare the b in "humble" (38), and the 
 o in "two" (17), or "memory of so worthy" (37). Other a-font o's are in "for" (15), "favors" 
 (16), "fortune" (17), and "to mingle" (17). The b in "be thankefuU" (15) is an a-font letter. 
 Compare it with the in "our particular" (15), "your L. L." (16), "tnost divers" (18), and 
 "of the successe" (19). The in "most" (7) is a i-font letter. 
 
 The digraph st "is the union of a heavy long s with a small t rounded at the base. It 
 
20 THE BI-LITERAL CIPHER 
 
 is an a Zi combination. The same long s with a sharply pointed / in "Majestte" (7) is a a ; 
 in "Whilst" (15), the combination is a b; and in "study" (15), h a. The long s is delicately 
 made in "most divers" (18) and is Zi-font combined with the a-font t. It is combination 
 b a. 
 
 E in "Excellent" (7) is a capital letter, and referring to the descriptions we find that 
 the script £ is a i-font letter, like the b~iont E in the Key in the De Augmentis. 
 
 The next three groups are "xcell entMa jesti e" . The o-font x has the light line curved, 
 as in "Exequutor" (27). The h-iont x has the light line straight, as in "Excellent" (7). The 
 c in "Excellent" (7) is a heavy letter with short curves, as in "can be" (18), "received" (16), 
 "successe" (19), "places" (20), "descend" (21), and "defence" (23). It is an a-font letter. 
 The Wont c is well-formed with wide open curves, as in "our particular" (15), "cannot" 
 (21), and "Dedication" (23). 
 
 The small letter e has four forms — two forms in the a-font and two in the ^-font. 
 These four e's in "Excellent Majestic" (7) are all a-font letters. The first small e in "Ex- 
 cellent" (7) is the second form. The angle made by the line bisecting the loop is less, the 
 curve at the bottom is narrow and close. The first e in "Majestic" (7) is the same. The 
 second e in "Excellent" (7) and the second in "Majestic" (7) are the first form of e, a-font, 
 having the line bisecting the loop making a large angle with the line of writing and the curved 
 base wide and open. 
 
 The first form of b-(ont e has the angle formed by the line bisecting the loop large, and 
 the curve is short, as in "servant" (51) and the first e in "therefore" (50). The second form 
 has the angle small and the lower curve wide, as in "we" in "we are" (17), and "goe" in "goe 
 beyond" (44). 
 
 The / in the a-font is heavy and rounded at the base. The /, i-font, is well-made and 
 pointed at the base. 
 
 The digraph // in "Excellent" (7) is made up of the two simple forms of a-font / and 
 /(-font /, and is a b. The c and n in "Excellent" (7) are already marked. 
 
 The / is the next letter. The a-font letter t "is somewhat rounded at the base and the 
 last stroke is close to the stem. The cross-bar is usually slightly heavier at the left," as in 
 "the places" (20). The t, font b, is well-formed, and the last stroke is light and free, as in 
 "study to be" (15). This t is an a-font letter, as are those in "thankefull" (15), "the many" 
 (16), "the ill fortune" (17), "to mingle" (17), "two the" (17), "things" (18), and the first t 
 
OF SIR FRANCIS BACON 21 
 
 in "that" (i8). 5-font i's are found in "particular" (15), the last t in "that" (18), "eytter- 
 prize" (19), and "cannot" (21). 
 
 The ornamental letter capital M is easily distinguished from the plain M in "Milke" 
 (44). The M in "Majestie" (7) is a fe-font letter. 
 
 The a in "Majestie" (7) "is somewhat heavy and is finished by a close upward stroke. 
 The line bisecting the oval makes a small angle with the line of writing." It is like the a in 
 "thankefull" (15), "many" (16), "we are" (17), the second "rashnesse" (19), "cannot" (21), 
 and "greater" (21). 
 
 The i-font a's are found in "particular" (15), "favors" (16), "have" (16), "falne" (17), 
 "//zaf can" (18), "feare" (18), and "rashnesse" (18). 
 
 The y is a Roman letter whose font must be inferred from the context. 
 
 The e, s, t, i, and e are already marked, and the above analysis gives the following 
 translation: 
 
 Kings 
 
 mostE 
 
 xcell 
 
 entMa 
 
 jest I 
 
 babaa 
 
 w 
 
 ababb 
 M 
 
 baaab 
 S 
 
 aaaa 
 
 A 
 
VII. 
 
 TITLE PAGE. DEDICATORY EPISTLE. AND 
 
 "TO THE GREAT VARIETY OF READERS" 
 
 SECOND FOLIO. 1632 
 
 I. Cipher Key. 
 
 MrWIl lIAmS HakES PeAre scOME dIEsH istor leSAn dtrAG edies pUbLI 
 shEda CcoRD inGto Thetr uEori gInAl LcOPi EsthE seCon diMpr esSiO 
 nLOnD Onpri iiTeDB ythoc oTEsf OrROb ertAL lOTaN daRet oBEsO IdatT 
 HesiG neOft Hebla CkeBE arEin paULS cHUrC HyArd toThE moSTN oblea 
 NdinC OmpAR aBLEp alrEo fBret HrEnV VilLi amEar leoFP embro ke&Cl 
 OrdCh aMBeR Laine TothE KiNgs mOsTE XcelL entMa jesti eAnDp hlllp 
 eaRle ofmON tgome rY&Cg EntlE mANoF HismA JeSTi eSbED chamb eRBot 
 hKnig htSof themo StnOB LeoRd erOFT hEGaR TerAN Dours iNGuL arGoO 
 dlORD sRigh thONo urABL eHiLs TwESt uDYTo Betha nKefu LIINO urpAR 
 TiCul Arfor tHema NyfAv oRswe HAVer ecEIv eDFro mYOuR LlwEa RefAL 
 NeupO NthEI llfor tUnEt oMiNg LetWo tHEmO StdiV erSth inGst hATcA 
 NbeFE Arean drAsH neSSE rashn eSSEi nTHEe nTerp riZea nDFEa reOft 
 hESuc cesse ForwH eNwee VaLue tHePL Acesy ourHH sUStA inEwe eCanN 
 oTBut kNOwT Heird Ignit ygrea TertH anTOD eScEn DtOTh EreaD IngOF 
 tHESe tRIFl eSaNd wHile weNam ethEM triFL Esweh avede pRiVD ourse 
 IVeSo fTHeD eFEnc eoFOu rDEDi Catio nBUtS IncEY oUrll havEB eeNep 
 leaSD tothi NkETh esEtR iFles SomeT hingH ErETo ForEa ndHAV ePrOs 
 eQuut edBOt htHEM &*thEi rauTh orLIV ingwi tHSom ucHFa voUrw eHoPe 
 tHAtT HeyoU TliVi nghiM AndHE NotHa ViNGt hEFaT EcoMM onwiT 
 
 *& is ^-font. 
 
THE BI-LITERAL CIPHER 23 
 
 HsOMe toBee xequu Torto hIsOw nEwri tiNgs YouWi llUse thesa meiNd 
 ulGEN cEtow aRDth emYOu hAVEd onEun Tothe irtHe epist lEded IcaTO 
 ryPar EntTh erEIS agrea TdiFf EreNc ewHET hErAN YbooK EchoO seHiS 
 pATRo nEsOr finde theMt hisHA tHdon eBOth forso mucHw ereyo UrllL 
 iKinG soFth EseVe raLLP artsw henTH eywer EacTe dasbe foReT hEYwE 
 Repub lIsHE dtHev Olumn EasKd tObey oUrSW ehAve ButCo UECT eDthe 
 MandD oNeAN offic Etoth eDeaD tOPrO Cureh IsorP HAnes guARd iANsw 
 ithou tAmBi tiOne ither OfseL fEpro FitoR fameo nElYt OkeeP eTHeM 
 eMorY oFSow oRThY AfRie nDAnd FeLLo wALiV EasWA Sours Hakes peAre 
 ByHuM blEOF fErof hIsPL AyesT oyOur mOsTn obLeP atRon agewh EreiN 
 aSwEH aveju StLYo bserV edNom aNtoc oMeNE eREYo uRlLb uTwit haKin 
 dofRE LigiO UsaDd resse iTHAT hBEEn TheHe igHtO Fourc AreWH oAREt 
 hEPrE sENte rStOM AketH EpreS EnTwo rtHYO fYour hHbYt MepeR FecTi 
 OnbuT tHere weMUs tALso craVE ouraB IlITi EstoB econs iDere dmyLO 
 rdsWe Canno TgOEb eYONd OurOw nEpow ersCo uNtrE yHaNd srEac HfoRt 
 HmiLk ecRea Mefru ItsoR whatT HeYHa VeaNd maNYN ation SweHa VeheA 
 RdtHA Thadn otGum MesaN dJnCE nseob tAiNe Dthel rRequ esTSw iTHal 
 eAven eDCak eltwa SnoFA UlttO AppRo aChth eirOo dsBy^v HAtME anest 
 HeYCo UlDAn dtHem OstTh oughM eaNes Tofth inGsa RemAD emOre Preci 
 OusWh enThe yarED eDica TedtO tempi EsINt HAtna meTHE RefOr ewEMO 
 StHum bLYcO Nsecr aTeTo youRH HthEs eREmA InEso fyOUR sERvA 
 nTsHA KesPe arETH aTwha Tdell ghtis iNThE mMaYB eeVer YouRl ItHER 
 ePuta TionH iSaNd thEfa ultSO ursiF AnYBe CoMMi tTEdB YapAI Resoc 
 arEFu LItOS hEwth eirOR atitu dEBot htoTh ellvi NgAnd thEDE aDasi 
 SyoUr loRDS hiPsm Ostbo uNdEN JohnH emiNg ehenr yCOnd elltO thEgr 
 EatvA riEty ofRea dERsb laCkf RyErs Cockp itioh NhEmi nOeHe nrYco 
 NdELl. 
 
 2. Deciphered Message. 
 
 You who ayde me verily see for many doe observe how F. has uplifted actors M. S. 
 called also by manie authour of highly priz'd writing not usuall to SEE our F. happie pen as 
 I Wm. R. doe know rashly supplied. Drama long provided by F. is by th' light change lost 
 
24 THE BI-LITERAL CIPHER 
 
 but you by earlie teaching perceive that th' MSS. F. plac'd in a casket had at a former time 
 this mark or signale as is also known your Rex himselfe as may be imphed stampt F. R. upon 
 MSS. whilst sign'd by said cryptick Letters by that sure smal sign injustice may yet bereverted. 
 I say if th' world to whom this cometh is led by your guidance whither MS. can be seene. 
 
 W. Rawley. 
 
T E M P E S T- 
 
 (iAHus Trimus. Scana Trim a. 
 
 PLATE 24. SECOND FOLIO, 1632. HEADING, THE TEMPEST. 
 
 THE TRAGEDIE OF 
 
 Troylus and Crefsida. 
 
 qJBusTrimus. SaemTrinia. 
 
 PLATE 24A. SECOND FOLIO, 1632. HEADING, TROILUS AND CRESSIDA. 
 
 THE 
 Merry Wives of VVindfor. 
 
 qABus TrimuSy Scana Trima. 
 
 PLATE 25. SECOND FOLIO, 1632. HEADING, THE MERRY WIVES OF WINDSOR. 
 
The Comedie of Errors. 
 
 oJBtis Trimus, Scana Trima, 
 
 PLATE 26. SECOND FOLIO, 1632. HEADING, THE COMEDY OF ERRORS. 
 
 Much adoe about Nothing. 
 
 (iJStis Trimus, Scam Trima. 
 
 PLATE 27. SECOND FOLIO, 1632. HEADING, MUCH ADO ABOUT NOTHING. 
 
 Loves Labour s loft. 
 
 t^Bus Trimus^ Scana TrimSo 
 
 PLATE 28. SECOND FOLIO, 1632. HEADING, LOVE'S LABOR'S LOST. 
 
MIDSOMMER 
 
 Nights Drcame. 
 
 (*A&us Trimus. 
 
 PLATE 29. SECOND FOLIO, 1632. HEADING, A MIDSUMMER NIGHT'S DREAM. 
 
 The Merchant of Venice. 
 
 oJBm Trimus, 
 
 PLATE 30. SECOND FOLIO, 1632. HEADING, THE MERCHANT OF VENICE. 
 
 As you like it. 
 
 ^Bus Trimtis, Sc^na Trima. 
 
 PLATE 31. SECOND FOLIO, 1632. HEADING, AS YOU LIKE IT. 
 
THE 
 
 Taming of the Shrew. 
 
 •iABmTiimus. ScitnaTrinm. 
 
 PLATE 32. SECOND FOLIO, 1632. HEADING, THE TAMING OF THE SHREW. 
 
 ALLS 
 
 Well, thatEnds Well; 
 
 JBus primus, Sc^naTrima, 
 
 PLATE 33. SECOND FOLIO, 1632. HEADING, ALL'S WELL THAT ENDS WELL. 
 
 TvvelfeNight^OrvvhatyouvviJI. 
 
 zABus Trimm, Scana Trima, 
 
 PLATE 34. SECOND FOLIO, 1632. HEADING, TWELFTH NIGHT. 
 
The Winters Tale; 
 
 PLATE 35. SECOND FOLIO, 1632. HEADING, THE WINTER'S TALE. 
 
 Tliclife and death of King lohn. 
 
 (t/e?«r Trimus, Scana Trima, 
 
 PLATE 36. SECOND FOLIO, 1632. 1 HEADING, KING JOHN. 
 
 TheLife and Death of King Richard 
 
 the Second. 
 
 fsJ&uy 'Primus, Scam Trima, 
 
 PLATE 37. SECOND FOLIO, 1632. HEADING, RICHARD II. 
 
The Firft Pare of Henry the Fourth, 
 
 with the Lifeand Death of HENRY 
 
 Sirnamed HOT-SPVRRE. 
 
 zA^tts'Prlmut, ScttnaTrimti. 
 
 PLATE 38. SECOND FOLIO, 1632. HEADING, 1 HEN. IV. 
 
 The Second Part of Henry the Fourth, 
 
 Containing his Death: and the Coronation 
 
 of King H«niy the Fift, 
 zABus Trimuf, Scma Trima. 
 
 i N D V CT I o N. I ScmaSamda. 
 
 PLATE .39. SECOND FOLIO, 1632. HEADING, 2 HEN. IV. 
 
 The firft Part of King Henry the Sixt, 
 
 qJBusTrima, ScmaTrima. 
 
 PLATE 40. SECOND FOLIO, 1632. HEADING, 1 HEN. VI. 
 
Thefecond Part of King Henry the Sixt 
 
 with the death of the Good Duke 
 HVMFREY. 
 
 aJ&m Trimus. Scma Trim a. 
 
 PLATE 41. SECOND FOLIO, 1632. HEADING, 2 HEN. VI. 
 
 The third Part of King Henry the Sixt. 
 
 with the death of the Duke of 
 YORKE. 
 
 ^Bus Trimus, Scoria Trima* 
 
 PLATE 42. SECOND FOLIO, 1632. HEADING, 3 HEN. VI. 
 
 The Tragedy of Richard the Third ; 
 
 with the Landing of Earle Richmond, and the 
 
 Battellat Bofworth Field. 
 (lABus Trimus, Sc^na Trim a. 
 
 PLATE 43. SECOND FOLIO, 1632. HEADING, RICHARD III. 
 
The Tragedy of Coriolaniis: 
 
 ^JBus Trimus. Sc^na Trinia. 
 
 PLATE 44. SECOND FOLIO, 1632. HEADING, CORIOLANUS. 
 
 THE TRAGEDIE OF 
 
 ROMEOandlVLIET. 
 
 AUusVrimus. ScanaTrtma. 
 
 PLATE 45. SECOND FOLIO, 1632. HEADING, ROMEO AND JULIET. 
 
 THE LIFE OF TYMON 
 
 OF ATHENS. 
 
 AUusTr'mus, Sc^naTr'ma. 
 
 PLATE 46. SECOND FOLIO, 1632. HEADING, TIMON OF ATHENS. 
 
THE TRAGEDIE OF 
 
 IVLIVS C^SAR. 
 
 PLATE 47. SECOND FOLIO, 1632. HEADING, JULIUS C.^SAR. 
 
 THE TRAGEDY OF 
 
 HAMLET, Prince of Denmarke. 
 
 AiHsTrimtis. SaendTftma. 
 
 PLATE 48. SECOND FOLIO, 1632. HEADING, HAMLET. 
 
 THE TRAGEDY O 
 
 CYMBELINE. 
 
 JthisTrimm. SaenaTrhna, 
 
 PLATE 49. SECOND FOLIO, 1632. HEADING, CYMBELINE. 
 
F^ht A Fp,it B 
 
 F.HtA FoMr^ 
 
 F^Ai-A F^,f!5 
 
 A A 
 
 L L 
 
 W 
 
 C C 
 
 M M 
 
 Y Y 
 
 D D 
 
 N 
 
 
 E E 
 
 O O 
 
 
 F F 
 
 P P 
 
 
 G G 
 
 R R 
 
 
 H H 
 
 s s 
 
 
 I I 
 
 T T 
 
 
 K K 
 
 V V 
 
 
 PLATE 50. SECOND FOLIO, 1632. THREE-SPACE ALPHABET. CAPITAL LETTERS. 
 
Foht A i^ohT~Q 
 
 fe/^-f A i^fixr 8 
 
 /■^^r A r^»^S 
 
 a a 
 
 k 
 
 V V 
 
 bb 
 
 11 
 
 u u 
 
 c c 
 
 m m 
 
 WW 
 
 dd 
 
 n n 
 
 X 
 
 e e 
 
 
 
 yy 
 
 f f 
 
 PP 
 
 
 gs 
 
 r r 
 
 fi 
 
 hh 
 
 s s 
 
 ft 
 
 i i 
 
 t t 
 
 
 PLATE 51. SECOND FOLIO, 1632. THREE-SPACE ALPHABET. SMALL LETTERS. 
 
THE 
 
 HISTORIEOF 
 
 the two valiant Knights > 
 
 Syr Qyomm Knigkt of the Golden 
 
 Sheeld, fbnnc to ^e King of 
 
 VermarkeT 
 
 AndChmy^QS the'^hheI(n^kJotmet9the 
 J^r^of Suamz. 
 
 As it bath t>esie fuadty rimes A^^ed by bcc 
 Mueilies Pisycrs. 
 
 LONDON 
 
 Printed by Thomas Creede» 
 I 5 Sff- 
 
 PLATE 52. , KNIGHT OF THE GOLDEN SHIELD, IS99. TITLE-PAGE. 
 
Tlie Prologue. 
 
 As lately Rfting vp the leaues sf worthy writers Irvorl^es, 
 JVhereitt the Noble aSIs and deedi of many hidden Inr^y 
 Our Author he hath found the G/affe ef glory fhimng hrighty 
 wherein their Imes are to l>e/ee}je,yi>hich homar dtd delight^ 
 To be a Lanthome vnto thofe which dnyly do depre, 
 A polios Garland by defert,in time for to afpire, 
 Wherein the froward chances oft fif Fortune youp^allfee, 
 Wherein the chearefull countenance, of good fucce^es bee: 
 Wherein true Louersfndeth ioy,itvith hugie heapes of care ^ 
 Wherein <« well 04 famous faEls,ignomius placed are : 
 wherein the iufl reward of both,u mamfejily fbowne, 
 yhat vert ue from the roote^f vice, might openly be k»ow»e, 
 Anddoubting nought right Courteous alljnyour accuflomednvoom 
 jind gentle eares,our Author he, is prefl to bide the brunt 
 Ofbablers tongues, 1 9 whom hethinks, atfufirate all his toile, 
 Aspeereles tafie to filthy Swine, which in the mire doth mode. 
 Well,what he hath done for your delight yhegaue not me in charge. 
 The AUors come,whojhallexpreffe the fame to you at large. 
 
 PLATE S3. KNIGHT OF THE GOLDEN SHIELD, 1599. PROLOGUE. 
 
THE HISTORIE OF 
 
 Sir Clyomon Knight of the 
 
 golden Sheeld/on to the King of Denmark.: 
 And Clamydes the white t\nightJonm to 
 J the i\mg o/'Swauia. 
 
 Enter CUmjde St 
 
 CLamy.K% to the wcaric wadring wiohts.wliom waltring waues enuirC^ 
 No greater ioy of ioycs may bcthcn when fron? out the Ocean 
 They may behold the Altitude of Billowes to abate, 
 
 fO For to obferue the Longitude of Seas in former raw. 
 And hauing then the latitude of Sea-roomc for to padc. 
 Their ioy is greater through the griefe.tben crft before it was. 
 Solikcwife I Clamydei,Vnncc ofSwauia Noble foyle. 
 Bringing ray Barkc to BeuTmrke hereto bide the bitter broylcJ 
 
 K* And beating blowcs of Billowes high,while raging ftormes did liik. 
 My gricfe.5 was grciter then miglit bc,but tempcfts oucrpaft, 
 Sue!) gentle ca!ms> efifucdhafhjasmjkes my ioyesraorc 
 Through terror of the former fcare,thcn erfl it was before. 
 So that I fit in fafetic,as Sea-man vndcr fhrowdes, < 
 
 20 When he percciues the ftormes be part , thiough vanquifliing of Cloyvd'cs. 
 For why j( he doubtful! care that draue me off,in daunger to prcuailc, 
 Is daflit through bea'inglefrerbraine,and keeping vndcrfaile ; '« 
 So ihatl haue through traucll long,atlaft poflcft the place 
 Whereas my Barkc lo harbour fafe, doth pleafures great embi;acc : 
 
 2^ And hath fuchliccnfclimited,as heart can fecmetoaske, 
 Togo and comcjofcuftome ficejor any other faskc. 
 
 A^,3 I 
 
 PLATE 54. KNIGHT OF THE GOLDEN SHIELD, 1599. PAGE 1. 
 
The Hiflor'te ofClyomon 
 
 I iccanc by /«/(«M fiifjtbat blaze of bcwties breeding. 
 And for her noble gifts of gr2ce,ali oihcr dames exceeding % 
 Shce hath from bondage fct me fTC?,and freed.yct ft ill bound 
 
 J To her, aboue all other Dames thasliuesvponthcground: 
 For had not (he bene mercifull,my n)sphadxufluon Rocks 
 And fo decayed amids theftormcSjthrough force ofclubbifh knocks: 
 But when fhefaw the daunger great where fubieft I did fland. 
 In bringing of my filly Barke,full fraught from out my land, 
 
 lO She like a meeke and modeft Damejahat rtiould 1 elfe fay morcJ 
 Didjne permit with fiill confent.to land vpon her fborc: 
 Vpon true promife that i would,herc fauhfuU ftiU rtmainc. 
 And that performe which Hie had vowed,for thofe that Should obcainc 
 Her princely perfon to podsdcwhith thing to know 1 (lay, 
 
 I J And then aciuenturoufly for herjto pafTc vpon my way. 
 Loe where flic comes.ah peerelcs Dame,my luliana. dearc. 
 Enter iuliana foith a rplnte Sheeld. 
 Itiliatta. My ClAPtydes,ohxoi\\ Sir Princc.to make you ftay thushcrcj 
 I prefer too much rniuric,thats doubcleOe on my pai t, 
 
 20 But let it no occafion giue.to breede within your hai e 
 
 Mifliuft th<.t I fliouid forge or fajne,with you my Loue in ought. 
 
 Ckmy. No Lady, touching you, in me doth lodge no fuch a thought, 
 But thankes for your great curteHe that would fofrjcndiy hccrc 
 In mids of miferie recciue,a forraine flraunger mecrc : 
 
 yBat Lady fay,wliat is your willjthat it J may perftand? 
 
 lulia. SirPrincejvponavowjWhofpowfethmejmuftneedny take in hand 
 The flying Serpent for to fley^which in the Forrefl is, 
 That of ftrange maruels beare th naroe,which Serpent dothnot mis 
 By day ly vfe from euery coaft,that is ady acent there, 
 
 30 To fetch a Virgin maide or vufejorclfe fome Lady fairc. 
 To feed his hungrie panchwithall.ifcafe he can them take. 
 His nature loe it onely is jof women fpoyle to make : 
 Which thing no doubt.did daunt me much,and made me vow indeedj 
 Who fliould efpoufe me for his wife^fhould bring to me his head: 
 
 35 Whereto my father willingly , did giuc his like confent, 
 Lo Sir Clamydes ,nci\'^ you know what is my wJiole intent: 
 \nd if you will 2s I hius iaJd,for rne this trauell take, 
 fbac 1 am yoursjwith heart and lUind.yout full account do make. 
 
 ^/^, Ah 
 
 PLATE 55. KNIGHT OF THE GOLDEN SHIELD, 1599. PAGE 2. 
 
I^ntght of the golden SheeU. 
 
 CU. Ah Lady.iPcafe thefc ttauels (hould furmounf, the traucis whereby 
 Vnto the uprthies of the world,fuch noble brute and fame, (came 
 
 Yea though the dangers (hou!d furpaffe flout Hercules his toylc, 
 c Who fearing nouglit t!ie dogged fccnd jffernc Ser'oariu did foylc 
 Take here n>y hand,if life and limbc the humg Gods do lend. 
 To purchafc ihee, the dearcft drop of bbud my heart fhall fpend. 
 And therefore Lady lincke with mcjthy loyal] heart for aye, 
 Fori am thine tsl fates vntwinc.ofvital life the flay: 
 10 Protcfting here if Godi affifl,the Serpent for to kil. 
 
 luh. Then flialt thouofall women wiojthe hear t and great good vvilj 
 And me pofTelle for fpowfed wife, who in elcftion am 
 To hauc the Crowne of Denmarke hercas heire vnto the fame, 
 Forwhy,noch!idren hath my fire befidcsmce,butoneothcr, 
 15 And he indeed fsheue bcforcfor that he is my brother. 
 ^Vi&Q-jonton (o hight his narae^but where he doth remainC} 
 Vnto my Parents is vnknovvne,for once he did obtaine 
 Their good wills for to go abroad , a while to fpend his daies, 
 In purchafing through adiue decds,both honour ,laud and praife, 
 2 oWhcreby he might deferue to hauc the order of a Knight, 
 But this omitting vnto thee,^/«?»;'i^« here I plight 
 My faiih and troth , if what is faid by me thou dofl performc. 
 Clamy. IfnotjbefureOLady with my hfe,Ineucr will rensrnc. 
 IttB. Then as thou feemcfl in thine attire,a Virgins Knight to be, 
 p^ Take thou this Sheeldlikewifc of white.andbearc thy name by nscj 
 The white Knight of the Siluer Sheeid , to eleuate thy praifc. 
 
 ClA-mj. O Lady as your plcafure is.l {ball at all afTayes 
 Endeuour my good will to win,ifj1cf4r/ do fend me might, 
 Such honour as your grace with ioy,fhall welcome honrieyour Knight 
 t:q lull. Then farewell my dcareC/^w^i/wjthc gods direft thy way, 
 And graunt that with the Serpents head,behold thy facci may. 
 
 Exit. 
 Ckntj. You fhall not need f o doubt thercof.O faithfuil Dame fo true, 
 And humbly kiffing here thy hand, 1 bid thy Grace aduc. 
 3J Ah happie time and blisfull day,whercia by fate 1 find 
 
 Such friendly fauours as is foodcto feede both heart and mind: 
 To Siutm^ foilcl fwiftJy will prepare my foot-fleps right. 
 
 There 
 
 PLATE 56. KNIGHT OF THE GOLDEN SHIELD, 15£ 
 
Tie Hi/lone ofQyomon, 
 
 There of my father rorccdue theordcrofa Knighr: 
 And afccrvvardsaddreffe my fclfc in hope of honours Crownc, 
 Both Tygcr felland MonOer fiercely dinf for to dnue dovvnc 
 ,5 Thcflying Serpentfoone flia'i ftclc^hcwv boldly I darevauntme, 
 And if that Hjfdraj head fli« had jct dread (liould ncHcr djunt mc 
 Ifintirdcnng AliMtat'.rf,:^ man might count this ougly bcsft, 
 Yet for to v\ in a Lady fuch, I do account it leaft 
 Of trauels toylc to take in hand.aiid therefore farewell care, 
 JO For hope of honour fends me fotth,mon2,ft warlike vvighrs to Hiare. 
 
 Exit. 
 Eater Sir Clyomon Knight of the golden Sheeld, fonne to the Kivg of 
 DiP.mAxke ,vcuh fubtili Shift the f'(ce,footea'. 
 ■Clyo. Comeongoodfcliow follow me,that I may vnderftand 
 I^Of whence thouar t,thas traueiling here in a forrainc land: 
 Come w!iy doft thou not Icaue ley tcring theie^and follow after mef 
 Shift. A h I am in am fnall pleafe you. 
 Clp, In.vvhy vvhcrcart thouin? 
 
 Shift. Faith m a dirtie Ditch with a woman.fo beraide,a3it's pittic fo fee. 
 20 ^/K'?- Wcl,I fee thou ast a merric c6panion,l (hall like better of thy copany: 
 But I pray thee come away. 
 
 Shift, if Igctcucone ofmylcgsasfaftaslmay 
 Ha lo, A my buetocke,the very foundation thereof doth breake, 
 Ha lojoncc againejl am is faft^as though I had frozen here a weeke. 
 2 .J- Here let htmfip vnto the Stage bAchwards,ai though he had paid 
 
 •^ his leg out of the mire^ene baote cff,afsd rife vp to 
 
 runino-gdne^ 
 Clys. Why how now, whither runf t ehou.art thou foolifh in thy.mintJf 
 Sht. But to fetch on« of my legs a'nc (hall plcafe,that I haue left in the 
 50 mire behind. 
 
 Cljo. One of thy legs,why looke nsan.both thy legs thou haft, 
 Itisbutotse ofthy bootesthouhaftloftjthy labour thou docfl waft. 
 
 Sh^t. But one of my bootes Jefu J had fuch a wrench with the fall. 
 
 That I affiire,! did fhinke one of ray legs had gone withalL 
 
 35 Clyo. •WelllctthatpafTcandtcUmewhatthosjartjandwJiatisthynamd 
 
 And from whence thou cam'ft, and whither thy iourney thou doeft frame, 
 
 ThatIhausractthccbyeh€way,tba5«rsU€llinsinthisfor«? ,.^ , , 
 
 Shift. Whas 
 
 PLATE 57. KNIGHT OF THE GOLDEN SHIELD, 1599. PAGE 4 
 
T/pf? HiJJork ofQjomon 
 
 Though greatly (0 my fhamc,! mufi my words rcuoke againc 5 
 I am noother then the knight, whomc they SoKceFoy caWy . 
 ^Ihs is CUTKj/des, the fcarc of yvbom, my dantcd mind doth pall. 
 J 1 In/iaH. IsthisC/<?w;'i/<f/.? ah worthy Knightjthendoforgiuethydecre, 
 A. lid vvclcomc eke ten thoufand times vnto thy Lady hccrc. 
 
 Clamy. Ah my luliana bright,whats pafl /doforgiuc, 
 For well I fcc-thou conftant art, and whilft that I do hue, 
 Fdr this, my firmed faith in thee for euer ile repofc. 
 1 hltati. O father now I do deny that wretch, and do amongft my fees 
 Recoant him for this treafon wrought. 
 
 King. Well Knowledges take him vnfo tliec, and for the fmall regard 
 The vvhicti he had to vahant Knight5,this fhalbc his reward, 
 S:th he by charraes,his crueltic in cowardly manner wrought, 
 IjOn Knights, who as Ckmjdes did, the crowne of honour fought, 
 Ane^ trayt eroufly did them betray, in pnfon for to keepe, 
 The fruits of fuch like crueltie.himfelfe by vs fhall reapc : 
 By due defcrt therefore 1 charge to prifon him conuay. 
 There for to lye perpetually vnto his dying day. 
 20 Bryan. Oh King be mercifull, and fliew fomc fauour in thiscalc: 
 King. Nay, neuerthinkcthat at my hands thou fhaltfinde any grace. 
 Clamyda, ah moft vvclcomc thou, cur daughter to enioy. 
 The heauens be prnifd that this hath wrought, to foile all future noy. 
 Ckmjdes. I thanke your Grace, that you thus fo well eftccme of me. 
 25 Enter Knowledge. What is all things finidied, and euerj' man cafcd J 
 [s the pageant packed vp, and all parties pleafed ? 
 Hatheach Lord his Lady, and each Lady her loue ? 
 Clyomon. Why Kr.otvlcdge, what meanft thou tliofe motions to mou'c J 
 Knowledge. You were bell flay a while, and then you fhall know, 
 XQ For the Qucene her felfe comes, the motion to (how. 
 You fen- me ifyou rcmcmber,to feeke out your page. 
 But /cannot find him, I went whifling & calling through the court in fuch 
 At the lafl; very fcacely in at a chamber I did prj', (a rage : 
 
 Where thcQuecnc with other Lady es very bufy I did fpy : 
 ^ Decking vp a ftrange Lady very gallant and gay, 
 To bring her here in prefence,asin court 1 heard fay., 
 Clyomon. A ff range Lady /vKaWiffl^f.of whence ii fliecanfl thou tcllmc \ 
 limveledge. JSfot 1 ant /hall pleafe ycu, but anon you fhall lee. 
 
 For 
 
 PLATE S8. KNIGHT OF THE GOLDEN SHIELD, 
 
For lo where ehe Lady with your mother doth come ; 
 
 C/yomotu Then ftraightway my duty to her grace fhalbc doue. 
 The mighty God? pr^ferue your (late, O C^eencjand moeheffdeare, 
 J" Hoping your bkfling I haue had, though abfenr many a yearc. (glad, 
 
 Efiter ^.eem. My Cfj/omon,thy ftght roy fon doth make thy aged mothci: 
 Whofc abfeace long and many a yeare, hath made thy pcnfiuc parents fad. 
 And more to let (hec know my fonnc, jhatl do ioue and tender thes, 
 I hauc here for thy welcome home, a prefcnt which ilegias to thee. 
 10 This Lady though fhc be vnknovvne, refijfc hernof^for fure her flats 
 Defcrues a Princes fonns to wed ,afid therefore take Iter for thy mate. 
 
 Cljomon. O noble Quccne and mother deere./fhankc you for your great 
 Eut I am otherwife bcltowd.and fure I raufi my oath fulfil!. fgocd will, 
 A nd fo / mind if gods to fore on fuch decree I meanc to paafff, 
 ]5 For fure I muO: of fores deny, my noble father knowes the caufe. (went, 
 King, Indeed my Quccne this nujch he fold, he lou'd a Lady fince he 
 Who bath his hare and csier fhall, and none but her to !oue hc'is bent. 
 
 Clyomon. So did I f3y,and fo I wi!>no bcawfies bbze.nogliftering wight. 
 Can caufe me to forget her Ioue, to whom my faith 1 fiift A\^ P'ight- 
 20 Nerones. Why are you fo flraight lac'tfir Knight, to call a Lady cfffo coy? 
 Turnc ofKe againe and looke on me, perhaps my fight may bring you ioy. 
 Clyo^ Bring ioyto me?alas which way?no Ladies looks camakcmcglad- 
 Nero. Then were my rccopence but fmalljto quit my paine for you I had. 
 Wherefore fir knight do wey my words/ttoot fo light the louc / (how, 
 ZSBus when you haue bctS-iought your felfe, ycu yvsl recant and turnc /know, 
 Queene, My Cljomon refufe her not, fhc is and muft thy Lad) be : 
 Clyo. Ifotherwife roy mind be benr, /eruft your grace will pardon me. 
 Nero. Wcl then I fee tis time to fpcake,iir knight let me one qucflio crauc, 
 SaycnyourmirJ. Whereis th^t Lady now become,to whom your plighted 
 30 faith you g.iue ? 
 
 Clyo, Nay if! could abfolue that doubt, then were my mind ar eafi: : 
 iV<fr<j. Were you not brought to health by her,whcyou cams fick once of 
 C/y. Yea fure I m«ft cofefle a ti uthjlhe did rtflore my health to mc, (§ feas? 
 For which good deed 1 kVi herowne, in hope one day her face to fee. 
 ^^ Nero. But did you not promifg her fo retumc.ro fee hear st 3 cerfainc day, 
 And ere yo?2 carae that to performejthe//ons';«7 King; ftole ha away ; 
 And fo your Lady these you iod t 
 
 Cljomon, All this /grauntjbm to his coil. 
 For fiealing her agairsA her wjll,thJ5 band of mine bergft his K^\ 
 
 I iW.Now 
 
 PLATE 59. KNIGHT OF THE GOLDEN SHIELD, 1599. PAGE 61. 
 
Ne!^o\v furc fir knight you ferud him vvcl, to f each him know an other m3s 
 Butyet once more fir Knight replie.thc truth I craue fo vnclcrfland, (wife; 
 I n Forreft once, who 2;auc you drink.whereas you (bod with fword in had, 
 J fearing lead fomehadyou purfudcfotUsyingofyourenemief 
 
 ^//.Thit did afiliic fhcpheards boy, which there I tookc my Page to be. 
 
 Nero. And what is of that Page becomc,reniajns he w ich you,yca or no? 
 
 Clyo. I fcnt him hither ere I came , becaufc the King and Qiicene (houU 
 
 That I inhcalth returned wasjbut fincclneoerfawhim. (know, 
 
 10 ■A^<'.Andrurehcfl:anUnotrurfromhencc,tlvouoh now you do not know 
 
 Oyo. Not far from henccjwhere might he be? (hiru. 
 
 Nero. Oftroth Sir Knighf,my felfc am he: 
 I brought your mciragc to the King,as ho re the Queenecan tcfbfic: 
 /gaucyou drinke in Forreft fure, when you with drought were hkc to die. 
 15 /found you once vpon the Hiorc full fickcjwlien as you came fiotn fcas, 
 /brought you home to fathers Court,! fought al means your mind to picas. 
 And /it was that all this while haue waiglncd like a Page on th.c- 
 Still hoping for to fpie a time wherein /might difcoucr mee. 
 And fo by hap at lalt /did,l thanke your mothers nob'cgracc: 
 *^Shecmertaindmccourteoufly,vvhcn.IhadtoIdhrrallmycjfe. 
 And now letihii fuffirc my dearej am Neronu 'vhom you fee. 
 Who many a wearic ftcp hath gone.bef jre and fince 1 met with thee. 
 
 Cljo.O ludden ioyes^O iieauenly fight.O worxis more woith then gold, 
 NeronU yO my deare weicome,my armei 1 here viifold, 
 ^To clafp thy comely corps withail,twice welcome to thy knighr. 
 
 NerOi And fas ioy full am no doubt,my ^/^awo^of thy happic fighx, 
 
 Qjo, CUmjdcs my afTured fi iend, !o how Dame Fonnne fauourcth rncCj 
 This is Neronis my dcarc loue,wJiofe face fo long I wiflit to fee.. 
 
 Cttimj. My ClyomonX am as glad a^ you your fclfe to fee rhis day: 
 JO Ki. Well daughtei- though a (Irangcr yet, welcome to Court as /may fay. 
 
 ^Mene. And Lady as welcome vnto m:,as ifthouwert mine onely child. 
 
 Nero. For.rhis your gracious curt^.fi^-,/tbinke you noble l^rinces mild. 
 
 Ifs. Thogli flrangeand vnacquainicvl yec.do mr.kc account you welcome 
 Your nuptial! day a^ well as mine,I know my father v.iU prepare. (ate^ 
 J5 King. Yeswearepreflyournui'ti.il'.dav with djughteroursto fee, 
 As wdl z%Q)omons ourfonne.wirh this his Lady faire: 
 Come thcreTore to our Court ,that we the fame may foone prepatf. 
 For we are prelt throughout out land,forall our Pceres to fend : 
 
 Orfirtcs. Tbv pleafurc inoft renowned King,thy feruants fhaU atctnd. 
 
 PLATE 60. KNIGHT OF THE GOLDEN SHIELD, 1599. PAGE 62. 
 
PLATE 61. KNIGHT OF THE GOLDEN SHIELD, 1599. ALPHABETS OF LARGE TYPE. 
 WITH EXAMPLES. 
 
/^^^_y. 
 
 / ^^;3i<, 
 
 ^ ^±,.. 
 

 KNIGHT OF THE GOLDEN SHIELD, 
 
VIII. 
 
 PEELE'S "THE KNIGHT OF THE 
 
 GOLDEN SHIELD," 
 
 1599 
 
 I. Cipher Key. 
 
 cLyom OndEN marke aNdTh EwhIT ekNig htson nEtOt hEkIn gOfsl 
 AtelY lIFtI NgUpt heLea uesoF Worth yWRiT ersvvo rkeSW herEi nthen 
 ObleA CtsAn dDEeD sOFma nYHiD DenLU Rksou RautH orHeh athfo uNdTh 
 eGLaS sEOfG lOryS hinin gBRig htWHe rEInt hEIrL lueSa RetOb eSEeN 
 Ewhic hHono uRdID deLig HttOB eALan thorN eUNtO Those wHIch daYlY 
 dODeS Irega rLaND bYdes eRTin tiMef oRToA sPIre whEre iNtHe FrOWa 
 rDCHa nCEsO FtofF OrtuN eYous hallS eEwHe reint Heche arEfu llcou 
 nTENa nCeof gOOds ucCEs SesBe ewher Eintr ueLou Ersfl nDEth iOYwI 
 thHUG iehea PesOf Carew heRei nasWE ILaSF amous FaCTs IgnoM iUSpL 
 AcEda rEwhe rEInt HeiUs trEWA rDofb OthiS maniF EstLY ShoWn ethat 
 VertU EfrOm tHero OteoF VicEm Ighto PenLY beKno wNeAN DdOUb tINGn 
 ouGht rIGht cOUrt eOusa LlinY oURAc Custo meDwo OmaNd GenTl eEare 
 sOuRa UtHOr HeisP ResTt OblDe tHeBr unTof babLE RstoN gUesT oWhom 
 hEtHi nkSaS FruST rAtEa ILhis tOiLe aSpee rElES tASte tOFiL tHYsw 
 inEwh iChIN tHemi reDOt hmOIL EweLl WhATh cHATH DonEF orYou 
 rdEli gHThe gaUen oTmEI NcHAr gEtHE aCToR ScoMe whOSH alLex 
 Press ethes ameTO YouAT lArge DenMA RkaND tHeWH iTEKn IghTS 
 OnnEt otHEK iNGoF eNTer cLAmY Desla MycLA mYDEs sWAuI AdeNm 
 arKET HeHIs tORiE OfcLY oMOni ulIAn aiUli aNaen teRwi ThawH IteSh 
 25 
 
26 THE BI-LITERAL CIPHER 
 
 eeLDI ulian AclAm YdeSc lAMyl ullac LamyD eSKNi GhTOf thego IDEns 
 hEeld cLAhe RcuLE ssErb AruSi uLide nMArK eCLyo moNcl AmyDE scLam 
 Yiuli clamY maRsi uLicL amYde seXit cLAmy SuAui aTHeH iSToR ieOFc 
 lYoMo nHYdR Asmin AtAUr eeXiT eNTeR Sirkn ighto Ftheg oLDeN sHeel 
 dsonn eToTh eking oFWIt Hsubt iLlsh iFTth eviCe boOte DclYo shIFT 
 cLYOS HifTC lyosh IfthE RelEt hiMSL iPVnT OthES taGEb acKWA RdsAs 
 thOUG hheha DpuLd hIsLE gouto Fthem IReoN ebOot EofFa ndRIS eVpTo 
 rUNiN Again eclYO ShicL yoShi FtcLy oKNiG hTOft hegOl densh eElds 
 hlFta Ppoll ocLys HiftA LexAn deRcl yosHI fTClY oSHif tcLYO suAui 
 Ashif tilii eXItc LyoTH eHIsT oRieO fcLyo MonCl yoMON dENma rKEsA 
 mUeLA lexan dERde NmaiK eente RrUNn ingSH ifTcI yAshl fTcla mIDes 
 clyok niGHt ofThe gOlDE NsHEe LdeXI tsHif Tsubt IlLSh Iftex iTent 
 erTHe riNGO FwiTh ThEhe raULD beFor eHImt HReEL orDsk iNGcI 
 amiDE sClam ydeST HeHis tORiE oFClY oMoNc laiki ngcla mYDes HerEl 
 eTHiM kNEel edOWN ewlth Subti ILWAt cHInG iNpLa cEand astHe kingd 
 otHgo aBOuT toLaY ThemA CeoFH isheA DleTt aKeth eBlOw EanDs 
 OpASs EaWay prEse ntlYS hlftc Lyokl ngcLa mYDeS ShiFT exEun Tking 
 PurSu ehlMA ndBri ngiNk nlGHT OftHE gOLDe NsHEE IdCla mydes 
 cLaMy kINgC LamYd EsenT ErbrO UghTi Nbyth EtwOL ordSw hOpuR 
 sUeDL ordki ngsHI fTlOk iNgsh ifTki ngshi Ftkin gclam iDESt Hehis 
 tORiE OfcLY omOnc lamYS WauIA kINGc laMID eSClA niYkln gclAM 
 idEss Hiftc lAShl ftClA mYdES cLamy kiNGc laMYD EsaLl eXeun TclaM 
 ykNiG htoft hEgOl dENsh eeLds hlftc lAMys hifte xiTSh ifTcl amYdE 
 sexit Enter KingT HegRe AtaSV Alian tlySE tFort haSma Ybean daSmA 
 nYSoU Ldier sasca NaleX aLexa NdeRm AcEdo niAma Rspal laSbe ILOna 
 aLExA NdeRa leXan derst HehiS ToRIe OfcLy Omonk EysAR AleXa ndERL 
 oMAcE dONPh illpa lEXan dEral exOmn EsalE XexEu ntKNi GhTOf thegO 
 IdEns heeld eNTer sIRkn iGHtO fGscl yoCly omonc lAiMyd esdEN mArke 
 cLyOm oNaLe XanDe rMAcE dONCl YomON DenMa rkesu Aulaa lexan 
 
OF SIR FRANCIS BACON 27 
 
 DeRSe NteRa ndCLA mYClY OshiF tcLyo ShifT clAmy clyOc Lamyc lyOcl 
 AmyCl yOtHe HiSTo RieoF cLyOm onshi ftcLA Mycly oSHiF TclAM YclyO 
 cLAmY sHIFt cLamy sHIft cLyoc lAMyD eSAle XandE rsmac edoNi aKNiG 
 hTOft hegOl deNsh eEldc LamYc lYOcL amYeX ItcLa mYSHi ftcla mYSHi 
 fTcla MyiuL lanAd enMar kelul lanAS shift cLAmy ShiFt BryAn saNCE 
 foYcl amYTH eHist oRiEo FclYo MoNsh ifTcl Amyex itShi fTill hRYaN 
 Sance foYbr yanll bryan bRYan shIFt ieXit Enter bRYbR lanSA NcefO 
 iiiMa rSIvE nUSiv enuSI ivEnu sKnIG hTOft HegOL DeNsH eELdI Ulian 
 Aente rShif tbrYa nSanc efoYB ryAns hiftb RyanS hlfTB ryanb rYAns 
 ancEF oYShI FtbRy anBRY anShi fTBry AiitHE HiSTo riEoF cLyom Onshi 
 FtbrY AnsHi FtbRY aNShI FtBry anShi FtclA mydes Swaul aiuii AnAde 
 nMark sbRyA ncLam yDeSC lamyd EsSHi fTBRY anShi FtbrY anclA mYDeS 
 eXeUn tshlF tsHiF Tbrya nKNiG hTOft HegOl dEnsh eeldb ryaNc lAMyD 
 eSeNT eRWIt HthEh eaDVP onHis Sword cLaMY iULiA NasbR YanCl 
 aMYDe Satra pOsbr yANbr yanAl exAnd eRsHe ErELe thims ItdoW nEANd 
 reSth imsEl FeeNt erBrY aNShI fTbRy aNtHe HiSTo RieOf cLYoM OnShi 
 ftBRY aNexi tshlf tbRYA NbRYa nSHiF TbrYA nente RtwoS eruAn Tsbry 
 aNshi ftbrY anBry ancar yHIMo UtsHi fTkNi GhTOf thegO IdEns heEld 
 bRyAn eXItS Hiftb RyAnc lAmyd essHi fTexI thEre letTH eMmak eANoy 
 seAsT hOuGh TheYW erEma rriNe rsAnd aFter kNIgh tofgs CoMei nwith 
 OnECl yoshi ftmai enTeR boAtE swAin eClYo boaTS waine cLYob oatES 
 icLYO maCed oNiAb oatES cLYoB OatES Patra nluSi eXiTc lyObo aTesw 
 ainEe ntErd AughT ErtOk inGof Thest range mARsh estWO lords tWoLA 
 DiESn erONi sTHeH istOR iEOFc lYomo NloRd NeROn isner OlOne rOlon 
 erOnE ptUne SlonE RoeXE untCl yoFOR tunef OrtuN ealex aNdER sClam 
 ydEsc Lamid esCLA myDes kNiGh tofth EgOld Enshe eLdcl yoMOn clYOM 
 OneNt eRtWo LoRDs twoLA diEsn erOlO neRoc lYOne rolON erOcl yonER 
 ocLyO Necly oNErO tHeHI sToRi eOFcL YoMon nEROn isPat Raniu SlocL 
 yONcR oAMbo ExeuN TeNTe rhAui Nghls aPPar eLLoN HisSh eeLdA Ndthe 
 
28 THE BI-LITERAL CIPHER 
 
 sERpE nTsHE AdbRy clAMY deSde nMaRK eiuli anaSc laMYD eScla mYDes 
 bryan lulla nAiii ilClA MydeS dENmA rlcEiU LiaNa exITK night OftHe 
 goldE nshee LdenT erWit hSwOr dANdT Arget shiFT bryan SancE FoYcl 
 amYde SbryA ncLam ydEsi npris OntyR ocLAM ydesa lexAN dERsT HeHis 
 ToRIe OfcLy oMons waUia denmA rKesh iFTcl amyDE scLam YclAm ydESS 
 hiftc lAMys hifTB rYaNS AncEF OyclA MysHi ftbrY aNcla mYShi fteNT 
 ErOut clAMY ShIFt claMY alexa nDeRs kNiGh tOfth egOld enshe EldaL 
 ExaNd erBRY aNexi TshiF tbrYa Nsanc eFoye xEuNT enTer aFter AlitT 
 Lefig HTWiT hintH reEkn iGHTs cLAmY kNIgH tClaM yaLex andER sTHeH 
 iSTor iEoFc lYOmO nOmNe seXeu nTcla mysHi ftWit HincL AmySh IfTwi 
 Thaba gAsiT wERef ulLof GoLdo nhlsb aCkeb RyaNc lamYb rYAnS HifTI 
 uLiAn aclAM YexiT shiFt bryan Sexit entEr neRon iSkNi GhTOf thegO 
 IdEns heEld nerON islne rOnIs iiiii NeROn isilN eRoNi sNErO nISin 
 erONi sHIA LexAN deRth eHiSt oRieo FcLYO Monen tercl yoNEr onisc 
 lamYD EsNEr onlsn EicLy oiner oliCL YoHn Erolk niGht OfthE gOlde 
 NsheE Ldilc lyOii iinER OicLy oiHI neroc Lyoli iinEr oiicl yOIne roclY 
 onEro cLYoi liiTH eHiST orieO FclYO MonnE roClY onEro clyon Eroex 
 iTcly oCLyo moNFo RtuNe Clamy deSex itent erkin goFTW olOrd Sthra 
 NeROn isPaT rANiU sKNiG hToFt hEgol DensH eeLDN eRoNi SpATr 
 anIUS lordp Atran iUsNE rOnis tHRas seLLu slORD thRas EUlo RdexE 
 unTen tErWi thAkN igHts Ignlf yiNGO neOft Hoset haTha dDeli uERed 
 ClyoM OncLA mydEs knIGH tbrya nstHe HisTo RieoF cLyoM oNcly 
 oMOnk nigHT cLyOm oNkni gHTex itCLy OmoNc lyOMO ncLam YdesN 
 EroNi Sclam yDEsP aTRan iuSRu moRie Nterr uNnIn GruMO RnerO NisMu 
 sTant iUSal ExaNd erIRU moRkn iGHTO ftheg OldeN sHeEl diexi tClyo 
 mONru moRii iilex itent eRAnd witHH Isbag ofmON eYsTI llcla Myswa 
 Uiash IfTCl AmyeX itShi ftsHi Ftbry anSan CefOy eStHe HiSTo rIEoF 
 clYOm Onexi tEnte riNth efOrR estin mANsa pPare llNen eRoNI snero 
 NiskN iGhtO fthEg olden sHeEl denTE rAsHe pHear dcOrH ogSne cORnE 
 
OF SIR FRANCIS BACON 29 
 
 rOCon eRoCo RnERo corth eHISt oRieo FclYo MoNNy choLS hOdge SfrUM 
 pTons nERoc orYnn Eroex euNte nterk ingOF NorwA YanDt Wolor DstHR 
 aSiAm BoEXe uNtth RasNe roNIS likni GhtOf thEgO IdENs heeld ilien 
 tERkn igHto fthEG olden sHeEl dcLyo thRAs cLyot HraSc lYoth rAsHE 
 relet theMf IgHTt Hekin gfALL doWne Deadt hrAst hrasE LlUSc LyOcl 
 yOmon NerOn isCLY omONN orWay tHeHi sTORi eOFcL YoMon enter 
 Fathe rThES hePHE arDan dhlsd Ogcor YnnYc HoUF iLcHE rsion EiENk 
 InGIl iaNgi FfrEy loneG illia NscLY omOnc orync Lyomo ncOry nclyo 
 mOnKn iGliTO ftHEg oLDeN sHEEl dcOry nCOry NclYo coRYN clYoc 
 OrYne xITcL Yocly oMonN orway eNtEr wIThA HeaRS ecOcl Yocly OcoRy 
 nTHeH iSToR ieOFc lYoMo nCOrY NcLyo CorcL YoNer oNisc LyoMo 
 neXIT EntEr Veryb RauES hiFts hifTA lExan DerMU sTant iUSal exAnd 
 eRNEr onism UstaN TiusA lExan dERkN iGhTO ftheg OldeN sHEEl dcLam 
 Ydesm ustAn tiUSA lexan derMu stAnt iUsex ItenT ErliK eaShe epHea rDSbo 
 ynEro ForTU neNer Onist HeHIs toRiE OfcLY oMoNi nOrWa yLach isisi 
 nghee rEDes CendP RoUid enCep Rouin eRoii prOUi Ascen dnEro kNiGh 
 tOfth egOld EnshE EldeX IteNt eRsir cLyOn eRoNi SmuST aNTIu sHEcT 
 oReXI teNte RlIKe thEpa GenEr oNero nisii tHeHI sTori eOFcL YoMon 
 iMUst anTiu SiieN tERwI tHhIS shEel DcOue reDST range Lydls GuisE 
 dclyo iinER oClYo NeROc lyoii nErOi ClyOn erOic Urdac eerKN iGhTO 
 ftheg Olden sheEL dclyo cURda ceeRI eXitn eROex itent ErWIt hTHeH 
 Eadbr yphCE buslv esPER iibry aNIii deNMa rkeIC lamyd esbRy aNSaN 
 cEFoy IbrYa Nsbry aniex ittHe HisTo RieOF cLYoM oNent erllK eaWif 
 fleRS him ilmus taNti UsmuS tANtI uSImu sTaNT luSIa leXAN dcRen 
 terki Ngthe QueEn eMust Antlu sTwOL OrdSA NdliK EacHa MpiOn 
 Musta NalEX aNdEr laLEx andcl amyHe rcuLe SiaLE XaicL amYcl aMyDE 
 sSwau iANal exalC lamyd eSQue eneKN iGhto FthEg oLDeN shEeL daLeX 
 imUst aNTiu sshlF TmusT aNtlU SaLEx mUSta ntius MusTa NshlF Timus 
 taNsh IfTIm usTan AleXa nDera LexMu stant lusSo uNdHe reOnc 
 
30 THE BI-LITERAL CIPHER 
 
 esOUn DseCo ndTIM EshiF tilQU eeNet HeHis TorlE oFcLY omOnk 
 iNglM ustan TiusQ UeeNe kiNgm Ustan TiusM ustAN iKInG qlJEeN ekInG 
 MusTa ntlus MusTa ntlUS pAgei mUSte nTerA stOco MbaTc lyOIM usTan 
 ClYOi cLaMY iclyo KnIGh ToftH EgoLD eNsHE EldCL aMYCl Yokin 
 gpAGE clAMY kiNgc lamid Suaui AsaMu ElclY osaMU elque EnNEr oNiSc 
 lyoit HeHiS ToriE oFCLy oMOnQ uEEne Clyol iQUeE Necly OiquE enekl 
 nGIcL AmyDe scLYO kings hlfTc lYokl nGclY odEnm arkek IngcL loMon 
 clYod enmar kEscL amyde NmarK eClYo kingk NiGhT OfthE gOLdE Nshee 
 LdbOt heXeu ntcLA MyDes clYom oNcLy oMoNc oeurd aCErd enmAR KecLy 
 omONI ullan acurD asErc laMYd eScly oMOnc lYOmo nClam ydESe xITnE 
 roNiS iNeRO nESdE NmarK EiiNe rONEs exite Nterk iNgof dEnMa rKeTh 
 eQuEe nEIuL lanAT woLor dSkIN GiULi AnaiU LiaTH eHIst oRieo FclYo 
 MoncL amYde scLam yDeSQ ueEne kinGL ordlU Had amyDE sEnTe rWItH 
 tHEhE aDonH isSwo rdbry AnibR yAncl amyDE sking ClaMy dESbR yanil 
 uLiAc lAmyd eSIul iAnaB RyaNk ingiu llaNa luliA nCLaM yDesb rYAne 
 xEuNt kingk NiGht OfthE gOldE Nshee IdQue enElo kINge nTern eROki 
 ngNEr oClYo mONkI NgnER oklag clyoM OniUL lanAq uEeNe nEroe 
 XitLo Rdkin gClYo moNic LyosH ifTH clyos hlfTI clYok iNGTh eHist 
 OriEo FcLYo MoNcl yoMON kinGc lyOMO nikIN gcLyo Moncl yOmon 
 iikIN gcLyo monVE NusDI AnasU sanNa sABaM aRPha KinGc lyOmo 
 nKnIG hTOft hegOL DeNsh Eeldc lYOcL aMYcl yoMOn iuLiA Nakin gClyo 
 kiLoe xITcl yocLA MydeS sWaui akING clAmy cLaMy desKI ngclA mYiUl 
 iAnac lAMyd eseNT ErCLa myDes ClaMy tHEHi Stori EoFCl YomOn iuLIA 
 icLam Yiibr yaNsa nCefo yHiu liClY oclam Ydesi UHac laMyd esclA mylcl 
 AmYDe sIUlI cLAiu libRY cLiOC lAmyi bRYcl amYcl aMyde sBRyc laMyd 
 eSKNi GhtOf theGO IdEns heEld claMY luHA ClyOc lAMyD eSSuA UiaSI 
 Uliac Lamyl iklbr yanik Ingbr yking lulla kiNGC laMyi bryki Ngcla 
 MydEs ClyoC lamyd EsclA MybRy clAMY deSki NgclA myDes brYic 
 . LamiD eSTHe HiSTo RieOF clYoM oNSaN Cefoy claMy Deslu Lianc laMyd 
 
OF SIR FRANCIS BACON 31 
 
 EscLA mylul lAnAi iulia NkiNg cLamy dESbR yANki NgclA mydeS clamy 
 Desie nteRK nOwle dgeCL yomon Knowl eDgek nOWle dgEIc LyoMo 
 nkNOW leDge kNoWl eDGeK NiGht Ofthe gOIde nsheE Idcly oMoNe 
 nteRQ UeenE clYOm oNcly omoni iking clyom OnnER onEsc Lyone rOilU 
 EeNEc lYoMO ncLyo IneRO saYon Yourm indCL yOner oclYN erOno RwAyC 
 lyomo nItHe HisTo RieOf cLYoM onneC lYnEr oClyo NeclY OnerO liiil 
 iNeRo niSc. LyonE Ronis neRoC Lyomo ncLyO Clamy dESFo Rtune nEron 
 iSCla mycLy omOnk ilQuE enEnE Roliu kingc lYoMo nsOmn EsfiN is 
 
 2. Deciphered Message. 
 
 I value all I sowe broadcast on our sea, looking not to time unborn for mine onely pos- 
 sible reaping. Tares no hatred may sow in this, but as 'tis true my penn is prettily styled 
 skilful, I limn one mighty queene, my mother, ad vivum put honor upo' th' young eies that to 
 espy an inve'tion ever be keen, woo glory for a roiale prince. 
 
 Th' Qu. — as though that marke th' Lord set on Cain rested on her — envoketh no man's 
 ayde. I, in age, my very right, when men did woo, leant on her policie of subtilty. We dis- 
 cover the com^, zealots struck madlie at a proved upholder of might, is falne in age far sturdier. 
 For as it were not easy truth, open jest, gybe, annoie, and ill to put away, those secretly sla'- 
 drous opinions — a conceit oft Papiste even t' the hilt — were more dangerous. 
 
 Condemn uxor(r)icide as man doth, envy first vowes as a wife may, Q. E's bold front I 
 acompt her most princely aspect. Folly, to which you ascribe aptly Beel or wicked influe'ce, 
 in a way bafFeld and held our L. Leicester and Amy. God pity a wife such as Amie. The 
 law rightly defended from low persons, yet not from the machinatio's of that base lord, as we 
 see. A shadowy tie bindeth and must bind. Why dallie as this crime is to be looked on .? 
 
 Lo. Leicester knewe it could scarcely bee delay'd long. Qu. Eliz. raged, yet Amy re- 
 sisted that can benumb us, fearing treachery, foolishly harming herselfe therein. Such acts 
 kindling the stronger lust in them, A. slaine, E. and R. D. marry secretly. O grief! Anie 
 mask cal'd life only a pity divine reads truly. I, that F., gained a legitimacy thereby with 
 help o' warm hearts may yet save a realm. Go pen the work. 
 
 A lover, too, glows with true divine passio', M. as percha'ce is scene very fullie answeri'g. 
 
32 THE BI-LITERAL CIPHER 
 
 relies still upo' me; yet I am, I owne, somewhat sadly alter'd, mar'd, and in a word chang'd. 
 A contract voided lies on my heart. It must truly accuse mind, and it offends my nature, yet 
 it at le'gth shews me masters do ofte thinke they may sum up th' heart's day. 
 
 Lax sponsors, both alike as weak as lax, sorted well, and the beginni'g of most perill, 
 love, my sun, it seemed did looke aside to blink 't. Also in law skreening love, but little shame, 
 pity wh'ch derided us, contemn'd wrong. Friends I held blind yet pry therein farre beyond 
 mine inept deeds to our secret hearts. As these espy u'forct revelations bar'd, I, daring the 
 low ribald's gibe, aver my M. ever did exalt to bliss blest Fr. 
 
 Fr. Prince of Wales. 
 
h 
 
 Plilli 
 
 '"' "''.j:^^^;^ 
 
 " y he riaht Jj^n '^ [Francis ^ (Tjeru,- ^^ \\| 
 f lam, (Ijifcount S'^ISati (Tliorttms j) ywrihs, '^ ' 
 
 PLATE 64. SYLVA SYLVARUM, 1627. FRONTISPIECE. 
 
^^ V 
 
 \\.'rtiten I 
 
 In ttn Centuries . jjM 
 
 he rtaht Jii 
 
 
 '%^wmSi'£^-4 
 
 PLATE 65. SYLVA SYLVARUM, 1627. ENGRAVED TITLE-PAGE. 
 
SYLVA 
 
 SYLVARVM: 
 
 A NatLirall Hiftorie* 
 
 IN TEN C^KT'^'KI^^' 
 
 WRITTEN BY THE RIGHT 
 Honourable F%a:]X^CIS Lo.Vemlm 
 
 Vifcounc SKA LB AN. 
 
 PublilTied after the Authors death, 
 
 Sj Wi lliamRawley D&nordfVmnhie, 
 late his Lord (kips Qhaflaincj. 
 
 LONDON, 
 
 ^ Printed by f . H, for PFiUtam Lee at the Tur^ 
 
 Head in Fleet -ftreet^ next co the Miter, 1 62.7. 
 
 PLATE 66. SYLVA SYLVARUM, 1627. PRINTED TITLE-PAGE. 
 
TO THE MOST HIGH 
 
 AND MIGHTY PRINCE 
 
 CHARLES, 
 
 BY THE GRACE OF GOD, 
 
 Kingof^reat^ritame^ Franse^ and 
 Ireland, Defender of the Faith, &c. 
 
 Mmj itpi^fijour moft ExcsUem Maieftie j 
 
 ^^He whole Body of the ^h(atu^ 
 ~ " raU Hiflorie, either deiigned, 
 or written 3 by the late Lo> 
 Vifcoum SoJlban, was dedica- 
 ted to your Maieftie y in his 
 Booke De Vemis, about foure 
 yeeres pail, when your Maieftie w&sTrince : So 
 as there needed no new Dedication of this 
 W6r{e, but only, in all humblenefle, to let your 
 Maieftie know, it is yours. It is true, if that Lo. 
 had lioed, your Maieftie^ ere long, had beene 
 inuoked, to the Protection of another Hiftorie ; 
 
 Whereof, 
 
 10 
 
 !5 
 
 20 
 
 PLATE 67. SYLVA SYLVARUM, 1627. EPISTLE DEDICATORY, FIRST PAGE. 
 
The Epi/Iie'Dedicaiory, 
 
 Whereof, not ^s(ature$ I{ingdom, as in this^ 
 butthefe of your Mdejlies^ Cdunng the Time 
 and %aigne of^n^ Henry the Sighb) had becne 
 the Subiect: Which fince it died vnder the De- 
 fignation meerely^there is nothing left^butyour 
 ^SMaieflies Princely GoodnelTe, gracioufly to 
 accept of the VndertakersHeartj and Intenti- 
 ons ; who was v/iiling to haue parted , for a 
 hilc, with his DarHng Tliio/opbie, that hee 
 might haue attended your RoyaliCommande- 
 ment;, in that other Work^. Thus much I haue 
 beeneboldj, \n ail lowlineffe, to reprefent vnto 
 your Maieftie, as one that was truftcd with his 
 Lordfloipi Writings, euen to the laft. And as this 
 lVor\e affea:eth the Stampe o£ your zfM'aieJlief 
 %oyall'FrGteHion, to make k more currant to the 
 IVorldy So vnder the TroteBion of this Work^, I 
 prcfume in all hunibleneffe to approach your 
 Maiefiies prefence • And to oflFer it vp into your 
 Sacred Bands ^ 
 
 Your MAlSSTieS mofi Lojd 
 and Denoted SubieUs 
 
 20 
 
 W* Rawlet* 
 
 SYLVA SYLVARUM. 1627. EPISTLE DEDICATORY, SECOND PAGE. 
 
To the Reader. 
 
 Auingliad tlie Honour to be conti- 
 nually with my Lord^ in compi- 
 ling of this Worke ^ And to be em- 
 ployed therein ^ I liaue thought k 
 not amiilcj, (with his Lordiliip, 
 good leauc and liking^} for the betterfatisfadion 
 of thofc that fhailreade it, to make knowne fome- 
 what of his Lordfliips Intentions, touchiog the 
 Ordering, and Fubliiliing of the fame. I iiaue 
 heard his Lordfliip often fay^- that if liee (hould 
 haue ferued the glory ofhisowne Name, he had 
 been better not tohaucpublifliedthis JSQaturaU 
 Htjlory : Foritmayfeeme an Indigefted Heap 
 of Particulars ; And cannot haue that Luilre, 
 which Bookes caft into Methods haue i But that 
 he refoiued to preferre the good of Mcn^ and 
 that which might bell: fecure it^ before any thing 
 that might haue Relation to Himfelfe. And hee 
 knew well, that ther' was no other way open^ to 
 vnloofe Mens mindes, being bound ; and fas 
 it were} Maleliciate, by 'the Charmes of deceit 
 uing Notions, and Theories ^» and therby made 
 A Impo^ 
 
 PLATE 69. SYLVA SYLVARUM, 1627. TO THE READER. FIRST PAGE. 
 
To the ^B^ader, 
 
 Impotent for Generation of VVorkes; Butooely 
 no wher to depart from the Senfe, and cJeare ex- 
 perience ; But to keepe clofeto it, efpecially m the 
 beginriing: Btfidcs^tlns ^A(atHralI Hi/lorj was a 
 Debt of his, being Defigned and fet downe for a 
 third part of the //7y?^«r^^/o^?. I haue alfo heard 
 his Lordlliip difcourfe, that Men (^no doubt} 
 will thinke many of the Sxpcriments conmncd m 
 this CoJledion;, to bee Vulgar and Triuiall^- 
 Meane and Sordid ■ Curious and Fraitleffe : And 
 therfore he wiflieth, thatthey would haue perpe- 
 tually before their Eyes, what is now in doing; 
 And theDifterencebetweene this ^J\(aturall Hi^ 
 jlory^ and others. For thofe ^aturaUHiUories, 
 which are Extant,being gathered for Delight and 
 Vfe,are full of pieafant Defcriptioris and Piclures^- 
 and affe<5l and feeke after Admiration, Rarities, 
 and Secrets. But contrariwife, the Scope which 
 liisLordChip intendsth, is to write fuch a U^tu^ 
 rail HiUorji, as maybe Fundamental! to the Ere- 
 cting and Building of a true Tlnlojophj : For the 
 Illumination of the Vnderjlanding ; the Extracting 
 of (tJxiomes^ and the producing of many Noble 
 IVor^^and EfeUs. For he hopethj,by thismeanes^ 
 to acquit Himfelfe of that, for which hee taketh 
 ii/w//J/^ in a fort bound; And that is, the Ad- 
 iiancementof all Learning and Sciences. For ha- 
 uinginthisprefent VVorke Collected the A4a- 
 (crialls for the Building 5 And in his !h(o}mm 
 Organum(oL which his Lordfhip is yet to"[^)ublilli 
 
 a Second 
 
 2J 
 
 30 
 
 PLATE 70. SYLVA SYLVARUM, 1627. TO THE READER, SECOND PAGE. 
 
NATVRALL 
 
 HISTORIE 
 
 I. Centuiy. 
 
 I G G a Pitt vpon the Seap&re , fomewhat a- 
 boue the High-wafer Maike, and, fincke it as 
 deepe as the Low- Wat.er marke ^ And as the Tiiie 
 comraeth irr, it will fill vyith fVater, Fic{h and Po- 
 table. This is coninaonly pradized vp5n the 
 Coaft ofBa!^iarj/,%^htLe other fre/h IVatei^ is wan- 
 ting. And C ^ s A R knew this well, when he 
 wss befieged m Alexandria .• Forby Oigging 
 o[ Pitts in the Sea /hear e, heedid fruftrate the Laboxious Wovkes ol 
 the Enemies, which had turned the Sea-Watsr vpon die Wells of 
 AlexandnA^ Andfofauedhis Army5being thcnin Defperation. put 
 Cie/4''mi1ooketheCaurej Forhethought thzizW Sea-Sandefh^d Na- 
 tural! Springs of Frefh Water . But ic is plaine, that it is the Sea Water j 
 b'ccaufcthe Pitt fillerh according to theMeafure of the Tide .• And 
 the Sea rpater pafsmg or Strayning through the Sandes, Icatieth the 
 SaltnelFe. 
 
 I reraember to hauc Read^ that Triall hath becne made oiSdlt Water 
 pafTcd through ^^r/^ ; throughTenn VefTells, one within an other, 
 and yet it hath not loft hisSaltnefte, as to become potable i But the 
 fameMin faith,that (by the Relation of Another,) Salt Water dmn?d 
 through twenty Veflells,hath become Frcfli. This Experimem feemcth 
 to croffe that other of PHtSi m^dcbytheSeafide -^ And yet but in parr, 
 if it b true/hat t weniie Rc^tttef oos doe the lifFcd . But it is worth the 
 Note, how pQore the Imitations of hJatuteare, in Common courfe pf 
 Expenmems^ except they be led by great ludgentent, and Tome good 
 Light Q^Axiomes, F<Jf flcfl, the? is no M^l diitercnc^ betwecne a 
 
 PafTage 
 
 Experiments 
 In Ctnfort, 
 touching the 
 Straining and 
 Padlngof 
 dies, one 
 throiigli a 
 tlier : which 
 <\\f:y Cfi\\ Per' 
 coldtion' 
 
 PLATE 71. SYLVA SYLVARUM, 1627. NATURAL HISTORY, PAGE : 
 
3\(dturall Htjiorj : 
 
 PafTage of fT^/fr through twentyrmaliVefTells; And through Cuchs 
 diftance,as betweene the Low watcr,and High water Marke . Second- 
 ly, there is a great difference bctwecnc Earth and Sa'ad . For a!i Earth 
 hath in it a kinde of Nitrous Salt, from which Sand is more free : Aod 
 befides Earth doth not Uraine the Water fo finely, as Sand doth . But 
 theris a Third Point, thatlfufpeftasmuch, or more, thentheother 
 Two : And that is, that in the Experimem ot'Tramfmifsm of the Ssa- 
 vnatermothtPittSy the ^4/^r rifeth ; Butinehc£,r/'5n>«if»/ofTfanr- 
 mifsion of the Water through the Ycffdis, i: falieth : Now certaine it 
 is^ that the Salter Pajt oi Water, (once Salted throughout) gocth to the 
 Bottomc . And therfore no meruaile, if ?he Draining ei Water hy def- 
 centj doth not make it frcfh •• Befides, I doe fomswhat doubt, that the 
 veryDaihingof tfae?F4ffj', that coosmcth from the Sea, ismorepro- 
 peftoftrikeof the Salt part, theawherthcfT^/^rilideth of her owne 
 Motion. 
 
 It fecmeth FerseUthn or Trdnftnifsion, (which is commonly called 
 Streimstg^) is a good kinde ofSeparatim j Not onely of Thicke frono 
 Thin,andGro(rc from Fine,; But ofmprefubtile Nature 5 Andvari- 
 eth according to the Bodie through which the Tranfmifsmi is made . 
 As if through a wollen Bagg., the Liquour leaucth the Fatnefle; If 
 through SandjtheSakncffej &c. They fpeake of Seucring Wine from 
 Water, pafsing it through luywood^^or through other the like porous 
 Body J But Ti,e/9 Cot^fiat. 
 
 The Gumm of Tms (which wee fee to be commonly fliinfng and 
 cleare) is but a firse Paiftge or Ssraimfig of the luice of the Tree, 
 through the Wood and Bark. And in hkc manner, Cornifl) Diamonds, 
 and Rock Hul?ies, (whichareyet morereiplendent then Gumms) arc the 
 fine Exudations ofStetie. 
 
 K^rijletle giueththe Canfe^vainely, why the Feathers of Sirdes are 
 ofmore liucly Colours,thcn the Haires ofBe^Jles^ for no Beafi hath aoy 
 fine Azure, or Carnation, or Greene Haire . He faith, Itis, becaufe 
 Bir^s are more in the Beamcs of the Suon, then Beajh j But that is ma- 
 nifeftly vntruc j For C4;//^ arc more in the Sun then Birds, that liue 
 commonly in the Woods, or in fomeCouert* The true Caufeig, that 
 the Excrcmentious Moiilureof liuing Creatures, w,hich makcth as 
 well the feathers in Birds, as the Haire in Bcafis, pafTeth in Birds 
 through a finer and more delicate Strainer, thenitdothinSf4/?f^; For 
 f ^^/^fry paiTethrough Qiulls • And Haire through Skin. 
 
 The cUriffiag oiLiqusrs by Adhefion is an Inward Percolati§n^ And 
 is eftc^ed, when fome Cleaning Body is Mixed and Agitated with the 
 Liquour s ; wherby the grofler Part of the Liquor fticks to that CJeawng 
 Body J And fo the finer Parts arc freed from the Groifer. So the 
 Apdthecaries chxWythdt Sirmpes bywhitcs.of Eggs, beaten with the 
 luices which they would clarify 5 which Whites of Eggs, gather all 
 the Dreggsand groffer Parts of t^e luyce to them ; And after the Sir- 
 rupe being fet£ on the Fire, the whites of Egges thcmfelues harden, and 
 
 PLATE 72. SYLVA SYLVARUM, 1627. NATURAL HISTORY, PAGE 2. 
 
Century : I. 
 
 are taken forth. Solppocrajfehdm^cd. by mixing with Milkcj And 
 ftirring it about; And then pafsirig it through a WollcnBagge, which 
 they c&d Hippocrates Sleeue : And the Cleauing Nature ot the Milke 
 draweth the Powd.roi'thc Spices, snd GrofTer parts ofthcZ/^«^«/ to 
 it J And in the p.iflagethey ftick vpon the Woollen Bagge. 
 
 Tlie Clarifying of Water, is an Experiment tending to Health ; be- 
 fijcstheplcafurcof the Eye, when Water is Cryftalinc. It is eiFc<Scd 
 by carting in and placing Pebbles, asthcHeadof a Current j thacmc 
 Water may ftraine through them. 
 
 It may be, rercoUtien doth not oncly caufe ClearencfTc and Splen- 
 dour, but Sweetncs of Sauourj For that alfb followeth, as well as 
 Clearenes, when the finer Parts are feuered from the GrofTer. So it is 
 found, that the SA'eates of Men that hauc much Hear, and cxercife 
 ni uch, and haue clcane Bodies, and fine Skinb,doc f mell ivvctt ^ A< was 
 •ai J of K^lkxander j And we fee, commonly, that (Jumms haue fwtcc 
 Oviours. 
 
 TWiCiGlaJfe, and put Water mok, and wettyour Finger,anddraw! e^ 
 it round about the Lipp of the Glaflc, prefsing it fo.ncwhat hard ; 
 And after you haue drawne it fomo few times abous:; it will make the 
 VV.it' r hiskcandfprincklcvp,;na fine Dew. rhis/;?/?<«w^ doth excel- 
 lently Dcuionffrare the Force of Comprefmi in a Solid Body. For 
 whenfocucr a Solid Body fas W^od, Stone, Mctrall,&c.) ispreffed. 
 rner is an inward Furault so the parts therofj feeding to deiiuer thcm- 
 r.lucs from the Comprefsion : And ihh is the Caufe of all vieUfit 
 ^Motion, Whcrin it is ftrangc in the highcd Degree, that ihA9, Motion 
 hath neucr been obfcrued, nor inquired 5 It being of all Motions, the 
 m jfl Common, and the Chicfe Roote of all UHechanicall Operatiom. 
 This CMetion workethinroandat firfr, by way of Proofc, and Search, 
 vnich way'to deliueritfelfcj And then workethin Progrefle, wher 
 ir fi ideththeDeliuerancecafiefl. In Liquot(rnhhM@iisni%\\(ih\ei For 
 ali Liquours flrucken make round Circles, andwithall Dafli • but in 
 Sdids, (which breaken.>t,) it is fo fiibtile, as it is inuifible j But ne- 
 iierthclcfs bcwrayeth itfelfo by many EfFeds ^ As in this/«/?4Wfwher- 
 of we fpeake. For the Prejfure of the Finger furthered by the wetting 
 (bccaule it ff icketh fo much the better vnto the Lipp of the CUJe,) af- 
 ter fome continuance, putteth all the fraall Parts of the Glajfe into 
 •-v<»rkc; that they ftrike the Water fliarpely; from Vvhich Perciipcn 
 fhar Sprinkling commeth. 
 
 If you flrike or piercea SelidBodj, that is brittle, as Glajfe^ or Sugar ^ 
 itbreakethnotonely wher the immediate force is ; but brcaketh all a- 
 bout into fbiucrs and fitters ; The Motion, vpon the Prejfure, fearching 
 all waycs j and breaking where It findeth the Body weakeft. 
 
 The Powder in S/jot,bdng Dilated into fuch a f^w^, as endurcth not 
 Comprepofi-fMoucth likcwife in round,(Thc f/ame being in the Nature 
 ofa%»/i;5<7</)r;) Sometimes lecoylingjSometimes breaking the fw*?: 
 B But 
 
 Cunfort 
 
 » of Bodies 
 en their 
 ■cf.rc. 
 
 9 
 
 2J 
 
 30 
 
 35 
 
 45 
 
 PLATE 73, SYLVA SYLVARUM, 1627. NATURAL HISTORY, PAGE 3. 
 
Js(atiirall Htjlory : 
 
 H 
 
 EXpfrimenls 
 cliing Sepa- 
 dies hj IVei^ht 
 
 14 
 
 30 
 
 5J 
 
 ^5 
 
 45- 
 
 But generally difchargiog the 5»i7«/,becaufeEherit findeth cafieft Dc- 
 liucrance. 
 
 This Motion vpon Freffurf^ and the Rcciprocall therof, whiciiis 
 Msti0»v^onTe>7fure; \vc vfc to call (bycnecommon Name) C^ed- 
 SK sf LiLettie-^ which is, when any Wy, being ^oictdio&Preter-Nata- 
 rrfi^ Extent, or Dimcnfion,dcliucrethand rcUorcthit fclfeto the Na- 
 turall ; As when a Blowi^e Bladder (Prefled) rifcth againcjorwhcn 
 LeAthsrqtCloathttx\tn\cd^^nn^h3.ckc. Thcfe two Mew;*; (of which 
 ther be in^nitc Inftanccs, ) we fliall handle in due place. 
 
 This Motim vpon Frfjfure is excellently alfo demonftratcd in Ssunds-^ 
 As when one Chimeth vpon a5«//,itfoundct!); Hut asfoon as helayeth 
 his hand vpon k^ the Seundcc-:ikt\\ : And lb, the SsHnd of a rirginall 
 String, aslboneas the Quiil of the lack falleth vpon it, ftoppcth. For 
 thefe Somds are produced, by the fubtile Percufsion of the Minute 
 parts, of the ^f^, or.y/r/'a^, vpon the Aire | All one, as the Water is 
 caufcdto Icape by the nibtilc PcrcuflTion of the Minute partsof the 
 cUjfi^ vpon the Water, wherof we fpake a little before in the ^^^. 
 Experimera:. For you mufl not take it to be, the iocall Shaking of the 
 Bell, or Suing, thatdoth ir. As wc Hiall fully declare, when we come 
 her cafcei to handle Sounds. 
 
 TAke a GUjfi with zBelly and a long Neh^.^ fill the Belly (iopart) 
 ^hhWdter : Take alfb another CZ-iy/f, whereintoput cUret Wine 
 and fTrf/^r mingled; Rcvcrfethcfir/l GmJJe, with the iJ^//; vpwards. 
 Stopping the iV^/i^ with your fingar j Thea dipp theMourhof itivirh- 
 sntheSecond Glafe, and rcmoue your Finger; Continue it in that 
 pofiureforatitne; And it will vnminglc- the f^Fmefrom the Water: 
 The VFim afccnding and fctling in the topp of the vpper CUfe j And 
 the Water defcendingand fctling in thcbottomeof the lower ^Glafsi. 
 The palTage is apparent to the Eye-, Foryoufliall fee the VFine, as it 
 wcrejinafrnallveinc, rifing through the Water. For handfoinncfic 
 fake (becaufcthe Working rcqiiircthfomc fmall time; it were good 
 you hang the vpper cUfsc vpors a Nailc. But as loone as ther is ga- 
 thcred fo sBUch pureand vnmixed mter in the Bottome of the Lower 
 c/;:ySc, as that the Mouthof the vpper c/rf/fdippcth into ir, i[\t Moti- 
 iin ceafeth. 
 
 Let the Vpper Glafe be FVlfje, and the Lower crater , ther fol/o- 
 weih no Mmo» at all. Lett the Vpper Giajfe be FFater pure, the Lo w- 
 wer FFater coloured; or contrariwifc; ther followeth no Morm at all. 
 But it hath been tried, thntthoughthcMixturc oi FFine zniFFater, 
 in the Lower Glaffe, be three parrs FFater, and but one FVine ; yet it 
 doth nor dead the Motion, This Separatiea of FFater and FFifie apnea - 
 reth to be made by We/gkt j for it rnuft: be of Bodies of vnequall Weight, 
 or ells ie worketh not 5 And the Heauier Bsdj muft cuer be in the vpper 
 Gls(Je, Bu£ then note withall, that the f';^4/<fr being made penfile and 
 ther being a great Freight of FFater in the Belly of the GUjfe^ fufta'ined 
 __. ^--.- ^^ b y 
 
 I 74. SYLVA SYLVARUM, 1627. NATURAL HISTORY, PAGE 4, 
 
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 • 75. SYLVA SYLVARUM, 1627. SCRIPT ALPHABETS. 
 
IX. 
 SYLVA SYLVARUM, 1627 
 
 Cipher Key. 
 
 moNIt iMEdl Ocria fIRmA meLIo raThe right Honbl eFrAn CiSLo VeRul 
 amVIS cOUnT sCtAl baNmo Rtuus aPRil isanN OdNIa NnOqa eTate TviDi 
 tdeus LuceM QuODe sSEtB OnaMU NdUsi nTell eCtUa llsSy IVAsy IVArU 
 MorAn atUra llHis tOrYi NtenC enTur leSwr itTEN byThe Right HoNBl 
 efRan CisLo VeRuI aMvis cOuNt sCtAl bANpu bLIsH EdaFt erYEA uthor 
 SdeAT hbYwr AwLEy drOfd iuini Ty &cl onDon PrinT EdFor wLEeA Ndare 
 tObeS OuldA taNNO TheGR EatTu RkShe AdnEx tToth eMYtr eTAuE rNeIn 
 fleET stREe Tsylv asylv ArvMO raNat UralL hISto rIEiN Tence Nturl 
 esWri tTeNb ythER iGHtH oNoUR aBlEf rANcI sLOvE RulaM viSco unTsT 
 alban pUbH SheDa ftERT HeAUt hoRsd EatHb yWiU iAMRa Wleyd ocTor 
 ofdiu iniTi elATE hislo rdShI pscha pLain EloMd onPRI ntedB YjhFO 
 RwiLl iAmle eAtTh eTuRk sHead inFlE etStr EetNE xtTot Hemit ErtOt 
 hEMoS Thigh aNdmi ghTYp riNCE ChaRl EsbyT hEGrA cEoFG odKin 
 GofgR eAtbr iTAin efRAn CeaND iReLa nddef Ender oFtHe FalTh &*cmAY 
 iTPle aseYo uRMoS tExCE ILeNT mAIeS tIEna tuRaL Ihist OriEL oViSc 
 OunTs AlbaN MaiES tiede Venti sMaie sTIeP RinCE WorkE Males tIeLO 
 MaieS tiehl sTOrl eTHeE pIstL edEdi CatoR YnatU reSKI ngdom eMale 
 sTiEs raigN EkINg Henry elGhT hmaiE stieS phllo Sophi EworK eMalE 
 sTiel orDSh ipSWR ItiNg sworK esTam pemAI eStie SroyA LlpRo TecTI 
 
 * & is b-iont. 
 
34 THE BI-LITERAL CIPHER 
 
 Onwor IdprO tecTI OnWor keMAI eSTiE ssaCr edhan Dsyou rMAIe sties 
 MosTl oyALL AnddE uOTeD SublE cTWRa Wleyt oTKeR eADeR LorDw 
 orKen AtuRa UHIS TorYt otHER eaDer nAtUR allhl StORy InSTA urAti 
 onexp eRiMe ntSna TurAl IHIsT orYNA tUral IHiST orieS nAtUR AlLHi 
 StoRy Philo SopHY VndeR StaNd iNGax iOMeS WoRks EffEc tSHiM SelFe 
 noVUM orGan uMtOT HeRea Derjs rAeli TesBa seNes VulGa rnESA XioMe 
 sVSeE XpeRI MenTs ExpEr imEnt Afruc tifer AexPe riMEN tALuC iFERa 
 eXper iMEnt soFVs EexpE rIMeN tSoFL igHtt otHER eaDer exPer imeNT 
 sgLos SecAu seSIN tErpr EtinG nATuR efRaM ingax iomeS cAUsE SnAtU 
 ReeXp erIEN CecAU SescA UseSe xPErl encEC auSes aXIom eSMeT HodMe 
 thOdd eaUgM EntiS sCIeN TiAru mTOth ErEad eRnat UralL hiSTO RyWor 
 IDwRA Wleyn AtvrA UHis toRie IcEnt urYPI ttsea ShoRe TideW aTErB 
 arBar YwaTE raLex Andri aPitt SseaS hOAre sEAwA TerAl ExaNd riACA 
 EsaRS EasaN DeSfr eSHwA Terse AwaTe rtlDE seawa TersA ITwat ereAR 
 tHSaL TwaTE reXpE rIMeN tPiTt sseAS iDeEX PeRIm eNTsa xIOmE SnAtu 
 rAllh IstoR ywAte rexpe rImEn TtrAm smiss lonse awaTE rPiTt swAte 
 RexPe RimEn twAte Rwate rWate rwAtE RwaTe rperc oLatI oNtra nSMis 
 siONs TraiN iNGsE pArAT ioNtr AnsmI SsiOn NonCO nsTatg ummTR eessT 
 rAiNi nGcor nIShd iamON dSroc kRUbi esgUM mSsto neArl Stotl efEat 
 hERsb IrdEs hairE SbeAS TesBe AstHA irebi rDsbe aSTsc aTtle biRds FeatH 
 ErsBi rdSha Irebe AstsB iRdsb EasTe sFEaT hErSH AiREc lArif ylNgl 
 iQUor spErc Olati onllq uOUrS LiqUO Rapot HecAr iessi RrUpe sSirr 
 UpeCe NturY ippOc rasse Hippo cRAte sslee UeliQ UourC lArif yingw 
 aTeRe xPeRI mEntw aTEiw ateRP ercoL AtiON AleXa nDeRg uMmsg lASse 
 waTEr inSta Nceco MpreS SioNv iOLcN tMoTI onmot iOnmO tiOns Mecha 
 nical LopER aTion rMOti onLiq uOUrS moTiO nsOli DsiNS taNce Press 
 uRegl asSeg lASsE wATer peRcu SsioN soliD boDyg LassE SugAr MotiO 
 nPreS sUreb oDyPo wdeRS HotFl aMEcO Mpres sIOnF lameL iquiD BoDYp 
 iecen AturA llHis tORYb ullet Tmoti onpre SsuRe rnOtio nTEns urEMo 
 
OF SIR FRANCIS BACON 35 
 
 tioNo FlIBE rTiEb oDyPr eTern aTUra UBLo wNEBl Adder lEAtH ercLo 
 
 atHmo TionS MotiO npRes SurEs ouNDS bells OunDs ounDV iRGiN AllSt 
 
 riNGS OuNds Bells tring WateR GlaSs eEXpE rIMen tsHak IngbE LlsTr 
 
 inGSO uNDsG LasSE beLLy neBBB EllYw AtERg lASsE ClaRE tWiNE water 
 
 GlASs ebEll YnEbB GlaSs eVViN eWaTe rVvIn eglaS sEVvA TerGl asSEV 
 
 VinEV VatEr GlasS EwaTE rGLAs Segla ssemo tlOnG Lasse VviNE vVATe 
 
 RmotI onGla SseVv AteRv vAter mOTio nvVIn eVVat ergla SseVv AteRV 
 
 Vinem otion sePAr aTIoN VvAte rVvin Eweig HtBOD iESwE IghTB OdyGl 
 
 aSsEV VaTEr Vveig HtvVA TerbE IIYGL asSeC eNtur yVVat ergLA sSemo 
 
 tlOnv vaTEr VviNe glASS eeXpe RiMen tliqu OrSSi mPLeB odIeS BroYn 
 
 EsAlt wAter FreSh waTER SalTw atERG laSse fresH Vvate RthIC KsuGr 
 
 edPur EwatE rwAte rGLas SeboD ieSin fuslo nsbod yLiQu oUrPh isici 
 
 ansIN Fuslo nbODI eSinf uSIon BodyV lolEt tSinf uSIon vioLe TtsFl 
 oWerm EdiCI neSin fuSiO nsbur ragEb UrrAG eOrEn GefLo WeRSr uBArB 
 
 rUBar biNfu slOnr uBArB PurGi ngniEd iCInE sCaMM oNyPH iSIcK rUBar 
 BmEde nAtur AllHi sToRY cines BeNEd IcTpu rGiNG mEdEC iNEsP 
 
 UrgaT luePh IsIck pUrgi NgpuR geRin fUsIn GiNFu siOns iNfUS iONSl 
 
 iQuOr sOReN gEpil IsRos cMaRy ciNna MoniN FiiseV vaTer InfuS evVAT 
 
 eRFiR StwAT eRsEc ondTH iRDfl RstWA Terse coNdl nfusi oNsAI reOdo 
 urSin FusIO nsVva Terod oUrSV iOLeT TswOO DbiNe ssTRA wBerr lesvV 
 
 iNeBu rNToP iuMsP IriTw iNese aninf uSIoN sInFu SiONv bBlES hEMIs 
 
 pHere airEv vaTER aiRev vAter buBBl eaIRE CenTu ry &c. 
 
X. 
 
 NEW ATLANTIS, 1627 
 
 Cipher Key. 
 
 nEwAt laNti sawor Kevnf iNIsh edVvr ittEN bYtHE riGht hONou rabLE 
 fRanc islOR dvEru lAMVI ScoUN tstal bAnNe wAtLA ntisp eRucH iNAia 
 pANsS HeWet HhlSw oNDeR SinTH edEEP ebegi nniNG fAcED EePEd 
 Rylan dNewa tlANt iSHaU eNcIt tyheb rEwgR eEkel aTIne spANi ShlaN 
 dyeEn Otnon eOFyO UaNdp rOUid etObe gonef rOmTh iScOa StwIT Hinsi 
 xtEen edalE SexcE PtyOu hAuef uRtHe rtlME glUeN yOUme aNEwH Ileif 
 youWA ntFre sHwAt erorv IcTUa UoRH elPEF oRyou RsiCk orTHA tyOur 
 Shipn EedEt HREpA irewR itEdo wnEyo uRWan tSaND yOush aLLha 
 ueTha tWHiC hBElo ngEth tomeR cYcHe rUbin SwinG sCros sEOff icern 
 eWAtl AnTIs CroSs esPAN iSHTh atfor OursH Ippit WaSwe ILFoR weHad 
 RathE RmeTt wiThc aLMes andCO ntRar Ywind eStHe NaNYt Empes 
 tsFor ourSi ckthe yWeRe mAnYa ndiNV eRylL LcASe soTha Tifth eYwEr 
 EnOTp eRmIt tEDtO LanDT heYra NdaNg eRoft HeirL lueST haTwe 
 Hadso mElit tLeSt OrEOf MerCh aNDiZ ewHIc Hifit plEas edthe MtoDe 
 aLEfo riTmi GhtsU PplYO uRWan tSwIT houtb EinGc harGe abLEU NtoTh 
 emoFF leers tuRki shspa nEwAT LanTi SnisH AreYE echrl sTiAn SweWE 
 rECro sseif YeeWi IISWE areal LofYo uByth eMeRI tTsof thETh atYEE 
 AreNo pirAt eSNoR hAuES HeDbl oUdLA WfulL yNOiU nLaWf ullYW ithin 
 Fourt ledAi eSpAS tyOum aYHau ElicE nseto CoMEo nLaND wEEwE RealL 
 ReaDy TotAk Ethat OatHN otAry mYlor dWOul DhaUe yoUKN oWtha TitiS 
 36 
 
NEW 
 
 ATLANTIS 
 
 A VVorke vnfinished* 
 
 Written by die Right Honourable.pRANcis 
 LordVemlam, l^ifcoHut S't,<iAlban. 
 
 PLATE 76. NEW ATLANTIS, 1627. TITLE-PAGE. 
 
NEW ATLANTIS. 
 
 EE fayled from Teru^ (wher wee had con- 
 rinucd bythcfpace of one whole yeare,) 
 for China and Ja^an^ by the South Sea ; ta- 
 king with vs Victuals for twelue Mo- 
 neths • And had good Windes from the 
 Eaftjthough foft and weake, for hue Mo- 
 nechs fpace,and more. But then the VVinde 
 came about, and fetled m the Weft for many dayes, fo as we 
 could make litde orno way, and were fometimes in pur- 
 pose to turne back . But then agai nether aro(e Strong and 
 Great Windes from the South, with aPointEaft; which 
 carried vs vp,(for all chat we could doejtowards the North: 
 By which time our Vi(5lualls failed vs, though we had made 
 goodfpareof them. So that finding our fclues, ia the 
 Midft ofthcgreateft Wildernefle of Waters in the World, 
 without Vi<5tuall, wc gaue our 5elucs for loft Men, and 
 prepared for Death. Yet wc did life vp our Harts and 
 Voices to G o D abouc , who peweth his Wonders in the 
 Deepe ; Befeeching him of his Mercy, that as in the 'Begin- 
 ning He difcoucrcd the Face of the Veefye, and brought forth 
 Dry- Land -^ So he would now dilcouer Land to vs, that we 
 moughc not pcrifh . And it came to paflCjthat the next Day 
 about Euening, wcfaw within a Kenning before vs, to- 
 wards the North, as it were thick Cloudes, which did put 
 vs in (bme hope of Land • Knowing how that part of the^ 
 South Sea was vtterly vnknownc ; And might hauc Iflands, 
 or Continents, that hithcrtoo were not come to light. 
 ^ a ; Whcre^ 
 
 PLATE 77, NEW ATLANTIS, 1627. PAGE 1. 
 
 25 
 
^h(ep> Atlantis. 
 
 raciesy Worlds of^hQiture, JVorl^ of Art, and fm^ 
 failures andfllufions of ail forts. I doe here ac^on>^ 
 ledge and teUifie before this Teofle, that the Thing 
 which we now fee before our eyes, is thy Finger, 
 and a true Aiiracle. And for -as -much ^aswe learne 
 hi our "Bool^es, that thou neuer workejl <i5Ad trades, 
 but to a Diu'tne and Sxcellent 8nd, Q for the Lawes 
 of 3S(ature are thine owne Lawes, and thou ex- 
 ceedejt them not hut vpon great caufe ) wee moH 
 humbly befeech thee, to projjjcr this great Signc ^ 
 Andtogiue vs the fnterfretation and yje of it in 
 Mercy ; IVhich thou deeU in fome part fecretly 
 promife, by fending it vnto ys. 
 
 J^Vben he had made his Trayer, hec prefently found fhe 'Boate 
 heiposin^moueable anda^nbound- iphereas all the re/i remained 
 flmfajl I Jnd taking that for an ajfurance ofLedue to approach, 
 he caufed the !Boate to hs foftljij andtioith ftlence^ rowed toipards 
 f/;^ Pillar. 'But ere he came iieereit, the Pillar andCroiXc of 
 L\ght ^rake 'Vp, and caft it felfe abroad, as it It^ere^ into a F/r^g 
 manient of many Starres • ll^hich aljo Vanijhed foone after, and 
 thre ipis nothing left to befeen^ but a fmaB Arke, or Cheft of 
 Cedar, dryland not Tifett at all 'ii'ith tirater, though it /warn. And 
 in the Fore-end of it, li>hich Ti>as towards him, grew a fmdi greene 
 (Branch of ^alme - And tohenthel^ife Man had taken it ^ Ti^ith 
 all reuerencCy into his Boate, it opened of it felfe, and there T^ere 
 found in it, a Booke, and a Letter ^ ^oth l&ritten in fine Tarch- 
 ?nent^ andfi?rapped'm Sindons of Linnen. TJje Bookt conteined 
 all the CmoniCAllBodkcs of the Old and New Teftamenc, 
 a<:cording as you ham them ; (For "We Know Tt>ell f^hat the C liur- 
 ches lifith you recaue . ) And the Apocalypfe it felfe • ^nd j 
 fome (^her Bookes o/f/^t^NewTeftament, ■^hich "S^ere not at \ 
 that time l^ritten, "^tre neuer theleffe in the Booke. ^nd for the I 
 Letter, it f^fcn in thefe "^ords. ' 1 
 
 I Bartholomew^ 
 
 PLATE 80. NEW ATLANTIS, 1627. PAGE 11. 
 
L-A-RC £ 
 
 TyVE. 
 
 SM/\L-L TWT^: . 
 
 TONT A. 
 
 rovvr jg. 
 
 roA/r A . To/^ T :b . 
 
 oA d 
 
 J d 
 
 A a 
 
 J a 
 
 2? h 
 
 B h 
 
 ^ h 
 
 ^ . ^ 
 
 ^ C ' 
 
 C' 
 
 ^^; 
 
 cC ^, 
 
 D^ d 
 
 ^ A 
 
 7) ^ 
 
 8 e e 
 
 E e e 
 
 E ^' 
 
 E ^ ^ 
 
 F f f 
 
 G 'g 
 
 'r/f. 
 
 F f 
 G g 
 
 H % 
 
 H 1= 
 
 H h 
 
 H h 
 
 f i 
 
 I 
 
 I i 
 
 I ^ 
 
 
 
 
 L 11 
 
 c!^// m 
 
 M m 
 
 M ^ 
 
 U -m 
 
 -H^ n 
 
 J\ n 
 
 K n 
 
 ^ n 
 
 c 
 
 
 
 c 
 
 
 
 T f 
 
 T f 
 
 (p / 
 
 (p f 
 
 ^ ' 
 
 f 
 
 ^^ 
 
 a^^ 
 
 r 
 
 \ r 
 
 % ^ 
 
 f/', 
 
 S f S 
 
 r t 
 
 S fs 
 
 T t 
 
 S fs 
 
 r i 
 
 V -v t, 
 
 Y y " 
 
 V V ^ 
 
 -Zl u 
 
 TV ^ 
 
 W fo 
 
 ^ 
 
 w ^ 
 
 X 
 
 X 
 
 X 
 
 s 
 
 '^ y 
 
 r y 
 
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 r ) 
 
 
 
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 \ 
 
 & 
 
 
 o- 
 
 6- 
 
 PLATE 81. NEW ATLANTIS, 1627. ITALIC ALPHABETS. 
 
THE BI-LITERAL CIPHER 37 
 
 nOTOf Pride oRGrE atneS thath ecomM eThNo taBoa rdYoU RshIP PbuTf 
 OrtHA Tinyo urAns wEaRY oUDeC Laret haTyo UhauE ManYS ickaM 
 OngSt yOuhe wAsWa rNeDb YtHEo fOFTh etHat Hesho uldKe epEAD istan 
 cewEe weReh IshuM blESE rUAnT SanDA cCoUn tedFO rGrea tHoNO 
 uRANd sInGu larhu mANit YtoWa rdSUS tliAtw Hichw aSall ReaDY 
 DoneB UthOp edwEl ItHAT thena Tureo ftlies ickNe SofOu rmEnw Asnot 
 infeC tlOuS NotAr ysBYT HenAm eoFIE susan DhiSm eritS StrAN geRSh 
 oUSeH eMUsT notBE tWIce paldf OronE LaboU rsTat Etwic epAID newaT 
 lANtI SoFFi CeRhe Camet oCOnD UctUs toThe SandT HATHE ehadp Reuen 
 TedTh eHoUr ebEca UsewE MighT haUet hewho LedaY BefOr eUSfO 
 Rourb uSine ssEfo rifyo uWlU FolLo WmYad uICeT HeRsh aLLfl Rstgo 
 EwiTh meSOM eFewo fYoUa NdSEe thepl aCEAn dHOWi Trnayb eMAdE 
 cONuE NieNT forYO uANDt hEnYo umays EnDFo RyouR SiCka ndtHe 
 reSTO fyouR NumBE Rwhic hYeew ilLbr ingON landt HATth iscAR eWhIc 
 hhEto okEoF DesOl aTest RanGe rSvVou IDReW AidHe WasBu tOUrS eruAN 
 tando UrGui deSst RangE RsHou sEwha TnuMb eROfp eRSoN Swewe 
 ReAnd hOwma NysiC kwEwe reina llsic Kandvv hoLeo NeanD FiFty Perso 
 nSwhe ReoFo uRsic kvvERe SeueN tEene nEwAT LaNTi SyeeA reTok nO>vTh 
 atThE cuSto meoFt helan dREqu iREth tHAtA FteRt hiSda yandc OomoR 
 RoWwh iChwe GiueY ouFor rEmOu iNgof yoUrp eople fROmy ourSH 
 IpyOu arETO KeePe WitHI nDOre SfoRt HREeD aleSB utLet titNo ttRou 
 Bleyo UnoRd oeNot ThinK YouRS eLUeS ReStr AineD bUTrA thErL eftlO 
 yoUrr EstAN dEAsE YouSH AllWa NtnoT hinga nDtHE rEARe sIxEo foUip 
 eOpLe aPpoi ntEdT oaTte NdYOu fORaN YbuSI nEsYO umayh AuEAb 
 rOadS uREly iSMaN IfEst ediNT hlsla ndwHA TtWIc epAid ColLe giaTE 
 euRop enEwA TlANt iSmYD eaRef RendS lEtUs KnOWo uRsEl UeSAn 
 dHoWI tSTaN DetHW ithUS weare mEnCa sTonl aNdaS waSou tofTh Evvhen 
 WewER eaSbu rIeDi NtheD EepEA NdnoW wEARe onLan d-.veEa RebUt 
 betWe eNdEa thAnd lifef Orvvea reBey Ondbo ththe oLDwo rldAN dtHEn 
 
38 THE BI-LITERAL CIPHER 
 
 Ewand whEth ereue RweEs haLls Eeone lYKNo Wethi tISaK iNDeO 
 fmIrA cLEhA tHbRo ugliTV shiTh eRand iTMUs tbEEL itTle Lesse tHaTS 
 hALlB RingU SheNc etHER efore iNREg aRDOf oUrde lIuEr AnCEp aSTaN 
 DouRD anGer Prese ntaNd tOCoM eLeTU sLoOK eUpto aNDeu erYMa 
 nREfO rMEHi sOWNe wAYeS BesiD eSwea RecOm eHere aMOnG StaFu 
 llOFP letYa NdhUm anity LetvS nOtbR iNgTH atcon FuSIo nofFa CeUpo 
 noUrs ElUEs aSToS HewOU rViCE SorUN Worth iNeSS EbeFO Rethe mYett 
 hERei smORe FortH eYHAu eByco Mmand eMent ThoUg HinFo Rmeof 
 CouRT eslec lOIst eREdV SwiTh inThe sEWaL IsFoR three Dayes WhoKn 
 oWEtH WhEth eRitb EnoTt otaKe SomET Astof oUrma nNErS AndcO nDiti 
 OnsAn DiFTh eyFIn dEThE mBAdT obaNI sHvSS trAig htway eSIfg ooDto 
 GiueV SfUrt hErti MefOr thESE menth aTtHe yHaUe giueN UsFOr AtTen 
 daNCE mayWi thALL HaueA NeyEU ponvS TheRe fOrEf orLou EanDa 
 sWelo ueThe wEaLE ofour Soule Sandb odies LetUs soBEH auEOU rSElU 
 eSASw eeMay bEAtP Eacew IthAn Dmayf IndEG Racel NthEe YesOf tHIsP 
 eOPlE PooLe heALI ngneW aTLaN TiSiA mByOF FiCEg OuErn eRoft hIsHo 
 uSeOf sTran gersa nDbYV Ocati OniaM aANdT heRfO reAmc ometo Youto 
 OfFeR yOUmY Serui ceBOT hasst RanGe rsAnd ChieF lYass oMEth IngSI 
 maYte Llyou WhICh Ithin Keyou WilLN OtbEv nwILL IngTo hEArE TheSt 
 Ateha thGiu enyou LiceN CetOS Tayon laNdf OrThe spAce oFsIx eWeEk 
 esand LetiT noTTR ouBle YoUif yOuro cCaSi oNSaS KefUR TheRt iMEfO 
 rtHeL awiNT hISpO IntIS notpR EciSe aNdId oeNot DouBt butmy sElFe 
 sHaLl beaBL cToob TainE forYo uSUcH FurTH Ertim eaSma Ybeco NuenI 
 EntYe esHAL lALsO UndER stANd thATT hEiSA tthis tIMer IcHAn 
 dMUcH AfoRe haNDF orlth Athla yDvPR EuENe wtHes Ear ye eSfOr SoLOn 
 gITIs Since aNyst rANge RarRi ueDin thiSP ArTan dTHeR Foret aKeyE 
 EnocA ReThe wiLld eFRay YouAl Ithet ImeYo uSTaY nEIth ersHa UYou 
 sTayo nEDay TheLe sSEfO rtHaT aSfor aNYme rchan dIzEy eEhAu ebrOu 
 Ghtye EsHAl IBEWe LlvSe DanDh aUEyO urRET uRnee ItheR iNmEr 
 
OF SIR FRANCIS BACON 39 
 
 cHAnD izEoR IngOl DaNDs iLuER fORtO vSIti SalLO nEaND ifYou hAUea 
 NyoTh eRrEQ ueStt omAke HidEi tNoTf OrYEe ShaLL FindE wewIL LnoTm 
 akEYO UrcOU NtenA ncEtO fALlB Ythea nswEr yEShA ILRec eiuEo neLyt 
 hisim uStTe ILyou tHAtn onEOf yOumu StgOe aBOuE aFRom tHeWa LlESo 
 ftheC ItTYw iThOU TeSPe CiaLL LeaUe tHaTW eCOuL DnotT EUWh AttoS 
 aYfoR wEewa nTeDw oRdSt oexPr esseo uRTha nkeSA NdhlS noBle fReEo 
 FfERs leftU snOth inGto asKEi tSeem EdtOU sTHat WehAd bEfor EvsaP 
 IctuR eoFou riNfo rWEet hATwE reAwH iLeSi ncein Thela weSof DeatH 
 WerEN Owbro ugHti nToAp LaCEw herEw efOUN dnoth iNGbu tcONs olaTI 
 onsfo rThEc OmmaN dEMeN tlaid vponU sWeWo uldno TfaiL EtoOb eyitt 
 houGH itWAS iMPoS sIBLe buTou rHeAR tssho UlDBe enflA meDto TreaD 
 fuRth erUpo nThlS HappY aNdHo lYGrO UnDne wATlA NtiST haTou Rtong 
 UeSsh Ouldf iRStC LeaUE toTHe roOFE SofOu rMOUt HEsEr ewesh oULdf 
 OrgeT Eithe RhiSR eUeRe ndpER sonoR ThISw hOLEn Ation iNOuR pRaYE 
 rShew aSApr ieSta nDLoo KedFo rapri EstSR EwaRd whiCh wASoU rBrOT 
 HErLY lOUeA nDThe gOoDo fOurs ouLes aNdBO DieST HatwE EweRe 
 CoMEi NtoAL aNDoF aNgEl LswHI cHdID aPPea RetoV sdaYL Yandp 
 ReUEn tvSwI ThcOM FortS WhiCh wEtho ughtn oTOfm uChLE ssEex pECte 
 dTHAT HewAS ComeT OviSi tUSWe Eofth islsl andOF bEnsa leMHa ueThi 
 SthaT BymEa NesOf oURsO liTAr ysitu AtiOn andof tHEla WeSOf sECre 
 CywHI ChwEh Auefo rOuRT RauEl leRSa Ndour rarea DmiSS ioNof StraN 
 gersw EknOw wELlM oSTpa rtOft HehAb iTabl eWoRL daNda ReouR SelUE 
 sUNKn owNet Heref oRebe cAUsE HetHA Tknow ethle AstiS fITte sTToA 
 SkeQu eStio nSiTI Smore rEAsO NfoRT HeenT eRTAi neMen Tofth EtimE 
 tHAtY EeaSk Emeeq UeSTi onSth EntHa tiASK eyOuT HATwE Ehumb 
 lyTha nKEdh ImtHa Thewo uldgi uevSl eaUes oTOdO Eandt hATwe 
 eCOnC eiueD bYThE tAsTw eehAD aLReA dYTha ttHer wasNo wORdL 
 YthIN gOnEa rthMO ReWor Thyto beKno WnetH EntHe stATE oFtha 
 ThapP YlaNd Butab ouEal Isinc EthaT WeeWE Remet tfRom ThesE 
 
40 THE BI-LITERAL CIPHER 
 
 UerAl leNDS ofThe wORld andHo peDas SurED lYtha tweSH ouLdm 
 EeTeo nEDaY iNThe OffOr tHAtW eWeRE bothP ArtsW eeDes IreDo knoWi 
 nREsP eCtTh atlAN dWAsS Oremo TeANd sODiU IdeDB yVAst anDUn 
 kNoWN eSeas fROmt helAN dWher oUrWa IKeDo NearT hNEwA tLaNT 
 IswHO WastH EofTh atNat lonAN dhOwi Twasc OnUEr tEdTO theye eKNit 
 mYHeA rTToy ouBYa SkiNG thisq Uesti oniNT hefiR stPla CefOr iTShE 
 wEtHt hatYO uAnDI ShaLL glaDl yaNDB rIeFL ySAtI Sfiey ouRde mAUND 
 AboUT tWEnT yyeAR esafT eiThe aSCen siOno fOUri tCAmE TopAs setha 
 tTHei- wasSE EnbYT hEpEO pLeof AcitT yvpon TheEA stErn ecoaS TofOU 
 RiEla Ndwit hINnI gHTth eNIgh twAsc Loudy anDca Imeas iTmlG htbes 
 oMEmi leiNt othes eAAgr eATpi ILArO Fllgh tnotS haRpb Utinf oRmeo 
 FacOl umNEO Rrisi nOfRO mthes eAaGr eAtWA yUPtO WardS HeaUe 
 nANdo nTHeT oPPof itWas seenE AlaRG eCros sEoFl IghTm OreBR iGHTa 
 nDReS pLEnd eNtTH EnTHe bodyO fTHeP iLLaR vPonW hiCHS osTra 
 ngeas PectA cLeth epeoP LeoFT Hecit TygAt heRED apAce tOGet herlJP 
 oNthe sanDS tOwoN dERan dSOaF TeRpu TthEm seLUE sINtO AnuMB 
 erOFs maLLB oAtes ToGoe neare RtotH iSMar ueilo Usslg HtbUT Whent 
 heboa tEsWe rEcOm EwITh InaBO uTYea RdSof tHepi ILaRt liEyFo uNdth 
 eMSel ueSAl LboUN DandC oulDG oeNoF uRThE Ryets oaStH eYMiG 
 Htmou etoGo eaBou tbuTM ightN OtAPp roaCh neARE rsoas tHEbo 
 atESs toOda Uasi nAThe ateRB eHoLD InGTh islig htaSA NheAU enLys 
 Ignei TsofE ILout ThaTt HeRWa sinon eOFTh Eboat eSone oFOur WisEm 
 enOft hesOC ietyO FwhIC HorMy GoOdb RetHr enlST Hever yEyeo fthls 
 kiNgd oMEWh Ohaui ngAwh IleAT tEnti uELyA NddEU OutlY vIeWe 
 DaNDc ontEM pLate dthlS pillA RanDC Rosse FeLLd oWnEU Ponhl SfacE 
 anDth EnrAy SedHi MseLF eUPOn HisKn eESaN dLiFT iNGvP hIsHa 
 ndsTO HeauE nMAdE HisPr ayERS iNthi SmanN eroFH EauEN aNdeA 
 rtHth OuhAs tVOuC HsaFe doFTH YgRac eToth OseoF ouRTO kNOwT 
 hyWoR fleSof cReAT lonAn dtHES eCReT TsoFT heMAn dtODI sCeRN 
 
OF SIR FRANCIS BACON 41 
 
 eaSfa rREas appER tAInE tHtoT hEGen eRAtI OnSof meNBE tWeen dIuIN 
 eMIne wATlA NtiSr aClES WorkE sOfna TureW orKSO fArta ndiMP osTur 
 Esand ilLus loNSo fALlS OrtSI doEhE rEack nOWIe dgeAN dTeST IflEb 
 EfOre tHisp eOpLe tHaTt HetHi nGWhl ChWEn oWSeE BefOR eOurE 
 yEsis tHYan datRU eandf OrasM uChAS WeLEa rnein oURbO oKeST 
 hATTh ouneu eRWor kEstm iRAcL eSBut toAdI uINeA NdeXC eLLen tenDF 
 oRThE LawES OfnAt uReAR ethin eOWne LaWEs anDtH oUExC eeDes 
 TtheM Notbu tupon GreAt calJSE weEmo Sthum BlyBe seECH thEet oPRos 
 pertH IsgRE Atslg neAnD toGiu EuSth EintE rPReT AtiOn anDVS eoFiT 
 iNMeR CyWhl ChTHo uDOeS TinSO mePAR TseCR eTLyp Romis EbYSe 
 nDInG ItuNT oVSvv henhe hAdMA deHis pRaYe rhEep reSEn tLyfo uNDtH 
 eBOat EheWa siNMO uEAbL EandU nBOuN dWHER eaSal Lther EstRE 
 mAIne dSTil IfAst AndTa kiNGT hatfo rAnAs sURaN cEOfl eaUet oappR 
 OaCHh EcaUs Edthe BoaTE TobeS OftLy aNdwi tHSil enCER oWedt oWaRD 
 SthEb utERE heCam EneeR eiTth EandO fTBrA kEUpa NdcaS titse IFEab 
 RoADa siTwe reint Oafir MameN tOFma nYStA Rresw hIcHA ISova NishE DsoOn 
 eaftE RaNDt heREW aSNoT hlNgl eFTtO BesEE Nbuta SmalL oROfd rYAnD 
 Notwe tTaTa ILwit hWAte rThoU GhiTs WaMan DinTh EforE enDOF 
 itwhi cHwAS toWar DsHim grEWA sMAlL gReEN ebRan chOfP aLMeA 
 Ndwhe nthEw iseMA nHadt akeni TwITh aLLRe Ueren ceint ohiSb oAtEi 
 TopEN Edofi tSelf eANdT hERew erEfO uNDiN Itaan dabOt hwrIT Tenin 
 fINeP arCHm eNtan DwrAP peDin SiNdo nsofl InNEn tHeCo nTein eDalL 
 tHeof tHEan daCCo rDing AsyOu hAuet hEmFo rWeKn oWWel IWHaT Thewi 
 tHyOu reCei ueaND theit sELfe AnDSo meOtH eROfT Hewhi cHwEr eNOtA 
 Tthat tIMew riTte nwERE nEUeR tHELe ssEin TheAn dFOrT HeiTw Asint 
 HeSEw orDsn EwAtL aNTIs asEru Antof tHehi gHeST anDap oSTle OfwAs 
 WarnE dbyaN AnGEl IThAT aPpea reDTo melNA Vislo NofgL oRYtH AtiSh 
 oULdC OmMit tHist oTHef Louds ofThe seaTH erEfo reldo eTeST iFIeA 
 Nddec lArEV ntoth aTpeo pLEwh EreSh allor dAine tHIst oCoMe tOLaN 
 
42 THE BI-LITERAL CIPHER 
 
 DthaT IntHe saMEd aYiSc oMEuN Tothe MsALu aTIon aNDpE Acean 
 
 dGoOd willf RoMth eAnDf roMth EtheR EwasA ISoIn BoTHt HesEW RitiN 
 
 gsaSW eLLTh eAStH EwRou ghTag Reatm. 
 
The Workes of William Shake- 
 
 fpeare, containing all his Comedies, Hifto- 
 
 ries,ancl Tragedies ; Truly fet forth,aceording 
 to their firft Originall. 
 
 The Names of the Principall Aftors 
 
 inallthefePlayes^ 
 
 tiniam Shakejpeare. 
 
 ' ^ John Hemmings. 
 
 William K^mpt. 
 Thomxs Toope. 
 George 'Bryan. 
 Henry Qonddl 
 William Stye. 
 l^ichardCoti'ly, 
 John LolPim. 
 Samuell Crojfe. 
 Alexander Cooke. 
 
 Samuel Gilhume. 
 T\ohert Jrmin. 
 William OJlkr, 
 2^at ban Field. 
 John f^nderwood. 
 ISlichoia^ Tooley, 
 William Eccleftom. 
 Jofeph Taylor. 
 ''I(obert ^enfield. 
 T^okrtGoughe. 
 I^tchard '^obinfon. 
 John Shancke^ 
 John l^cg. 
 
 PLATE 82. SECOND FOLIO, 1632. ACTORS' NAMES. 
 
A Catalogue of all the Comedies^ 
 
 Hiftories, and Tragedies contained 
 inthisBooke. 
 
 m J- J Verona. 
 
 "^'T^he mo gentlemen of 
 
 7 he Merry Whes of W'tndfor, 
 
 (s^Meafurefor <i^M^eafurd, 
 
 The Comedy of Errors. 
 
 (i5A<fuch adoe about U\(othing, 
 
 ^fhe life ofK^g Henry the 5e 
 ThefirJlpartofK^Utny the6. 
 The ipart o/K^Hcmy the 0. 
 The ipart r/i<^Henry the 6. 
 The Tragedieof Richardf/^^ j, 
 Thefamom. hiftory of Henry 8. 
 
 SECOND FOLIO, 1632. CATALOGUE, UPPER PART. 
 
 y 
 
Loves Lakurs loji, 
 cfMidfommers nights T>reame. 
 The <iSMmhant ^Venice. 
 ^Jsyou li^it. 
 7k taming efthe Shrey^^ 
 ^ii's mil that ends mil. 
 TmIfeniiht,or yyhatyoumll, 
 TheJVintersTale, 
 
 Hiftories. 
 
 The life and death of ^ohn, 
 7 he life (^ death of K^K thei 
 The Is/e arid death of K^H.^, 
 TheJecQudfan o/K^ Hjhe 4. 
 
 Tragedies. 
 
 Ti'oylus andCrcfsida., 
 
 The Tragedy o/Corioknus. 
 
 Titus Androwicus* 
 
 Romeo ^w^luliet. 
 
 Tiinon ^Athens* 
 
 The Tragedy oflulius C^far. 
 
 The Tragedy o/'Macbeth. 
 
 The Tragedy of Hamlec, 
 
 The Tragedy of K^ng Lear, 
 
 The ^SMoore of Venice, 
 
 Anthony and Ckopma, 
 
 The7ragedjo/CYmhdme. 
 THE 
 
 PLATE 84. SECOND FOLIO, 1632. CATALOGUE, LOWER PART. 
 
Vpon the Lines and Life of the 
 
 Famous Scenicke PoetjMaftcr 
 
 VV.S HAKESPEARE. 
 
 %Hofe hands, which you fo claj^t^oenot& ani wring 
 , Yon Britaincs hraVe ^ for done are Shake-ipeares dayes : 
 
 g^' Hii dayes are donejchai made the dainty Tlayes^ 
 Which made the Globe ofHeaVn and Earth to ring, 
 T>rydis thatFeine^dry'd is the Tbefpun Springs 
 Turndalltoteares,and'Ph(xhusQoudes his T^ayes : 
 That Corpe's,thaC Coffin no^tf beflicke thofe 'Bayes^ 
 Which crown d him Toetfirftythen ^oets ^ng. 
 'jf Tragedies might dny Trologue haye, 
 Jill ihofe hemade^Quldfcaree mah one to this : 
 Where Fim^^n&uf that he gone is to the GraVe, 
 (Deaths publique Tyring-houJe)the Nuncius is. 
 
 For though his Line of life "toentfione about, 
 
 The Life yet of his Lines fhall neyer cut. 
 
 HnghHoUand. 
 
 PLATE 85. SECOND FOLIO, 1632. HUGH HOLLAND POEM. 
 
Vpon the Effigies of my worthy 
 
 Friend, the Author Mafter William 
 
 Shakeipeare,and his V Vorkes< 
 
 t^eHmr^this Lifes Shaddow is j To fee 
 
 \ The truer ima^e and 4 livelier he 5 
 
 TurneT^ader. "ButjohferVehisComickeyaine, 
 Laugh ^ and proceed next to a Tragicke Jiraine, 
 Then weefie ^ So "iohen thou find' ft two contraries^ 
 Two different paf ions fi om thy raptfoule ri/e. 
 
 Say J ( who alone effeEifuch -ponders could) I q 
 
 T{are Shake-fpeare to the life thoudoft behold. 
 
 PLATE 86. SECOND FOLIO, 1632. "UPON THE EFFIGIES." 
 
An Epitaph on the admirable Dramaticke 
 
 Poet, W.S HAKESPEARE. 
 
 ^^^J^at neeie my Shakelpeare/or Us honour dhoncSj 
 
 ^^^ The labour of an jfgejn pUeiflones 
 
 ^^"^^^ Or t^Mthishalloli} dT^eltques fhouldbehid 3 
 
 Vnder ajiarre-yj^olnting Tyrajnid ? 
 
 Deare Son?ie of Memory ^great Heire 0} Fame, 
 
 What }ieedjl thoufuch dull tPitneffc of thy l>(ame ^ 
 
 Tl)0u In our "bonder and aftonifhment 
 
 Hafi built thyfelfe a lasling Monu^nent : I q 
 
 For whil'H to th'p?ame offlo-^~mde Vouring Art 
 
 Thy eafte numbers flow^afid that each part^ 
 
 Hath from the leayes of thy unvalued 'Booke^ 
 
 Tlfofe Velphkke Lines -Ti^ith deepe hnpre/sion tooke 
 
 Then thou our fancy ofherfelfe bereaving^ 15 
 
 Dofi make us Marble mth too much cojiceiVmg^ 
 
 JndfQ Sepuicherd tnfuchpompe dofl lie 
 
 That J^ngs for fudh aTombc l^onld'^ip? tQ dk^ 
 
 SECOND FOLIO, 1632. "AN EPITAPH.' 
 
To the Memor)^ ofM JKSha^^-Jpeare^ 
 
 |£ ytoiidred (Shake-i|)eare)f/;<jf thou went'jlfofoone 
 j| From the WorUs-Singe^to the GrayeS'Tyring^rmnQ, 
 * We though thee dead^hut this thy 'Printed worth 
 
 Tels thy Spe&atorSjthat thou went'fi but forth 
 
 To enter mth aj^^kufe. ^n AFiors Art, 
 
 Can dye^and liye^to ciB afecondTart. 
 
 That's hut an Exit of Mortality j 
 
 This^a T^e^entrance to a Tlauditeo 
 
 I. lfj« 
 
 SECOND FOLIO, 1632. I. M. POEM. 
 
To the memory of my beloved, 
 The AVTHOR 
 
 Mr. VV^illiam Shakespeare 
 And 
 what he hath left us. 5 
 
 S^^^ O drim no ^/?T/j»f Shakcfpeare) on thy name^ 
 )M\ WA Am I thfu ample to thy Booke, and Fame : 
 ^k^^Mm lyhile I cort/ej/c thy rvritingi to bsjuch^ 
 
 As neither M an, nor M u f e, ci'nfratfe too much. 
 Tii true j.anddU mens fuffmge. Bat thefewayes i| 
 
 Were not the paths Imcdtit unUthypraife : 
 Ft>rf»elfefi Ignorance on thefe m,ty light , 
 
 Whiih^ when it founds at hefl^ hut eccho's right j 
 
 PLATE 89. SECOND FOLIO, 1632. BEN JONSON'S POEM. BEGINNING. 
 
On Worthy Mafter Shake- 
 
 fpcare and his Poems, 
 
 I Mhd refleW/ig Agesp/ift , whife ckere 
 I And eqmU far face can make things 4ppe4re 
 Diftant a Thsit/andjeares^ and reprefeai 
 Them in thetr lively celours \ufl extent. 
 To out rtm hxfly time, retrive thefsteSy 
 Rewle backe the heavens^ blow cfe the iren gates 
 Of death aad lethe,-a'here(cefffufed)fye 
 iO Great heafe'sofrmmm mortahtie. 
 In that aeepeduskie dungeon to difcerne 
 A rojallGhofifrem Churles,By art to learue 
 The Phyfie^nomieofpiades, and give 
 Themftlddainebirthj vsndring heweftthe^ live. 
 
 SECOND FOLIO, 1532. I. M. S. POEM. BEGINNING. 
 
EPILOGVE. 
 
 JT^ST^myFearei then ^ myCurtefte: lafi ^ my Speech. 
 MyFeare, isyourDiFpleajun : My Curt e fie ^ my Vutie : 
 Andmyf^eech^ to'Begge your far dons. Jf you looke for a 
 ^oodjpeech mltf J youundoenie: For what lha<ve to fay , is j 
 of mine ofipne rnaking : and what (indeed') J potddfay imll 
 douht) proo^e mine owne marring, ^ut to the furpofe^ 
 and fo to the Venture. 'Bee it knowne to you (as it is very 
 well) J 1^06 lately heere in the end of a di/fleafmg flay , to pray your fatiencefor 
 it J and topromifeyou a Better : J did meane (indeede ) to pay you with thi^ which lO 
 if(lik: an ill Venture) it come unluckily home ^ J breake :, and you ^ 7ny gentle Cre* 
 ditors lofe. Heere Ipromiftyou J would bee, and heere I commit my Bodie toy our 
 Mercies : Batemefome^and J willpayyoufome^ and (as mojl Debtors doe) promifs 
 you infinitely, 
 
 Ifyny Tongue canmt entreate youto AC^luit me: foill you command mee tQufe 15 
 my Legges^ Andyet that Ti>€re but light payment y toVance out of your debt : But 
 agoodQonfclence^ wittmake any pofsiblefitisfaElion^ andfo will J. All the Gen'> 
 tie women heere ^ ha'ye forgotten me -^ if the Gentlewomen will not _, then the Gentleynen 
 doe not agree with the GentleT^omen J which wasneVerfeene before , infuch an Af- 
 fembly. 2q 
 
 Onewordmore^ Ibefeechyou : if you be not too much chid with Fat Meate , our 
 humble Author 'U>iU continue the jlory (with Sir lohn in it) and make ym merry 
 »/f/;y4/reKathenneo/" France: W^ere (for am/ thing Jkm'^) Faldiffe p?all 
 dye of afweat,unleffe already hebeekill'd withyourhardOpiniom: For Old-Caftle 
 dyed a martyr , and this is not the man. Mf Tongue is wgartej Tifhn my Legs are too^ 25- 
 J will bidyougood nighty andfo hteeledownebeforeysu : CBut indeed) to pray for 
 theQueene. 
 
 PLATE 91. SECOND FOLIO, 1632. EPILOGUE, 2 HENRY IV. 
 
The Prologue; 
 
 12^Troy there lyes theScjtm :from Jles of Greece 
 The Princes Or^tlltmjtheir high blood chafd^ 
 Have to the ^ort ofJthensfent theirfiip^es 
 S Fraught fi^ith the mlnifiers andlnjlrunienti 
 OfcruellWarre : Sixty and nine that Mre 
 Their Crownets Tlegall^from th'Jthenian'Bay 
 ^ut forth toli^ard ^hrygia, and their i;o1^ is made 
 Toranfacke Troy, within Ti'hofejirong fmmures 
 10 Therayijh'd Helen, Menelaus Queene, 
 With fi^antott F^insjleepes, and that's the Quarrel!. 
 To Tenedos they come^ 
 And the deepe-draimng'Barkes doe there dijgorge 
 Tlieir Warlike fraut age : noli? on Dardan ^laines 
 \5 Thgfrefh andyet unhrulfed Greekes doe pitch 
 Tl?eir braVe Ta^iUions. Pthmsftx-gated Cityy 
 Dardaii WTimbria;,Helias , Chetas, Troien^ 
 Jnd Antenonidus iPith mafsy Staples 
 Jnd correj^onfme and fulfilling 'Bolts 
 2.0 Stir re up the Sonnes of Troy. 
 
 jSlpw ExpeHation tickling skittipjjpirits^ 
 On one and other fide ^ Trot an and Greeke^ 
 Sets all on ha:^rd. Jnd hither am J come, 
 A prologue arm'd, but not in confidence 
 ^ OfJuthorspen^or ASlors Voyce ^ butfuited 
 Jn like conditions.^ as our Argument • 
 To tellym{fatre beholders) that our flay 
 Leapes ore they aunt and fir filings ofthofe broyles^ 
 !Beginning in the middle : fiarting thence away , 
 JO Jo ufhat may be digefied in a Tlay ' 
 Like^ or find fault, doe asymrpleafures are, 
 2<[pyi?good, §r bdd^'tis but the chance ofWarre^ 
 
 PLATE 92. SECOND FOLIO, 1632. PROLOGUE, TROILUS AND CRESSIDA. 
 
XL 
 SECOND FOLIO. 1632 
 
 Cipher Keys. 
 
 I. ACTORS' NAMES. 
 
 (T)hewor kEsOf wiLli amsHA keSpe ArecO main inGal IhiSC omedi Eshls 
 tORiE SanDt raGED ieStr ulYSE tfOrt hACco Rding ToTHe Irflr stORI 
 ginal LthEn amEsO fTHeP RinCI pALla ctoRS InalL TheSe plAYE SilLi 
 AmsHA kesPE aRErl Chard BurbA dgEJO hnhem minOS AugUs tiNEP hiLli 
 pswiL lIAmK eMPtT Homas PoOpe GeorG ebrYa nHeNr ycond eLlwi ILiAM 
 slYEr ichar dCowl yJOhn LowiN esamu ElLCr ossEA LexAn Derco OkeSA 
 MuelG IlbUr nErOB erTar mInWI lliam oSTle rNatH aNfie IDJoh nvnDE 
 rWood NichO LastO OleYW Illia mECCI Eston ejose PhtaY lorRO BerTb 
 eNFiE LdroB ertgo UgHEr iChar dRObi NsonJ ohNSH aNCkE Johnr icEtO 
 
 2. FIRST OF BEN JONSON'S POEM. 
 
 tHEmE moRyo fMybe lovEd Theav ThORm rvVIl Liams hakes peaRe anDwh 
 aTheh AthlE fTUSo Drawn oeNvy sHAkE sPeAR eOnth yNAme amith UsaMp 
 leTot Hyboo keAnd famew hILEi cOnfe sSEth ywRIt inGsT oBEsU ChaSN 
 elThe rmaNN ormiis eCAnp RalSe tOoMu chTis TrueA NdalL meNsS UfFRA 
 gEbUt tHeSe WaYEs WeREn oTThE PatHS Imean TuntO ThyPR alsef OrsEe 
 LiesT iGnor AncEO NtheS EmaYl iGhtw hicHw heNit sound satbe tsbut 
 
 3. LAST OF BEN JONSON'S POEM AND FIRST OF I. M. S. POEM. 
 
 AgoOd poETS madea SweLl aSBor nEAnD sUChW erttH OulOo keHow 
 
 tHEfa TherS fAcel iVEsI NhisI SsUee vENsO TheRA cEoFs hakES pEaRe 
 
 43 
 
44 THE BI-LITERAL CIPHER 
 
 sMind eaNDm anNER Sbrig htLys hINes inHiS Wellt OrneD AndTr uEFiL 
 eDlin eSiNe aCHoF Which heSee MestO sHAkE alaNC eaSbr aNDIs hTaTt 
 heeye SoFIg NorAn ceSVv'E etSwa NoFAv OnWha taSIG hTItW eREtO 
 seetH eelno UrWAt eRyet aPPea reANd mAkEt hOSeF lIGlit suPOn thEBA 
 nKeso FthaM EsTha tsodi Drake eLiza anDou riAme SbUTs taYis eETHe 
 einth ehemi sPHer eadVA ncDAn dMAdE Aeons TeLlA tloNT HeRes hINeF 
 OrtHT hOuSt arrEO fPOet sANdV/ IthRa Georl NflUe ncech IdEOr CheEr 
 etHED roOpi ngSta GeWhl cHSiN cetHY FlIGh tFrom heNce HaThm oUrnd 
 llkEn iGhTa nDdes pAIre sDAyB UtfOr thyVO luMes lIGht BeNIo NsoNo 
 
 NwoRT HymAs terSh akEsp earea NdhiS poEms mINdR Eflec tINgA GesPa 
 
 stWHO seCIe EreaN DeqUA UsUr faCEC anMAK ethin GsapP EarEd IsTAn 
 
 TaTho usand YeARe saNdr EpreS eNTtH emInT helRl iVely ColOU rSjus 
 
 tEXte ntTOo UtruN hAsTy timer etRIv etHEF AteSr Owleb acKet hEHEa 
 
 Yensb lOWoP eTHel roNgA teSof deatH AndLE TheWh erEcO nfUse dLyEg 
 
 rEaTh eAPeS oFRui noUSM orTal itiei nthAT dEePe duSki EdunG EontO 
 diSce rnear Oyall ghOst 
 
 4. LAST OF I. M. S. POEM. 
 
 EaRes haLLB reaTh anDSP eAKeW iTHLa 
 uRELl cROwN dWHic hnEve rFAde SfeDw itHAM brOsi AnmeA TeiNA weILL 
 yneDV esTur eRIch aNdNe AtESo wiThT hISrO BetHE yCLoa thhIM BidHi 
 mWEaR eitfO rtlme ShaLl neVER StaIN EnorE nVYTe Areit tHEfR iENdL 
 YadMI rErof hISen doWMe NtsiM s 
 
 5. HUGH HOLLAND POEM. 
 
 VPOn thELi nEsAn dLife ofthe Famou SsceN IckEp oeTMA sTERV 
 VshAK eSpeA reHoS ehAnd sWhIC hyouS oCLaP tgoEN oWand wring youBR 
 itain eSbRa veFor DonEa ResHa keSpe Aresd AyesH iSDaY eSAre dOnet 
 hatMa deThe dAiNt YpLAy esWHi cHmad EthEG lObeo fhEAv nande 
 
OF SIR FRANCIS BACON 45 
 
 ArthT OriNg drydi SthAt velne dRyDI stHet HesPi anspr IngTu RndAl 
 
 ItOTE arEsa NdpHo eBusc lOuDE shisr AyESt haTco RpeSt hAtco FfiNn 
 
 owBes Ticke ThosE BayEs whiCH cRown dhiMP oEtFi rStth enPoe TskIN 
 
 gIFTr aGEdl Esmlg htANY ProLO gUEha vEall tHOsE hEMad EwOul 
 
 dscAr ceMAK eOneT othls wHErE fAMen oWTha tHego NeiST othEG 
 
 raved eAThs puBli Quety riNgh oUSEt hEnUn ciUsi sfoRT hoUGh hisLI 
 
 NeOfl iFEwE Ntsoo neaBO utTHe Lifey eTOfH IsLin eSSha ILnev eROut 
 hUGhH oLlAn d* 
 
 6. POEMS: "UPON THE EFFIGIES," AND "AN EPITAPH." 
 VpOnt Heeff IgiEs ofMyw oRtHy FrieN DtHeau tHOR MaSTe Rwlll iaMsh 
 akEsp eaREA nDHiS vVOrk" eSPeC Tator thISI ifess HaDDo WistO seEtH 
 etRUE rimag EandA Livel iERhE TuRNe reade rBuTo BseRv eHIsC oMiCK 
 evAin ElaUg haNDP rOCeE DneXT toATR agick EstrA IneTh EnWee pEsow 
 hEnTh oUfIn DsttW ocONT raRie StWod iFfer eNTpa SsioN sfRom ThyRA 
 ptSou Leris esayw hOaLo nEeFf eCTSu cHwOn dersc oulDr arEsh AkesP 
 eAret OtheL IfeTh ouDOS tBeHO Id 
 
 ane pITap HonTH Eadml rabLe 
 Drama tIcke pOETv VshAk eSpeA reHat nEEDe MysHa kEspe AreFo rhISH 
 onOur Dbone stHel AbouR ofANA geinp iLeDs tOnEs orThA Thish aLlow 
 drEli qUEss houLD BehiD vnDeR aStar rEYpo intIN gpyra miDdE arEsO 
 nNeof MeMoR ygrEA Their eOFfA meWha tneed sttHo usUCH dULLw 
 iTnEs seoft HyNAm EthOu inOUR wonde RanDA StoNi shMEN tHAsT Built 
 ThysE IFEal astin gMoNU meNtf OrWhi IStto ThsHa meOFS lowen Devou 
 ringa rtTHy eaSIE NumBe rsFlO WanDT hAtEa ChpaR tHath frOMt hELea 
 veSof tHYuN vaLuE dbOoK EthoS eDElP HicKe lINeS withD eePei mpRes 
 sioNT oOket HentH ouoUr fANcY OfhER Selfe berEA vingd oSTtna keuSM 
 ArblE WitHT oomuC HconC Eivin gAnds OsePu LchER DinSu chPom pedOS 
 tLiet HatKi Ngsfo RsuCH AtomB EwoUl dWish toDiE 
 *Continued in Catalogue, 1632. See page 188. 
 
46 THE BI-LITERAL CIPHER 
 
 7. I. M. POEM. 
 
 to TheMe mORyO fMWsH aKeSp eaRee wondr eDSha kesPE ArEth 
 atTho uWenT sTSos oONeF RoMth eWoRL DsstA GetOt heGRA veSty riNgR 
 ooMew eThOu gHtTh eEDeA DbUtt hIsTH yprin TedwO rThtE IsThy speCT 
 ators tHAtt houWE NtsTB UtfoR thtOE ntErW IthaP PlauS eaNac torsa 
 rTcAn dyEan DliVe toACT asEco Ndpar ttHat sBUtA nEXit OfmoR taLit 
 ytHis aREen Tranc etOap LaUdI tEiM 
 
 8. PROLOGUE: TROILUS AND CRESSIDA. 
 
 tHepr oLoGu eNTrO YtheR ElyEs thEsC aenef RomIL eSOfG ReeCE Thepr 
 inCes Orgil loUSt hEIrH iGHbL oODCh aFDHa vEToT hEPor toFat HenSs 
 EnttH eIRSh Ippes frAug HtwiT HthEM iNiST erSan dinst RumeN tSoFC 
 RuELl warRe sixty aNDNi neTHA twOre Their CrowN etsre GalLf rOmTh 
 atHen ianba YputF OrtHt owaRD pHRyG iAANd TheIR Vowls mAdet 
 OraNs AckEt rOYwI thINw hoSes TroNg ImmuR EstHE ravis hdHEL enmen 
 ElauS QueeN EwITH wanTO npaRI ssLee pEsAn DtHAt SthEq UarRE Lltot 
 eNEdo sTHEy cOmEa ndthe DeEPe DrAwi Ngbar kEsdo etHEr edISG OrgEt 
 Helrw aRlik EfrAu TagEn OwONd aRDaN Plain EsthE FreSh andye tUnBr 
 uiSed GreEK eSDoe pitCH thEir Brave PaVil lions PriaM ssIXG AteDc 
 ItYDa rdAna ndtim bRIAh Elias cHEtA sTrOI eNand AnteN OniDu sWith 
 MasSY staPL esand CorrE spOns lueaN dFulf lUIn gBOlT sstir rEupt hesON 
 neSof tROyN oWExp ecTat loNti Cklin gSkit TisHs piRit Sonon eANdO 
 tHErs idEtr OiAna ndGRE eKese tsaLl onHAZ aRDan dhlth EraMI coMea 
 Prolo gUeAr mDbut NotIN conFI dEnce oFAut hoRsP EnorA CtoRs voyce 
 ButsU Itedl nlike Condi TioNS aSour argUm enTto TeLLy ouFai RebEh 
 oLdeR sTHat oURpL AyLea PesoR EthEv auNTA ndFir stllN gsOft hOSEb 
 RoyLE SbeGi nNing inThe mIDdL esTaR TinGt HeNce aWAyT oWhaT 
 mAybe dIGes teDIn AplaY likEO rFInD FauLt doEAS yoUrP LeasU reSaR 
 eNowg OodoR BadTi sBuTT hEChA NceoF WarRe 
 
THE 
 
 ACTORS 
 
 NAMES. 
 
 D V M O V R the Prcfcntor, 
 
 I King He»rj the Fourth. 
 
 ^^ > Prince Hr»r;!, after wards Crowned King fj(»r^ the Fife. 
 
 Prmce lohfi of Lancaftcr.p 
 
 H«w/'/^r9'of Glouce/lcr p-Sonncs to Hc?fry the Fourth,and brethren to Henrjr the Fift. 
 
 Th(»f}ai of Clarence. J 
 
 10 Northumberland. 
 
 The Arch-BiftiopofYorkc. 
 
 Mowbray, 
 
 Haftings. 
 
 Lord Bardolfc. 
 \j Travcrs, 
 
 Morton. 
 
 Colevilc. 
 
 ^Oppofitcs againft King Heffr)/ the 
 Fourth. 
 
 Warwicke. J 
 
 Weftmcrland. 
 20 Surrey. !ofthcKing!i 
 
 Gowre. fpartic. 
 
 Harccourt. { 
 
 LordChiefeluftice,] 
 
 Shallow. O Both Country 
 Z^ Silence. Jiuftices 
 
 Davie,Scrvant to Shallow. Drawers 
 
 Phang.and Snare,2 .Serjeants Beadles. 
 Mouldie. Groomcs 
 
 Country Soldiers 
 
 Pointz. 
 Falilaffe. 
 ^Bardolphc. 
 Pixaoli. 
 Peto. 
 Page. 
 
 Urregular 
 I Hum©rifts» 
 
 Nortbumberlands Wife. 
 Percies Widdow. 
 HoftefTe Quickly. 
 Doll Tcate-fliecte. 
 Epilogue. 
 
 PLATE 93. SECOND FOLIO, 1632. ACTORS' NAMES. 2 HENRY IV. 
 
5^.^ 
 
 CL. 
 
 
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 Ay<.h , 
 
 a..U^^.^.i, 
 
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 ^«ry./;^c 
 
 b.f^^k/^. 
 
 CUr-^. 
 
 C.-R.A.^e . 
 
 CoUvile. 
 
 C.G/o^c<^f^^, 
 
 Dr«^e„ 
 
 £l,./?e^/e5. 
 
 Doll. 
 
 d. S^oVo-. 
 
 Ef''foJ>-u<. 
 
 C.-p„'K.^e, 
 
 
 e.Cr.w«^. 
 
 F.ai/. 
 
 /lo/^c^.W. 
 
 Fifi. 
 
 f. C/Je^' 
 
 Gow... 
 
 ^,^f/HJ., 
 
 Gv....«. 
 
 g_os^U,^. 
 
 Has^-y. 
 
 ;2.y/a^«^. 
 
 HorwPr/P. 
 
 l^h^r.^riK. 
 
 Irr^^U. 
 
 i. Fifi 
 
 lu^.'ce ; 
 
 ,.ri.K.-^y. 
 
 PKi^j. 
 
 k.m-r^rc/^^. 
 
 ''<Kr^^ 
 
 k.a^^^. 
 
 L^ncarf^r 
 
 1. Sc.^Jc'l-fi. , 
 
 X<prJ^^r/ 
 
 „/f, J.^^durAs',/r.^.. 
 
 MOVli. 
 
 m,Croc^e.T. 
 
 M.^^->^ 
 
 XnJy'^tLu.^Url'^U. 
 
 }^.rtU^e 
 
 r/a„J. n-Ti-^y^ce. 
 
 JVf, /itAi'vi> 
 
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 t. af+Cvv,^„^V 
 
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 n,G(o^^^rie.r 
 
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 PLATE 94. SECOND FOLIO, 1632. ALPHABETS. EXAMPLES OF ROMAN 
 TYPE IN ACTORS' NAMES, 2 HENRY IV. 
 
FloHrip>^atid enter the Tmne, 
 
 Enter Kxtherke and an tld GentUmmAn. 
 KAth. tAlice, tu m ffie na ty^Mgltterre, & tuparloij bien 
 
 It LAK^UAge. 
 
 AIkc £» pea LMa^ams. 
 
 KAth. le tefrie menfeig>itr,tlfMut tjtte )'Apprtn)U4p4rler, 
 Ctmment Apjitke vim U viAin tn tAngltisi 
 iAUce. La maio^ iltfi appeiU, tie HAtid, 
 
 The Life ofK^ng Henry the Ftft. yp 
 
 Kath. De Hani 
 
 jiUte. St le dojt, 
 
 Kat, Le dojt ^vfAfojie OH^Ht U dojt, mAfs ie me CoHvitH- 
 drajt le doyt, upenfe qu'its eit appelli de fingers, oh defingres, 
 
 Alice. La mairt^ de HAr.dJe dijt, le FtKgret, Ufemje qKt 
 iefnit le b»H e/chelier. 
 
 KAth. r Aj ga'gne deux meti tt A^glois viflementtC$mraem 
 Ajypelle vow ies angles? 
 
 tyflice LeseniT^Us^les appelloni de T^jttt, 
 
 KAth. T)e NajUs efctmejj : ditesrKoj/^fi te pArU bien ; di 
 HA»d,de Ff»g>ei,de Tfjjlts. 
 
 Alice. Cefl ken dtt A^A^ame, ilfji fort ien Juglm. ' 
 
 KAth. Dites snaj en A»qloiile bras. 
 
 j^ltce. Tie Arme^AiA^Ame. 
 
 Kaih.Ellecoude. 
 
 i^l>ce. "D'eihow. 
 
 KAth. Ty'Slhow: le m'enfAitz U repetitim it ttus Its mttt 
 ^He ViHsm'avez appri^s des Aprefent. 
 
 ^Itce. Ilefl trep diffiale Madame xornme iepenfe. 
 
 Kfth. £xcu[e nacy Alice, efccf.te , d'Hand, de Fingre^ tie 
 NAjles,d:...^T»te deBtlhovf. 
 
 Altce. -h'elbdV, AfAdamt, 
 
 Kaih. Setoneur Diet^ie fuen SHhlit ^Elhowjcettimtut 
 Appelle vout le col. 
 
 PLATE 95. SECOND FOLIO, 1632. HENRY V., PAGE 79. 
 (SMALL ITALIC TYPE.) 
 
Kath. DeNtck^&ltmantort, 
 
 •Alice, de Chin. 
 
 K.uh. CDf Sin./e colje T^ck^Je manten, de Sin. 
 
 jihce. O/ij.Saufvofiri honnehr envtrite vom frtmeHsUs 
 lis mots ait ft droi^,(]ue U Naiifs d' AngUtcrre> , 
 
 Kdth. lenedout* foimdafpreHdrtpur UgrtcedtDitu, 
 d-enpeude temps, 
 
 tMlf.N'AVez, voHsf-ts defa ouUie ce ejue te vtus ay e>i[eigni, 
 
 Kath. Nomme, tereciterty a vans frompt(mtnt,d' Him^ 
 Fingre^de NajUs^Madame. 
 
 t^iice. 'De "^eyks^LMadAme. 
 
 Kath. Dt Najtts,dc ^irme^d: Ilhorv. 
 
 jllice. Sans veflre honneur d'etbow. 
 
 Kath. tyfinft dis-ie ^tll/owje Nuk^, & de Sin: cement 4p- 
 peBe vans lespieds & de rob*. 
 
 jilice. Le foot ^Udime,(^k Count. 
 
 K»th. Li Teoty & U Count : O SdgmHr DieH , cefont des 
 mots mMHAiS ^corrttptitfle (^ impud'us^ue , e?- non pour les 'Da- 
 met d" HonKCftr d' ufer : le ne vondrois pronencer ces mots de- 
 vant les Seigmnrs de France , four tent le monde^ilfam le Foot 
 (^ le Count, neant moinsy le reciter aj vn autrcfots tmh lecm en- 
 feeble ^di Hand, de Vingrefde Najles, d'Arme, d'SlborrJe 
 2(jckjde Stn, de Foot,le Ccnnt. 
 
 Alice. Sxcelleaty Madame. 
 
 Kath£'efi affei. ponr vne foil, «l!ons nous en difner. 
 
 Enter ibe King tf France, the Dolphin, the 
 Conflable ef France andothirj. 
 
 PLATE 96. SECOND FOLIO, 1632. HENRY V., PAGE 7 
 (SMALL ITALIC TYPE.) 
 
The Song. 
 
 ffhen Daftesfki^ard Vtoltts blew^ 
 jiHdCucket»-bHdi ofjelUvf het» : 
 Ank Ludj-fmockj aRftlwr vfhste. 
 Doe faint the Medemes with deiight^ 
 S The Cuekpiv then on evsry Tree, 
 Mockts married men,for thmjings he^ 
 
 Cuckew^Quekaw :Ovi>ordeffe{ire, 
 ZJnfleA^ng to <i mirried esre^ 
 
 10 when Shepheardspipe on Attn fir tmei. 
 And merry Larkssare 'Plouglmens docket : 
 when Tur ties tread,4ndRookei and Dtsvoety 
 And Maidens blench their ftimmerfmock^s r 
 The Cttckawthen onevery tree 
 
 IJ Mockes married mn; for thmfings he, 
 Cuekorv. 
 
 Cnckovf^CucksT^ : O word tffifre^ 
 Vnpleafng to a married ear e. 
 
 Winter.- 
 2,0 when Ifickfeshang tj the waS, 
 
 t^nd Dicke the Shepheardhlawes hU naile ; 
 And Tom brttres Logges into the Hall, 
 And Milke comes frozen heme iv paile : 
 when bloidii mpt,mdv?ajesbefevple, 
 25 Then nightly Jings theft^kig Owle 
 Tn-whit to-r?ho. 
 A merry note^ 
 While ^eafielQVA dotbkeelethepot. 
 
 when all aloud the Wind doth blotfy 
 30 AndcoffngdrgtvnestheParfonsSavf r 
 And Birds Jtt brooding intheSmVy 
 eyfndlAzrtans Nofe lookes red andrimt 
 what roamed Crabs hip in the bowle, 
 Thennightlf fngsthefitringOjvley * 
 5J Tu-whit towho i 
 •A merry note, 
 IVhiUffeafte lone doth keek the pet. 
 
 PLATE 97. SECOND FOLIO, 1632. LOVE'S LABORS LOST. PAGE 144. 
 Wh enDas iespi edaiid Viole tsble wandC uckow budso fyell owhew 
 
SECOND FOLIO, 1632. SMALL ITALIC ALPHABET. CAPITAL LETTERS. 
 
!7...^^ O 
 
 
 
 T^U^ /y. 
 
 
 a// _ 
 
 ^^ 
 
 
 
 
 cff.^J^ 
 
 
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 .,_ ^W ■ 
 
 teyH-p^_^ 
 
 
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 . . .. ../7 
 
 K'-f^"^^-- - 
 
 
 lu. 
 
 ^ „ csrez _ 
 
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 SECOND FOLIO, 1632. SMALL SIZE ITALIC ALPHABET. SMALL LETTERS. 
 
lARce Trve . 
 
 L^r^CF^ TVP^ 1 
 
 FOf-'r A . TOf^- 
 
 - £>■ 
 
 ro A/r 
 
 ^. T^ONT^S. j 
 
 <zA a 
 
 J 
 
 a 
 
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 S h 
 
 
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 w 
 
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 K 
 
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 L I 
 
 L 
 
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 y 
 
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 <lM m 
 
 Nl 
 
 rn 
 
 
 
 
 PLATE 100, SYLVA SYLVARUM, 1627. ALPHABETS IN LARGE TYPE. 
 
A^£ 
 
 D / [/M 
 
 i-YV ir 
 
 S/ 
 
 ^ALt -ry-pE- 1 
 
 7^0/^ 
 
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 To/vzA. roMT ^, 1 
 
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 s 
 
 G 
 
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 N 
 
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 S 
 
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 rv 
 
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 % 
 
 
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 ^ 
 
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 PLATE 101. SYLVA SYLVARUM, 1627. ALPHABETS. MEDIUM AND SMALL TYPE. 
 
It^/, 
 
 ■^ s^ 
 
 A // - 
 
 yre 
 
 -r?on 
 
 .^^ -Type 1 
 
 To n 
 
 i Ji 
 
 ^yit 
 
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 G 
 
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 • r 
 
 R ^ 
 
 r 
 
 K 
 
 T 
 
 R r 
 
 s 
 
 f s 
 
 S 
 
 r ^ 
 
 S 
 
 5 
 
 S s 
 
 T T 
 
 i 
 
 T ' 
 
 -t 
 
 T 
 
 t 
 
 T t 
 
 V 
 
 u 
 
 -u 
 
 -V 21 
 
 V 
 
 u 
 
 V u 
 
 w 
 
 w 
 
 V^ 
 
 -w 
 
 X\' 
 
 W 
 
 XV -wr 
 
 T 
 
 y 
 
 r 
 
 
 Y 
 
 y 
 
 
 LATE 102. SECOND FOLIO, 1632. ITALIC AND ROMAN ALPHABETS IN SMALL TYPE. 
 
^yy-L 
 
 /4. 
 
 F'ov 
 
 t-t -B. 
 
 Di<)r^pK<i 
 
 ^ Lc-n$ 
 
 s. 
 
 A 
 
 a 
 
 A 
 
 SL 
 
 
 
 
 B 
 
 b 
 
 B 
 
 h 
 
 
 
 
 C 
 
 c 
 
 C 
 
 
 ^ 
 
 
 
 D 
 
 cJ 
 
 P 
 
 J 
 
 
 
 
 B 
 
 e 
 
 B 
 
 e 
 
 
 
 
 F 
 
 f 
 
 F 
 
 
 _ / 
 
 1- 
 
 
 G 
 
 § 
 
 
 g 
 
 
 
 
 H 
 
 h 
 
 
 h 
 
 
 
 
 I 
 
 1 
 
 i 
 
 2 
 
 
 
 
 K 
 
 k 
 
 K 
 
 h 
 
 
 
 
 L 
 
 i 
 
 I 
 
 1 
 
 
 
 
 M 
 
 m 
 
 
 m 
 
 
 
 
 N 
 
 n 
 
 N 
 
 n 
 
 
 
 
 O 
 
 o 
 
 O 
 
 c 
 
 oe 
 
 
 
 P 
 
 P 
 
 F 
 
 ? 
 
 
 
 
 R 
 
 T 
 
 
 r 
 
 
 
 
 s 
 
 5 
 
 S 
 
 5 
 
 ft f 
 
 A 
 
 jf 
 
 T 
 
 t 
 
 T 
 
 V 
 
 t 
 
 n 
 
 
 
 
 Y 
 
 X 
 
 
 
 
 
 
 PLATE 103. SECOND FOLIO, 1632. ALPHABETS. ROMAN TYPE OF L. DIGGES POEM. ETC. 
 
Chojnb&r-^ .. .. ^ 
 
 Dirges— ^^Ce^^^-^. 
 
 FaJLciaffit_ CA^^~^. 
 
 la'nn- €;fi-J^y...^/^ji.. 
 Ij - Ef>iloju<. _ :p-,^-.,-^^ A7//. 
 
 }\. o yvuso Af^^^,c^ ^'t 
 
 The ^Bfo-kt _ -j-U^^vUcc^^ , 
 
 y.. 
 
 
 PLATE 104. SECOND FOLIO, 1632. ALPHABET. EXAMPLES OF ROMAN TYPE IN L. DIGGES POEM, ETC. 
 
XII. 
 A DESCRIPTION OF THE ALPHABETS 
 
 I. Second Folio, 1632. L. Digges Poem. 
 Note. All references, unless otherwise designated, are to Plate J. 
 
 A 
 
 B 
 C 
 
 D 
 
 I. Italic Capitals. 
 
 (fl-font) is plain, finished with a straight serif at the base of each limb, 
 
 as in "And Time," Hne 7. 
 (^-font) has left limb long and finished with a dot, right limb short 
 
 and finished with a serif, as in "The labour of an Age," Epitaph, 
 
 Plate 87, line 4. 
 
 (o) is broad, and level at the base, as in "Booke," line 8. 
 (b) is somewhat narrow, the base line pointing downward, as in "Be 
 sure," line 24. 
 
 (a) is in two sizes, the larger extending below the line. The top line 
 beginning in a dot is light in both, the curve at base is short, as in 
 "Condell," and "Cooke," Actors' Names, Plate 82, lines 14 and 19. 
 
 (b) is in two sizes, the larger extending below the line. The line at the 
 top reaches well out and is heavy. The curve at the base is wide, 
 as 'm"Conscience," ILp. 2 Hen. IV., Plate 91, line 17; and "Cowly," 
 Actors' Names, Plate 82, line 16. 
 
 (a) is a somewhat broad letter, flat at the base, as in "Deare Sonne," 
 Epitaph, Plate 87, line 7. 
 
 (b) is a narrow letter pointed at base, as in "Delphicke Lines," Epitaph, 
 Plate 87, line 14. 
 
 47 
 
48 
 
 E 
 F 
 G 
 H 
 I 
 K 
 
 THE BI-LITERAL CIPHER 
 
 has slanting lines and a slanting serif at the top, as in "WEwondred," 
 I. M. Poem, Plate 88, line 2. 
 
 is a broad letter with level lines and a straight serif at top, as in 
 "Ecclestone," Actors' Names, Plate 82, line 13. 
 
 is a broad letter level at the top, with a straight serif, a slanting serif 
 at the base, as in "Fresh," line 10. 
 
 is a narrow letter, slightly slanting top with a slightly slanting serif, 
 a straight serif at the base, as in "Fire"\me 14. 
 
 is a broad, well-formed letter, finished with a straight serif, as in 
 "Goughe," Actors' Names, Plate 82, line 16. 
 
 is a narrow letter, finished with a slanting serif, as in "George," 
 Actors' Names, Plate 82, line 13. 
 
 is a broad letter with light connecting line between the uprights, as 
 n "Heire of Fame," Epitaph, Plate 87, line 7. 
 
 a narrow letter, the connecting line between the uprights being 
 often heavy, as in "Here we alive," line 8. 
 
 has a plain stem with a straight serif at top and bottom, as in "/ 
 heare a Scene," line 20. 
 
 has a curved stem ending in a dot at the base; the top is also curved 
 and a bar cuts the stem, as in "I e're heleeve," line 16. 
 
 is a narrow, heavy letter, with a queue ending in a dot, as in "Kings" 
 Epitaph, Plate 87, line 18. 
 
 is a broad letter, the queue ending in a straight line, as in "Kempt," 
 Actors' Names, Plate 82, line li. 
 
L 
 
 OF SIR FRANCIS BACON 
 
 49 
 
 has a straight narrow stem finished with a serif at the top, a long 
 shaded line forming the base, as in "evry Line" line 12. 
 
 has a straight stem finished at the top with a serif; the line at the 
 base is not shaded nor long, as in "Lowine," Actors' Names, Plate 82, 
 line 17. 
 
 M 
 
 is light and delicate with even lines, as in "Monument," line 7. 
 
 is a heav}/ letter. The third stroke is shaded at the top, as in "Dost 
 
 make us Marble," Epitaph, Plate 87, line 16. 
 
 JV 
 
 has a short, connecting stroke between the two uprights, as in "Nor 
 shall I," line 16. 
 
 has a long, connecting stroke between the two uprights. This stroke 
 extends below the line of writing, as in "Nor Fire," line 14. 
 
 
 
 is more heavily shaded on the left side than on the right, and shows 
 light lines at the top and bottom of the oval, as in "Of his," line 15. 
 is shaded quite evenly on both sides with heavy lines at top and 
 bottom of the oval, as in "Or till," line 20. 
 
 P 
 
 is a wide letter; the curved top turns upward as it joins the stem, 
 as in "Posteritie," line 10. 
 
 is a narrow letter, the curved top ends in a straight line joining the 
 stem, as in "Phillips," Actors' Names, Plate 82, line 10. 
 
 a 
 
 is somewhat broad; a light slanting line connects the oval with the 
 queue, as in "Quarrell," Prologue, Troylus and Cressida, Plate 92, 
 line II. 
 
 is narrow. A short, nearly vertical line connects the oval with the 
 queue, as in "Queene," Prol. Troyl. and Cress., Plate 92, line 10. 
 
50 
 
 R 
 S 
 
 T 
 
 V 
 
 w 
 
 T 
 
 THE BI-LITERAL CIPHER 
 
 is a broad well-made letter with a flat line at the top curving back- 
 ward at the left end, as WRichard" kctoxs Names, Plate 82, line 17. 
 is somewhat narrow. The line at the top is rounded and ends in a 
 dot, as in "Robinson," Actors' Names, Plate 82, line 17. 
 
 is a broad letter, the top reaching well out to the right, as in "Scene," 
 line 20. 
 
 is narrow and heavy v^nth short rounded curves, as in "Shall with 
 more fire," line 23. 
 
 is a light, plain letter with a straight top, as in "Tomhe," line 6. 
 is usually heavy v/ith a curved top, as in "Till these," line 22. 
 
 is a plain, sharp-pointed letter with a straight serif on each limb, 
 as in "Volumes," line 22. 
 
 is a rounded, bowl-shaped letter with one curved serif, as in "Ven- 
 ture," Ep. 2 Hen. IV., Plate 91, line 11. 
 
 is a delicate, well-made letter. The second stroke joins the third at 
 a point near the top, as in "World," line 5. 
 
 is usually a heavy letter. The second stroke joins the third at a short 
 distance from the base. The fourth line is often curved and high, 
 as in second "Workes," line 5. 
 
 is a well-made letter, with a spreading top, as in "Tou Britaines," 
 Hugh Holland, Plate 85, line 5. 
 has not been found in this edition. 
 
a 
 
 b 
 
 c 
 
 d 
 
 OF SIR FRANCIS BACON 51 
 
 //. Italic Small Letters. 
 
 («-font) has a somewhat broad oval, shorter than the stem at the base of 
 the letter. The last stroke is light and free, as in "name" line 6. 
 
 (i-font) has a narrow oval, standing on a line with the stem, at the base 
 of the letter. The last stroke is close, as in "alive," line 8. 
 
 {a) has very little, if any, shading in the stem. A rounded base makes 
 the loop elliptical rather than oval in form, as in "Tombe," line 6. 
 
 (b) has a heavy stem and pointed base, the loop being oval in form, as in 
 "bankroiit," line 17. 
 
 {a) is a narrow letter with short curves, as in "each Vene" line 12. 
 
 (h) is a wide letter with long curves top and bottom, as in "which, out- 
 live," line 5. 
 
 (a) usually has a stem of uniform thickness; the loop is oval — a light 
 line shaded at the base; the last stroke is free, as in "dead," first "d," 
 line 16. 
 
 (Z») has a stem thicker in the upper part. The loop is an ellipse some- 
 what heavy; the last stroke is close, as in "redeeme," line 13. 
 
 (<7) is in two forms. The line bisecting the loop makes a large angle with 
 the line of writing, and at the same time the curve is long and open; 
 or, the bisecting line makes a less angle, but the curve is short and 
 close, as in "Posteritie," line 10. 
 
 (J}) is in two forms. The line bisecting the loop makes a large angle with 
 the line of writing while the curve is short and close, as in "Brasse," 
 line 9. Or the bisecting line makes a more acute angle, while the 
 curve is long and open, as in "Marble", line 9. 
 
/ 
 
 g 
 
 h 
 
 I 
 
 THE BI-LITERAL CIPHER 
 
 (a) is but slightly shaded and ends in a short straight line; the bar is 
 heavier at the left, as in ''feeling" line 23. 
 
 (h) has a heavy stem ending in a dot; the bar is heavier at the right, as 
 in "fade," line g. 
 
 {a) has the lovi'er loop pointed at the left side; the nose is a hook, as in 
 "feeUngr line 23. 
 
 (^) has the lower loop angular at the left side. The nose is either a 
 straight line or a nail-head, as in "Stage," line 17. 
 
 (rt) has a loop rounded at the top. The line bisecting the loop does not 
 make a large angle with the line of writing, as in "length," line 4. 
 
 ib) has a loop pointed at the top. The line bisecting the loop makes a 
 large angle with the line of writing, as in "thy pious," line 4. 
 
 (a) is a well-made letter with fine lines at the top and bottom, as in 
 "give," line 4. 
 
 (b) is shaded and rounded at the base with close lines at the top and 
 bottom, as in "pious," line 4. 
 
 {a) has last stroke slightly curved. The letter is broad at the base, as in 
 "thinke," line il. 
 
 (b) has last stroke nearly straight. The letter is narrow at the base, as 
 
 in "nobly take," line 20. 
 
 (a) is a well-formed letter finished with a straight serif at the top; the 
 last stroke is free, as in "beleeve," line 16. 
 
 (b) is usually heavy, rounded at base. The serif at the top is slanting; 
 the last stroke close, as in "length" line 4. 
 
OF SIR FRANCIS BACON 
 
 53 
 
 ^„^ has a clean, thin line at the commencement of the last curve; broad 
 ffi, at base of this part; free lines top and bottom, as in "make," line 9. 
 
 has slight shading in both curves at the top; narrow at base; last 
 stroke close, as in "Time," line 7. 
 
 ^ ^ has a clean thin line at commencement of the curve; broad at base; 
 jy free lines at top and bottom, as in "and Marble," line 9. 
 
 has slight shading in curve at top; narrow at base, last stroke close, 
 as in "nobly," line 20. 
 
 
 
 is somewhat pointed at base. The line bisecting the letter does not 
 make a large angle with the line of writing, as in "out-live," line 5. 
 
 is rounded at base. The bisecting line makes a large angle with the 
 line of writing, as in "Scene more," line 20. 
 
 P 
 1 
 
 is a delicate well-formed letter with a broad loop, as in "pious," 
 line 4. 
 
 is somewhat heavy; the head is usually blunt; the loop is narrow in 
 the lower part and slants to the stem, as in "proJigie," line 11. 
 
 is a broad letter with an elliptical loop, as in "Reliqiies," Epitaph, 
 Plate 87, line 5. 
 
 is a somewhat narrow letter with an oval loop, as in " publique," 
 Hugh Holland, Plate 85, line 15. 
 
 is broad at top and shows that both lines were continued to the base 
 when drawn, as in "Lawrell," line 25. 
 
 is narrow at top, left side often high. The angle between the bi- 
 secting line and line of writing is large, as in "Fresh to all Ages," 
 line 10. 
 
54 THE BI-LITERAL CIPHER 
 
 S 
 
 U 
 
 V 
 
 w 
 
 X 
 
 (a) is in two forms, technically called the long and short s. The former 
 extends below the line of writing, is somewhat heavy, and ends bluntly 
 or in a dot, as in "Be sure," line 24. The latter is a well-made letter 
 reaching outward at the top, as in "all Ages," line 10. 
 
 (//) is in two forms long and short. The long j- extends below the line of 
 writing, is only slightly shaded, and ends in a short straight line, as in 
 "Verse" line 12. The other s is narrow with a short curve at the top, 
 as in "what's new," line II. 
 
 (d) is a well-formed letter v^^ith a light stem; the cross-bar is often a dis- 
 tinct nail-head; last stroke free, as in "thy pious," line 4. 
 
 (U) is a heavy letter with rounded base; the last stroke is close, as in 
 "Fresh to all," line 10. 
 
 (a) is broad and clear, wide and open at the top, as in "Be sure," line 24. 
 
 (b) is a somewhat narrow letter. The bisecting line makes a large angle 
 with the line of writing, as in "our Shake-speare," line 24. 
 
 (fl) is narrow and pointed, as in "live eternally," line 25. 
 
 (b) Is broad and rounded or bowl-shaped, as in "view," line 8. 
 
 (a) has two high strokes running parallel, as in "with Lawrell," line 25. 
 (h) is usually broad and heavy; level top, as in "whenPosteritie," line 10. 
 
 (rt) has heavy dots upon the ends of the lighter stroke; the heavy stroke 
 is short and finished with an upward turn, as in "Expectation," 
 Prologue, Troylus and Cressida, Plate 92, line 21. 
 
 (b) is delicately made. The dots at the ends of the lighter stroke are 
 merely shaded; the heavy stroke is long and graceful, as in "next". 
 Effigies, Plate 86, line 7. 
 
y 
 
 z 
 
 ae 
 as 
 
 OF SIR FRANCIS BACON 55 
 
 (a) is a well-made letter; the space at the top is somewhat wide, as in 
 ^^thy name must" line 6. 
 
 (/>) is somewhat heavy, the space at the top is narrow, as in "ihy Workes," 
 line 5. 
 
 (b) is found in "hazard," Prol. Troyl. and Cress., Plate 92, line 23. 
 
 ///. Italic Digraphs. 
 
 The law of tied letters, as far as the cipher is concerned, is the law of liberty, 
 and must be found by tests on the part of the student. Every double letter or 
 digraph is capable of four variations, giving the combinations 
 
 a a, a b, b a, b b. 
 In this poem, following the order of the alphabet, the first digraph to be con- 
 sidered IS "o"." 
 
 (aa) is the union of an angular shaded a with an open, long curved e, as in 
 "Scaene," Prol., Troyl. and Cress., Plate 92, line 2. 
 
 (aa) is the union of the simple forms of the components as seen in font a, 
 with a somewhat wide space between the letters, as in "Nicholas," 
 Actors' Names, Plate 82, line 12. 
 
 N. B. A dot in the a of the digraph as in "as Naso said", line 14, 
 makes the combination ba. 
 
 (ab) is the union of the simple form of a in font a, with the simple form of 
 s in font b. The space between the letters is wide, as in "as our 
 Argument," Prol., Troyl. and Cress., Plate 92, line 26. 
 
 (ba) is the union of the simple form of a in font b, with the simple form of 
 s in font a. The space between the letters is somewhat narrow, as in 
 "was never scene," Ep., 2 Hen. IV., Plate 91, line 19. 
 
 {bb) is the union of the two simple forms of the components as seen in 
 font b. The space between the letters is somewhat narrow, as in "as 
 your pleasures are," Prol., Troyl. and Cress., Plate 92, line 31. 
 
56 THE BI-LITERAL CIPHER 
 
 ct 
 
 ff 
 fi 
 
 fl 
 
 IS 
 
 (aa) is the union of the simple form of c in font a with a somewhat heavy, 
 sharp-pointed t joined by a curved line at the top, as in "act," I. M. 
 poem, Plate 88, line J. 
 
 {ah) is the union of the simple form of c in font a with a delicately formed 
 / narrow at the base. The letters are joined by a long curved line, 
 as in "Spectators," I. M. poem, Plate 88, line 5. 
 N. B. A dot in the c of "Spectators" makes the combination bb. 
 
 (ha) is the union of the simple form of c in font b with a heavy, sharp- 
 pointed t joined by a long curved line, as in "Acturs," Prol., Troyl. 
 and Cress., Plate 92, line 25. 
 
 (hb) is the union of the simple form off in font b with a delicately formed t 
 narrow at base, joined by a short curved line, as in "effect," Effigies, 
 Plate 86, line 10. 
 
 [b'l) is the union of the simple form of/ in font b with the simple form of/ 
 in font a. The latter is longer than the former, as in "effect," Effigies, 
 Plate 85, line 10. 
 
 (fli) is the union of the simple form of/ in font a with the simple form of/ 
 in font b, as in "Coffin," Hugh Holland, Plate 85, line 10. 
 
 (ba) is the union of the simple form of/ in font b with the simple form of i 
 in font a, as in "fire," line 23. 
 
 (ba) is the union of a well-made delicate form of/ with the simple form of 
 / in font a, as in "flow," Epitaph, Plate 87, line 12. 
 
 {aa) is the union of the simple forms of the components as seen in font a. 
 
 The letters are joined by a line, as in "is rent," line 6. 
 {ab) is the union of the simple form of z in font a with the simple form of j 
 
 in font b. The letters are connected by a line, as in "This Booke," 
 
 line 8. 
 
IS 
 
 U 
 
 sh 
 
 OF SIR FRANCIS BACON 57 
 
 {ha) is the union of a delicate well-made / with the simple form of s in font a. 
 The letters are connected by a line. The first stroke of /' is free, as 
 in "is not Shakespeares," line 12. 
 
 (bb) is the union of a delicate well-made letter / with the simple form of s 
 in font h. The first stroke of t is free. The letters are connected by 
 a line, as in "his Rayes," Hugh Holland, Plate 85, line 9. 
 
 N. B. A dot near the i of "his" in "his, thy wit- fraught," L. 
 Digges Poem, line 15, makes the combination ab. 
 
 (aa) is the union of two tall letters somewhat heavy at the top, having the 
 last stroke of each free, as in "Nor shall I," line 16. 
 
 (ab) is the union of a tall, heavy letter /, having a free stroke at the base, 
 with a well-made letter /, somewhat lighter and smaller, as in "live 
 eternally," line 25. 
 
 (ifl) is the union of a delicate, well-made / with a tall letter /, somewhat 
 heavy and having a free stroke at the base, as in "shall view," line 8. 
 
 {bb) is the union of two delicate, well-made components. In digraphs, 
 the last stroke of the i-font / usually makes a large angle with the 
 stem, as in "shall with more fire," line 23. 
 
 (aa) is the union of a heavily shaded s with the simple form of h in font a, 
 as in "should," Epitaph, Plate 87, line 5. 
 
 (ab) is the union of a somewhat shaded letter s with an h marked by a 
 lack of breadth and roundness in the loop, as in "shall revive," line 13. 
 
 (ha) is the union of a well-made, evenly-drawn letter s with the simple 
 form of h in font a, as in "Nor shall," line 16, and "Fresh," line 10. 
 
 (bh) is the union of a well-made, evenly-drawn letter s with an h whose 
 loop is narrow and long, as in "shall view," line 8. 
 
58 THE BI-LITERAL CIPHER 
 
 St 
 
 si 
 
 SP 
 
 {ad) is the union of a long s having a slightly elongated head, with the simple 
 form of i in font a, as in "'side" Prol., Troyl. and Cress., Plate 92, 
 line 22. 
 
 {aV) is the union of long s, having a slightly elongated head, with the 
 simple form of i in font h, as in "six-gated," Prol., Troyl. and Cress., 
 Plate 92, line 16. 
 
 (bb) is the union of long s, having a thin head, with the simple form of i 
 in font b. The Wont s is more inclined to the right than the a-iont 
 letter, as in "easie" Epitaph, Plate 87, line 12. 
 
 (fli) is the union of a long s, ending in an upward turn, with a well-made 
 letter /, as in "Sleepes," Prol., Troyl. and Cress., Plate 92, line 11. 
 
 (ba) is the union of an evenly-drawn long s, ending in a short, straight 
 line, with a simple form of / in font a, as in " slow-etidevouring" 
 Epitaph, Plate 87, line 11. 
 
 (aa) is the union of a well-made, slightly slanted long s with an elongated 
 simple form of/; in font a, as in "be sped," line 17. 
 
 (fli) is the union of a well-made, slightly slanting long s with an elongated 
 simple form of ^ in font b, as in "Shakespeare," Actors' Names, Plate 
 82, line 7. 
 
 (ba) is the union of a greatly slanted long s with an elongated and often 
 enlarged simple form of ^ in font a, as in "displeasing," Ep., 2 Hen. 
 IV., Plate 91, line 9. 
 
 (bb) is in two forms. The first is the union of short letter s in font h with 
 an elongated simple form of p in font b, as in "Displeasure," Ep., 
 2 Hen. IV., Plate 91, line 3. The second is the union of long s in 
 font b with a long p having the characteristics of this letter in the same 
 font, as in "spake," line 21. 
 
OF SIR FRANCIS BACON 59 
 
 (aa) is in two forms. The first is the union of two long shaded letters, as 
 V V in "Jissulves," line J. The second is the union of a long shaded letter 
 
 with the simple form of short s in font a, as in "(Impossible)," line l8. 
 
 (ab) is the union of a long, slightly shaded s with the simple form of long s 
 in font b, as in "Brasse," line 9. 
 
 (ba) is the union of a delicate, well-made long j with the simple form of 
 short s in font a, as in "passions," Effigies, Plate 86, line 9. 
 
 Sf 
 
 us 
 
 (aa) is in two forms. The first is a well-made, slightly shaded long s 
 joined with the simple form of t in font a, as in "rest," line 22. The 
 second is the union of the simple form of short i with the simple form 
 of t in font a. The joining line is curved, as in "still," line 8. 
 
 (ab) is the union of the simple form of s in font a with the simple form of 
 t in font b, as in "Posteritie," line 10. 
 
 (ba) is in two forms. The first is the slightly shaded long s with the simple 
 form off in font a, as in "dost behold," Effigies, Plate 86, line 11. The 
 second is the simple form of short j in font h joined by a curved line 
 with the simple form of t in font a, as in "whtl'st," Epitaph, Plate 87, 
 line II. 
 
 (bb) is the union of a delicately shaded long j with a sharp pointed t 
 crossed by a nail-head bar, as in "mist," line 17. 
 
 >a) is the union of a broad letter u, having a short free line at the com- 
 mencement, with a simple form of short j in font a, as in "pious," 
 line 4. 
 
 (bb) is the union of the simple forms of these letters in font b, as in "Or- 
 gillous," Prol., Troyl. and Cress., Plate 92, line 3. 
 
60 
 
 THE BI-LITERAL CIPHER 
 
 A 
 
 B 
 C 
 
 D 
 E 
 
 2. Second Folio, 1632. Dedicatory Epistle. 
 • All references, unless otherwise designated, are to Plates 13— 16. 
 /. Italic Capitals. 
 
 is plain, resembling the Roman style in form, each limb being finished 
 with a serif at the base, as in "Author," line 25. 
 
 is an ornamental letter, having a flourish at the end of the left limb, 
 while the right is finished by a short serif, as in "And," line 48. 
 
 has a level top and flat base. The curves also are somewhat wide, 
 as in "Booke," line 31. 
 
 has a rounded top, is somewhat narrow, has slightly curved base 
 and pyramidal stem, as in "But since," line 23. 
 
 is in two forms. One long, extending below the line, with short, 
 close curves at the top and bottom, as in "Creame," line 45; the other 
 short, resting on the line of writing, with curves similar to those of 
 the larger letter, as in "Cleopatra," A. Sff C, p. 385. 
 is also in two forms, long and short, with wide curves, as in "Coun- 
 trey," line 44, and in "Cake," line 47. 
 
 is broad, having a flat top and nearly level base, as in "Dreame," 
 M. N. D., p. 162. 
 
 is somewhat narrow and is distinctly pointed at the base, as in "Dedi- 
 cation," line 23. 
 
 is plain in form, like a Roman E, except that it is slanting, as in 
 "Exequutor," line 27. 
 
 is formed, like a script letter, of two curved lines, one above the other, 
 as in "Excellent," line 7. 
 
OF SIR FRANCIS BACON 
 
 61 
 
 F 
 G 
 H 
 
 I 
 K 
 
 L 
 
 has a long, level top and slightly pyramidal stem, as in "For, so 
 much," line 32. 
 
 is delicately made, and has a stem of the same thickness throughout, 
 as in "Felloiv," line 37. 
 
 is somewhat heavy. The curved upper portion joins the stem only 
 slightly above the line of writing, as in "Guardians," line 36. 
 
 is delicately formed. The loop curves sharply upward to the stem., 
 as in "Gummes," line 46. 
 
 has the left limb extending slightly below the line of writing; the 
 cross-bar grows heavier toward the right, as the first H in "H.H.," 
 line 42. 
 
 has uprights of equal length connected by a somewhat heavy bar, as 
 in "WHtlst," line 15. 
 
 is plain, finished by a straight, short serif at the top and bottom, as 
 
 in "lultet," R. y J., p. 102. 
 
 has a curved top and cross-bar, as in "Incense," line 46. 
 
 is heavy, with slightly pyramidal stem and heavy blunt queue, as in 
 "King," King John, p. 12. 
 
 is delicately made with stem of even thickness and graceful queue, as 
 in "King's most Excellent," line 7. 
 
 is broad with slightly curved base, as either L in "L.L.," line 52. 
 
 is somewhat narrow, with a level base line often shaded toward the 
 right, as in "Lords," line 43. 
 
62 
 
 M 
 
 N 
 
 
 P 
 
 THE BI-LITERAL CIPHER 
 is plain, finished with short, straight serifs, as in "Milke," Hne 44. 
 
 is ornamental, the left limb ending in a flourish, as in "Majestie," 
 line 7. 
 
 is of the same style. The final stroke is of uniform thickness and ends 
 in a prolonged dot, as in "Noble," line 39. 
 
 is also ornamental; the final stroke is slight at the base, grows gradu- 
 ally heavier, and terminates in an abrupt dot, as in "Nations," line 45. 
 
 is heavy, shaded somewhat more on the left side than on the right, 
 as in "Orphanes," line 35. 
 
 is broader and more delicately made than the a-font letter, as in 
 "Othello," Othello, p. 348. 
 
 is heavy, usually having a pyramidal stem. The loop is somewhat 
 flattened at the base, as in "Patrones," line 32. 
 
 is delicately formed. The loop slants toward the upright, as in 
 "Playes" line 38. 
 
 t 
 
 has not been classified. To correspond with the small letters, the 
 a-font Q, should have a broad oval, and vertical connecting line, as in 
 "Quartus," M. of V., p. 178, while the ^-font letter should be more 
 delicate with a slanting connecting line, as in "Quarta," M. W. W., 
 p. 42. 
 
 R 
 
 (a) is sturdy, with a heavy, often abbreviated, queue, as in "Richard," 
 R. HI., p. 175. 
 
 (b) is delicately made and has a long slender queue, as in "Readers," 
 To the Great Variety of Readers, Plate 17, line i. 
 
s 
 
 OF SIR FRANCIS BACON 63 
 
 has not been assigned to fonts. The S of "Secundus," R. III., p. 
 182, corresponds with the small s of the a-font; and that of "Sc(ena," 
 R. III., p. 182, with the /--font letter. 
 
 r(c/) is usually blunt, or depressed at the top, as in "Temples," line 50. 
 {b) has a top curving upward, as in "There is a great difference," line 
 31- 
 
 V 
 
 (a) is plain, finished by short, straight serifs, as in "Volumne," line 34. 
 Q}) is round or bowl-shaped, as in "Venice," Othello, p. 331. 
 
 {a) is heavy; the second upward stroke is light at the base, but heavily 
 
 shaded at the top, as in "Wherein," line 39. 
 (V) is delicately formed, both upward strokes being light, as in "We 
 
 cannot goe," line 43. 
 
 The character y, for the Latin et, is used as a single letter in this 
 epistle, and belongs to the i-font. 
 
 //. Italic Small Letters. 
 
 (a) is somewhat heavy and is finished by a close upward stroke. The 
 ^^ line bisecting the oval makes a small angle with the line of writing, as 
 
 in "thankefull," line 15. 
 
 (b) is delicately formed, the lower side of the oval and the last stroke 
 showing as hair lines. The bisecting line and the line of writing 
 bound a wide angle, as in "particular," line 15. 
 
 b 
 
 (a) is heavy, with an oval narrowing toward the base, as in "humble," 
 line 38. 
 
 (b) is delicately formed. The oval widens toward the base, as in "be 
 thankefull," line 15. 
 
64 THE BI-LITERAL CIPHER 
 
 c 
 
 d 
 
 id) is usually heavy, and has short curves, as in "can he,'' line i8. 
 Q}) is well formed, with wide, open curves, as in "particular," line 15. 
 
 (a) resembles the a of this font except, that it has, of course, an ascending 
 stem. It is somewhat heavy and the last stroke is close, as in "dig- 
 nity," line 21. 
 
 {]}) is also like the a of the same font, with light lines showing in the oval 
 and in the final stroke, as in "pleas'd," line 24. 
 
 (a) is in two forms. In one, the line bisecting the loop makes a large 
 angle with the line of writing, while the curved base is wide and open, 
 as in "they out-living," line 26; in the other, the angle is less and the 
 curve at the bottom is narrow and close, as in "be thankefull," line 15. 
 
 Qi) is also in two forms. The angle between the bisecting line and the 
 line of writing is large, but the curve is short, as in "servant," line 51; 
 or, the angle is small and the lower curve wide, as in "we are," line 17. 
 
 (fl) is in several styles, each pairing with a Wont letter of the same general 
 characteristics, vet having a distinctive difference in the degree of 
 inclination and in the cross-bar. A typical a-font / is in "for the 
 many favors," line 15. 
 
 (h) is usually delicate and well-made with the exceptions just mentioned, 
 and the angle of inclination corresponds with that of other letters of 
 this font. A typical h-iont f is in "carefull," line 53. 
 
 (a) has a prominent nose. The lower loop is somewhat pointed at the 
 /y left side. The line bisecting the upper loop makes a large angle with 
 
 f*^ the line of writing, as in "dignity greater," line 21. 
 
 {h) is delicately made. The nose is usually a short horizontal line, but 
 is sometimes hooked. The lower loop is wide at the left, and the 
 angle made by the bisecting line through the upper loop is smaller 
 than in the a-font g, as in "gods," line 48. 
 
 / 
 
h 
 
 OF SIR FRANCIS BACON 65 
 
 (a) has a loop rounded at the top, and commonly a tapering stem, as in 
 "thankefull," line 15. 
 
 (b) is, for the most part, delicately made. The oval is narrow at the top, 
 and the stem curves forward slightly at the base, as in "he not hav- 
 ing," line 26. 
 
 (a) is rounded at top and bottom, while the stem is usually of uniform 
 thickness, as in "writings," line 27. 
 
 (b) begins with a hair line and has a delicately shaded stem, as in "thanke- 
 full in our," line 15. 
 
 (a) is somewhat heavy, with a close, narrow loop, as in "knoiu," line 21. 
 (^) is well made, and the loop is open and wide, as in "Booke," line 31. 
 
 (a) is heavy and rounded at the base, as in "delight," line 52. 
 
 (b) is well made and pointed at the base, as in "places," line 20. 
 
 (a) has loops nearly alike, both rounded and shaded at the top. The 
 
 last stroke is close, as in "humbly," line 50. 
 {b) is delicately formed, the hair line showing distinctly in the second 
 
 loop and the last stroke, which is light and free, as in "humble," 
 
 line 38. 
 
 (a) like its corresponding capital letter, is an exception to the rule govern- 
 /y ing the font, having the light line that, in the a,d, m, etc., character- 
 izes the ^-font. In other words, these are the letters the cipherer 
 changed from one font to the other in making up this alphabet. The 
 typical form is in "thankefull," line 15. 
 
 (b) has a rounded curve shaded at the top, as in "falne," line 17. 
 
 k 
 I 
 
 m 
 
66 THE BI-LITERAL CIPHER 
 
 (a) is somewhjit heavy and is narrow at the base like the oval of the small 
 fj b in this font, as in "two," line 17. 
 
 (h) is delicately made, and is somewhat wide and rounded at the base, 
 like the oval of the b, as in "our particular," line 15. 
 
 P 
 
 r 
 
 {a) like the capital P of this font, has the loop somewhat flattened at the 
 base, as in "approach," line 47. 
 
 (b) has the loop narrow and pointed at base. The stem has a distinct 
 head and usually a slanting serif at the foot, as in "parent," line 29. 
 
 (rt) has a round loop quite free from the stem at the top, as in "Exe- 
 quutor," line 27. 
 
 {b) has a pointed loop joining the stem closely at the top, as in "prose- 
 quuted," line 25. 
 
 (a) has a stem of uniform thickness and branches of equal height, as in 
 "received," line 16. 
 
 (h) shows a stem decreasing in size toward the base. The right arm is 
 often longer than the left, as in "are falne," line 17. 
 
 (a) is in two forms, long and short. The former, like small/, is in a variety 
 \ of styles, all pairing with corresponding letters in the ^-font. A 
 
 typical letter is in "scverall," line 33. The short s is somewhat heavy, 
 the curve close at the top, as in "ours," line 53. 
 
 {b) is also in tv.o form.s, long and short, and the long s varies greatly. 
 The typical letter is delicate, showing the hair line at the top, as in 
 "something," line 24. The i-font short s has a free, open curve at 
 the top, as in "faults," line 53. 
 
OF SIR FRANCIS BACON 
 
 67 
 
 U 
 
 is somewhat rounded at the base, and the last stroke is close to the 
 stem. The cross-bar is usually slightly heavier at the left, as in ''the 
 places," line 20. 
 
 is well formed and the last stroke is light and free. The cross-bar is 
 somewhat heavier at the right, as in "study to be," line 15. 
 
 is like the inverted n of this font. The typical form is used in "study," 
 line 15. 
 
 is narrower than the a-font letter and is also like an inverted n of the 
 6-font. A typical letter is seen in " sustaine" , line 20. 
 
 V 
 
 w 
 
 is sharply pointed, as in "favors," line 16. 
 
 is rounded like the corresponding capital letter, as in "divers," line 18. 
 
 has the characteristics of the v in this font, as in "we study," line 15. 
 
 is narrower than the a-font letter, and the first stroke is shortened at 
 the top, as in "two," line 17. 
 
 X 
 
 y 
 
 z 
 
 has the light line curved, as in "Exequutor," line 27. 
 has the light line straight, as in "Excellent," line 7. 
 
 has a narrow opening, the second line appearing to approach the 
 other at the top, as in "many," line 16. 
 
 is wide, and open at the top, as in "study," line 15. 
 
 is delicately made and is placed at the angle characterizing the i-font 
 letters, as in "enterprize," line 19. 
 
68 THE BI-LITERAL CIPHER 
 
 ///. Italic Digraphs. 
 
 ae 
 
 as 
 ct 
 
 {aa) is the union of the simple form of a in font a with either simple form 
 of ^ in the same font, as in "Sccena Prima," Two Gentlemen of Verona, 
 p. 32, Plate 2IA, No. I, and "Serena qiiinta," Merry Wives of 
 Windsor, p. 56, Plate 21 a, No. 2. 
 
 {ab) is the union of the simple form of a in font a with either simple form 
 of e in font h, as in "Sccsna Quaria," Two Gentlemen of Verona, 
 p. 34, Plate 2 1 A, No. 3, and "Scana Prima," Comedy of Errors, 
 p. 96, Plate 2 1 A, No. 4. 
 
 (ba) is the union of the simple form of a in font b with either simple form 
 of e in font a, as in "Sccena Prima," Tempest, p. I, Plate 2IA, 
 No. 5, and "Sccena Secunda," Two Gentlemen of Verona, p. 21, 
 Plate 21A, No. 6. 
 
 (bb) is the union of the simple form of a in font b with either simple form 
 of f in the same font, as in "Sceena Prima," Tempest, p. 10, Plate 
 2IA, No. 7, and "Sccsna T^r^/a," Tempest, p. 13, Plate 21A, No. 8. 
 
 (aa) is the union of the simple form of a in font a with a short, round- 
 topped s, as in "as before," line T,T,. 
 
 (aa) is the union of the simple form of c in font a with a small t heavily 
 shaded at the top. The two letters are linked together by a shaded 
 line, as in "Actus," Othello, p. 348, Plate 2 IB, No. 9. 
 
 (ab) is the union of the sim.ple form of c in font a with a small t whose 
 stem is of uniform thickness throughout, as in "acted," line 33. 
 
 (ba) is the union of the simple form of c in font b with a smajl t heavily 
 shaded at the top, as in "Actus," Two Gentlemen of Verona, p. 20, 
 Plate 2 IB, No. ID. 
 
 (bb) is the union of the simple form of c in font b with a small t whose stem 
 is of uniform thickness throughout, as in "Actors," Tempest, p. 19, 
 Plate 2 IB, No. II. 
 
/ 
 
 OF SIR FRANCIS BACON 69 
 
 short and one long, as in "offer," 
 
 is the union of two small / 
 line 38. 
 
 is the union of the simple form of/ in font a with a small / somewhat 
 rounded at the base, as in "finde," line 32. 
 
 is the union of the simple form of/ in font a with a small i of nearly 
 uniform thickness throughout, as in "first," i Hen. VI., p. 100, Plate 
 2IB, No. 12. 
 
 is the union of the simple form of/ in font h with a small / somewhat 
 rounded at the base, as in "selfe-profit," line 36. 
 
 is the union of the simple form of/ in font b with a small / of nearly 
 uniform thickness, as in "/rjf," i Hen. VI., p. 105, Plate 21B, No. 13. 
 
 / 
 
 is the union of the simple form of/ in font b with the simple form of/ 
 in the same font, as in "of these trifles," line 22. 
 
 is the union of the simple form of these letters in font b, as in "name 
 them trifles," line 22. 
 
 ts 
 
 is the union of the simple form of / in font a with a large-topped 
 short s, as in "This hath done," line 32. 
 
 is the union of the simple form of / in font a with a small-topped 
 short s, as in "his Patrones," line 31. 
 
 is the union of the simple form of/ in font b with a somewhat angular- 
 topped short s, as in "his Playes," line 38. 
 
 is the union of the simple form of / in font b with a small-topped 
 short s, as in "is a great difference," line 3I. 
 
THE BI-LITERAL CIPHER 
 
 §h 
 
 St 
 
 SP 
 
 ss 
 
 is the union of two small /'s somewhat rounded at the base, as in "ill 
 fortune," line 17. 
 
 is the union of the simple form of / in font a with the simple form of 
 the same letter in font b, as in the first "Well," All's Well that Ends 
 Well, p. 246, Plate 21B, No. 14. 
 
 is the union of the simple form of / in font b with the simple form of 
 the same letter in font a, as in "thankefull," line 15. 
 is the combination of two small /'s in font b, as in " several}," line 33. 
 
 is the union of a delicate well-formed long j- with a round-looped h, 
 as in the second "rashnesse," line 19. 
 
 is the union of a delicate long s with a pointed h, as in the first "rash- 
 nesse," line 18. 
 
 is the union of a somewhat heavy long s with a round-looped h, as in 
 "shew," line 53. 
 
 would be the same as combination ha, except that the loop of the h 
 would be pointed. 
 
 s the union of a well-made long s with an /' whose base is rounded, as 
 in "considered," line 43. 
 
 s the union of a somewhat heavy long s with an z of uniform thick- 
 ness, as in "since," line 23. 
 
 is the combination of a somewhat heavy long s with a delicate, well- 
 formed long p, as in "Shakespeare," I. M. Poem, Plate 88, line i. 
 
 is the union of two long s's with curved tops, as in "successe," 
 line 20. 
 
 is the union of two long s's v/ith straight tops, as in "rashnesse," 
 line 18. 
 
St 
 
 OF SIR FRANCIS BACON 71 
 
 iaa) is the union of a heavily made long s with a small ^ sharply pointed 
 at the base, as in "Majestte," line 7. 
 
 (fl^) is the union of a heavy long j with a small / rounded at the base, as in 
 "most Excellent," line 7. 
 
 (^fl) is the union of a delicate, well-formed long s with a small t pointed at 
 the base, as in "most divers," line 18. 
 
 (bb) is the union of a well-made long s with a small i rounded at the base, 
 as in "first," i Hen. VI., p. 107, Plate 21B, No. 15. 
 
72 THE BI-LITERAL CIPHER 
 
 3. Second Folio, 1632. Two-Space Letters, Roman Type. 
 
 A 
 
 B 
 C 
 
 D 
 
 E 
 
 /. Capitals. 
 
 a) is not very broad but quite heavy, particularly in the first line as com- 
 pared to "A" in the other font. The cross-bar also is thick, as in "As 
 well," To the Reader, Plate 22, line 7. 
 
 is broad, clear, and well-made. The first line and cross-bar are both 
 light, as in "william," Title Page, Plate 11, hne i. 
 
 a) is somewhat narrow at the top. The line at the joining of the loops 
 is very light, as in "Brasse," To the Reader, Plate 22, line 9. 
 
 b) is nearly as broad at the top as at the base. The loop shows heavy 
 lines throughout, as in "Booke," To the Reader, Plate 22, line II. 
 
 a) is delicately shaded and shows straight lines at the commencement 
 and termination, as in "comedies," Title Page, Plate 11, line 3. 
 
 is of nearly uniform thickness throughout,being only slightly shaded 
 in the middle, as in "Comedies," Actors' Names, Plate 82, line 2. 
 
 is a wide, well-made letter delicately shaded in the curve, which shows 
 very thin lines at the top and bottom, as in "comedies," Title 
 Page, Plate 11, line 3. 
 
 has lines of nearly uniform thickness, as it is shaded very slightly in 
 the middle of the curve, as in "Dramaticke," Epitaph, Plate 87, line i. 
 
 a) is a well-made letter. The base line is not perfectly horizontal, but 
 shows slight curves, as in "tragedies," Title Page, Plate 11, 
 line 5. 
 
 h) is not very large. The base line is perfectly level and uniform, as in 
 "comedies," Title Page, Plate 11, line 3. 
 
G 
 
 H 
 
 I 
 
 L 
 M 
 
 OF SIR FRANCIS BACON 73 
 
 (a) is a delicate, well-made letter with level top, finished at the right by a 
 short vertical line, as in "tymon of athens," Plate 46. 
 
 (b) is somewhat heavy. The top is finished by a slanting line, as in 
 "Figure," To the Reader, Plate 22, line 2. 
 
 (a) is well-made and distinctly shaded in the middle, as in "Graver," 
 To the Reader, Plate 22, line 4. 
 
 (h) is of nearly uniform thickness in the body. The upright is wide and 
 the serif distinct, as in "tragedies," Title Page, Plate 11, line 5. 
 
 (a) is well-made, but the cross-bar is heavy and the serifs somewhat thick, 
 as in "His Face," To the Reader, Plate 22, line 8. 
 
 (^) is wide, rather delicate, the cross-bar very slender, as in " his- 
 tories," Title Page, Plate 11, line 4. 
 
 (a) is slender and delicate, not very tall, as the first "I" in "histories," 
 Title Page, Plate 11, line 4. 
 
 (h) is tall and well-made, as in "william," Title Page, Plate i i, line i. 
 
 (a) is a somewhat delicate letter, very wide at the base, as in "william," 
 Title Page, Plate 11, line l. 
 
 (/)) has a somewhat heavy base line, as in "Landing," R. III., Plate 43. 
 
 (fl) is a delicate letter, the final upright being noticeably thin, as in 
 "william," Title Page, Plate 11, line i. 
 
 (b) has a heavy final upright, as in "comedies," Title Page, Plate 1 1, 
 line 3. 
 
74 
 
 N 
 
 O 
 P 
 R 
 
 THE BI-LITERAL CIPHER 
 
 is a well-made letter with uprights of uniform thickness, as in "Not 
 on his Picture," To the Reader, Plate 22, line ii. 
 is slightly shaded in the first upright, as in "Noble," Ep. Ded., Plate 
 13, line I. 
 
 is somewhat heavy. The lines are thick at the top and bottom of the 
 letter, as in "Noble," Ep. Ded., Plate 13, line i. 
 
 is well-made, delicately shaded, with the upper and lower lines 
 light, as in "comedies," Title Page, Plate 11, line 3. 
 
 is somewhat narrow at the top, and the letter itself is not large, as in 
 "Print," To the Reader, Plate 22, line 8. 
 
 is a delicate letter, broad and straight at the top, as in "epilogue," 
 Ep., 2 Hen. IV., Plate 91, line i. 
 
 is well-made, and has a slender queue, as in "tragedies," Title 
 Page, Plate 11, line 5. 
 
 is broad at the top. The queue is shaded, as in "Reader," To the 
 Reader, Plate 22, line 10. 
 
 is somewhat heavily shaded in the middle, but has delicate, graceful 
 curves, as in "Shakespeare," To the Reader, Plate 22, line 3. 
 is somewhat angular and of nearly uniform thickness throughout, as 
 in "most," Ep. Ded., Plate 13, line i. 
 
 T(a) is a heavy letter with a thick cross-bar. One terminal is slanting, 
 and the other vertical, as in "This Figure," To the Reader, Plate 22, 
 line 2. 
 
 is slender and delicate. The cross-bar is thin, and the short vertical 
 line at the right end appears well above the bar, as in "The," Ep. 
 Ded., Plate 13, line i. 
 
OF SIR FRANCIS BACON 
 
 75 
 
 V 
 
 is not very tall. The right limb is shorter than the left, as the first 
 "V" in "Wit," To the Reader, Plate 22, line 6. 
 is tall and narrow. The second line is somewhat heavy, as the second 
 "V" in "Wit," To the Reader, Plate 22, line 6. 
 
 W 
 
 a 
 
 is a somewhat heavy letter. A spur shows in the second line near 
 the top, as in "Wherein," To the Reader, Plate 22, line 4. 
 is a wide letter, very delicate, as in "william," Title Page, Plate 
 II, line I. 
 
 //. Small Letters. 
 
 is narrow and blunt. The loop slants to the upright, as in "Shake- 
 speare," To the Reader, Plate 22, line 3. 
 
 is broad, clear, and delicate. The upper line of the loop is nearly 
 horizontal, as in "and," Title Page, Plate 11, line 4. 
 
 b 
 c 
 
 d 
 
 is rather delicate. The loop curves downward to join the stem, as 
 
 "but," To the Reader, Plate 22, line 6. 
 
 heavy. The lines are nearly horizontal at top and bottom of the 
 loop, as in "but," To the Reader, Plate 22, line 11. 
 
 is shaded. It commences in an elongated dot, as in "could," To the 
 Reader, Plate 22, line 6. 
 
 like the capital letter of this font, is somev/hat heavy, as in "cut," 
 To the Reader, Plate 22, line 3. 
 
 is a delicate letter. The loop shows thin, curved lines top and bottom, 
 as in "had," To the Reader, Plate 22, line 4. 
 
 is somewhat heavy. The foot of the upright is turned up sharply, 
 and the top of the loop is nearly a straight line, as in "drawne," To 
 the Reader, Plate 22, line 6. 
 
76 
 
 THE BI-LITERAL CIPHER 
 
 e 
 f 
 
 1 
 k 
 
 is slightly irregular, the bar tending a very little downward, as in 
 "Figure," To the Reader, Plate 22, line 2. 
 
 is not tall, and the cross-bar is horizontal, as in "Graver," To the 
 Reader, Plate 22, line 4. 
 
 is slender and delicately shaded, as in "It was for gentle," To the 
 Reader, Plate 22, line 3. 
 
 is heavy, and the cross-bar is not straight, as in "life," To the Reader, 
 Plate 22, line 5. 
 
 is not a heavy letter. The nose is wide at the end, as in "containing," 
 Actors' Names, Plate 82, line 2. 
 
 is somewhat heavy, with a hooked nose, as in "Figure," Plate 22, 
 
 is somewhat heavy, and the loop is narrow, as in "This Figure," To 
 the Reader, Plate 22, line 2. 
 
 is well-made, the loop wide and light, as in "Figure that," To the 
 Reader, Plate 22, line 2. 
 
 is well-made; the dot is not placed high, and is usually delicate, as in 
 "Figure," To the Reader, Plate 22, line 2. 
 
 is quite tall. The dot is large and is placed rather high, as in "This," 
 To the Reader, Plate 22, line 2. 
 
 is clear, delicate, and somewhat wide, as in "Dramaticke," Epitaph, 
 Plate 87, line i. 
 
 is somewhat narrow, and the lower part of the broken line is usually 
 heavy, as in "Booke," To the Reader, Plate 22, line II. 
 
OF SIR FRANCIS BACON 
 
 77 
 
 m 
 n 
 o 
 
 P 
 r 
 
 s 
 
 is broad with a distinct serif at the base, as in "Hfe," To the Reader, 
 Plate 22, hne 5. 
 
 is a slender, delicate letter, with a short yet distinct serif at the base, 
 as in "admirable," Epitaph, Plate 87, line i. 
 
 is light and delicate, as in "Names," Actors' Names, Plate 82, line 5. 
 has a heavy final upright, as in "Comedies," Actors' Names, Plate 82, 
 line 2. 
 
 is delicate, as in "and," Title Page, Plate 11, line 4. 
 
 is a wide letter. The first upright is noticeably thicker than the other, 
 
 as the second "n" in "cannot," To the Reader, Plate 22, line 10. 
 
 is somewhat heavy. The lines are thick at the top and bottom of 
 the letter, as in "Not on," To the Reader, Plate 22, line 11. 
 is well-made, delicately shaded, with the upper and lower lines light, 
 as in "thou," To the Reader, Plate 22, line 2. 
 
 is well-made, although heavy. The loop is an ellipse, as in "sur- 
 passe," To the Reader, Plate 22, line 8. 
 
 is delicate, and the loop is oval, as in "Shakespeare," To the Reader, 
 Plate 22, line 3. 
 
 is somewhat narrow, as in "Figure," To the Reader, Plate 22, line 2. 
 is somewhat broad at the top, and is a tall letter, as in "Shakespeare," 
 To the Reader, Plate 22, line 3. 
 
 is in two forms, long and short. Both are delicate and well-made. 
 The long s is seen in "Shakespeare," To the Reader, Plate 22, line 3; 
 the short s, in "It was for gentle," To the Reader, Plate 22, line 3. 
 is in two forms, both heavy, as in "seest" and "his Wit," To the 
 Reader, Plate 22, lines 2 and 6. 
 
78 THE BI-LITERAL CIPHER 
 
 t(o) is wide-topped, rounded at the base, as in "cut," To the Reader, 
 Plate 22, hne 3. 
 (b) is narrow at the base. The bar widens at the right end, as in "put," 
 To the Reader, Plate 22, line 2. 
 
 V 
 
 u 
 w 
 
 ss 
 
 (a) is not very tall. The right limb is shorter than the left, as in "Graver," 
 
 To the Reader, Plate 22, line 4. 
 (h) is tall and narrow. The second line is somewhat heavy, as in "Writ," 
 
 To the Reader, Plate 22, line 9. 
 
 (a) has the right limb more slender than the left, as in "Nature," To the 
 Reader, Plate 22, line 5. 
 
 (b) is tall, with limbs of uniform thickness as in "surpasse," To the 
 Reader, Plate 22, line 8. 
 
 {a) is heavy, as in "drawne," To the Reader, Plate 22, line 6. 
 (h) is v/ide, and not at all heavy, as in "well," To the Reader, Plate 22, 
 line 7. 
 
 ///. Digraphs. 
 
 (ha) is the union of the simple form of long s in tlie ^-font, with the simple 
 form of the same in font a, as in "Brasse," To the Reader, Plate 22, 
 line 7. 
 
 (bb) is the union of two long letters of the ^-font, as in "Brasse," To the 
 Reader, Plate 22, line 9. 
 
 ^ T" {aa) is the union of long s in font a, with a small t in the same font, as in 
 "seest," To the Reader, Plate 22, line 2. 
 
A 
 C 
 
 D 
 
 E 
 
 OF SIR FRANCIS BACON 79 
 
 4. Second Folio, 1632. Three-Space Letters, Roman Type, 
 IN THE Headings of the Shakespeare Plays. 
 
 /. Capitals. 
 
 (a) is a broad, well-made letter of light lines and thin cross-bar, as in 
 "TRAGEDIES," Troylus and Cressida, plate 24A. 
 
 (b) is wide and very heavy with a thick bar, as in "ALL'S," All's Well 
 that Ends Well, Plate 33. 
 
 (a) is a light letter commencing with a distinct straight line at the top, as 
 in "Catalogue," Catalogue of Comedies, Plate 83, line i. 
 
 (b) is heavy and ends bluntly at top and bottom, as in"Comedie," Comedy 
 of Errors, Plate 26. 
 
 (a) is a well-made letter, not heavily shaded, and having a thin straight 
 upright, as in "TRAGEDIE," Troylus and Cressida, plate 24A. 
 
 (b) has slightly pyramidal upright, is thicker at the top, and has a wide 
 curve, as in "Death," Richard II., Plate 37. 
 
 (a) is a well-made letter with top and base extending equally and parallel, 
 as the first "E" in "MEMORIE," L. Digges, Plate 7, line i. 
 
 (b) is heavy and has the base further extended than the top. The base 
 is usually slanting and shaded, as the second "E" in "MEMORIE," 
 L. Digges, Plate 7, line i. 
 
 (a) is a delicate, well-made letter with level top, as in "OF," Heading. 
 Troylus and Cressida, plate 24A. 
 
 (b) is somewhat narrow and heavy, as in "FOURTH," i Hen. IV., 
 Plate 38. 
 
80 THE BI-LITERAL CIPHER 
 
 G 
 
 H 
 
 I 
 
 K 
 
 L 
 
 (a) is a large, well-made letter, delicately shaded, commencing with a 
 distinct line and finishing with a serif that projects well out on either 
 side of the upright, as in "TRAGEDIE," Julius Caesar, Plate 47. 
 
 (b) is heavy and uncouth, beginning bluntly and ending with a serif 
 that projects on the left side only, as in "TRAGEDIE," Troylus 
 and Cressida, plate 24A. 
 
 (a) is wide, well-made, and has a delicate cross-bar, as in "THE," 
 Cymbeline, Plate 49. 
 
 (b) is heavy. The bar is often shaded, as in "THE," L. Digges, Plate 7, 
 line I. 
 
 (a) is delicate and straight, with short serifs, as in "MEMORIE," L. 
 Digges, Plate 7, line i. 
 
 (b) is somewhat heavy, the serifs projecting well on either side, as in 
 "TRAGEDIE," Romeo and Juliet, Plate 45. 
 
 (a) is characterized by the lightness of the lower part of the broken line 
 at the right, as in "King," 3 Hen. VI., Plate 42. 
 
 (b) has a thick, heavy line in the lower part at the right, as in "King," 
 I Hen. VI., Plate 40. 
 
 (a) is delicate and well-made. The base line is short, ending in a vertical 
 "toe," as the first "L" in "ALL'S," All's Well that Ends Well, Plate 
 33- 
 
 (b) has broad, sweeping base, usually shaded from the slanting terminal 
 line, as in "Lines," Hugh Holland, Plate 85, line i. 
 
M 
 
 N 
 O 
 
 R 
 
 OF SIR FRANCIS BACON 81 
 
 (a) is delicate and well-made. The first upright is very thin and nearly 
 uniform throughout, as in "MEMORIE," L. Digges, Plate 7, line i. 
 
 (b) is heavy, the outer lines slanting somewhat and distinctly shaded, as 
 in "Merry," Merry Wives of Windsor, Plate 25. 
 
 (^) shows a heavily-shaded line for the first upright and a somewhat 
 thick line for the second upright, as in "Night," Twelfth Night, 
 Plate 34. 
 
 (a) has light lines at top and bottom, shaded slightly at one side, as 
 in "MEMORIE," L. Digges, Plate 7, line i. 
 
 (h) is somewhat heavily shaded, and stands nearly upright, as in "TO," 
 L. Digges, Plate 7, line i. 
 
 (a) is somewhat narrow, with loop drooping at the top, as in "Part," 
 2 Hen. IV., Plate 39. 
 
 (b) is broad and thick throughout, as in "Part," I Hen. IV., Plate 38. 
 
 (a) is delicate and v/ell-made, with slender queue, as in "MEMORIE," 
 L. Digges, Plate 7, line i. 
 
 (b) is characterized by a blunt heavy queue, as in "TRAGEDIE," 
 Troylus and Cressida, plate 24A. 
 
 (a) is a delicate letter, with a slender line at top and bottom, as in "Shake- 
 speare," Actors' Names, Plate 82, line i. 
 
 (b) is usually heavy and blunt, as in "ALL'S," All's Well that Ends 
 Well, Plate 33. 
 
T 
 
 THE BI-LITERAL CIPHER 
 
 is a slender letter. The top is finished by a short vertical line at the 
 right, and a slanting line at the left, as in "Tale," Winter's Tale, 
 Plate S5- 
 
 is somewhat sturdy. 1 he bar at the top is finished by serifs showing 
 above and below the bar, as in "The," Winter's Tale, Plate 35. 
 
 V 
 
 is delicate and rather wide. The right side becomes almost a hair 
 line at the base, as in "Venice," Merchant of Venice, Plate 30. 
 has the second line heavily shaded from the top, and the letter itself 
 is narrow, as in "Vpon," Effigies, Plate 86, line i. 
 
 W 
 Y 
 
 is wide with delicate lines. The second line has a spur near the top, 
 as in "Workes," Actors' Names, Plate 82, line i. 
 
 is a delicate, well-made letter with a spreading top, as in 
 "TRAGEDY," Cymbeline, Plate 49. 
 
 is a somewhat heavy letter. The second line is shaded at the top, as 
 in "TRAGEDY," Hamlet, Plate 48. 
 
 a 
 
 //. Small Letters. 
 
 is somewhat wide and very delicate, as in "William," Actors' Names, 
 Plate 82, line i. 
 
 is wide and very heavy, as in "Shakespeare," Actors'Names, Plate 82, 
 line I. 
 
 is a delicate, well-made letter with an elliptical loop, as in "beloved," 
 Ben Jensen's Poem, Plate 8g, line i. 
 
 is somewhat heavy with an oval loop, as in "Labour's," Love's 
 Labour Lost, Plate 28. 
 
OF SIR FRANCIS BACON 
 
 83 
 
 c 
 
 d 
 
 e 
 
 f 
 
 h 
 i 
 
 a) is delicate and begins with a light dot, as in "Second," 2 Hen. IV., 
 Plate 39. 
 
 b) is heavy and ends bluntly at top and bottom, as in "Much," Much 
 Ado about Nothing, Plate 27. 
 
 a) has thin, straight ascending line, and the loop is slightly shaded, as 
 in "and," Hugh Holland, Plate 85, line i. 
 
 b) has shaded top, thick straight foot, and an oval loop as in "and," 
 R. II., Plate 37. 
 
 a) is delicate, the straight bar tending only slightly downward, as in 
 "Prologue," Prol., Troyl. and Cress., Plate 92, line i. 
 
 b) is narrow and heavy. The bar tends distinctly downward, as in 
 "Effigies," Effigies, Plate 86, line i. 
 
 a) is slight and has a wide curve at the top, as in "of," Ben Jonson's 
 Poem, Plate 89, line i. 
 
 is somewhat narrow and heavy, the top a narrow curve, as in "of," 
 Taming of the Shrew, Plate 32. 
 
 a) has a plain straight nose and slanting ovals, as in "Effigies," Effigies, 
 
 Plate 86, line i. 
 h) has a short nose. The line bisecting the upper oval would be nearly 
 
 vertical, as in "Prologue," Prol., Troyl. and Cress., Plate 92, line i. 
 
 [a) is wide and well-made, as in "The," Actors' Names, Plate 82, line i. 
 b) is clumsy, as in "Worthy," I. M. S. Poem, Plate 90, line i. 
 
 a) is slight and well-formed, as in "Effigies," Effigies, Plate 86, line i. 
 
 b) is somewhat heavy and the dot is placed slightly toward the left, as in 
 "Nights," M. N. D., Plate 29. 
 
84 
 
 k 
 1 
 
 m 
 
 n 
 o 
 
 P 
 
 r 
 
 THE BI-LITERAL CIPHER 
 
 (a) is similar to the a-font capital, all the lines being light and delicate, 
 as in "Workes," Actors' Names, Plate 82, line i. 
 
 is slender and delicate, as in "Coriolanus," Coriolanus, Plate 44. 
 
 is somewhat heavy, and slightly pyramidal, as in "Prologue," Prol., 
 
 Troyl. and Cress., Plate 92, line i. 
 
 is light and delicate, as in "memory," Ben Jonson's Poem, Plate 89, 
 line I. 
 
 is heavy, and shows rounded loops. The middle upright is thicker 
 than either of the others, as in "my," Ben Jonson's Poem, Plate 89, 
 line I. 
 
 is delicate and well-made, as in "Vpon," Effigies, Plate 86, line I. 
 is heavy with rounded loop, as in "On," I. M. S. Poem, Plate 90, 
 line I. 
 
 is very light and delicate, as in "worthy," Effigies, Plate 86, line I. 
 
 shows heavy lines at top and bottom, as in "Vpon," Effigies, Plate 86, 
 line I. 
 
 is somewhat narrow, with loop drooping at the top, as in "Vpon," 
 Effigies, Plate 86, line i. 
 
 is heavy with rounded loop, as in "Vpon," Hugh Holland, Plate 85, 
 line I. 
 
 is slender and well-made, as in "Workes," Actors' Names, Plate 82, 
 line I. 
 
 is heavy and narrow, as in "worthj'," Effigies, Plate 86, line i. 
 
OF SIR FRANCIS BACON 
 
 85 
 
 s 
 t 
 
 is a delicate letter, with slender lines at top and bottom, as in"Workes," 
 Actors' Names, Plate 82, line i. 
 
 is heavy, as in "Comedies," Catalogue of Comedies, Plate 83. 
 
 is delicate with light bar, as in "worthy," Effigies, Plate 86, line i. 
 
 is a somewhat heavy letter with the cross-bar widened at the right, as 
 in "worthy," I. M. S. Poem, Plate 90, line i. 
 
 V 
 
 u 
 w 
 
 X 
 
 y 
 
 is delicate and rather wide. The right side becomes almost a hair 
 line at the base, as in "beloved," Ben Jonson's Poem, Plate 89, 
 line I. 
 
 is narrow and heavy, as in "Loves," Love's Labour Lost, Plate 28. 
 
 is a well-made letter, somewhat wide and slender, as in "Catalogue," 
 Catalogue of Comedies, Plate 83, line i. 
 
 is a clumsy letter, as in "you," Twelfth Night, Plate 34. 
 
 is wide with delicate lines. The second line has a spur near the top, 
 as in "worthy," Effigies, Plate 86, line i. 
 
 IS somew- 
 
 hat heavy, as in "Shrew," Taming of the Shrew, Plate 32. 
 
 is narrow, and has peculiar curved ends to the second line, as in 
 "Sixt," 2 Hen. VI., Plate 41. 
 
 is delicate and wide-topped, as in "worthy," Effigies, Plate 86, line i. 
 
 is a somewhat heavy letter. The second line is shaded at the top, as in 
 "you," As You Like It, Plate 31. 
 
St 
 
 THE BI-LITERAL CIPHER 
 
 ///. Digraphs. 
 
 (ah) is the union of a small / of slightly pyramidal stem with the simple 
 form of z in font b, as in "Effigies," Effigies, Plate 86, line i. 
 
 is the union of two delicately-made letters, presumably of the same 
 font, as in "Master," I. M. S. Poem, Plate 90, line i. 
 
A 
 B 
 
 C 
 D 
 
 E 
 
 OF SIR FRANCIS BACON 87 
 
 5. Second Folio, 1632. Roman Type in L. Digges Poem, Etc. 
 
 /. Capitals. 
 
 shows shading toward the base of the left Hmb. The cross-bar is 
 placed quite high, as in "Actors," Names of Actors, Winter's Tale, 
 page 303- 
 
 is a heavy letter showing a particularly heavy bar, as in "Antenoni- 
 dus," Prol., Troil. and Cress., Plate 92, line 18. 
 
 is rather small. The first limb is shaded toward the base, as in "Bed," 
 Ep. Ded., Plate 13, line 11. 
 
 is somewhat broad and heavy. The stem, often wide, is of uniform 
 thickness throughout, as in "Britaines," Hugh Holland, Plate 85, 
 line 5. 
 
 shows no angle in the base. The top is a thin, clear curve, as in 
 "Chamber," Ep. Ded., Plate 13, line 11. 
 
 begins and ends with short vertical lines that give the terminals an 
 angular appearance. The letter is usually heavy both top and bottom, 
 as in "Castle," Ep., 2 Hen. IV., Plate 91, line 24. 
 
 is a heavy letter having characteristics of the ^-font, and is, in fact, an 
 example of the exchanged letters, as in "Digges," L. Digges Poem, 
 Plate 7, line 26. 
 
 has the pyramidal stem and broad loop of the a-font, as explained 
 above, as in "Dardan," Prol., Troil. and Cress., Plate 92, line 17. 
 
 is rather narrow, the top and base extending no farther than the 
 middle bar, as in "Epilogue," Ep.. Hen. VIII., page 232. 
 is broad and heavy. The top and base extend noticeably farther than 
 the middle bar, as in "The," Ep., Hen. VIII., page 232, 
 
THE BI-LITERAL CIPHER 
 
 G 
 H 
 
 I 
 K 
 
 L 
 M 
 
 like the capital "E" of this font, is narrow, the top extending no 
 farther than the middle bar, as in "FalstafFe," Ep.. 2 Hen. IV., Plate 
 91, line 23. 
 
 is broad at the top reaching well out beyond the middle bar, as in 
 "France," Ep., 2 Hen. IV., Plate 91, line 23. 
 
 is a well-made letter. The top and base line are rather thin and clear, 
 as in "Epilogue," Ep.. Hen. VIII. , page 232. 
 
 is a broad, clear letter. The cross-bar slants downward slightly 
 toward the right, as in "Shakespeare," L. Digges Poem, Plate 7, 
 line 4. 
 
 is a clear, well-made letter with equal serifs, as in "lohn," Ep., 2 Hen. 
 IV., Plate 91, line 22.. 
 
 is a slender letter with a slight irregularity in the lower serif, as in 
 "luliet," L. Digges Poem, Plate 7, line 19. 
 
 is somewhat delicate. The upper line at the right is very slender, as 
 in "Katherine," Ep., 2 Hen. IV., Plate 91, line 23. 
 
 is not very wide and is somewhat heavy, having a thickened upper line 
 at the right, as in "Knights," Ep. Ded., Plate 13, line 11. 
 
 is a broad letter. The base shows the wave line, as in "Epilogue," 
 Ep. Hen. VIII., page 232. 
 
 is usually somewhat narrow and heavy with shaded base line, as in 
 "Life," Hugh Holland, Plate 85, line 17. 
 
 is not heavy and is very plain, as in "Menelaus," Prol., Troil. and 
 Cress., Plate 92, line 10. 
 
OF SIR FRANCIS BACON 
 
 89 
 
 N 
 
 O 
 P 
 
 s 
 
 T 
 
 V 
 X 
 
 is a broad, clear letter characterized by an unshaded upright at the 
 right, as in "Noble," Ep. Ded., Plate 13, line 11. 
 is not very large. The second upright is shaded at the top as in 
 "Names," Actors' Names, Winter's Tale, page 303. 
 
 is a well-made letter, the axis slightly inclined to the left, as in "Order," 
 Ep. Ded., Plate 13, line 11. 
 
 is somewhat heavy and is broadened at the base, as in "Originall," 
 Actors' Names, Plate 82, line 4. 
 
 is rather large and well-made, as in "Phoebus," Hugh Holland, 
 Plate 85, Hne 9. 
 
 is rather small and heavy, as in"Priams," Prol.. Troil. and Cress., 
 Plate 92, line 16. 
 
 has broad smooth curves above and below, as in "Stratford," L. 
 Digges Poem, Plate 7, line 7. 
 
 is a narrow letter beginning and ending in short vertical lines, as in 
 "Shake-speare," L. Digges Poem, Plate 7, line 24. 
 
 is a broad, somewhat slender letter, as in "Thespian," Hugh Holland, 
 Plate 85, line 8. 
 
 is narrow and heavy, as in "Troien,"Prol., Troil. and Cress., Plate 92, 
 line 17. 
 
 is long and narrow, the second limb somewhat thickened, as in 
 "Epilogve," Ep.. Hen. VIII., page 232. 
 
 Only one "X" has been found. It belongs to font a, and is seen in 
 "Exit," I. M. Poem, Plate 88, line 8. 
 
90 
 
 Y 
 
 a 
 
 b 
 c 
 d 
 e 
 
 f 
 
 THE BI-LITERAL CIPHER 
 
 (a) is somewhat broad and well-made, as in "Yomans," L. Digges Poem, 
 Plate 7, line 21. 
 
 //. Small Letters. 
 
 is rather narrow and shows a slight upward turn at the lower end of 
 the stem, as in "Chamber," Ep. Ded., Plate 13, line 11. 
 is broad and shows a distinct horizontal foot, as the first "a" in 
 "Shake-speare," L. Digges Poem, Plate 7, line 4. 
 
 has a well-rounded loop. The serif at the top of the stem is level, as 
 in "Chamber," Ep. Ded., Plate 13, line 11. 
 
 has a loop showing a level line at the top where it joins the stem. 
 The stem is usually heavy, as in "Noble," Ep. Ded., Plate 13, line 11. 
 
 has a well-curved base, as in "Nuncius," Hugh Holland, Plate 85, 
 hne 15. 
 
 {a) is somewhat heavy, the loop well rounded at the top where it joins 
 the stem, as in "Old," Ep., 2 Hen. IV., Plate 91, line 24. 
 
 (F) is well-made. The curve in the loop is very slight where it joins the 
 stem, as in "Antenonidus," Prol., Troil. andCress., Plate 92, line 18. 
 
 (a) is narrow, sometimes not very well made, as in "FalstafFe," Ep., 
 2 Hen. IV., Plate 91, line 23. 
 
 (b) is broad and well-rounded, as in "Castle," Ep., 2 Hen. IV., Plate 91, 
 line 24. 
 
 (a) has a slightly curved top; it is rather delicate and well-made, as in 
 
 "Stratford," L. Digges Poem, Plate 7, line 7. 
 (h) is narrow and clumsy, the head very drooping, as in "for," page 419, 
 
 next to last line. 
 
OF SIR FRANCIS BACON 
 
 91 
 
 Knights," Ep. 
 
 is a well-made letter having a straight nose, 
 
 Ded., Plate 13, line 11. 
 
 is narrow and heavy, as in "Digges," L. Digges Poem, Plate 7, line 26 
 
 is somewhat broad. The final serif slants downward toward the 
 right, as in "Katherine," Ep., 2 Flen. IV., Plate 91, line 23. 
 is not very wide. The serifs are quite level at the base, as in 
 "Thespian," Hugh Holland, Plate 85, line 8. 
 
 is a well-made letter showing a slight widening at the base, as in 
 "Katherine," Ep., 2 Hen. IV., Plate 91, line 23. 
 is somev/hat broad at the top and has a large oval dot, as in"Iuliet," 
 L. Digges Poem, Plate 7, line 19. 
 
 Is delicate, the lower line at the right shaded and without a serif, as 
 'Shake-speare," L. Digges Poem, Plate 7, line 4. 
 clear, well-made letter. The lower line at the right is of uniform 
 
 thickness and is finished with a serif, as in "Shake-speare," L. Digges 
 
 Poem, Plate 7, line 24. 
 
 is clear and well-formed with a distinct serif at the base, as in "Fal- 
 stafFe," Ep., 2 Hen. IV., Plate 91, line 23. 
 
 is shaded at the top and has an indistinct serif at base, as in "Noble," 
 Ep. Ded., Plate 11, line 11. 
 
 m 
 
 has the second and third downward strokes somewhat heavy, as in 
 "Yomans," L. Digges Poem, Plate 7, line 21. 
 
 is well-made, the loops well-rounded, the serif at the top of the first 
 downward stroke distinct and clear, as in "Romeo," L. Digges Poem, 
 Plate 7, line 19. 
 
92 
 
 THE BI-LITERAL CIPHER 
 
 n 
 o 
 
 is like one half of small m in this font, as in "Katherine," Ep.. 2 Hen. 
 IV., Plate 91, line 23. 
 
 is like one half of small m in this font, as in "lohn," Ep.. 2 Hen. IV., 
 Plate 91, line 22. 
 
 is the capital in miniature. It is a well-made letter, the axis slightly 
 inclined to the left, as in "lohn," Ep.. 2 Hen. IV., Plate 91, line 22. 
 
 is the capital in miniature. It is somewhat heavy and is broadened 
 at the base, as in "Yomans," L. Digges Poem, Plate 7, line 21. 
 
 P 
 
 r 
 
 s 
 
 is clear and delicate, the loop rounding noticeably at the base, as in 
 "Shakespeares," Hugh Holland, Plate 85, line 5. 
 is somewhat heavy; the loop is very slightly rounded at the base, as 
 in "Thespian," Hugh Holland, Plate 85, line 8. 
 
 is clear and well-made, as in "Katherine," Ep.. 2 Hen. IV., Plate 91, 
 line 23. 
 
 is somewhat heavy and broad at the top, as in ''Chamber," Ep. Ded., 
 Plate 13, line li. 
 
 is broad and well-curved, as in "Shakespeares," Plate 85, Hugh 
 Holland, line 5. 
 
 has narrow close curves, as in 'Britaines," Hugh Holland, Plate 85, 
 line 5. 
 
 There is also a long s in either font. When the curve bends sud- 
 denly downward the letter belongs to font a, as in "Shake-speare," 
 L. Digges Poem, Plate 7, line 24. A wide smooth curve characterizes 
 the long s of font b, as in "Shake-speare," L. Digges Poem, Plate 7, 
 line 4. 
 
OF SIR FRANCIS BACON 93 
 
 (a) is rather large and has a horizontal base, as in "Britaines," Hugh 
 T Holland, Plate 85, line 5. 
 
 (h) is usually heavy. The stem curves upward at the base, as in "luliet," 
 L. Digges Poem, Plate 7, line 19. 
 
 {a) is well-made, as in "luliet," L. Digges Poem, Plate 7, line 19. 
 |J_ (b) is large and long, looking somewhat clumsy, as in "Nuncius," Hugh 
 Holland, Plate 85, line 15. 
 
 ///. Digraphs. 
 
 {ad) is the union of a simple form of c in font a with a long t having the 
 characteristics of this letter in the same font, as in "Actors," Names of 
 Actors, Winter's Tale, page 303. 
 
 (ha) is the union of the simple forms of these letters in respective fonts, as 
 in "FalstafFe," Ep.. 2 Hen. IV., Plate 91, line 23. 
 
 {ah) is the union of the simple forms of these letters in their respective 
 fonts, as in "first," Actors' Names, Plate 82, line 4. 
 
 {ah) is the union of the simple forms in their respective fonts, as in "Origi- 
 nall," Actors' Names, Plate 82, line 4. 
 
 d 
 
 ff 
 fi 
 11 
 
 {aa) is the union of the simple forms of these letters in font a, as 
 OG '" "Phcebus," Hugh Holland, Plate 85, hne 9. 
 
 ^ ^ {aa) is the union of long s, with a prolonged t having the characteristics of 
 kJ L' the simple forms of these letters in font a, as in "Castle," Ep.. 2 Hen. 
 
 IV., Plate 91, line 24. 
 {ha) is the union of a slender delicate long s, with a prolonged t, having the 
 
 characteristics of the a-font letter, as in "most," Ep. Ded., Plate 13, 
 
 line II. 
 
94 THE BI-LITERAL CIPHER 
 
 6. Second Folio, 1632. Small Roman Type. 
 
 Note. — Unless otherwise designated, these letters are found in the Actors' 
 Names, 2 Henry IV., Plate 93. 
 
 B 
 
 C 
 
 E 
 
 /. Capitals. 
 
 (a) is well-made, the first limb light and clear; light cross-bar, as in 
 "Arch," Line 11. 
 
 (b) is somewhat heavy, and shows shading toward the base of the left 
 limb. 
 
 (a) is light and clear, but the shading shows plainly in the base of each 
 loop, as in "Bishop," line 11. 
 
 (b) is somewhat heavy. The shading is in the middle of the loops, as in 
 "Bardolphe," line 20. 
 
 (a) is thin at the extremities and distinctly shaded at the middle of the 
 curve, as in "Clarence," line 9. 
 
 {b) is heavy, being particularly thick at the extremities, and showing dis- 
 tinct angles or corners, as in "Colevile," line 17. 
 
 (a) is a large, well-made letter, with a level base, as in "Drawers," line 26. 
 
 (b) is somewhat heavy. The upright is short, requiring a bend in the 
 base line to connect it with the stem, as in "Doll," line 29. 
 
 (a) has a level base line and light middle bar, as in "Epilogue," line 30. 
 
 (a) is a clear, distinct letter, the bar in the middle extending as far to the 
 right as the top, as in "Feeble," line 31. 
 
 (b) has a heavy bar at the top; the middle bar is slightly shorter, as in 
 "Fift," line 6. 
 
OF SIR FRANCIS BACON 
 
 95 
 
 G 
 
 H 
 I 
 
 K 
 L 
 
 M 
 
 N 
 
 is like the capital C of this font in the form of the top and shading of 
 the curve, as in "Gowre," line 21. 
 
 has the characteristics of capital C in this font, showing thickened 
 lines and marked angles, as in "Groomes," line 28. 
 
 is a well-made letter with a light cross-bar, as in "Hastings," line 13. 
 has the left limb heavier than the right and a thick cross-bar, as in 
 "Hostesse," line 28. 
 
 is well-made, with the upper serif particularly long and clear, as in 
 
 "Irregular," line 20. 
 
 is often heavy and clumsy, with irregular serifs, as in "lustice," line 23. 
 
 is a delicate, well-made letter, broad and open-looking, as in "King," 
 
 line 6. 
 
 is narrow and heavy, as in "King," line 5. 
 
 is a well-made clear letter, with a slight, delicate base line, as in 
 "Lancaster," line 7. 
 
 is somewhat heavy and shows a thickened base line, as in "Lord 
 Bardolfe," line 14. 
 
 shows very light and delicate lines, the heavy second and fourth 
 strokes being comparatively narrow and slight, as in "Rvmovr," 
 line 4. 
 
 is heavy; the first stroke is shaded toward the base and the last line 
 thick, as in "Mouldie," line 28. 
 
 is light and broad, as in "Northumberland," line 10. 
 
 is a narrow, close letter, as In "And," Ep. Ded., Plate 13, line 2. 
 
96 
 
 O 
 
 P 
 Q 
 
 R 
 
 S 
 T 
 
 V 
 W 
 
 THE BI-LITERAL CIPHER 
 
 is shaded across the top and on both sides, as in "Opposites," line 13. 
 has slender lines at the top and bottom, the axis much inclined to the 
 left, as in "Rvmovr," line 4. 
 
 is large and well-formed, as in "Presentor," line 4. 
 
 is not very broad and is quite heavy, as in "Prince," line 6. 
 
 is a heavy letter much inclined to the left and having a thick queue, 
 as in "Quickly," line 28. 
 
 is a slight, well-made letter, rather broad at the base as in "Rvmovr," 
 line 4. 
 
 is somewhat narrow and heavy, as in "Lords," Ep. Ded., Plate 13, 
 line 13. 
 
 is a slender, delicate letter, as in "Sonnes," line 8. 
 is a heavy letter, as in "Surrey," line 20. 
 
 is rather slender, having a thin line at the top, as in "Teate Sheets," 
 line 29. 
 
 is a heavy letter with a pyramidal stem and thick top, as in "Travers," 
 line 15. 
 
 is delicately formed, the right limb light, as the first "V" in 
 
 "Rvmovr," line 4. 
 
 has a heavy right limb, as the second "V" in "Rvmovr," line 4. 
 
 is a broad, well-made letter, as in "Wart," line 30. 
 has heavy second and fourth limbs, as in "Widdow," line 27. 
 Note. — A dot in this letter makes it a-font. 
 
Y 
 
 a 
 
 OF SIR FRANCIS BACON 97 
 
 (a) is delicately formed, quite wide at the top, as in "Yorke," line ii. 
 
 (b) Only one Z was used. This has the characteristics of the ^-font 
 letters, and is placed in that alphabet. The dot makes it belong to 
 the a-font. It is found in the word "Pointz," line i8. 
 
 f 
 
 (a) 
 
 II. Small Letters. 
 
 is broad and shows a horizontal line at the end of the last stroke, as 
 n "Harecourt," line 22. 
 
 narrow. The last stroke curves upward slightly at the base, as in 
 "Mowbray," line 12. 
 
 (a) has a large loop rounding into the stem, as in "Mowbray," line 12. 
 
 (b) is somewhat heavy. The rounding of the loop is scarcely percep- 
 tible, as in "Feeble," line 31. 
 
 (a) is somewhat large and well-curved, as in "Prince," line 6. 
 
 (b) is shorter at the top than at the base, as in "Gloucester," line 8. 
 
 (a) has a large loop, well-rounded at the top, as in "Beadles," line 27. 
 
 (b) is heavy, and shows very slight curvature at the top of the loop, as in 
 "Shadow," line 29. 
 
 (a) is large and well-rounded, as in "Prince," line 6. 
 
 (b) is narrow at the top and the lower curve not well rounded, as in 
 "Crowned," line 6. 
 
 (a) shows but a slight curve, if any, at the top, and the bar is light, as in 
 
 "afterwards," line 6. 
 (h) has a drooping top and a heavy, wedge-shaped bar, as in "Chiefe," 
 
 line^23. 
 
98 
 
 THE BI-LITERAL CIPHER 
 
 h 
 
 i 
 
 k 
 
 1 
 
 m 
 n 
 
 has a sharp angle in the line attaching the lower loop; the shading of 
 the upper loop corresponds to its capital, and the nose is short and 
 oblique, as in "Hastings," line 13. 
 
 has a blunt nose, the upper loop thickened at the top, the line joining 
 the loops curved rather than angular, as in "against," line 13. 
 
 has the second stroke curved to the stem at a point slightly above the 
 center, as in "Shadow," line 29. 
 
 is rather heavy. The second stroke leaves the upright at a high 
 point, and shows only a very slight curve, as in "Fourth," line 5. 
 
 is delicate and well-made, with a slanting top and level base, as in 
 "Fift," line 6. 
 
 is somewhat heavy with a serif not well-placed, as in "King," line 5. 
 Note. — "j" in "Serjeants," line 27, belongs to this font. 
 
 is clear and open, as in "Warwicke," line 18. 
 
 is somewhat narrow, and the top of the stem shows no serif, as in 
 
 "Quickly," line 28. 
 
 is a well-made letter, the stem of nearly uniform thickness throughout, 
 
 as in "Bardolfe," line 14. 
 
 is heavier at the top than at the lower end, as in "Silence," line 25. 
 
 is clear and well-made, as in "Groomes," line 28. 
 
 is heavy and flat-topped, as in "Northumberland," line 10. 
 
 is light and broad, as in "Prince," line 6. 
 
 is heavy and not well-formed, as in "King," line 5. 
 
OF SIR FRANCIS BACON 
 
 99 
 
 O 
 P 
 
 r 
 
 is shaded like the capital, as in "Both," line 24. 
 
 is the capital in miniature, as in "Gloucester," line 8. 
 
 is broad, and has a very round loop, as in "Opposites," line 13. 
 is heavy and not very broad, as in "Bardolphe," line 20. 
 
 is slight, well-made, and quite broad at the top, as in "Presentor," 
 
 line 4. 
 
 is narrow and heavy, as in "Travers," line 15. 
 
 s 
 t 
 u 
 
 is well-made and rather wide, as in "Hastings," line 13. 
 is very narrow at the base, as in "Sonnes," line 8. 
 
 is a light letter having a short horizontal line at the base, as in "after- 
 wards," line 6. 
 is somewhat heavy and the base curves upward, as in "Fift," line 6. 
 
 is the capital in miniature. It is delicately formed, the right limb 
 light. There is also the form of the ordinary u, well-made and clear, 
 as in "Gloucester," line 8. 
 
 is the capital in miniature. It has a heavy right limb. Small u is 
 heavy and clumsy, as in the first "Fourth," line 5. 
 
 w 
 
 y 
 
 is delicate and well-formed, as in the first "Shallow," line 24. 
 is heavy and clumsy like the capital, as in "Drawers," line 26. 
 
 is a well-made letter, as in "Mowbray," line 12. 
 is narrow and heavy, as in "Country," line 30. 
 
100 THE BI-LITERAL CIPHER 
 
 7. Second Folio, 1632. Small Italic Type. 
 /. Capitals. 
 
 A 
 
 B 
 
 C 
 
 D 
 
 (a) is plain, the limbs finished by straight serifs, as in "And," Love's 
 
 Labour Lost, page 144 right, Plate 97, line 2. 
 {b) has the left limb curved upward at the base, usually terminating in a 
 
 dot, as in "And," Love's Labour Lost, page 144 right, Plate 97, 
 
 line 21. 
 
 (fl) is plain, resembling the capital B in Roman type, except that it is 
 inclined toward the right, as in "Braggart," Love's Labour Lost, 
 page 144 left, line 54. 
 
 (^) has a broad top extending well to the left and curved at the extremity, 
 as in "Brag," Love's Labour Lost, page 144 right, line 7. 
 
 (a) has a rounded back, and shows an angle or corner at the right of the 
 base, as in "Cuckow," Love's Labour Lost, page 144 right, Plate 97, 
 line 5. 
 
 Note. — It is probable that the long C with a short head and 
 distinct drooping dot, belongs also to this font, as in "Cant.," Hen. 
 v., page 69 right, line i below "Actus primus. Sccena Prima." 
 
 (b) is in two forms long and short, the long C being much more frequently 
 used. It is characterized by a long curve at the top, as in the second 
 "Cuckow," Love's Labour Lost, page 144 right, Plate 97, line 8. 
 Short C is usually delicate, the lower curve slight and showing no 
 angle, as in the second "Cuckow," Love's Labour Lost, page 144 
 right, Plate 97, line 17. 
 
 (a) is plain and easily recognized, as in "Dicke," Love's Labour Lost, 
 page 144 right, Plate 97, line 21. 
 
 (b) is broad at the top and ends at the left in a downward curve, as in 
 "Dasies," Love's Labour Lost, page 144 right, Plate 97, line I. 
 
E 
 
 OF SIR FRANCIS BACON 
 
 101 
 
 is plain and angular, resembling the Roman letter except in inclina- 
 tion, as in "Enter," Love's Labour Lost, page 144 left, line 54. 
 is like a script letter formed of two nearly equal curves, as in "Enter," 
 Love's Labour Lost, page 144 right, line 9. 
 
 F 
 
 is rather long at the top, the stem usually pyramidal, as in "Foot," 
 Henry V., page 79 right, Plate 96, line 50. 
 
 is somewhat short and slight at the top contrasting sharply with the 
 stem, as in "Fingres," Henry V., page 79 right, Plate 95, line 13. 
 
 G 
 
 is a plain letter like the Roman, except in position, as in "Gentle- 
 woman," Henry V., page 79 left, Plate 95, line 2. 
 is like the «-font letter with a queue appended, as in "Governour," 
 Henry V., page 79 left, line 43. 
 
 H 
 
 is somewhat heavy and awkward, as in "Honneur," Henry V., page 
 79 right, Plate 96, line 52. 
 
 is a well-made letter, somewhat broad and very clear, as in "Hand," 
 Henry V., page 79 right, Plate 95, line 9. 
 
 / 
 
 is a distinct, well-made letter, but usually somewhat heavy, as in 
 "le," Henry V., page 79 right, Plate 95, line 25. 
 is somewhat irregular, sometimes heavy with unlike serifs, sometimes 
 only differing from the a-font letter in size and delicacy, as in "//," 
 Henry V., page 79 right, Plate 95, line 27. 
 
 K 
 
 is somewhat clumsy and is marked by a close, heavy queue, as in 
 "Kath.," Henry V., page 79 right, Plate 96, line 58. 
 is delicate and well-made. The queue is quite slender, as in "Kath.," 
 Henry V., page 79 right, Plate 95, line 9. 
 
102 THE BI-LITERAL CIPHER 
 
 L 
 
 M 
 
 N 
 
 
 P 
 
 (a) has a level base line, often somewhat heavy, as in "Le," Henry V., 
 page 79 right, Plate 95, line 11. 
 
 (b) is delicately formed, the base showing a slight wave line, as in "La," 
 Henry V., page 79 right, Plate 95, line 13. 
 
 («) is a plain letter resembling the Roman except in position, as in "Ma- 
 dame," Henry V., page 79 right, Plate 95, line 20. 
 
 (h) has the left limb long and curved upward at the base. At the top a 
 line is appended that curves downward, to correspond with the tops 
 of B and P of this font, as m" Madame," Henry V., page 79 right, 
 Plate 96, line 33. 
 
 (a) is a plain letter to correspond with the capital M of this font, as in 
 "Nayles," Henry V., page 79 right, Plate 95, line 18. 
 
 (b) has the connecting line between the two uprights extended in a queue, 
 as in "Nayles," Henry V., page 79 right, Plate 95, line 17. 
 
 (a) is somewhat pointed and shows heavier shading at the left than at the 
 right, as in "Ouy," Henry V., page 79 right, Plate 96, line 37. 
 
 (b) is v/idely rounded at the base and the shading is nearly alike on both 
 sides, as in "0," Henry V., page 79 right, Plate 95, line 31. 
 
 (a) is a plain letter corresponding to the capital B of this font, as in 
 "Parsons," Love's Labour Lost, page 144 right, Plate 97, line 30. 
 
 (h) has the top extended far out at the left terminating in a downward 
 curve, as in "Ploughmens," Love's Labour Lost, page 144 right, 
 Plate 97, line 11. 
 
 (a) is like an enlarged figure 2, as in "Que.," Hamlet, page 292 left, 
 Hne 13. 
 
 (b) is like the capital of this font with a queue appended, as in "Quee.," 
 Hamlet, page 292 left, line 17. 
 
R 
 
 S 
 
 T 
 
 V 
 
 OF SIR FRANCIS BACON 103 
 
 (o) is in two forms, long and short. Long R has no projection at the 
 left of the top, as in "Rosin.," Hamlet, page 292 right, line 14. Short 
 R corresponds to the K of this font and has a heavy queue reaching 
 only to the line of writing, as in "Rosin." Hamlet, page 292 right, 
 line II. 
 
 (^) is also in two forms, long and short. Long R has the top prolonged 
 and ending in a downward curve, or in a dot, as in "Rosincros," 
 Hamlet, page 292 left, line 59. Short R has the upper loop well 
 rounded, the queue extending only to the line of writing, and is thin 
 and delicate, as in "Rosin." Hamlet, page 292 right, line 18. 
 
 (a) is somewhat heavy, especially at the ends, as in "Sin" Henry V., 
 page 79 right, Plate 96, line 36. 
 
 (h) is a delicate letter with light, slender top, as in "Seigneur," Henry V., 
 page 79 right, Plate 95, line 31. 
 
 (a) is in two styles, one resembling the Roman in form, as in "Then," 
 Love's Labour Lost, page 144 right, Plate 97, line 34; the other 
 having a top curved at the left. The stem is usually pyramidal, as in 
 "Turtles," Love's Labour Lost, page 144 right, Plate 97, line 12. 
 
 (F) is well-made and usually delicate. The top is curved downward at 
 the left and upward at the right, as in "The," Love's Labour Lost, 
 page 144 right, Plate 97, line 5. 
 
 (a) is a pointed letter in form resembling the Roman, as in "Ver," Love's 
 Labour Lost, page 144 right, line 10. 
 
 {]}) is bowl-shaped. A line extends from the top at the left and curves 
 downward like other capitals of this font, as in "Unpleasing," Love's 
 Labour Lost, page 144 right, Plate 97, line 9. 
 
104 THE BI-LITERAL CIPHER 
 
 IV 
 
 r 
 z 
 
 a 
 
 b 
 
 c 
 
 (a) resembles the Roman letter except in position, as in "When," Love's 
 Labour Lost, page 144 right, Plate 97, line i. 
 
 (b) has the second and third lines crossed, as in "^Az'/if," Love's Labour 
 Lost, page 144 right, Plate 97, line 28. 
 
 (a) is heavy at the left side and the stem is often pyramidal, as in "Yorke," 
 2 Hen. VL, page 132 right, line 15. 
 
 (b) is light and delicate, somewhat broad and spreading at the top, as in 
 "Yorke" 2 Hen. VL, page 132 right, line 29. 
 
 is found in "Zenolophon" Love's Labour Lost, page 130 left, line 
 58. It has not been classified. 
 
 //. Small Letters. 
 
 (a) is somewhat heavy with curved back. The letter inclines well to the 
 
 right, as in "all," Love's Labour Lost, page 144 right, Plate 97, 
 
 line 29. 
 (h) shows an angle in the back, at the top, and the axis of the oval is but 
 
 slightly inclined to the right, as in "and," Love's Labour Lost, 
 
 page 144 right, Plate 97, line 11. 
 
 (a) has a rounded base, the stem usually showing a distinct serif at the 
 top, as in "blow," Love's Labour Lost, page 144 right, Plate 97, 
 line 29. 
 
 (b) is pointed at the base; the stem is usually shaded from the top and is 
 sometimes heavy, as in "bowle," Love's Labour Lost, page 144 
 right, Plate 97, hne 33. 
 
 (fl) has rounded top and base, as in "coffing," Love's Labour Lost, page 
 
 144 right, Plate 97, line 30. 
 (h) is rather long at the top, while the lower curve is narrow and distinct, 
 
 as in "comes," Love's Labour Lost, page 144 right, Plate 97, line 23. 
 
d 
 
 f 
 
 g 
 
 h 
 
 OF SIR FRANCIS BACON 105 
 
 {a) has a somewhat large loop, well-rounded; the stem usually shows a 
 
 serif at the top, as in "delight," Love's Labour Lost, page 144 right, 
 
 Plate 97, line 4. 
 (b) is a delicate, well-made letter, the oval not large and joining the stem 
 
 with a curve scarcely perceptible at the top, as in "doth," Love's 
 
 Labour Lost, page 144 right, Plate 97, line 37. 
 
 (fl) is in two forms. If the base line be extended it will meet the bisecting 
 line of the oval in either case, as in "eare," Love's Labour Lost, 
 page 144 right, Plate 97, line 18, and in "Logges," line 22. 
 
 (J)) is in two forms and must be tested by the lines. In this font the ex- 
 tended base line and the bisecting line of the oval are parallel, as in 
 "every tree," Love's Labour Lost, page 144 right, Plate 97, line 15. 
 
 (a) is sometimes lacking in terminal curves, or if found they are slight, 
 as in "frozen," Love's Labour Lost, page 144 right, Plate 97, line 23. 
 
 {b) shows distinct curves at the terminals, as in "for," Love's Labour 
 Lost, page 144 right, Plate 97, line 15. 
 
 {a) has a blunt nose while the lower loop has rather sharp angles at either 
 side, as in "greasie," Love's Labour Lost, page 144 right, Plate 97, 
 line 37. 
 
 (b) has a thin, clear nose. The lower loop is wide and round at the left, 
 as in "greasie," Love's Labour Lost, page 144 right, Plate 97, 
 hne 28. 
 
 (a) has a large, broad loop, turning upward at the base; the stem usually 
 
 shows a distinct serif, as in "hang," Love's Labour Lost, page 144 
 
 right, Plate 97, line 20. 
 (i) is a delicate letter. The stem is usually slightly shaded from the top, 
 
 the loop only slightly turned at the base, as in "hisse," Love's Labour 
 
 Lost, page 144 right, Plate 97, line 33. 
 
106 THE BI-LITERAL CIPHER 
 
 • (a) may best be described negatively — it is what the ^-font letter is not. 
 
 I The first and last lines are usually close and the base rounded, as in 
 
 "m," Love's Labour Lost, page 144 right, Plate 97, line 33. 
 
 (/>) is vi^ell-made, the first and last lines clear and free, the base pointed, 
 as in "into, " Love's Labour Lost, page 144 right, Plate 97, line 22. 
 
 {a) is seen in two forms, one closely resembling the capital with a pro- 
 longed stem, as in "booke," Ben Jonson's Poem, Plate 89, line 7; 
 the other having a queue curved sharply upward at the extremity. 
 The stem is usually heavy and shows a distinct serif, as in "keele," 
 Love's Labour Lost, page 144 right, Plate 97, line 28. 
 
 (b) is delicate. The queue has no terminal curve, the stem slightly 
 shaded at the top, as in "Larkes," Love's Labour Lost, page 144 
 right, Plate 97, line 11. 
 
 Note.— There may be a second form corresponding to its capital, 
 as in the a-font, but this has not been determined. 
 
 / 
 
 m 
 
 (a) is much inclined to the right, a somewhat ungainly letter, as in "lookes," 
 Love's Labour Lost, page 144 right, Plate 97, line 32. 
 
 (b) is delicate and but slightly inclined. It is usually shaded at the top 
 and the base is sharp, as in "silver," Love's Labour Lost, page 144 
 right, Plate 97, line 3. 
 
 (a) is clumsy and huddled-looking. The first downward stroke is curved, 
 and the finishing line at the right comes well under the base, as in 
 "merry," Love's Labour Lost, page 144 right, Plate 97, line 36. 
 
 (i) is clear and well-made, the last stroke free, as in "men," Love's 
 Labour Lost, page 144 right, Plate 97, line 6. 
 
OF SIR FRANCIS BACON 
 
 107 
 
 n 
 
 
 P 
 
 r 
 
 s 
 
 is clumsy, the final line crossing beneath the second downward stroke, 
 as in "note," Love's Labour Lost, page 144 right, Plate 97, line 36. 
 is like one-half of the small m of this font^ as in "note," Love's Labour 
 Lost, page 144 right, Plate 97, line 27. 
 
 is the capital letter in miniature. It is somewhat pointed and shows 
 heavier shading at the left than at the right, as in "on," Love's Labour 
 Lost, page 144 right, Plate 97, line 5. 
 
 is somewhat rounded at the base and evenly shaded on the two sides, 
 as in "on," Love's Labour Lost, page 144 right, Plate 97, line 10. 
 
 is broad in the loop and level at the top, as in "pipe," Love's Labour 
 Lost, page 144 right, Plate 97, line 10. 
 
 is narrow and shows the upper extremity of the loop slightly drooped, 
 as in "path," Love's Labour Lost, page 144 right, Plate 97, line 23. 
 
 has a broad, well-rounded loop, as in "que," 
 Plate 96, line 41. 
 
 is delicate and has a drooping head, as in "q, 
 right, Plate 95, line 12. 
 
 Henry V., page 79 right, 
 I'ils," Henry V., page 79 
 
 shows the first line long and drooping; the stem is somewhat blunt 
 and heavy, as in "reciteray," Henry V., page 79 right, Plate 96, 
 line 54. 
 
 is not very tall; the arms are m.uch alike and the stem somewhat 
 pointed, as in "roha," Henry V., page 79 right, Plate 96, line 48. 
 
 is in two forms, long and short. Long s, like the small / of this font, 
 shows slight curves, if any, at the terminals, as in "siiis," Henry V., 
 page 79 right, Plate 95, line 14. Short j- is narrow, the curves close 
 at top and base, as in "pas," Henry V., page 79 right, Plate 96, 
 line 41. 
 
108 THE BI-LITERAL CIPHER 
 
 S 
 
 t 
 
 u 
 
 w 
 
 X 
 
 (b) is in two forms, long and short. Long s shows a tendency downward 
 at the extremity of the upper curve, as in "sont," Henry V., page 79 
 right, Plate 96, line 50. Short s is somewhat broad and well-made, 
 as in "appellons," Henry V., page 79 right, Plate 95, line 17. 
 
 (a) is somewhat large and inclined to the right, as in "temps" Henry V., 
 page 79 right, Plate 96, line 40. 
 
 (J?) is narrow and pointed at the base, as in "tout," Henry V., page 79 
 right, Plate 96, line ^7,. 
 
 (a) is a broad letter with clear, free lines at the top and bottom, as in 
 "user," Henry V., page 79 right, Plate 96, line 52. 
 
 (b) is in two forms. One is bowl-shaped, and is the capital in miniature. 
 A line extends from the top at the left and curves downward, as in 
 "vous," Henry V., page 79 right, Plate 95, line 16; the other is an 
 ordinary Italic u, somewhat heavy in the upward stroke, as in "Dieu," 
 Henry V., page 79 right, Plate 95, line 31. 
 
 (a) is somewhat heavy and broad, as in "wall," Love's Labour Lost, 
 page 144 right, Plate 97, line 20. 
 
 (^) is well-made and usually delicate; the first line extends out toward 
 the left, as in "wayes," Love's Labour Lost, page 144 right, plate 97, 
 line 24. 
 
 (a) is narrow and somewhat clumsy, as in "Exeunt," Love's Labour 
 Lost, page 144 right, line 54. 
 
 (b) is wide, the last stroke clear and free, as in "Exeunt," Henry V., page 
 79 right, Plate 96, line 59. 
 
y 
 
 z 
 
 OF SIR FRANCIS BACON 109 
 
 (a) is noticeably heavy at the left; the top is somewhat wide and open, as 
 in "merry," Love's Labour Lost, page 144 right, Plate 97, line 27. 
 
 (b) shows very little difference in the thickness of the lines, as in "Nayles," 
 Henry V., page 79 right, Plate 95, line 17. 
 
 (a) is well-made. The queue is much curved and ends in a dot, as in 
 "frozen" Love's Labour Lost, page 144 right, Plate 97, line 23. 
 
 (h) is narrow at the top. The queue looks unfinished, as in "assez" 
 Henry V., page 79 right, Plate 96, line 58. 
 
A 
 
 C 
 
 D 
 
 H 
 
 THE BI-LITERAL CIPHER 
 
 8. Peele's The Knight of The Golden Shield, 1599. 
 
 Note. — The book is not paged, hut for purposes of reference the 
 pages are counted from the first page of the play. For purposes of 
 computation, Stg. B=page 5, sig. B i = p. 7, sig. C=p. 13, etc. 
 Pages 1-4 and 60-62 are reproduced in Plates 52-60. 
 
 /. Italic Capitals in Large Type. 
 
 (a) is plain. The limbs are heavy and each finished by a serif. The 
 bar is also thick, as in "And," title page, Plate 52, line 7. 
 
 {b) is delicate and well-made. The left limb is a light line, and the cross- 
 bar light and slanting, as in "And," Plate 54, line 4. 
 
 (a) is in two forms, one resting on the line of writing, the other extending 
 below. The long C is seen in "Clyomon," title page, Plate 52, line 4; 
 the short in "Clyomon," Plate 55, line i. Both are heavy with 
 wide curves. 
 
 (h) is in two forms, both characterized by lightness and curved tops. See 
 page 8, line i, and page 58, line i. 
 
 (a) is a heavy letter. The stem is slightly pyramidal and the curve dis- 
 tinctly thickened at the ends, as in "Denmarke," title page, Plate 52, 
 line 6. 
 
 (b) is well-made, with delicate lines noticeably thin at the top and bottom, 
 as in "Denmark," Plate 54, line 3. 
 
 (fl) is heavy, particularly in the cross-bar, as in "Historic," page 12, 
 
 line I. 
 (h) is delicate, the cross-bar a mere thread, as in "Historic," Plate 55, 
 
 line I. 
 
OF SIR FRANCIS BACON 
 
 111 
 
 K 
 
 S 
 T 
 
 a 
 
 d 
 
 e 
 
 is somewhat heavy. The short upper branch on the right is distinctly 
 thickened at the top, as in "Knight" page 7, line i. 
 is delicately made without shading in the top of the upper right stroke, 
 as in "Knight," Plate 56, line i. 
 
 is a heavy letter with long rounded cur\ 
 line I. 
 
 , as in "Sheeld" Plate 56, 
 
 frequently dotted, is a heavy letter with a thick bar at the top, as in 
 
 "The," page 6, line i. 
 
 is somewhat slender with a long cross-bar, as in "The," page 8, line i. 
 
 //. Italic Small Letters in Large Type. 
 
 is somewhat heavy, with a rounded back and close foot, as in "Den- 
 7narke," title page, Plate 52, line 6. 
 
 shows light lines and a square shoulder in the back, as in "Denmark," 
 Plate 54, line 3. 
 
 is rounded and heavy at the base, the stem broad and thick at the top, 
 as in "Sheeld," Plate 56, line i. 
 
 is very delicate. The loop from the base to the stem becomes a hair 
 line, as in "And," Plate 54, line 4. 
 
 is in two forms. In one the base line protended meets the line bi- 
 secting the loop outside and above the letter. In the other, similar 
 lines intersect outside and below the letter. 
 
 is in two forms. The bisecting line of the loop runs parallel to the 
 protended line of the base, and not greatly inclined. In the second, 
 they are also parallel, but the inclination is greater. 
 
 One can see that the rule is less complex than it seems; for when 
 the lines meet, the letter belongs to font a; when they are parallel, it 
 is a Wont letter. In "Sheeld," page 15, line i, the first is from font a, 
 the second from font h. On the title page, Plate 52, the e of "white," 
 line 7, belongs to font a, that of "sonne," line 7, to font b. 
 
112 
 
 / 
 
 THE BI-LITERAL CIPHER 
 
 is a somewhat heavy letter with a thick foot, and a cross-bar much 
 broader on the side of the letter toward the right, as in "of" title page, 
 Plate 52, line 8, and in "of", page 12, line i. 
 
 is a well-made letter particularly delicate in the lower part and usually 
 having a light bar, as in "of," page 9, line i. 
 
 g 
 
 shows the bisecting line of the oval but slightly inclined. There is 
 usually marked thickness at the top, and the nose is somewhat heavy 
 as in "King," title page, Plate 52, line 8. 
 
 is delicately made; the bisecting line slants noticeably as in "Knight," 
 page 9, line i. 
 
 h 
 
 is broad and heavy at the top and has rounded loop, as in "the," title 
 page, Plate 52, line 7. 
 
 is delicate and slender, the loop slightly pointed, as in "white," Plate 
 54, line 4. 
 
 is of nearly uniform thickness throughout, as in "Knight," title page, 
 Plate 52, line 7. 
 
 shows thickened and often slightly rounded base, as in "Knight," 
 Plate 54, line 4; and "King," title page, Plate 52, line 8. 
 
 k 
 I 
 
 is somewhat heavy in the top of the upright; the queue is uniform in 
 thickness throughout its length, as in "Denmarke," title page, Plate 52, 
 line 6. 
 
 is broad at the top, growing markedly slender toward the base, as in 
 "SheeU," Plate 56, line i. 
 
 is nearly uniform throughout with a free line at the base, as in "Clyo- 
 mon," title page, Plate 52, line 4. 
 
OF SIR FRANCIS BACON 
 
 113 
 
 m 
 n 
 
 
 
 r 
 s 
 
 is somewhat heavy. The loops are rounded at the top and show 
 heavy shading. The short hnes at the beginning and end of the letter 
 are also rounded, as in "Denmarke," title page, Plate 52, line 6. 
 is delicate; loops somewhat pointed; the short line free and clear, as 
 in "Clyomon," page 8, line i. 
 
 has the characteristics of small m 
 Plate 52, line 7. 
 
 has the characteristics of small r 
 line 4. 
 
 1 this font, as in "sonne," title page, 
 in this font, as in "And," Plate 54, 
 
 has the left side rounded out more than the right, as the first o in 
 "Clyomon," title page, plate 52, line 4; and the in "sonne," 
 title page, Plate 52, line 7. 
 
 is nearly equally curved on the two sides, but is usually somewhat 
 flattened at the base, as the second in "Clyomon," title page, 
 Plate 52, line 4. 
 
 is usually somewhat heavy, and quite broad and angular at the top, 
 as in "Denmarke,'" title page, Plate 52, line 6. 
 
 is a delicate letter not very wide at the top, and finished at the right 
 with a drooping dot, as in "i//j-/on>," page 14, line i. 
 
 is in two forms, long and short, but the latter appears only in com- 
 bination with /. The long s of this font is heavy and shaded toward 
 the bottom, as in "sonne," title page, Plate 52, line 7. 
 was used only as long s in this font. It is slender and delicate, grow- 
 ing very thin at the base, as in "sonne," Plate 54, line 4. 
 
 is a heavy letter with rounded base, as in 
 is delicate with a free clear line at the bai 
 line 4. 
 
 "Knight," page 7, line i. 
 e, as in "white," Plate 54, 
 
114 
 
 THE BI-LITERAL CIPHER 
 
 w 
 
 y 
 
 (fl) has two lines at the left, extending much higher than the body of the 
 letter, as in "white" title page, Plate 52, line 7. 
 is flat and somewhat wide, as in "white" Plate 54, line 4. 
 
 
 A 
 B 
 
 C 
 
 is somewhat heavy and has a stem turning almost sharply to the left, 
 as in "Clyomon," title page, Plate 52, line 4. 
 
 is delicate. The stem curves gradually to the left, as in "Clyomon," 
 Plate 55, line i. 
 
 ///. Italic Digraphs in Large Type. 
 The digraphs of this larger size have the characteristics of the simple 
 forms of which they are composed. 
 
 IV. Italic Capitals in Small Type. 
 
 a) is a plain letter, each limb being finished by a serif, as in "Author," 
 Prologue, Plate 53, line 15. 
 
 b) has the left limb curled upward and usually finished by a dot, as in 
 "Alexander," page 5, line 15. 
 
 is plain, resembling capital B in Roman type, except that it inclines 
 to the right, as in "5rya«," page 16, line 10. 
 
 has a broad top ending at the left in a curve, as in "Bryan," page 15, 
 line 35. 
 
 is in two forms, short and long. The short C of this font reaches 
 well out at the top, has a round shaded back and an angle or corner 
 at the right of the base, as in "Enter Clamydes," Plate 54, line 6. 
 Long C is also wide at the top and droops very little, as in "Clamydes," 
 page 8, line 21. 
 (b) is in two forms, the longer one being much more often used. This 
 shows a tendency to droop at the top, the line often being very heavy 
 at the end, as in "Clyomon," Plate 56, line 16. The short C is quite 
 diflFerent, and shows a short top, and perfect curve at the base, as in 
 "Clamydes," page 19, line 20. 
 
D 
 
 E 
 F 
 
 G 
 
 H 
 
 I 
 
 OF SIR FRANCIS BACON 115 
 
 (a) is plain, and has the characteristics of capital B of this font, as in 
 "Deninarke," Plate 54, line 14. 
 
 (U) is broad at the top and ends at the left in a downward curve, as in 
 "Dentnarke," page 13, line 21. 
 
 (a) is plain and angular, resembling the Roman letter except in inclina- 
 tion, as in "Enter," Plate 54, line 6. 
 
 (b) is like a script letter, as in "Enter," page 11, line 15. 
 
 (a) is somewhat heavy and the stem is slightly pyramidal, as in "Forrest," 
 page 36, line 10. 
 
 (b) is a delicate letter with a thin slanting line at the top, as in "Fortune," 
 Prologue, Plate 53, line 8. 
 
 (a) is not very large, but is usually heavy and clumsy, as in "Garland," 
 Prologue, Plate 53, line 7. 
 
 (h) is a well-made letter terminated by a distinct serif, as in "Glasse," 
 Prologue, Plate 53, line 4. 
 
 (rt) is not very wide, but heavy, with a cross-bar also somewhat heavy, as 
 in "Here," page 4, line 25. 
 
 (b) is well-made, is wide, and has a light cross-bar, as in "Hydras," Plate 
 57. line 6. 
 
 (a) is a very distinct letter, often quite heavy, as in "luliana," Plate 55, 
 line 2. 
 
 (V) is a delicate letter, sometimes showing weakness in the stem, as in 
 "luliana," Plate 55, line 16. 
 
116 THE BI-LITERAL CIPHER 
 
 is somewhat clumsy and is marked by a heavy queue, as in "King," 
 page 8, Hne 24. 
 
 is in two forms, long and short, and very slight and delicate in either 
 case, as in "Enter Knowledge," Plate 58, line 25, and "King," page 
 57, line 16. 
 
 (a) is narrow and composed of straight lines, as in "Lo.," page 9, line 19. 
 
 (b) is a delicate, well-made letter. The base shows a faint wave line, as 
 in "Lord," page 9, line 12. 
 
 is a plain letter resembling the Roman type except that it is inclined 
 to the right, as in "Mars," Plate 56, line 28. 
 
 has the first limb long and curved upward at the end. On the left 
 side at the top is appended a bar drooping at the end, such as may be 
 seen at the top of 5, D, and P of this font, as in "Macedon," page 12, 
 line 13. 
 
 (a) is rather large. The first upright shows shading toward the base, as 
 
 in "Noble," Prologue, Plate 53, line 3. 
 (h) is a somewhat narrow letter and has no shading in the uprights, as in 
 
 "Norway," page 41, line 23. 
 
 (a) is a pointed letter, curving out more upon the left side than the right, 
 
 as in "Our," Prologue, Plate 53, line 4. 
 {]}) is not very tall and appears flattened at the base, as in "Omnes," page 
 
 62, line 39. 
 
 {a) is plain and resembles the Roman letter in form but not in position, 
 as in "Patranius," page 32, line 30. 
 
 (h) has the top extended toward the left and finished by a curve down- 
 wards, as in "Philip," page 12, line 19. 
 
 K 
 
 L 
 
 M 
 
 N 
 
 
 P 
 
R 
 S 
 
 T 
 
 V 
 
 IV 
 
 a 
 
 OF SIR FRANCIS BACON 117 
 
 {a) is heavily shaded in the top of the oval, scarcely at all in the queue, as 
 
 in the second "Queene," page 55, line 20. 
 {V) is very delicately made, and shaded more at the sides than upon the 
 
 top, as in "Queene," page 55, line 4. 
 
 (a) is a plain heavy letter, as in "Ring," page 7, line 18. 
 
 (a) is very heavy at the base and ends in a thick serif, as in "Shift," page 
 15, line 13. 
 
 (b) is delicate. The lines in the upper part are usually very light, as in 
 "Sance," page 16, line 10. 
 
 (a) is heavy and usually has pyramidal stem, as in "To," Prologue, Plate 
 53, line 6. 
 
 (a) is plain and sharply pointed, as in "Venus," page 16, line 29. 
 
 {b) is bowl-shaped, vs'ith a mark on the left, at the top, ending, like the 
 
 B, D, P, etc. of this font, in a downward curve, as in "Venus," page 16, 
 
 line 35. 
 
 (a) is heavy and clumsy, with curves showing in the last upward stroke 
 and in the first heavy downward stroke, as in" fVherein the froward," 
 Prologue, Plate 53, line 8. 
 
 (b) is clear and well-made, with light straight lines for the second and 
 fourth strokes, as in "fVherein the Noble," Prologue, Plate 53, line 3. 
 
 V. Italic Small Letters in Small Type. 
 
 (a) is quite a heavy letter and somewhat large, as in "leaiies," Prologue, 
 
 Plate 53, line 2. 
 (h) is delicate. The downward stroke at the right is slightly longeg^rthan 
 
 that of an a-font letter, as in "lately," Prologue, Plate 53, line 2. 
 
118 
 
 b 
 
 c 
 
 d 
 
 e 
 
 THE BI-LITERAL CIPHER 
 
 (a) is somewhat heavy, but the base is narrow, as in "bablers," Prologue, 
 
 Plate 53, line i6. 
 (i) is delicately made, the line of the loop showing thin at the base where 
 
 the curve is wide, as in "bright," Prologue, Plate 53, line 4. 
 
 (a) is wide at the top, extending in nearly a straight line, as in "which 
 honour," Prologue, Plate 53, line 5. 
 
 (b) is short at the top, and the line turns downward at the right, as in 
 "chances," Prologue, Plate 53, line 8. 
 
 (a) is rather heavy. The loop joins the upright somewhat low at the 
 base, as in "found," Prologue, Plate 53, Hne 4. 
 
 (b) is light and delicate. The loop joins the upright at a high point, as in 
 "hidden," Prologue, Plate 53, line 3. 
 
 is in two forms. In this font the bisecting line of the loop and the 
 protended line of the base meet or intersect, as in "same" and "large," 
 Prologue, Plate 53, line 19. 
 
 is in two forms. The bisecting line of the loop and the protended 
 line of the base run parallel in either case, as in "Loners" and "de- 
 light," Prologue, Plate 53, lines 10 and 18. 
 
 / 
 
 (a) is not very well made and usually grows heavy toward the base, as in 
 "found," Prologue, Plate 53, line 4. 
 
 (b) is delicately made. The cross-bar is slightly thickened at the left, as 
 in "lifting," Prologue, Plate 53, line 2. 
 
 (fl) has a high, blunt nose and a somewhat angular loop, as in "bright," 
 
 Prologue, Plate 53, line 4. 
 (b) is also well-made. The nose is clear and straight; the loop pointed 
 
 slightly at right and left, as in "glory," Prologue, Plate 53, line 4. 
 
h 
 
 I 
 
 m 
 
 OF SIR FRANCIS BACON 119 
 
 {a) is heavy at the top of the stem and the loop is rounded, as in the first 
 "the," Prologue, Plate 53, line 2. 
 
 Q}) is delicate, almost without shading, and shows a slight deflexure in 
 the loop as it leaves the stem, as in "honour," Prologue, Plate 53, 
 line 5. 
 
 (a) is also distinct and usually large, as in "writers," Prologue, Plate 53, 
 line 2. 
 
 (b) is not very tall but is distinctly well-made, as in "lifting," Prologue, 
 Plate 53, line 2. 
 
 (a) is usually heavily shaded at the top of the stem. The queue leaves 
 at a point very slightly above the line of writing, as in "ivorkes," 
 Prologue, Plate 53, line 2. 
 
 (i) is well-made. The stem is nearly uniform; the queue is attached 
 somewhat higher than in the a-font letter, as in "Denmarke," page 52, 
 line 31. 
 
 (a) is in two styles. One is broad at the top, becoming very slender, as in 
 "lately," Prologue, Plate 53, line 2. The other is characterized by 
 its clumsiness and want of grace, as in "large," Prologue, Plate 53, 
 line 19. 
 
 (b) is of nearly uniform thickness throughout the stem, with a free last 
 stroke, as in "Enter Clamydes," Plate 54, line 6. 
 
 (a) has the first downward stroke turned to the right at the base. The 
 loops are rounded, as in "manifestly," Prologue, Plate 53, line 12. 
 
 {b) has no bend in the first downward stroke; neither do the tops of the 
 loops turn aside, as in "time," Prologue, Plate 53, line 7. 
 
120 THE BI-LITERAL CIPHER 
 
 n 
 
 
 
 P 
 
 r 
 
 (a) is heavy and has the appearance of the second half of small m in this 
 font, as in "honour," Prologue, Plate 53, line 5. 
 
 (b) is delicate. The first downward stroke shows no curve, as in "lift- 
 ing," Prologue, Plate 53, line 2. 
 
 (a) is somewhat tall and like the capital, pointed at the base, as in "honour," 
 Prologue, Plate 53, line 5. 
 
 (b) is sometimes broad and flattened at the base, sometimes only nicely 
 made and equally shaded on either side, as in "deeds of," and "same 
 to," Prologue, Plate 53, lines 3 and 19. 
 
 (a) has a stem somewhat widened at the base. The loop is broad at the 
 top, as in "lifting up," Prologue, Plate 53, line 2. 
 
 (b) has a stem of nearly uniform thickness throughout, and a loop not 
 much wider at the top than the bottom, as in "aspire," Prologue, 
 Plate 53, line 7. 
 
 Note. — Both fonts may be seen in "apparell," page 36, line 10. 
 
 {a) is rather heavy at the top and thick-stemmed, as in "workes," Pro- 
 logue, Plate 53, line 2. 
 
 (J)) is quite delicate. The right arm is a little shorter and thinner than 
 the left, as in "lurks," Prologue, Plate 53, line 3. 
 
 (a) is in two forms, long and short. The long s of this font reaches well 
 out at the top, as in "aspire," Prologue, Plate 53, line 7. The 
 
 short J- is narrow and close in the head, but broad at the base, as in 
 "leaues," Prologue, Plate 53, line 2. 
 
 (U) is in two forms, long and short. Long j- is well-made. The top bends 
 down a little at the right, as in "seene," Prologue. Plate 53, line 5. 
 Short s droops distinctly at the top, but is narrow and delicate at the 
 base, as in "workes," Prologue, Plate 53, line 2. 
 
OF SIR FRANCIS BACON 
 
 121 
 
 is not very tall and is usually broad at the top, as in "lifting," Pro- 
 logue, Plate 53, line 2. 
 
 is tall and well-made, as in "writers," Prologue, Plate 53, line 2. 
 
 is bowl-shaped, as in "valiantly," page li, line 15. 
 
 'fj (a) is large, and has a bend in the second heavy stroke, as in "you at 
 large," Prologue, Plate 53, line 19. 
 
 is well-made with free lines at top and bottom, as in "lurks," Prologue, 
 Plate 53, line 3. 
 
 w 
 
 has the characteristics of the capital of this font, as in "who," Pro- 
 logue, Plate 53, line 19. 
 
 is a clear, well-made letter, as in "writers," Prologue, Plate 53, 
 line 2. 
 
 X 
 
 y 
 
 is broad, as in "expresse," Prologue, Plate 53, line 19. 
 is a narrow letter, as in "Exit," Plate 56, line 32. 
 
 is a long narrow letter, close at the top, as in "glory," Prologue, 
 Plate 53, line 4. 
 
 is somewhat broad and open at the top. The stem is often clearly 
 curved outward from top to bottom, as in "dayly," Prologue, Plate 53, 
 line 6. 
 
122 
 
 THE BI-LITERAL CIPHER 
 
 as 
 
 IS 
 
 w 
 
 VI. Italic Digraphs, etc. in Small Type. 
 
 is the union of the simple form of a, with an s very sharply pointed at 
 the top, as in "as can," page II, line l6. 
 
 is the union of the simple form of a, in font a, with an s slanting well 
 to the right. The s is likewise of nearly uniform thickness through- 
 out, as in "as famous," Prologue, Plate 53, line 11. 
 Note. — "as" in "as well" of the Prologue, (Plate 53, line 1 1) is marked 
 aa because the s is dotted. 
 ba) is the union of the simple form of a, in font h, with an s sharply- 
 pointed at the top, as in "as though," Plate 57, line 24. 
 is the union of the simple form of a, in font h, with an s of nearly uni- 
 form thickness, slanting well to the right, as in "lulianas," page 15, 
 line 31. 
 
 aa~) is the union of the simple form of /", in font a, with an s that usually 
 ends in a dot and is distinctly shaded in the curve, as in "his toile," 
 Prologue, Plate 53, line 16. 
 
 ab) is the union of the simple form of /, in font a, with an s uniform in 
 thickness throughout, as in the last "Neronis," page 62, line 28. 
 
 ba) is the union of the simple form of /', in font b, with an s having shading 
 in the curve and usually ending in a clear dot, as in "his apparell," 
 page 24, line 13. 
 
 h) is the union of the simple form of /, in font b, with an s uniform in 
 thickness throughout, as in "Neronis," page 29, line 22. 
 
 a) is the union of a large, well-formed with one of the simple forms of ^ 
 in font a, as in "Cceur," page 53, lineS. 
 
 V) is the union of a narrow, pointed o, with one of the simple forms of e 
 in font b, as in "Phcebus," page 47, Hne 14. 
 
OF SIR FRANCIS BACON 
 
 123 
 
 V — J is the union of the u having shading in the first downward stroke, and 
 II \ an J also distinctly shaded in the curve, as in "Mustantius," page 42, 
 
 line 32. 
 
 (ah) is the union of the u, shaded in the first downward stroke, with an s of 
 nearly uniform thickness throughout, as in "Serbarus," Plate 56, line 5. 
 
 (ha) consists of the ti that is broad at the top and shows a thin downward 
 stroke, turning somewhat sharply into the up-stroke, joined with an 
 s distinctly shaded, and usually ending in a dot, as in "Patraniiis," 
 page 33, line 7. 
 
 (bb) is the union of a broad 11 thin in the first part with an s of nearly uni- 
 form thickness throughout, as in "Mustantius," page 34, line 33. 
 
 a 
 
 (ab) is the union of a <: rounded at the base, with a long t of nearly uniform 
 thickness below the bar, as in "Hector," page 45, line 22. 
 
 (ha) is the union of a small c turned rather sharply at the base with a t 
 shaded in the lower part, as in "acts" , Prologue, Plate 53, line 3. 
 
 (bb) is the union of a c sharply turning upward at the base, with a t of uni- 
 form thickness in the lower part, as in "Actors" Prologue, Plate 53, 
 line 19. 
 
 / 
 
 (ab) is the union of a distinctly shaded / having a cross-bar heavy at the 
 left, with another that is unshaded reaching well out at the right at the 
 top, as in "0/," Plate 57, line 26. 
 
 is the union of an unshaded letter, with delicate cross-bar, with a 
 heavier one having the head drooping somewhat at the right, as in 
 "Giffrey" page 40, line 16. 
 
 / 
 
 (ab) is the union of a somewhat heavy /with a well-made /, as in "findeth," 
 
 Prologue, Plate 53, line 10. 
 (bb) is the union of a somewhat delicate /reaching well out at the top, with 
 
 a well-made i, as in "filthy," Prologue, Plate 53, line 17. 
 
124 THE BI-LITERAL CIPHER 
 
 ffl 
 
 fr 
 
 II 
 
 $h 
 
 P 
 
 (aaa) is the union of two delicate /'s with a straight well-made /, as in 
 "Wiffler," page 48, line 2. 
 
 {aa) is the union of a somewhat heavy/, having the cross-bar heavier at the 
 
 left, with the simple form of r, in font a, as in "from," Prologue, Plate 
 
 53. 'ine 13. 
 (bb) is the union of a well-made / with the simple form of r in font b, as 
 
 in "frustrate" Prologue, Plate 53, line 16. 
 
 Note. — The r in "frustrate" is changed to an a-font letter by the 
 
 mark attached to the foot. 
 
 {aa) is the union of two Vs of the simple form, in font a, as in "shall see" 
 
 Prologue, Plate 53, line 8. 
 {ab) is the union of the simple form, in font a, with the simple form in 
 
 font b, as in "all his" Prologue, Plate 53, line 16. 
 (ba) is the union of the simple form, in font b, with the simple form, in font 
 
 a, as in "Courteous all," Prologue, Plate 53, line 14. 
 {bb') is the union of two /'s of the simple form in font b, as in "fall," page 39, 
 
 line 23. 
 
 {aa) is the union of the long s in font a, with the long h having a somewhat 
 narrow loop, as in "shall see," Prologue, Plate 53, line 8. 
 
 {ba) is the union of a delicate long s, turning upward at the foot, with a 
 narrow-looped long h, as in "shining," Prologue, Plate 53, line 4. 
 
 {bb) is the union of a long s finished by a foot turning upward with a wide- 
 looped h, as in "shall expresse," Prologue, Plate 53, line 19. 
 
 {ab) is the union of a long j having a head drooping at the right, with the 
 simple form of/, in font b, as in "signifying," page 2,3,^ line 27. 
 
 {bb) is the union of a delicate long s reaching well out at the top, and the 
 simple form of i in font b, as in "desire," Prologue, Plate 53, line 6. 
 
OF SIR FRANCIS BACON 
 
 ss 
 
 St 
 
 is the union of a short s in font a, with a long p having a loop rather 
 wide in the lower part, as in "Vesper" page 47, line 18. 
 
 is the union of two rather heavy letters with drooping tops, as in 
 "expresse," Prologue, Plate 53, line 19. 
 
 is the union of a heavy long j^ having a straight foot and drooping 
 head, with a more delicate letter reaching well out at the top and 
 usually turning upward at the base, as in "successes," Prologue, 
 Plate 53, line 9. 
 
 is the union of a well-made long s reaching well out at the top, with 
 another having a drooping head, as in "Glasse," Prologue, Plate 53, 
 line 4. 
 
 is the union of a long s shaded from the top and a long / also shaded. 
 The t is somewhat sharp and narrow at the base, as in "accustomed," 
 Prologue, Plate 53, line 14. 
 
 is the union of a long s, having a drooping head, and straight foot, 
 with a long t thin at the top and somewhat wide at the base, as in 
 "prest," Prologue, Plate 53, line 15. 
 
 is the union of long s of nearly uniform thickness throughout, having 
 a head that reaches out well at the top, with a long f narrow at the base 
 and shaded from the top, as in "taste," Prologue, Plate 53, line 17. 
 is the union of a long s of uniform thickness, reaching well out at the 
 top, with a long t thin at the top and somewhat wide at the base, as in 
 "frustrate," Prologue, Plate 53, line 16. 
 
 is the union of short s, in font a, with a i heavily shaded at the top, as 
 in "Mustantius," page 50, line 7. 
 
 is the union of short s, in font a, with a t somewhat heavy at the base 
 but thin at the top, as in "Mustantius," page 50, line 20. 
 is the union of short s, in font h, with a t heavily-shaded from the top, 
 as in "Must," page 50, line 26. 
 
 is the union of two simple letters of this kind in font b, as in "Mus- 
 tantius," page 45, line 18. 
 
126 THE BI-LITERAL CIPHER 
 
 9. Sylva Sylvarum, 1627. 
 
 /. Italic capitals in Large Script on Engraved Pages. 
 
 The large and medium sizes of these letters follozu almost exacily the 
 forms and classification of the alphabets in Bacon s illustration of the 
 hi-literal cipher, De Augmentis Scientiarum, 1623. The small size has 
 one alphabet of these and one that closely resembles the common Italic 
 type. As in printed pages the change to the small size reverses the fonts, 
 so in this, also, shaded tops that were a-fojjt in large and medium 
 sizes are h-font in the small, capital E beirig an exception as in Bacon s 
 example. The large size is first described, and the letters are found under 
 the portrait, Plate 6^. 
 
 A 
 
 (a) appears in three styles, two ending in a shaded foot, the third having 
 a shaded head, as in "Aprilis," "Annoq'," and "Anno." 
 
 (b) has an appendage at the top, a mark that characterized the ^-font in 
 Bacon's illustration, as in "Alban." 
 
 D 
 
 E 
 
 F 
 H 
 
 (a) shows a long shaded foot, as in "D"'." 
 
 is not given here, but in Bacon's example, form a, E has the character- 
 istic top of the other alphabet, showing his departure from consistent 
 forms to make particular alphabets. E, form h, is a script letter. 
 
 (l>) has the appendage belonging to this alphabet and the stem ends in a 
 flourish, as in Bacon's illustration. See "Francis." 
 
 (b) has a line appended to the top of the left limb. The right commences 
 with a flourish, as in "Hon^''." 
 
L 
 
 S 
 
 OF SIR FRANCIS BACON 127 
 
 (fl) is seen on the engraved title page in "NATURALL." It has the 
 
 closed head characteristic of this form. 
 (h) commences with a little flourish or loop, as in "Lo." 
 
 (a) is a plain letter commencing with a dot, as in "S"- Alhan." 
 
 (b) has a long, graceful curved line appended at the top, and a stroke 
 
 M across the foot, as in "The." 
 
 V 
 
 a 
 
 b 
 
 c 
 
 (b) has the curved line appendage characteristic of this alphabet, as in 
 " Ftscount." 
 
 II. Italic Small Letters in Large Script on Engraved Pages. 
 
 The large and medium sizes of these letters follow almost exactly the 
 forms and classification of the alphabets in Bacon s illustration of the 
 bi-literal cipher, De Augmentis Scientiarum, 1623. The small size has 
 one alphabet of these and one that closely resembles the common Italic 
 type. As in printed pages the change to the small size reverses the fonts, 
 so in this, also, shaded tops that were z-font in large and medium sizes 
 are b-font in the small size. The large size is first described and the letters 
 are found under the portrait, Plate 64.. 
 
 (a) shows an angle at the top where it joins the upright, as in " Ferulam." 
 
 (b) rounds from the upright into the oval, as in "Francis." 
 
 (a) has a long shaded head, as in "Alban." 
 
 (a) shows a distinct dot at the top and a wide curve at the base, as in 
 
 "Fiscount." 
 (h) has a long top and short curve at base, as in "Francis." 
 
128 
 
 THE BI-LITERAL CIPHER 
 
 e 
 
 g 
 h 
 
 / 
 
 m 
 n 
 
 
 
 P 
 r 
 
 is a simple script letter, as in "The." 
 
 of the example cited is a diminutive size of the capital in this alphabet. 
 
 has an oval head and plain stem, as in "right" 
 has a long shaded head, as in "The." 
 
 is rounded at top and bottom, as in "right." 
 
 is more abrupt than the a-font, as in "Viscount." 
 
 has a long, shaded head, as in "Alhan." 
 
 in De Jugmentis begins with a little flourish or loop. 
 
 is fancy and plain with rounded loops, as in "mortuus" and "Veru- 
 lam." 
 
 is rounded at top and bottom, as in "Hon"'." 
 
 has shorter curves; the connecting line between the two uprights 
 
 leaves the first quite near the top, as in "Alhan." 
 
 is not large but very distinctly shaded, as in "Hon"'." 
 
 is larger, which gives it the appearance of having less shading, as in 
 
 " Fiscount". 
 
 has the characteristics of the p in "sculp.," on the engraved title page, 
 has a stroke across the foot, as in "Aprilis." 
 
 Small q in the termination que of "Annoq," belongs to form a. 
 
 has a drooping dot on the right arm, as in "right." 
 
 has a curved or waved line at the right, as in " Verulam." 
 
OF SIR FRANCIS BACON 129 
 
 (a) appears here only in combination with /' and u. It is widely curved at 
 \ the base, as in "ApriUs" and "mortuus." 
 
 (h) is in two styles, long and short. The former is a plain loop above the 
 line and a flourish below, as in "Viscount;" the latter is found here in 
 combination with z and is narrow and close, as in "Francis." 
 
 t 
 
 V 
 
 u 
 
 A 
 
 H 
 I 
 
 L 
 
 (a) is, in the simplest style, an upright and plain cross-bar, as in "right." 
 
 (b) has a line connecting the base and cross-bar, as in "Viscount." 
 
 (a) is broad; the second upright is slightly depressed at the top, as in 
 " Verulam." 
 
 (b) shows an upward turn to the second upright, as in "Viscount." 
 
 III. Italic Capitals In Medium Script on Engraved Pages. 
 Note. — References are to Plates 64.-6 j. 
 
 (a) is in two styles, one ending in a prolonged dot at the base; the other 
 in a light flourish, as in "NATURALL" and "Anno." 
 
 (h) has a large flourish at base. The cross-bar is heavy, the right side is 
 heavily-shaded, and the foot makes a sharp angle with the upright, as 
 in the word "A." 
 
 (h) has a short line appended to the top of the first upright. The base is 
 like that of the capital A, in this form, as in "HISTORY." 
 
 (a) has a flat top. The stem terminates in a heavy dot, as in 
 "HISTORY." 
 
 (a) commences with a large dot and has a rather short base line, as in 
 "NATURALL." 
 
THE BI-LITERAL CIPHER 
 
 71 ~T (a) has a large dot at the bottom of the first upright and at the top of the 
 / V' second. A long shaded stroke connects the two parts and extends 
 
 
 R 
 S 
 
 below the line, as in "NATURALL." 
 
 {b) is much inclined to the right and is more heavily-shaded at the left. 
 It is smaller than the a-font letters next to it, as in "HISTORY." 
 
 (a) has a dot at the lower end of the stem. The curves are plain and 
 simple, as in "HISTORT." 
 
 (a) is made up of simple curves terminating in heavy dots, as in 
 "HISTORT." 
 
 r(a) has a flat top. The stem terminates in a large dot, as in 
 "HISTORT." 
 
 V 
 T 
 
 (b) has the appended line of the ^-font, as in "Viscount." 
 
 (b) has a flourish crossing the stem at its base, as in "HISTORT." 
 
 IV. Italic Small Letters m Medium Script on Engraved Pages. 
 
 Note.— References are to Plates 6/f.-6^. 
 (V) is broad and somewhat angular, as in "Anno." 
 
 /I (b) is more heavily shaded at the left, as in "Anno." 
 
 If^ (a) has a drooping top and serif at the base, as in "D\" 
 C (h) is of nearly uniform thickness throughout, as in "Autho"." 
 
/I (b) has th( 
 
 D 
 
 E 
 
 F 
 
 G 
 
 H 
 
 I 
 
 L 
 
 M 
 
 P 
 
 S 
 
 OF SIR FRANCIS BACON 131 
 
 V. Italic Capitals in Small Script on Engraved Pages. 
 Note. — References are to Plates 6^-6^. 
 le left limb prolonged and heavily shaded, as in "Alhan." 
 
 (a) has the stem of this letter in Italic type. The loop is prolonged in a 
 graceful curve, as in "Deus." 
 
 (a) has a top ending in a drooping dot at the left. The base line is level, 
 as in "Et." 
 
 (a) has a stem ending in a flourish, as in "Francis." 
 
 (b) is like the ordinary capital in Italic type. 
 
 (b) has a base like the letter J in this font. A heavy dot is at the top of 
 the second stem, as in "Hon''''." 
 
 (a) terminates in a flourish at the base, as in "Intellectualis." 
 (h) commences vi^ith a heavy dot, as in "Lo." 
 
 (b) is in two styles, both showing a prolonged dot at the foot of the first 
 upright, as in "Mundus" and "Mytre." 
 
 (b) has a dot at the foot of the stem. The loop is prolonged in a long 
 curve over the top, as in "Printed." 
 
 (a) terminates in a flourish at the base, as in "S". Alban." 
 
132 
 
 T 
 
 V 
 
 IF 
 
 a 
 
 b 
 
 c 
 
 d 
 
 e 
 
 THE BI-LITERAL CIPHER 
 has a stem ending in a prolonged dot, as in "Turks." 
 
 has a long, curved line appended to the top of the left limb, as in 
 " Ftscount." 
 
 shows a curve in place of the angle at the top of the left limb, as in 
 " Ferulam." 
 
 has a curved line appended to the top limb, as in "Written." 
 
 bf in this size belongs to font a. 
 
 ^I. Italic Small Letters in Small Script on Engraved Pages. 
 Note. — References are to Plates 6^-6 J. 
 shows the stem extending slightly below the loop, as in " Verulam." 
 is a broad letter level at the base, as in "Allan." 
 
 is like this letter in Italic type, as in "by." 
 commences in a prolonged dot, as in "bona." 
 
 has a short top and wide curve at base, as in "lucem." 
 
 is somewhat longer at the top than the a-font, while the curve at the 
 
 base is comparatively narrow, as in "Intellectualis." 
 
 is like the same letter in type. 
 
 has a long shaded head, as in "vidit." 
 
 shows angles in the loop, as the first e in "esset." 
 has a long, smooth loop, as the second e in "esset." 
 
/ 
 
 h 
 
 i 
 k 
 I 
 m 
 n 
 
 
 
 OF SIR FRANCIS BACON 
 
 (i) has a heavy dot at either terminal, as in "for." 
 
 133 
 
 is like the ordinary script letter, as in "right." 
 
 would correspond with its capital and be the well-known form of an- 
 tique Italic type. 
 
 like h, d, I, etc., is in the ordinary form of Italic type, as in "right." 
 
 is somewhat rounded at top and bottom, as in "Written." 
 is somewhat sharp at top and bottom, as in "in Fleetstreet." 
 
 is like the same letter in Italic type, as in "Turks." 
 
 is like this letter in Italic type. 
 
 has a long shaded head, as in "lucem." 
 
 is made up of well-rounded curves, the last stroke heavy and wide, as in 
 " Verulam." 
 
 is somewhat sharp at the top, as in "Francis." 
 
 has the characteristics of small m in this form, as in "Written." 
 
 is a small, narrow letter distinctly shaded, as in "Hon''''." 
 
 is larger than the a-font letter and the shading appears less marked, 
 
 as in "Viscount." 
 
 (h) is seen in "sculp." but, as the engraver's signature was not used in the 
 message, this is noted only to call attention to the style of this letter 
 which has a prolonged dot at the end. 
 
134 THE BI-LITERAL CIPHER 
 
 /I (a) has the stem ending in a prolonged dot, as in "quod." 
 
 s 
 
 V 
 
 X 
 
 y 
 
 (fl) has a drooping dot at the end of the right arm, as in "Written." 
 (h) has the end of the right arm curled under, as in "right." 
 
 (a) is in two styles, long and short, both styles appearing in two varieties. 
 One of the varieties of long s is composed simply of two long loops, 
 one above and the other below the line; the other long s, instead of 
 the upper loop, has a dot, as the first s in "esset" and the s of "Vis- 
 count." The short s is seen in combination with t in "street" which 
 shows the simple style, while the little script s in combination with i 
 and u is never found alone. It belongs to font a in this place. 
 
 (J>) shows similar styles. There is a long s terminating in a dot at top and 
 bottom, as in "sould," a simple short s finished in the same way as in 
 "Turks," and one s used in combination showing the connecting lines 
 crossing both top and bottom, as the second s in "esset." 
 
 (a) is the simple one of Bacon's example. 
 
 (b) is marked by shading at the base of the stem and at the right extremity 
 of the cross-bar, as in "Fleet." 
 
 (a) is a diminutive letter like the capital, as in "vidit." Another is like 
 an inverted n, the top showing rounded, as in "lucem." 
 
 (b) is broad. The connecting line between the two uprights joins the 
 second very near the base, as in "Mundus." 
 
 (a) shows the heavier bar long and sweeping, as in "next." 
 
 (a) ends in a flourish below the line, as in "by." 
 
 (h) ends in a large dot below the line, as in "Mytre." 
 
 (a) in this size belongs to font a. 
 
OF SIR FRANCIS BACON 135 
 
 VII. Italic Capitals in Large Type. 
 
 The type of the address "To the Reader" and the running title in the 
 body of the work, is described luith New Atlantis, Page 1^6, Alpha- 
 bets in Large Type, q. v. 
 
 (^See Epistle Dedicatory, Plates 6^-68, unless otherwise designated. 
 The title page referred to, unless otherwise designated, is that of the 
 Sylva Sylvarum, Plate 66.) 
 
 A 
 
 B 
 C 
 
 D 
 
 E 
 
 (a) is large and ornamental. The left limb terminates in a flourish, as in 
 "Alban," title page, New Atlantis, Plate 76. ' 
 
 (J)) is plain like the Roman letter, but is inclined to the right, as 
 in ''FRANCIS," title page, Plate 66. 
 
 (a) is large and has a prolonged top ending in a downward curve or a dot, 
 
 as in "By," title page, Plate 66. 
 {b) was not used, but is plain like the capital A. 
 
 {a) is in two styles, long and short. The top is a long, wide curve in each. 
 The former is seen in "CENTURIES" and the latter in "FRANCIS," 
 title page, Plate 66. 
 
 (a) has a long, curved top ending in a drooping dot, as in "Doctor," title 
 page, Plate 66. 
 
 (a) is like a script letter with well-rounded curves, top and bottom, as in 
 "CENTURIES," title page, Plate 66. 
 
 (b) is plain, resembling the Roman letter, except in inclination, as in 
 "Epistle Dedicatory," line 21. 
 
136 
 
 F 
 G 
 H 
 
 I 
 K 
 
 L 
 
 M 
 
 THE BI-LITERAL CIPHER 
 
 is plain with a somewhat light bar at the top, as in "FRANCIS," title 
 page, Plate 66. 
 
 is a large letter having a queue extending below the line, as in "Great" 
 line 5. 
 
 is a large letter with a somewhat heavy cross-bar, as in "/. H.," title 
 page, Plate 66. 
 
 is a well-made letter having a light, delicate cross-bar, as in "Honour- 
 able," title page, Plate 66. 
 
 is an ornamental letter curved at the top, as in "/. H.," title page, 
 Plate 66. 
 
 is plain, as in "FRANCIS," title page, Plate 66. 
 
 is a light, delicate letter without shading in the short, upper line at the 
 right, as in "King," line 24. 
 
 is a well-made letter. The short line at the top of the right side shows 
 distinct shading, as in " Kingdome," line 22. 
 
 is a large, well-made letter showing a gradual thickening of the base 
 line, as in "Lee," title page, Plate 66. 
 
 is also well-made, not distinctly shaded in the base, as in "Lo.," title 
 page, Plate 66. 
 
 is a large, ornamental letter. The left limb has an appendage at the 
 top and ends in a flourish at the base, as in "Maiestie," line 18. 
 is plain, resembling the Roman letter except in inclination, as in 
 "Maiestie" line 12. 
 
OF SIR FRANCIS BACON 
 
 137 
 
 N 
 
 
 P 
 
 R 
 S 
 
 T 
 
 V 
 
 is a large, ornamental letter. The last stroke bends sharply downward 
 at the top, as in "Natures," line 22. 
 
 is quite similar to the letter just described, but the last stroke is heavily 
 shaded at the top and ends in a close dot, as in "CENTURIES," 
 title page, Plate 66. 
 
 is rather heavily shaded on either side, as in "OR," title page, Plate 66. 
 
 is delicate and well-made. The curved top ends in a dot, and the 
 stem is of uniform thickness throughout, as in "Protection," line 37. 
 has a pyramidal stem and is somewhat heavily made, as in "Prince," 
 line 14. 
 
 resembles the P of this font with the addition of a queue, as in "CEN- 
 TURIES," title page, Plate 66. 
 
 is very angular and often of nearly uniform thickness, as in "S. Alban," 
 line II. 
 
 has a top somewhat broad. The letter is usually shaded, as in "Sub- 
 iect," line 43. 
 
 has a top inclining slightly upward at the right, ending abruptly, as in 
 "MAJESTIES," line 42. 
 
 is a broad, well-made letter. The top curves upward at the right, as 
 in "Turks," title page, Plate 66. 
 
 is a bowl-shaped letter with an appendage at the top of the left limb, 
 as in " Verulam," title page, Plate 66. 
 
 is plain, resembling the Roman letter, except in inclination, as in 
 "Viscount," line II. 
 
r 
 
 a 
 
 b 
 
 c 
 
 d 
 
 THE BI-LITERAL CIPHER 
 
 d) is a beautifully-made letter, narrow at the base, as in "World" line 38. 
 is somewhat wide at the base. The last line is extremely light, as in 
 "Writings," line 35. 
 
 a) is somewhat heavy. The left limb ends in a flourish at the top; the 
 right, in a thickening of the line, as in "Tour," line 42. 
 
 VIII. Italic Small Letters in Large Type* 
 
 a) has a weak, thin line at the left giving the loop an oblong appearance. 
 The last stroke is close, as in "Allan," line 11. 
 
 is well-made. The upright shows distinctly at the top and the last 
 stroke is free, as in "Britaine," line 5. 
 
 a) is nearly uniform in thickness throughout. The oval is well-rounded 
 
 at top and bottom, as in "Alhan," line 11. 
 U) is distinctly shaded at the top. The loop is somewhat pointed at the 
 
 base, as in "Honourable," title page, Plate 66. 
 
 a) reaches out well at the top, while the lower curve is narrow. It 
 resembles the capital C of "FRANCIS," title page, Plate 66, as in 
 "Viscount," line 11. 
 
 is somewhat narrow at the top where it curves downward from a 
 small neck. The curve at the base is also narrow, as in "France," 
 line 5. 
 
 a) is a rather slender, well-made letter. At the base the loop falls a little 
 below the level of the upright, and the last stroke is clear and free, as 
 in "Dedicatory," line 21. 
 
 b) is somewhat narrow. The loop and upright stand on a level; the 
 inclination of the upright is greater than in the a-font letter; the last 
 stroke close, as in "Deuoted," line 43. 
 
 * See note to previous alphabet. 
 
/ 
 
 g 
 
 h 
 
 OF SIR FRANCIS BACON 139 
 
 (a) is in two forms. In one, the loop extends well toward the right, but 
 the curve at the base is short and narrow. The base, if prolonged, 
 would intersect the line bisecting the loop. In the other, the loop ex- 
 tends upward, and the lower curve is wide. The former is seen in 
 "The," line 21; the latter, in the first e in "Maiesties," line 40. 
 
 (h) is also in two forms. In one the loop extends toward the right, while 
 the lower curve is wide. Similar lines in this letter run parallel. In 
 the other, the loop extends upward, and the lower curve is narrow. 
 The lines in this case are also parallel, as in "Htstorie," line 9. 
 
 (a) is a large, clumsy letter, the cross-bar level or tending slightly down- 
 ward, as in "of," title page, Plate 66. 
 
 (a) has a small round top, a snub nose and lower loop usually slanting, as 
 in "Writings," line 35. 
 
 (b) has a distinct, straight nose, the lower loop angular and level, as in 
 "Eighth," line 24. 
 
 (a) is shaded at the top of the upright, which curves upward at the base. 
 The loop leaves the upright far down toward the base, as in "Philo- 
 sophie," line 30. 
 
 (h) is delicate and has a long straight, unshaded stem extending slightly 
 below the base of the loop, as in "Eighth," line 24. 
 
 {a) is of nearly uniform thickness throughout the stem, and the letter is 
 very much the same at the top as at the base, as in "Historie," line 8. 
 
 (b) is shaded at the base, the short stroke at top curved and light, as the 
 second i in "Maiestie," line 14. 
 
140 
 
 k 
 I 
 
 m 
 n 
 
 
 
 P 
 
 THE BI-LITERAL CIPHER 
 
 is somewhat heavy, the queue curved upward at the end, as in "Worke," 
 lines 32 and 38. 
 
 is a heavy letter having a short, abrupt queue, while a delicate letter 
 with abbreviated queue is font a, from which we infer that a well-made 
 letter with an upturned queue would be the ordinary ^-font k. The 
 i-font k was not used in the Epistle Dedicatory. 
 
 is well-made, having a straight stem of nearly uniform thickness, as 
 in "Alban," line 11. 
 
 s somewhat curved in the stem, the top inclining slightly backward, 
 as in "Philosophie," line 30. 
 
 has nearly vertical loops shaded at the right side, as in "Kingdome," 
 line 22. 
 
 has loops inclined well toward the right. The shading is on the right 
 but extends also to the top, as in "most," line 42. 
 
 has a nearly vertical loop and resembles half an a-font m, as in 
 "Hands," line 41. 
 
 has a slanting loop. It resembles half a ^-font m, as in "Writings," 
 line 35. 
 
 is an oval very slightly inclined, as the second in "Philosophie," 
 line 30. 
 
 is usually an ellipse considerably inclined to the right, as in "Vis- 
 count," line II. 
 
 has a pyramidal stem, and the loop commences with a slanting line, 
 as in "Stampe," line 36. 
 
 has a stem of nearly uniform thickness throughout, the loop having a 
 horizontal line at the top, as in "Philosophie," line 30. 
 
s 
 
 t 
 
 u 
 
 y 
 
 OF SIR FRANCIS BACON 141 
 
 (a) droops at the terminals, and the base is somewhat pointed, as in 
 
 ^'Lordships" Hne 35. 
 {V) has an angular terminal at the left and a rounded one at the right. 
 
 The base is blunt, as in "Writings" line 35. 
 
 {a) is in two forms, long and short. Short j is large and much inclined to 
 the right. It has an awkward, tumbledown appearance, as in "Writ- 
 ings" line 35. Long j has tapering ends and very slight curves, as in 
 "Philosophie," line 30. 
 
 (h) also is in two forms, long and short. Short s is nearly upright, has 
 rounded top and base, and is distinctly shaded. It is a neat, compact 
 little letter, easily recognized, as in "Natures," line 22. Long s curves 
 at the top, as in "Viscount," line 11. 
 
 {a) is somewhat large. The cross-bar is usually quite long, making the 
 
 letter wide at the top, and the last stroke free, as in "Writings," 
 
 line 35. 
 (V) is rather narrow at the top, having a short bar. It is rounded at the 
 
 base, and the last stroke curves toward the stem, as in "Statnpe," 
 
 line 36. 
 
 (fl) has close lines at the beginning and end. The upright is shaded at 
 
 the top giving it the appearance of bending toward the left, as in 
 
 "Your," line 42. 
 (li) is well-made, the first and last strokes free, the upright unshaded, 
 
 giving the letter a wide appearance at the top, as in ""Natures," 
 
 line 22. 
 
 (a) is narrow at the top, the second line bending downward toward the 
 first, as in "Royall," line 37. 
 
 (b) is nearly vertical. The strokes are well separated, giving the letter a 
 wide appearance at the top, as in "Dedicatory," line 21. 
 
142 THE BI-LITERAL CIPHER 
 
 IX. Italic Digraphs in Large Type* 
 
 a 
 II 
 
 St 
 
 {ah) is the union of the simple form of c in font a with an elongated t having 
 the characteristics of this letter in font h, as in "Protection," line 37. 
 
 (ha) is the union of a well-made / slightly shaded at the top and having a 
 free, clear line at the base, with the same letter of nearly uniform 
 thickness throughout, the stem having a very short line at the base, as 
 in "Naturall," line 9. 
 
 (ha) is the union of a long s ending abruptly with a small h of font a, as in 
 "Lordships," line 35. 
 
 (aa) is the union of long j ending in a short horizontal foot and small t 
 nearly uniform in thickness throughout, with the cross-bar extending 
 about the same distance on either side of the stem, and the last stroke 
 free, as in "Maiestie," line 17. 
 
 (ah) is the union of long s ending in a short horizontal foot with small t 
 usually slightly shaded at the base, and having a cross-bar that ex- 
 tends a little further toward the left side than toward the right, as in 
 "Maiestie," line 1 4. 
 
 (ba) is the union of long s that curves upward at the base, with small / of 
 nearly uniform thickness throughout, as in "Maiestie," line 18. 
 
 (hb) is the union of a long s curving upward at the base with small t having 
 a cross-bar extending well out toward the left, as in "Maiesties," 
 line 40. 
 
 * See note to seventh alphabet, Sylva Sylvarum. 
 
A 
 
 B 
 C 
 
 D 
 
 OF SIR FRANCIS BACON 143 
 
 X. Italic Capitals In Medium Type. 
 
 Note. — Not all the letters of the alphabets were used in the part de- 
 ciphered. The greater number were employed either m full sets or in 
 parts sufficient to indicate the others. The alphabets once arranged 
 do not change throughout the work, or the part of the work set up in the 
 style indicated. 
 
 (a) is a plain letter resembling the Roman capital except in position, as in 
 
 "JLBJN," title page, Plate 66. 
 (^b) has the left limb prolonged and curved upward at the base, as in 
 
 "Authors," page 86, line 26. In "AncientAutliors," page 86, line 26, 
 
 the two fonts of this leter are seen side by side. 
 
 (fl) is a plain letter, as in "ALBAN," title page, Plate 66. 
 (h) is an ornam.ental letter, the line of the upper loop being prolonged in a 
 curve over the top of the upright, as in "Beleefe," page 254, line 7. 
 
 (a) is in two forms, long and short. The former has a drooping head and 
 short top, while it makes a wide curve below the line of writing, as in 
 "Cedar," page 138, last line. The latter has short curves in both top 
 and base, the extremities seeming to approach each other and almost 
 meeting, as in "Come," page 212, line 11. 
 
 (h) is also in two forms, long and short. Long C extends well out at the 
 top, and has a wide curve below the line, as in "Contemplatiue," page 
 35, line 12. Short C is usually heavy, and has a wide open curve 
 at the base, as in "Cement," page 26, line 37. 
 
 (a) is plain, as in "Diuination," page 212, line 21. 
 
 (b) is an ornamental letter, the loop being prolonged in a curve over the 
 top of the upright, as in "Dissimulation," page 2i2, line 18. 
 
E 
 
 F 
 
 G 
 H 
 
 I 
 K 
 
 THE BI-LITERAL CIPHER 
 
 (a) has a thin, straight, level top finished with a short, vertical line. The 
 base line is long and terminates also in a short vertical line, as in 
 the second "Eccho," page 65, line 35.* 
 
 (b) has a line at the top somevi'hat heavy terminating in a short line slant- 
 ing outward. The base line is equally heavy and slightly waved, as 
 in "Excellent," line 7. 
 
 {a) is like the top of the capital E in this font, as in "Figures," page 61, 
 line 9. 
 
 (h~) is like the top of the capital E in this font, as in "Fleet," title page, 
 Plate 66. 
 
 is not yet classified. The forms of the capital are seen in "Gold," 
 page 86, lines 12 and 21. 
 
 (a) is a plain letter somewhat narrow, as in "Heat," page 23, line 3. 
 (h) is a plain, but very broad letter, as in "Head," title page, Plate 66. 
 
 (a) is a slender, delicate letter, as in "Ireland," line 6. 
 (h) is heavy and large, coming slightly below the line of writing, as in 
 "Inflexible," page 221, next to last line. 
 
 is not yet classified. The two forms of the capital are seen on page 
 123 in "Kinds," and "Kinde," lines 7 and 15. The former has slightly 
 pyramidal stem, and the upper line at the right shows shading at the 
 top. The latter has a thin, plain stem, and the letter is characterized 
 by a general lightness. 
 
 * Note. — As in Bacon's illustration, De Augmentis, J62J, the capital 
 E is an evident exception. 
 
OF SIR FRANCIS BACON 
 
 145 
 
 L 
 
 M 
 
 N 
 
 
 P 
 
 is a plain letter. The base line shows a wave line, the last stroke 
 slanting, as in "ALBAN," title page, Plate 66. 
 
 is somewhat larger than the a-font letter, and has a light base line 
 terminating in a short, vertical line, slightly shaded, as in "Limited" 
 page 220, line 2. 
 
 is plain with straight serifs at the top and base, as in "Miter," title 
 page, Plate 66. 
 
 differs from the a-font letter in the third stroke, which is shaded and 
 curves over the top of the last upright, as in "Metall" page 87, line 30. 
 
 is plain and unadorned, as in "ALBAN," title page, Plate 66. 
 
 is in two forms, long and short. The former is seen in "New," page 
 
 123, line 15; the latter in "Natures," page 24, line 24. 
 
 is somewhat pointed, and is more shaded on the right side than the 
 left, as in "Oyle," page 95, line 22. 
 
 is well rounded, the base is often very slight, as in "Orhe," page 95, 
 line 27. 
 
 is a plain letter having a well rounded loop, as in "Part," page 95, 
 line 27. 
 
 is an ornamental letter, the line of the loop extending in a curve over 
 the top of the upright, as in "Passing," page 59, line 31. 
 
 is like capital of this font with a queue appended, as in "Greater 
 Quantitie," page 61, line 12. 
 
 is like an enlarged figure 2. It is seen in "lesse Quantitie," page 61, 
 line 12. 
 
R 
 S 
 
 THE BI-LITERAL CIPHER 
 
 (a) is a plain letter, as in "Rare," page 221, line 36. 
 
 (b) is an ornamental letter, the top being like that of capital B and P of 
 the same font, as in "Rock," page 26, last line. 
 
 (a) is composed of plain, simple double curves, as in "5'- ALBAN," 
 title page, Plate 66. 
 
 (J?) is gracefully curved and finely tapered at the terminals, as in "Sub- 
 sultorily," page 87, line 32. 
 
 ris seen in tvs^o styles on page 87, lines 23 and 26. The latter is 
 probably the a-font letter. 
 
 V 
 
 r 
 
 (a) is well pointed, the second line following the first a short distance. 
 The right line is a thin, light line, like the first upright of capital M in 
 this font, as in "Vegetables," page 95, line 15. 
 
 (b) shows the width of the second stroke to the very point. This line is 
 also slightly shaded at the top, as in "Vegetables," page 95, line 22. 
 
 (a) is well-made, the second and fourth lines very delicate, as in "Worke," 
 page 109, line 7. 
 
 (b) has the fourth limb somewhat heavy and slightly shaded at the top, as 
 in "World," page 241, next to last line. 
 
 has been found in only one form as seen on page 35, line 7, and on 
 page 212, eighth line from end. 
 
 on page 49, next to last line, not being the plain form, should belong 
 to font b. 
 
OF SIR FRANCIS BACON 
 
 147 
 
 a 
 
 b 
 
 c 
 
 d 
 
 e 
 
 XI. Italic Small Letters in Medium Type. 
 
 Note. — JSIot all the letters of the alphabets were used in the part de- 
 ciphered. The greater number were employed either in full sets or in 
 parts sufficient to indicate the others. The alphabets, once arranged, 
 do not change throughout the ivork, or the part of the work set up in the 
 style indicated. 
 
 a) is rather tall, and not wide. The last stroke is free, as in "Head" 
 
 title page, Plate 66. 
 h) is wide at the base; a thin line at the left in the oval gives it an angular 
 
 appearance, as in "Maiestie," line 7. 
 
 a) is delicate; the upright is nearly uniform in thickness, the oval pointed, 
 as in "Noble," page 212, line 4. 
 
 b) has a thick, shaded stem, and the oval is rounded at the base, as in 
 "Subtill," page 212, line 27. 
 
 a) has short curves in both top and base, the extremities seeming to ap- 
 proach each other, and almost meeting, as the second c in the second 
 "Eccho," page 65, line 35. The first c in this word belongs to the 
 other font. 
 
 [b) is much like the short capital, having a somewhat wide curve at the 
 base, as in "Excellent," line 7. 
 
 a) is well-made, the stem delicate, last line free, loop extending somewhat 
 high and narrow, as in "Head," title page, Plate 66. 
 
 b) has a stem shaded at the top, and the last stroke is curved backward. 
 The loop joins the stem quite near the base, as in "Winding," page 53, 
 line II. 
 
 a) has a somewhat angular loop. The curve at the base extends well up 
 above the line of writing, as the last e in "Excellent," line 7. 
 
 b) has the bisecting line of the oval and the prolonged line of the base 
 parallel, as in "Miter," title page, Plate 66. 
 
148 THE BI-LITERAL CIPHER 
 
 / 
 g 
 h 
 
 I 
 
 m 
 
 has not been placed, but two forms are seen in the last line of page 90. 
 The first of these is probably a-font because the stem is like the long s 
 of font a. 
 
 is not yet classified. The forms of the small letter are seen in "Vege- 
 tables," page 109, line 4, and "Maligne," page 255, line 23. 
 
 (a) is probably that of "without," page 242, line 12. 
 
 (b) is seen in "Prophet," page 241, line 12. 
 
 (a) has the first line long and drooping, and the base is rounded, as in 
 "Miter," title page, Plate 66. 
 
 (b) has the lines at the top and base very similar. The letter is inclined 
 very slightly and has usually a pear-shaped dot, as in "Maiestie," 
 line 7. 
 
 is not yet classified. Of the fwo forms, one has a slightly pyramidal 
 stem, the upper line at the right also showing shading at the top. The 
 other has a thin, plain stem, and the letter is characterized by a general 
 lightness. Examples may be seen in "Bricke," page 26, second line 
 from end, and in "Rock," page 26, last line. 
 
 (fl) bends slightly forward. It has the rounded base of the small i, as in 
 
 "please," line 7. 
 (h) is somewhat taller than the is-font letter, is not shaded, and has a clear, 
 
 free line at the base, as in "Ireland," line 6. 
 
 (fl) has a long, hair-like first stroke, the second loop tends to the right and 
 is slightly shorter than the other, and the last stroke is free, as in 
 "Pneumaticall," page 221, fifth line from end. 
 
 (i) is usually heavy, but well-made, the two loops differing scarcely at all, 
 and the last stroke curving backward, as in "most Excellent," line 7. 
 
n 
 
 
 
 P 
 
 r 
 
 OF SIR FRANCIS BACON 149 
 
 (a) is like the second half of small m in this font, as in "Ireland," line 6. 
 {b) is like the second half of small in in this font, as in "Excellent," line J. 
 
 (a) is somewhat pointed, and more shaded on the right side than on the 
 left, as in "your most," line 7. 
 
 (b) is well-rounded and rather large, as the first in "Concoction," page 
 95, line 23. 
 
 (a) is plain with rounded loop, as in "Sulphureous," page 95, line 10. 
 (/>) is somewhat smaller than the a-font letter, the loop being narrower at 
 its base and slanting to the upright, as in "please," line 7. 
 
 is in two forms on page 221, lines 39 and 41, in the first "Liquefiable," 
 and in "Equall." They have not been classified, but the former is 
 probably a i-font letter to agree with the b in the same woi'd; the latter, 
 <2-font. 
 
 ((j) has a drooping hair-line for the first stroke, and slightly curved stem, 
 
 as in "Porous," page 221, last line. 
 {h) is well-made, commencing with a clear, free line, and having a straight 
 
 stem, as in "Ireland," line 6. 
 
 is in two forms, long and short. The long s of font a is graceful and 
 slender and has a wide curve at the top, as in "please," line 7. The 
 two forms of short s are seen on page 95, line 9, in "Families" and 
 "Things." Of these, it is probable that the more open letter belongs 
 to font a. 
 
 (a) is well-made with a distinctly nail-headed bar, and the last stroke free, 
 
 " as in "Fleet," title page, Plate 66. 
 (¥) is slightly shorter than the a-font letter, stands more nearly erect, the 
 last stroke curving slightly toward the stem, as in "it please," line 7. 
 
150 THE BI-LITERAL CIPHER 
 
 (a) is sharp-pointed, as in "vp," page 140, line 19. 
 // (b) is bowl-shaped, as in "vpon," bottom of page 138. 
 
 (a) is narrow. The upright bends slightly to the left, and the last stroke 
 g/f' is close, as in "your," line 7. 
 
 {b) is broad and decidedly open at the top, as in "Inuenting," page 137, 
 line 4. 
 
 ^/J^ (fl) has the long strokes at the left, as in "Miracle-working," page 242, 
 "^ line 20. 
 
 {h) is level-topped and low, as in "Flowing," page 241, line 12. 
 
 (a) has long lines terminating the heavier bar, which is uniform in thick- 
 ness, as in "Excellent," line 7. 
 
 (Ji) is a wide letter. The heavier bar is shaded at the base and rounds 
 lightly into the last stroke, as in "Experiment," page 252, fourth line 
 from the end. 
 
 (fl) has a drooping line at the top. The second stroke bends very close 
 to the first, leaving a narrow opening, as in "Pythagoras," page 241, 
 line 4. 
 
 (h) is somewhat better made, the opening at the top being wider, as in 
 "May," line 7. 
 
 Note. — The y in "your," line 7, has characteristics of both fonts, 
 butbelongs to the i-font. 
 
 XII. Italic Capitals in Small Type. 
 Note. — Nearly all the letters of the small type have been proved. It 
 has been explained in the note to the previous alphabet why letters not 
 used cannot be classified with certainty. 
 
 (a) is a plain letter, as in "Axiomes," Plate 71, line 29. 
 
 (b) has the left limb prolonged and curved, as in "Aristotle," Plate 72, 
 line 30. 
 
 X 
 
 y 
 
 A 
 
OF SIR FRANCIS BACON 
 
 151 
 
 B 
 
 C 
 D 
 
 E 
 
 F 
 
 G 
 H 
 
 has a pyramidal stem, the upper loop much smaller than the lower, 
 as in "Body," Plate 73, line 40. 
 
 has a stem of uniform thickness throughout, the upper loop nearly, 
 or quite, as broad as the lower, as in "Bodies," page 5, line 6. 
 
 is a small, heavy letter, as in "Condensing," Table, Century I., line 14. 
 a larger letter, lighter and more open, as in "Ccesar," Plate 71, 
 ine 15. 
 
 has a pyramidal stem and narrow loop, as in "Duke," page 262, line 18. 
 has a stem of uniform thickness throughout. The loop is wide and 
 unshaded, as in "Death," page 262, line 4. 
 
 has level, parallel lines for top and base, the latter noticeably longer 
 than the top, as in "Earth," Plate 71, line 21. 
 
 has slanting top and slanting terminals. The base is a wave line, as 
 in "Experiments," Plate 71, line 28. 
 
 has slightly pyramidal stem usually, and slanted top, as in "Fresh," 
 Plate 71, line 16. 
 
 is a well-made letter distinct and balanced in all its parts, as in "Fresh," 
 page 5, line 7. 
 
 is a small, heavy letter, as in "Glasse," page 5, line 2. 
 
 is large, like the capital C of this font, as in "Glasse," Plate 74, line 18. 
 
 has a slanting base and cross-bar, as in "Hemisphere," page 6, line 42. 
 is a well-made letter with level cross-bar, as in "Hippocrates," Plate 
 
/ 
 
 K 
 L 
 
 M 
 
 N 
 
 
 
 THE BI-LITERAL CIPHER 
 
 (a) is somewhat heavy, as in "Infusion", page 5, line 23. 
 
 (h) is not large and is rather delicate, as in "Infusion," page 5, line 18. 
 
 (a) is a narrow, heavy letter showing shading in the upper part of the 
 stroke at the right, as in "Kinde," page 136, line 12. 
 
 (h) is a light letter without shading in the upper line, and has a distinct 
 foot, as in "Kernells," page 117, line 48. 
 
 (a) has a level base and a vertical toe, but the serif slants slightly, as in 
 
 "Liquors," Plate 72, line 40. 
 (/>) has the base line of capital E of this font, as in "Liquours," Plate 72, 
 
 line 42. 
 
 (a) is small and plain, as in "Motions," Plate 73, line 27. 
 
 (h) is an ornamental letter, having the left limb prolonged in a wide curve, 
 and the serif also prolonged and drooping, as in "Mechanically" Plate 
 73, line 28. 
 
 (a) is a small, plain letter, as in "Nebh," Plate 74, line 24. 
 
 (Z)) is an ornamental letter. The left serif is prolonged and drooping, and 
 the middle stroke is prolonged into a queue, as in "Non Constat," 
 Plate 72, line 24. There is also a form in which the middle stroke 
 curves down at the top and up at the bottom, as in "Natures," Table, 
 Century IV., line 6. 
 
 (a) is quite pointed, and heavily shaded at the left, as in "Opium," page 6, 
 line 36. 
 
 (b) is somewhat larger than the a-font letter, less pointed, and usually 
 shaded on the two sides evenly, as in "Orenge" page 6, line 18. 
 
p 
 
 R 
 
 S 
 
 OF SIR FRANCIS BACON 153 
 
 (a) is a small letter with pyramidal stem and close head, as in "Pressure," 
 Plate 74, line 4. 
 
 (h) is slightly larger than the a-font letter. It has a broader and usually 
 more open head or loop, as in "Pitts," Plate 71, line 25. 
 
 cannot be classified with certainty until used. The two forms are 
 seen on page 225, lines 3 and 4. One is like a capital O with a queue 
 appended; the other like an enlarged figure 2. 
 
 (fl) has a pyramidal stem and small, close top, like the capital B and P of 
 this font, as in "Rock," Plate 72, line 28. 
 
 (b) is somewhat larger than the a-font letter and is wide at the top, as in 
 "Rubies," Plate 72, line 28. 
 
 (a) is somewhat heavy with marked terminals, as in "Sea," Plate 71, 
 
 Hne 4. 
 (]}) is a delicate letter. The light top ends in a short vertical line, as in 
 
 "Sea," Plate 71, line 15. 
 
 r(a) has a pyramidal stem and graceful top curling upward at the right, 
 as in "Tide," Plate 71, line 17. If the top were depressed at the right, 
 although the stem might be similar, the letter would belong to the 
 
 V 
 
 (b) is slight and delicate with unshaded stem, as in "T ensure," Plate 74, 
 line 4. 
 
 (a) shows the second limb heavy and drawn straight from bottom to top, 
 as in "Water," page 6, line 44. 
 
 (V) is delicate and sharp pointed, the second line running into the first a 
 little way, as in "Virginall," Plate 74, line 13. 
 
154 THE BI-LITERAL CIPHER 
 
 X 
 
 r 
 
 z 
 
 a 
 
 b 
 
 (a) is plain, the second half having the characteristics of F in this font, as 
 in "Water," Plate 71, line 9. 
 
 (b) has usually the fourth line much bent or curved outv^ard, as in 
 "fVatry," page 95, line 33. 
 
 has not been used. A narrov?, delicate letter is seen in "Xenophon," 
 page 191, line 26. 
 
 is seen in two forms, but has not been classified. One form has a 
 pyramidal stem and level top, as in "Teare," page 190, line 33. The 
 other has a stem of uniform thickness throughout, is narrovi? at the 
 top, and the right arm is high, as in "Teares," Table, Century VHI., 
 line 18. 
 
 (a) The small, heavy form of the capital is probably in font a, as in "Zant," 
 page 257, line 30. 
 
 (b) A larger and lighter form on page 56, line 10, is probably in font b. 
 
 is seen in two forms, one with a straight bar, as on page 31, line 45; 
 the other with a bar turned back at the top, as on page 136, line 14. 
 
 XIII. Italic Small Letters in Small Type. 
 
 (a) is very narrow at the top, the last stroke close and indistinct, as in 
 
 "Constat," Plate 72, line 24. 
 (^) shows a square shoulder in the oval, and the last stroke is free, as the 
 
 second a in "Separation," Plate 72, line 18. 
 
 (a) is a somewhat heavy letter. The stem is shaded at the top and the 
 base is rounded, as in "Rubies," Plate 72, line 28. 
 
 (b) is delicate and the loop somewhat narrow, as the second b in "Rubarh," 
 page 5, line 38. 
 
OF SIR FRANCIS BACON 
 
 155 
 
 C 
 d 
 
 e 
 
 f 
 h 
 
 is heavy and the lower part is well rounded, as in "Percolation" 
 Plate 72, line 40. 
 
 is tall and narrow, reaching well out at the top but narrow at the base, 
 as in "Scammony," page 5, line 46. 
 
 has a stem shaded from the top. The oval joins the stem low at the 
 base, as in "Alexandria," Plate 71, line li. 
 
 is delicate. The oval joins the stem somewhat high, as in "Sea side" 
 Plate 71, line 25. 
 
 shows that the line bisecting the loop and the base prolonged would 
 intersect, as in "Sea shore" Plate 71, line 4. 
 
 has the bisecting line of the loop and the prolonged base parallel, as 
 in "Sea," Plate 71, line 13. 
 
 is somewhat heavy, and is well rounded at the top, as in "Clarifying," 
 Plate 72, line 40. 
 
 reaches out well at the top, and has a short, horizontal foot, as in 
 
 "Infusion," page 5, line 19. 
 
 is not large. The nose has a tendency downward, and is large and 
 heavy, as in "Straining," Plate 72, line 26. 
 
 is somewhat delicate. The nose is thin but distinct and has an up- 
 ward tendency, as in "Straining," Plate 72, line 18. 
 
 is somewhat heavy. The stem is shaded at the top, and the loop is 
 large, as in "Mechanicall," Plate JT„ line 28. 
 
 is a delicate letter, as in "Feathers," Plate 72, line 30. 
 
156 
 
 THE BI-LITERAL CIPHER 
 
 / 
 
 m 
 
 n 
 
 
 
 is a somewhat heavy letter. The dot is slightly to the left, as in "Pitts," 
 Plate 71, line 25. 
 
 is well-made, the first stroke shorter than the last, the dot slightly to 
 the right, as in "Experiments," Plate 71, line 28. 
 
 is somewhat heavy, but well-made, as in "Rock," Plate 72, line 28. 
 is delicate and shows no foot, as in "Chalke," page 84, line 23. 
 
 is of uniform thickness throughout the stem, or slightly thickened 
 toward the bottom where it is rounded into the last stroke, as in 
 
 "Alexander," Plate 73, line 16. 
 
 is delicately shaded from the top, and is thin at the base, as in "Perco- 
 lation," Plate 72, line 17. 
 
 is a heavy, huddled-looking letter, the last stroke crossing under the 
 line to which it is attached, as in "Experiment," Plate 72, line 8. 
 
 is a well-made letter with rounded loops and free lines at the beginning 
 and end, as the second m in "Scammony," page 5, line 45. 
 
 is a high loop with right limb a trifle short and crossed underneath by 
 the last stroke, as in "Infusion," page 5, line 43. 
 
 is well-made, and is like the second half of the m of this font, as in 
 "Scammony," page 5, line 45. 
 
 is quite pointed, and heavily shaded at the left, as in "Sea shore," 
 Plate 71, line 4. 
 
 is less pointed and slightly larger than small of font a, and is usually 
 shaded on the two sides evenly, as in "Fiolent," Plate 73, line 25. 
 
p 
 
 s 
 
 t 
 
 OF SIR FRANCIS BACON 157 
 
 {a) shows a drooping line at the top, as in "Hippocrates" Plate 73, line 4. 
 {h) has a straight line at the top where the loop commences. The latter 
 
 slants into the stem at the middle point, as in "Experiment" Plate 73, 
 
 line 7. 
 
 (a) has a pointed, drooping loop very narrow at the top, as in "Liquor" 
 
 Plate 72, line 42. 
 Q)) has a loop rounding out at the top and showing the tip of the stem 
 
 very distinctly, as in "Liquors" Plate 72, line 40. 
 
 (a) has drooping terminals and curved stem, as in "Alexandria" Plate 71, 
 
 line II. 
 {h) usually has a square stem, and sometimes a more delicate one. The 
 
 right terminal stands out well, and the left does not droop, as in "Sea 
 
 shore" Plate 71, line 4. 
 
 (a) is in two forms, long and short. The former has a long curve at the 
 top ending in a drooping dot. A short horizontal line terminates the 
 letter at the base, as in "CcBsar" page 71, line 15. Short s in the same 
 font is a heavy letter, having a short top ending in a dot that 
 droops close to the stem of the letter, as in "Experinients" Plate 71, 
 line 28. 
 
 (h) is in two forms, long and short. Long s is short at the top and has a 
 foot turned sharply upward, as the first s in "Transmission" Plate 72, 
 line 17. Short s in font h reaches well out at the top, although it Is 
 sometimes heavily printed. It is seen at its best in "Sandes," Plate 71, 
 line 15. 
 
 (fl) is somewhat heavy, but is well-made, the last stroke being free and 
 
 clear, as the second t in "Pitts," Plate 71, line 25. 
 (U) is also delicate and smaller than the a-font letter, as the first t in 
 
 "Pitts" Plate 71, line 25. The two styles seen together are readily 
 
 differentiated. 
 
158 THE BI-LITERAL CIPHER 
 
 (a) is somewhat heavy. The first stroke is very close, and the middle 
 iJ^ line straight, as in "liquid" Plate 73, line 46. 
 
 {V) is somewhat narrow. The last long stroke bends slightly forward, as 
 the first u in "Liquour," Plate 73, line 5. There is also a bowl-shaped 
 small V not yet classified. 
 
 w 
 
 X 
 
 z 
 
 (a) is small and flat, the first stroke having a blunt, abrupt beginning, as 
 in "water," Plate 71, line 18. 
 
 (b) has a short line showing somewhat at the left, and the last line is 
 curved outward, as in "water," page 6, line 24. 
 
 (a) has a very long foot upon the heavy bar curved backward; the dot at 
 the top of the light stroke is very drooping, as in "Axiomes," Plate 71, 
 line 29. 
 
 (b) is somewhat broader than the <3-font letter, the terminals of both bars 
 turning outward at the right, as in "Experiment," Plate 71, line 24. 
 
 y ' 
 
 a) has distinct shading at the top of the right limb, as in "Clarifying," 
 
 Plate 73, line 7. 
 (h) is lighter and without shading at the top of the right limb, as in "Bar- 
 
 hary," Plate 71, line 9. 
 
 (fl) is seen in "Topaze," page 257, line 41. 
 {}>) is seen in "Switzers," page 262, line 19. 
 
OF SIR FRANCIS BACON 159 
 
 10. NEW ATLANTIS, 1627. 
 
 /. Italic Capitals in Large Type. 
 
 This type was used, also, in the address "To the Reader" of the 
 "Sylva Sylvarum." The references here are to "New Atlantis," unless 
 otherwise marked. 
 
 D 
 
 A 
 
 B 
 
 C 
 
 {a) is an ornamental letter having the left limb curved upward at the base 
 and terminated by a large dot, as in "Art" page 35, line 3. 
 
 Q)) is a plain letter like the Roman, except that it is inclined rather than 
 vertical. The left stem is finished like the right with a serif, as in 
 "And," Plate 80, line 6. 
 
 {a) is an ornamental letter. The line of the upper loop extends over the 
 top of the stem and curves downward at the end, as in "Bookes," 
 Plate 80, line 7. 
 
 (h) is plain like the Roman, except in position, as in "Between," Plate 79, 
 line 35. 
 
 (a) is in two styles, long and short. The former has wide curves above 
 and below. The latter reaches well out at the top, and has a somewhat 
 narrower curve at the base. Both kinds are seen in the second and 
 first "Causes," Sylva Sylvarum, To the Reader, reverse of Sig. A2, 
 lines 7 and 4. 
 
 (J)) has a somewhat narrow curve at the top matching that at the base. 
 There are both long and short letters. The former is seen in "Cen- 
 tury," Sylva Sylvarum, page 27, line i; the latter, ibid., page 3, line i. 
 
 (a) has the line of the loop extending over the top of the stem and curving 
 downward at the left, as in "Diuine," Plate 79, line 35. 
 
 (b) is a plain letter differing from the Roman in one particular only, as in 
 "Depth," page 31, line 26. 
 
160 
 
 E 
 F 
 
 G 
 H 
 
 I 
 K 
 
 L 
 
 THE BI-LITERAL CIPHER 
 
 is the Italic script letter of two curves, as in "Earth," Plate 79, 
 
 line 31. 
 
 is a plain letter, as in "Effecting," page 31, line 20. 
 
 has a slight, thin top. The serif at the base is often irregular, as in 
 "First," page 31, line 11. 
 
 is a well-made letter, not very broad at the top. The line gradually 
 thickens toward the right, as in "Fathome," page 31, line 23. 
 
 terminates in a queue below the line, as in "Grace," Plate 79, line 32. 
 is a plain letter without a queue, as in "Generations," Plate 79, line 35. 
 
 is somewhat heavy, and has a heavy cross-bar, as in "Hill," page 32, 
 line 28. 
 
 is well-made, and has a light cross-bar, as in "Heauen," Plate 79, 
 line 31. 
 
 is an ornamental letter, as in "Interpretation," Plate 80, line 12. 
 is a plain letter, as in "I doe," Plate 80, line 3. 
 
 is somewhat heavy. The upper line at the right shows distinct shad- 
 ing, and the queue is thick and heavy, as in "Kingdome," page 38, 
 line 31. 
 
 is a more delicate letter, very lightly shaded in the upper part, with 
 stem and queue both slender, as in "Kinds," page 34, line 29. 
 
 is a heavy letter deeply shaded along the base line, as in "Lord," title 
 page, Plate 76, line 5. 
 
 is broad and well-made. The base hne is slender, as in "Lawes," 
 Plate 80, line 9. 
 
M 
 
 N 
 
 
 P 
 
 R 
 
 OF SIR FRANCIS BACON 161 
 
 is a large ornamental letter, as in "Miracles," Plate 80, line 7. 
 
 is a plain letter resembling the Roman capital, as in "Mercy" Plate 80, 
 line 13. 
 
 is a graceful, ornamental letter with light uprights, as in "New," 
 Plate 80, line i. 
 
 is similar to the a-font letter, but shows heavy shading in the uprights. 
 A strongly marked type is seen in "Number," page 40, line 28. 
 
 is slightly pointed, and shows more shading on the left side than on the 
 right, as in "Open," page 32, line 6. 
 
 is quite broad at the base and the two sides are shaded very much 
 alike, as in "Order," page 35, line 11. 
 
 is like the B of this font without the lower loop, as in "People," Plate 
 80, line 4. 
 
 shows a downward tendency of the extension of the loop over the stem, 
 and an angle in the turn near the end, as in "Published," page 45, 
 line 18. 
 
 was not used. In this size of the type, the two forms are usually like 
 capital in the respective fonts with a queue appended. To one. it 
 is joined by a slanting line; to the other, by a short vertical line. 
 
 (a) in the upper part is like B and P of this font, as in "Reader," To the 
 Reader, Sylva Sjdvarum, sig. A3, line i. 
 
 (h) at the top is like P of this font, as in "Reader," To the Reader, Sylva 
 Sylvarum, reverse sig. A2, line i. 
 
162 THE BI-LITERAL CIPHER 
 
 S 
 
 (a) is somewhat heavy and distinctly marked at the terminals, as in 
 "Signe," Plate 80, line 11. 
 
 (b) is a delicate letter showing light lines and almost no shading, as in 
 "Secretts," Plate 79, line 33. 
 
 r(a) is flat at the top, but the line turns downward at the left, as in "Thing," 
 Plate 80, line 4. 
 
 (b) is much like the a-font letter, except that the line forming the top curves 
 upward at the right, as in "Therefore," page I2, line 6. 
 
 V 
 IF 
 
 r 
 
 (a) is a bowl-shaped letter, as in "View," page 35, line 20. 
 (¥) is a sharp-pointed letter, as in "Viscount," Plate 76, line 5. 
 
 (a) shows very heavy shading at the top of the last limb, as in "^^i?,"page 
 
 41, line 9. 
 (]}) is a well-made letter with a light fourth limb, as in "Workes," Plate 79, 
 
 line 33. 
 
 The two forms are seen in "Tea," page 37, line 21, and in "Tour," 
 page 46, line 3. 
 
 (a) as seen on page 40, line 18, probably belongs to the a-font. 
 
 a 
 
 II. Italic Small Letters in Large Type. 
 
 (a) has the heavy stroke nearly vertical. It rounds into the last stroke at 
 
 the base, as in "Grace," Plate 79, line 32. 
 (h) is well inclined to the right, the oval shows a bend or shoulder at the 
 
 top, and the last stroke is clear and free, as in "Earth," Plate 79, 
 
 line 31. 
 
b 
 
 d 
 
 e 
 
 f 
 
 OF SIR FRANCIS BACON 163 
 
 (a) is well-made, the stem not greatly inclined, the base pointed, as in 
 
 "by" Plate 80, line 14. 
 (J)) is very delicate, well inclined to the right, the base rounded, as in 
 
 "beseech," Plate 80, line li. 
 
 (a) is like the short capital in miniature, as in "Grace," Plate 79, line 32. 
 {b) has a narrow curve at both top and bottom, as in "vouchsafed," Plate 
 79, line 32. 
 
 (a) is well-made. The top of the loop is rounded; at the base it diminishes 
 to a hair line and joins the stem quite near the starting point, as in 
 "and," Plate 79, line 31. 
 
 (U) is considerably inclined to the right. The loop makes right angles 
 with the stem at the point of starting, and returns to it at a point mid- 
 way between the starting point and the base. The last stroke is very 
 distinct, almost heavy, but clean and straight, as in "andvse," Plate 80, 
 line 12. 
 
 (a) is of two kinds and must be tested by the lines, — a long diagonal of 
 the oval and a prolongation of the base. If these intersect, the letter 
 belongs to the a-font, as in "vouchsafed" and "Grace," Plate 79, line 32. 
 
 (V) is of two kinds in this font, and must be tested by the lines. If these 
 run parallel, the letter belongs to font b, as in "Workes" and "promise," 
 Plate 80, lines 2 and 14. 
 
 (a) is well-made, rather long, reaching well out at the top, and usually 
 showing a horizontal line at the base, as in "of," Plate 80, line 2. A 
 similar letter with a bent head belongs to font h, as in "vouchsafed," 
 Plate 79, line 32. 
 
 (h) is usually short and abrupt, as in "of," Plate 79, Hne 31. The lower 
 end of the stem is sometimes curved and finished by a dot, as in "of," 
 Plate 80, line 12. (See also a-font.) 
 
g 
 
 b 
 
 I 
 
 m 
 
 THE BI-LITERAL CIPHER 
 
 {a) has a shaded head inclined toward the right. The nose is hooked or 
 
 bent, as in "acknowledge" Plate 80, line 4. 
 {]}) is delicately-made, the head nearly upright, nose usually straight, as 
 
 in "giue," Plate 80, line 12. 
 
 (a) has the loop rounding where it leaves the stem. The inclination of 
 the stem is that of h and d in the same font, as in "thy" Plate 79, 
 line 33. 
 
 (h) is slightly less inclined to the right than letters of the other font. The 
 loop is narrower and more pointed at the top, often showing a deflec- 
 tion toward the right soon after leaving the stem, as in "this," Plate 80, 
 line 4. 
 
 (a) is somewhat large, with a long stroke at the top usually curved, as in 
 "thine," Plate 80, line 9. 
 
 (b) is delicately made. The line at the commencement of the letter is 
 short and straight, as in "Which," Plate 80, line 13. 
 
 (a) is somewhat heavy. The loop, being shaded along the end, has 
 an angular appearance, as in "know," Plate 79, line 33. 
 
 (b) is well-made and graceful, the loop clear and shaded along the lower 
 bend, as in "Workes," Plate 79, line 33. 
 
 {a) has a stem of uniform thickness, or is slightly thickened at the base. 
 
 It rounds into the last stroke, as in "acknowledge" Plate 80, line 4. 
 Q}) is delicate. The stem narrov/s towards the bottom which is sharp, 
 
 the last stroke clear and free, as in "secretly," Plate 80, line 13. 
 
 {a) commences with a short, drooping line, and has rounded loops showing 
 shading on the tops, as in "most," Plate 80, line 10. 
 
 {V) is delicately made, commencing with a short, slanting line, and having 
 loops shaded at the right. The second loop bends slightly forward, 
 as in "them," Plate 80, line 10. 
 
OF SIR FRANCIS BACON 165 
 
 (fl) is like half of small m in the same font, and has the same characteristics, 
 /^ as in "owne," Plate 80, line 9. 
 
 (i) is somewhat broad but very delicate, with clear, free lines at the be- 
 ginning and end, as in "Atlantis," Plate 80, line i. 
 
 
 
 p 
 
 s 
 
 (a) is slightly pointed and shows more shading on the left side than on the 
 right, as in "Creation," Plate 79, line 33. 
 
 (b) is the b-font capital letter in miniature, as in "sorts," Plate 80, line 3. 
 
 (a) is well-made, but somewhat narrow in the loop, which at the base ap- 
 pears slightly angular, as in "appertaineth," Plate 79, line 34. 
 
 (h) has a broad loop, as in "Impostures," Plate 80, line 3. 
 
 is seen in two forms in "quicker," page 34, line 3, and in "exquisitely," 
 page 43, line 6. 
 
 (a) has drooping terminals, as in "Earth," Plate 79, line 31. 
 
 (J)) has spreading terminals commencing with a short, slanting line, as in 
 "Grace," Plate 79, line 32. 
 
 (a) is in two styles, long and short. The former is a graceful letter reach- 
 ing well out at the top, but terminating near the stem at the base, as in 
 "discerne," Plate 79, line 34. Short s of this font is a narrow, compact 
 letter, as in "Workes," Plate 80, line 2. 
 
 (^) is also in two styles, long and short. The long s inclines very slightly 
 and changes very abruptly to a thin line at the end, as in "sending," 
 Plate 80, line 14. Short s is delicate and very slightly shaded, as in 
 "Illusions," Plate 80, line 3. 
 
166 THE BI-LITERAL CIPHER 
 
 (fl) is well-made, and is inclined to correspond with the stem of h, d, p, 
 T etc.. of this font, as in "Earth" Plate 79, line 31. 
 
 (t) is less inclined than the same letter in font a, and shows a bend in the 
 stem before reaching the line of writing, as in "to know," Plate 79, 
 line 33. 
 
 V 
 
 (a) is bowl-shaped, as in "vnio" Plate 80, line 14. Another style is the 
 ordinary Italic u. In font a it commences with a drooping line, while 
 the last stroke is clear and free. The upright is pointed at the top, 
 and often inclined to the left, as in "Heauen," Plate 79, line 31. 
 
 (h) is also pointed, as in "vouchsafed," Plate 79, Hne 32. Another form 
 is like the modern u. It commences with a slanting line and ends with 
 a short, curved line. The upright is blunt at the top and tends toward 
 the right, as in "true," Plate 80, line 6. 
 
 ^/J^ («) is a light, delicate letter. The second stroke tends to the right at the 
 base, as in "New," Plate 79, line i. 
 
 (h) is narrow at the base and shows no bend in the second line, as in 
 "owne," Plate 80, line 9. 
 
 X 
 
 (fl) has the terminal of the heavy bar turned backward at the base, and 
 that at the top of the light bar curves in the same way, as in "exceedest," 
 Plate 80, line 9. 
 
 (b) is a wide letter. The terminal at the base of the heavy bar is light and 
 free, as in "Excellent," Plate 80, line 8. 
 
 (\i (a) has the 
 
 J^ 79, line 
 
 {b) has a clear, open head, as in "thy," Plate 79, line 32. 
 
 second line bent toward the first at the top, as in "thy," Plate 
 33- 
 
as 
 
 OF SIR FRANCIS BACON 167 
 
 ///. Italic Digraphs In Large Type. 
 
 (aa) is the union of a sharp, heavily-shaded a well-inclined to the right with 
 an s also shaded and rather small in the head, as the second "as," 
 Plate 79, line 34. 
 
 (ab) is the union of a sharp, heavily-shaded a with a light s open and clear 
 in the head, as the first "as," Plate 79, line 34. 
 
 {ha) is the union of the simple form of a in font b with a somewhat narrow 
 s, shaded and small in the head, as in "was," page 12, line 3. 
 
 (bb) is the union of the simple form of a in font b with a light s, open and 
 clear in the head, as the second "as," Plate 80, line 6. 
 
 a 
 
 f 
 fi 
 
 has not been used. The four combinations are seen in "instruct," 
 page 33, line 9; "practise," page 41, line 2; "tincted," page 33, line 29; 
 and "perfectly," page 40, line 15. 
 
 has not been classified. Four combinations are seen in "differ," 
 page 36, line 4; "Difference," page 33, line 14; "Effecting," page 31, 
 line 20; and "effects," page 39, line 12. 
 
 {ab) is the union of/ having a long curve at the top and a hook at the lower 
 end of the stem with a ^-font i, as in "testifie," Plate 80, line 4. 
 
 (ha) is the union of a well-made /, having a foot slightly turned upward, 
 with an a-font i, as in "finde," page 32, line 2. 
 
 (W) is the union of the /just described with a i-font z, as in "testifie," page 
 12, line 6. 
 
168 THE BI-LITERAL CIPHER 
 
 Only two examples have been found. 
 
 / 
 
 (ah) is the union of an / reaching well out at the top, with the simple form 
 of / in font b, as in "flouds," page I2, line 5. 
 
 (bb) is the union of an /curved downward at the top and slightly upward 
 at the foot with the simple form of / in font b, as in "flow," page 39, 
 line 2. 
 
 • (fla) is the union of the simple form of i in font a with the script s, small 
 
 / \ and close in the head, as "is," Plate 80, Hne 5. 
 
 {ab) is the union of the a-font / with the script s having a wide open head, 
 as in "Atlantis," Plate 80, line i. 
 
 (ba) is the union of the simple form of / in font b with a script s, having a 
 narrow, close head, as in "this," Plate 80, line il. 
 
 (bb) is the union of the simple form of z in font b with a script s, having a 
 wide, open head, as in "Atlantis," page 5, line i. 
 
 // 
 
 (ad) is the union of the two /'s of font a, as in "shall," page 12, line 7. 
 
 (ab) is the union of the simple form of/ in font a with a light, delicate letter 
 as in "Illusions," Plate 80, line 3. 
 
 (ba) is the union of the simple forms of / in the respective fonts, as in" Hills," 
 page 31, line 24. 
 
 (hb) is the union of two letters of the simple form of / in font b, as in 
 
 "severall," page 39, line 27. 
 
OF SIR FRANCIS BACON 
 
 169 
 
 j/» 
 
 P 
 
 SP 
 
 ss 
 
 is the union of a well-made long s reaching well out at the top and very 
 slender where this curves to the stem, with the simple form of h in 
 font a, as in "perished," page 35, line 25. 
 aV) is the union of a long s described above with an h much rounded at 
 
 the loop, as in "publish," page 47, line 3. 
 (ba) is the union of a long s somewhat short at the top, heavy in the stem, 
 and growing suddenly thin at the foot, with the simple form of h in 
 font a, as in "should," page 12, line 5. 
 
 is the union of the simple forms of these letters in font h, as in "Nour- 
 ish," page 37, line 24. 
 
 is the union of long j reaching well out at the top. and often having a 
 hook at the base with the simple form of i in font a, as in "easily," 
 page 46, line 17. 
 
 is the union of the simple form of long s, in font a, with a straight- 
 bodied / having lines at the top and bottom attached in the same 
 manner and of equal length, as in "Illusions," Plate 80, line 3. 
 is the union of a long s having the line at the foot of the stem sharply 
 turned upward, with an / thin and straight in the body finished by 
 equal, slanting lines at top and bottom, as in "Besides," page 45, 
 line 13. 
 
 is the union of a long s in font a with a long p having a horizontal line 
 at the top of a somewhat narrow loop, as in "prosper," Plate 80, 
 line II. 
 
 is the union of a long s in font a with a long p having a broad loop, 
 the upper line of which turns downward at the left, as in "speciall," 
 page 46, line 22. 
 
 is the union of a long s somewhat heavy in the stem and having an 
 upturned foot, with a long p level at the top of the narrow loop, as in 
 "especially," page 37, line 9. 
 
 The various combinations have not been classified. 
 
170 THE BI-LITERAL CIPHER 
 
 St 
 
 us 
 
 A 
 B 
 
 {ad) is the union of the long s in font a with a long t having the characteristics 
 of that letter in font a, as in "hast," Plate 79, line 31. Short st is the 
 union of the simple forms of these letters in font a, joined at the top by 
 a wave line, as in "deepest," page 31, line 23. 
 
 (o^) is, in the one case the simple form of long j in font a with a long t 
 having the characteristics of the i-font t, as in "stay," page 37, line 
 15; in the other, the union of the simple forms of the small letters in 
 their respective fonts, as in "Impostures," Plate 80, line 3. 
 
 {ha) in the first mentioned style, is the union of long s in font b with a long 
 t having the characteristics of this letter in font a, as in "amongst," 
 page 38, line 28. In the other style, it is the union of these letters in 
 their respective fonts, as in "most," Plate 80, line 10. 
 
 {hb) in the first case, is the union of a long s having an upturned foot with 
 a long t that shows the characteristics of this letter in font b, as in 
 "allmost," page 38, line 21. The other case is the union of the simple 
 forms of these letters in font b, joined by the wave line, as in "testifie," 
 Plate 80, line 4. 
 
 has not been classified. 
 
 IV. Italic Capitals in Medium Type. 
 
 {a) is a plain letter, in form like the Roman, having both limbs finished 
 with straight serifs, as in "And," Plate 80, line 17. 
 
 {b) has the left limb prolonged, and terminating in an upward curve, as 
 in "About," Plate 79, line 8. 
 
 {a) is flat at the base. It is an ornamental letter, having the line of the 
 upper loop prolonged, curving over the top of the stem, as in "But," 
 Plate 80, line 19. 
 
 {h) shows the base line slanting downward at the left, while the curved 
 line over the top is angular, as in "Boate," Plate 80, line i8. 
 
c 
 
 D 
 
 E 
 
 F 
 
 G 
 H 
 
 OF SIR FRANCIS BACON 171 
 
 {a) is in two styles, long and short. Long C shows wide curves above and 
 below the line of writing, as in "Calme," Plate 79, line 11. Short C 
 has wide curves also, but the lower one rests on the line, as in 
 "Coast," Plate 79, line 10. 
 
 (b) is also in two styles, long and short. Long C is short at the top, and 
 the end is heavy, as in "Crosse," page 3, line 4. Short C has the same 
 characteristic top, as in "Crosse," Plate 78, line 34. 
 
 (a) is flat at the base like the capital B in this font, as in "Death," page 7, 
 
 line 6. 
 (h) has slanting base like capital B in this font, as in "Deepe," Plate 77, 
 
 line 21. 
 
 {a) is a well-made letter. The upper bar is finished with a short, distinct 
 line, and the lower shows a similar line slightly curved backward, as in 
 "Enemies," Page 15, line 28. 
 
 (h) does not show well-finished terminals. The base is somewhat longer 
 than the upper bar, as in "Easterne," Plate 79, line 10. 
 
 (fl) has a slanting bar at the top corresponding to that of the capital E in 
 
 this font, as in "Firmament," Plate 80, line 20. 
 (J?) has a level bar at the top slightly longer than this line in fl-font letters, 
 
 as in "Friends," page 19, line 5. 
 
 (a) is a slender letter, rather large, as in "Greeke," Plate 78, line 26. 
 {h) is inclined to be heavy, especially in the lower part. The curve at the 
 top is short, as in "Glimse," page 13, line 13. 
 
 (a) is a well-made letter, having a particularly light and delicate cross-bar, 
 as in "Hebrew," Plate 78, line 26. 
 
 (b) is a well-made letter, except that it shows a somewhat heavy cross-bar, 
 as in "Heauenly," Plate 79, line 23. 
 
172 THE BI-LITERAL CIPHER 
 
 / 
 K 
 
 L 
 
 M 
 
 N 
 
 
 
 (a) is light and delicate, as in "lapan," Plate 77, line 4. 
 {b) is large and well-formed and somewhat heavy, as in "Intentions," 
 page 18, line 2. 
 
 (a) is a delicate letter, the upper line at the right thin and clear, as in 
 
 "Kingdome," Plate 79, line 26. 
 {h) is a somewhat heavy letter. The upper line at the right side shows 
 
 shading at the top, as in "Kingdome," page 18, line 5. 
 
 (a) is a well-made letter with rather thin stem and base-line, as in "Leaue," 
 Plate 80, line 17. 
 
 (V) has a base-line nearly as heavy as the stem. The right extremity of 
 the base slants outward, as in "Languages," page 13, line 27. 
 
 {a) has the third stroke curved. It is prolonged over the top of the final 
 
 upright to correspond with the capital N of this font, as in "Miracle," 
 
 page 12, line 12. 
 (h) is plain, having a straight serif at the top of the right side, or, when 
 
 this side is high and pointed, no serif at all, as in "Merchandize," 
 
 page 3, line 11. 
 
 (fl) has the middle stroke prolonged over the first upright and under the 
 second, as in "Nation," Plate 79, line 2. 
 
 (b) has the middle stroke prolonged into a queue below the line, as in 
 "Noble," page 18, line 2. 
 
 {a) is somewhat pointed, and is more heavily shaded upon the left than 
 upon the right side, as in "Offers," page 8, line 32. 
 
 (V) is rounded at the base, and the shading is only very slightly heavier 
 upon one side than upon the other, as in "Order," page 18, line 15. 
 
OF SIR FRANCIS BACON 
 
 P 
 R 
 
 S 
 T 
 
 V 
 
 173 
 
 The 
 
 a) shows the loop at its base nearly perpendicular to the stem, 
 curve over the top is unbroken, as in "Pillar," Plate 79, line 20. 
 
 b) shows a slight bend in the base of the loop, and also in the curve over 
 the top, as in "Parchment," Plate 80, line 27. 
 
 [a) has the oval of capital of this font, with a queue appended by a 
 short vertical line, as in "Questions," page 9, line 28. 
 
 [b) is like the capital of this font joined to a queue by a slanting line, as 
 in "Questions," page 9, line 27. 
 
 r) is well-made. The upper part has the characteristics of the loop and 
 curved line of capital B and P of this font, as in "Request," page 8, 
 line 24. 
 b) is a somewhat heavy letter. The queue ends bluntly or in a dot, as in 
 "Reliefe," page 18, line 16. 
 
 a) is made of two sim.ilar curves, the extremities plainly marked, as in 
 
 "Spectacle," Plate 79, line 16. 
 b') is broader in the base than at the top, and there is no heavy mark at 
 
 the lower extremity, as in "Starres," Plate 80, line 21. 
 
 a) has a slanting top and heavy serif at the base thickened at the left of 
 
 the stem, as in "The," Plate 80, line 28. 
 ') has a level top and sometimes a heavy stem, as in "The," page 8, 
 line II. 
 
 ') is a delicate letter. The second line is thin and fine, as in "Vpon," 
 
 Plate 79, line 15. 
 i) is slightly curved at the point, and the second line is heavy, as in 
 "Vocation" page 8, line 8. 
 
174 
 
 IV 
 
 THE BI-LITERAL CIPHER 
 
 is large and uncouth. The fourth line, like the second line in the V oi 
 this font, is fine and thin, as in "What" page 5, line 25. 
 is a little smaller than the a-font letter, very narrow at the base, heavy 
 in the first and third strokes, and having the fourth line somewhat 
 thickened, as in "Wise" Plate 79, line 24. 
 
 r 
 
 is a symmetrical letter, rather narrow at the top, and level, as in 
 "You" page 26, line 26. 
 
 has a sharp turn in the right arm, making the letter appear dotted, as 
 in "Yeares" page 27, line 10. 
 
 a 
 
 V. Italic Small Letters in Medium Type. 
 
 is wide, and shows the right side long, coming down below the oval, 
 as in "Prayer," Plate 80, line 15. 
 
 is a narrow, compact letter, usually angular at the top, and showing 
 the last stroke curved toward the stem, as in "made," Plate 80, line 15. 
 
 b 
 
 is often rather light in the stem and has a somewhat pointed base, as in 
 "abroad," Plate 80, line 20. 
 
 is rounded at the base and shaded at the top of the stem, as in "he 
 seen," Plate 80, line 22. 
 
 c 
 
 is the short a-font capital C in miniature, as in "contemplated," Plate 
 79, line 27. 
 
 is the short ^-font capital C in miniature, as in "Parchment" Plate 80, 
 line 27. 
 
 d 
 
 has a broad loop composed of a light line only slightly shaded toward 
 
 the base, as in "unbound," Plate 80, line 16. 
 
 has a narrow loop somewhat heavy, as in "found," Plate 80, line 15. 
 
/ 
 
 g 
 
 k 
 
 OF SIR FRANCIS BACON 175 
 
 {a) must be tested by lines, as in other alphabets. Intersecting lines indi- 
 cate a-font letters, as the first two es in "mere" Plate 80, line 19. 
 
 (^) must be tested by lines. Parallel lines indicate i-font letters, as in 
 "moueahle," Plate 80, line 16. The two styles of the i-font letter are 
 here seen in the same word. The bisected oval and prolonged base in 
 each show parallel lines. 
 
 (a) is usually somewhat heavy, reaching well out, and curved at the top, 
 but ending at the foot in a short, horizontal line, as in "found," Plate 
 80, line 15. 
 
 (h) is of nearly uniform thickness throughout. The foot curves upward 
 and usually shows a dot, as in "left" Plate 80, line 22. 
 
 (a) is somewhat delicate, and has a small thin nose, as in "greene" Plate 
 
 80, line 24. 
 iV) has a very heavy upright head and heavy nose, as in "taking" Plate 80, 
 
 line 17. 
 
 (a) is a broad letter, showing a hair line at the beginning of the loop, as in 
 
 "had," Plate 80, line 15. 
 (V) has a stem shaded from the top, and a rounded loop, as in "approach," 
 
 Plate 80, line 17. 
 
 (a) stands nearly erect, and the slanting line at the top is almost directly 
 above the finishing stroke at the base, as in "it," Plate 80, line 19. 
 
 (h) is well-made, the first line short, the stem rounding into the last stroke, 
 which is free and distinct, as in "remained," Plate 80, line 16. 
 
 {a) is rather large, the loop having an angular appearance because of the 
 shading across the end, as in "taking," Plate 80, line 17. 
 
 (h) is more inclined to the right than the a-font letter, and, like the capital 
 K of this font, is somewhat heavy, as in "know," Plate 80, line 30. 
 
176 
 
 / 
 
 m 
 ft 
 
 
 
 P 
 1 
 
 THE BI-LITERAL CIPHER 
 
 a) is clear and distinct, somewhat delicate, and has a free line at the 
 base, as in "selfe" Plate 8o, line 20. 
 
 b) is a graceful letter, the top lightly shaded, and the last line free and 
 clear, as in "neuerthelesse," Plate 8o, line 33. 
 
 r) has rounded loops shaded upon the top and right side. The first and 
 
 last strokes are free, as in "came," Plate 80, line 19. 
 V) has loops inclined to the right and shaded only on the right. The 
 first stroke is little more than a dot and very close, as in "Palme" 
 Plate 80, line 25. 
 
 a) has the characteristics of the small m in the same font, as in "re- 
 mained" Plate 80, line 16. 
 
 h) has the characteristics of the small m in this font,— a close first line 
 and loop shaded at the right, as in "seen" Plate 80, line 22. 
 
 a) is somewhat pointed and is more heavily shaded upon the left than 
 upon the right side, as in "found" Plate 80, line 15. 
 
 h) is the capital in miniature, as in "other" Plate 80, line 32. 
 
 a) shows the same straight line at the base, as the second p in "approach," 
 Plate 80, line 17. 
 
 h) has a wide, thin loop, as the first p in "wrapped," Plate 80, line 28. 
 
 a) is well-made. The stem is without shading, and is finished by a serif 
 showing well on both sides of the foot, as in "requtreth," page 6, 
 line 13. 
 
 h) has a somewhat wide oval, a stem slightly shaded, and a serif upon one 
 side only at the foot, as in "Request," page 8, line 24. 
 
r 
 
 s 
 
 V 
 
 w 
 
 OF SIR FRANCIS BACON 177 
 
 {a) has drooping terminals, as in "written," and "receiue," Plate 80, lines 
 
 27 and 31. 
 (J)) whether light or heavy, has the left terminal a slanting line and the 
 
 base blunt, as in "rowed," and "assurance," Plate 80, lines 18 and 17. 
 
 (a) is in two styles, long and short. The former has a long, thin top only 
 slightly curved, as in "seen," Plate 80, line 22. Short s is made of 
 short curves and distinct terminals like the capital, as in "words," 
 Plate 80, line 34. 
 
 (V) is in two styles, long and short. The long s is clearly curved, turning 
 downward at the top. The inclination of the stem is greater than in 
 the fl-font letter, and the short line at the foot turns upward, as in 
 "small," Plate 80, line 22. Short s is free and open at both top and 
 bottom, as in "his," Plate 80, line 26. 
 
 (a) is tjuite tall, the stem showing well above the bar. The inclination of 
 the letter is considerable, the last stroke free, as in "water," Plate 80, 
 line 23. 
 
 (h) is not tall. It is usually slightly shaded toward the base, which is 
 often rounded into the last stroke, as in "though," Plate 80, line 23. 
 
 (fl) is sharp-pointed, as in "vanished," Plate 80, line 21. There is also 
 the form of the ordinary Italic u, which, in this font, is usually broad 
 at the top, with long first and last strokes quite free and clear, as in 
 "receiue," Plate 80, line 31. 
 
 {V) is bowl-shaped, as in "unbound," Plate 80, line 16. In this font also 
 is the ordinary Italic u, which is narrow at the top, as in "reuerence," 
 Plate 80, line 26. 
 
 {a) is the joining of two pointed vs, making the form marked by the 
 height of the left side, as in "wett," Plate 80, line 23. 
 
 (b) is small and flat-topped, as in "whereas," Plate 80, line 16. 
 
178 
 
 X 
 
 y 
 
 z 
 
 as 
 
 THE BI-LITERAL CIPHER 
 
 is a broad, delicate letter, with elongated dots ending the lighter bar, 
 as in "stxe," page 8, line 12. 
 
 is particularly narrow at the base. The terminals of the lighter bar 
 are small close dots, as in "Taxe," page 27, line 24. 
 
 is well-made, and quite open at the top, as in "prayers," Plate 79, 
 line 29. 
 
 has a bend in the right arm, as in "they," Plate 79, line 21. 
 
 is a broad letter, slender at the top, but somewhat heavily shaded in 
 the queue, as in "Merchandize," page 8, line 23. 
 
 is somewhat narrower, the queue coming down more abruptly. The 
 top in this is shaded nearly as much as the bottom, and the connecting 
 line between the two is heavy, as in "Symbolize," page 19, line 20. 
 
 Two forms are seen on page 15, lines 12 and 15. They have not been 
 classified. 
 
 FI. Italic Digraphs in Medium Type. 
 
 (aa) is the union of small a showing an angle or shoulder in the top of the 
 loop and heavily shaded base, with an s short at the top and longer at 
 the base, as "as," Plate 79, line 11. 
 
 (ah) is the union of the a just described with an s as long at the top as at 
 the bottom, as in "whereas," Plate 80, line 16. 
 
 (ba) is the union of a small rounded a with an s very short in the head, as 
 in "was," Plate 80, line 34. 
 
 (bb) is the union of a small rounded a with an s long in the head, as the 
 second "as," page 12, line 11. 
 
OF SIR FRANCIS BACON 
 
 179 
 
 a 
 
 ff 
 
 fi 
 
 is the union of a small c reaching well out at the top and having a wide 
 curve at the base, with a long t wide and heavy at the base, as in 
 "Spectacle," Plate 79, line 16. 
 
 is the union of a small c reaching well out at the top and widely curved 
 at the base, with a long t narrow and pointed at the base, as in "Erec- 
 tion," page 19, line 7. 
 
 is the union of a small c somewhat narrow and showing a small dot at 
 the top, with a long t heavy and wide at the base, as in "expected," 
 page 9, line 15. 
 
 is the union of a narrow c with a long t also narrow at the base, as in 
 "Practique," page 20, line 18. 
 
 is the union of two small /'s having curved tops and straight feet, as 
 
 n "off," page 15, line 31. 
 
 s the union of a small / curved at the top and straight at the base, 
 with the same letter short and straight at the top with a short foot 
 tending slightly upward, as in "Traffique," page 17, line 2. 
 is the union of an /having a straight head and slightly upturned foot, 
 with the same letter having a curved top and slanting foot, as in 
 "Offers," page 8, line 32. 
 is the union of two single letters in font b, as in "Office," page 8, line 7. 
 
 is the union of small / having a curved top and straight foot, with an 
 i of nearly uniform thickness throughout the stem, and somewhat 
 rounded at the top and bottom, as in "finding," page 17, line 31. 
 is the union of an / having a curved top and a straight foot, with an i 
 delicately shaded and sharp-angled, as in "fine," Plate 80, line 27. 
 is the union of an / having a long head and short upturned foot, with 
 an / uniform in thickness and rounded top and bottom, as in "fifty," 
 page 5, line 27. 
 
 is the union of the / just described with a delicately-formed i slightly 
 shaded at the base, as in "finde," page 7, line 19. 
 
180 
 
 / 
 
 ts 
 
 II 
 
 {ha] 
 
 THE BI-LITERAL CIPHER 
 
 is the union of an / having a curved top and straight foot, with an / 
 
 somewhat heavy and rounded at the base, as in "enflamed," page 8, 
 
 line 38. 
 
 is the union of the /just described, and an / sHghtly shaded at the top 
 
 and pointed at the base, as in "flourish," page 15, Hne 6. 
 
 is the union of an / dehcately-made and having an upturned foot, 
 
 with an / somewhat heavy at the base and rounded into the last stroke, 
 
 as in "flourish," page 26, line 24. 
 
 is the union of an / delicately-made and having an upturned foot, 
 
 with an / somewhat shaded at the top and sharply pointed at the base, 
 
 as in "briefly," Plate 79, line 7. 
 
 is the union of the simple form of? in font a, with an j rather large and 
 
 clumsy at the top, as in "his," Plate 80, line 15. 
 
 is the union of the i just described with an s small and close in the head, 
 
 as in "this," Plate 79, line 18. 
 
 is the union of small z in font b with an s blunt and clumsy in the head, 
 
 as in "this," page 7, line 25. 
 
 is the union of the simple form of i in font b with a well-made short s, 
 
 clear and free in the head, as in "his," Plate 79, line 28. 
 
 is the union of two delicate letters having level serifs at the top and 
 
 free lines at the bottom, as in "tell," page 26, line 26. 
 
 is the union of a delicate / having a level serif at the top and free line 
 
 at the bottom, with a less delicate letter, slightly turned back at the 
 
 top and rounded at the base, as in "all," Plate 79, line 20. 
 
 is the union of an / having a slanting serif at the top and a rounded base, 
 
 with a delicate letter angular at the base and ending in a clear, free 
 
 line, as in "shall," page 26, line 26. 
 
 is the union of two /'s of the simple form in font b, as in "shall," Plate 
 
 79, line 6. 
 
OF SIR FRANCIS BACON 
 
 181 
 
 ^h 
 
 is the union of long s in font a, with a heavy-stemmed h having a wide, 
 rounded loop, as in "vanished," Plate 80, line 21. 
 
 is the union of long j in font a, with a delicate-stemmed h, having a 
 somewhat heavy loop, as in "banish," page 7, line 20. 
 
 is the union of long s in font b, with a heavy-stemmed, broad-looped A, 
 as in "shall," page 7, line 10. 
 
 is the union of long s in font b with a delicately-formed A, as 
 in "sheweth," Plate 77, line 19. 
 
 P 
 
 is the union of long s in font a, with the simple form of i in the same 
 font, as in "sick," page 5, line 26. 
 
 is the union of long s, in font a, with the simple form of /' in font b, as 
 in "Courtesie," page 7, line 17. 
 
 is the union of long s, in font b, with the simple form of z in font a, as 
 in "silence," Plate 80, line 18. 
 
 is the union of long s, in font b, with the simple form of i in the same 
 font, as in "Confusion," page 7, line 14. 
 
 j/ 
 
 is the union of long s curved at the top and having a straight foot, 
 with a heavy / shaded toward the base, as in "Islands," page 17, line 34. 
 
 is the union of long s just described, with an / slightly turned back at 
 the top, and of uniform thickness in the stem, as in "Island," page 14, 
 line 26. 
 
 is the union of long s in font b with an / having a level serif at the top, 
 and a stem shaded toward the base, as in "Island," page 15, line 28. 
 is the union of long s in font b, with an / having a slanting serif at the 
 top, and a stem of nearly uniform thickness, as in "dislike" page 28, 
 line 22. 
 
182 THE BI-LITERAL CIPHER 
 
 SP 
 
 St 
 
 {ad) is the union of long s in font a, with a long-stemmed p having a some- 
 what narrow loop, as in "speaketh," page 24, line 38. 
 
 {ah) is the union of long s in font a, with a long-stemmed p quite wide in 
 the loop, as in "respect," page 9, line 36. 
 
 {ba) is the union of long s in font b with a long-stemmed p somewhat narrow 
 in the loop, as in "spent," page 12, line 29. 
 
 (^^) is the union of long s in font b, with a long-stemmed, wide-looped /», 
 
 as in "prosper," page 26, line 24. 
 
 (aa) is in two styles, long and short. The first is the union of long j in 
 font a with a long t somewhat wide at the base, as in "stood," Plate 79, 
 line 22. The second is the union of short s in font a with the long- 
 stemmed t somewhat wide at the base. An example has not been 
 found in this work. 
 
 {ab) is in two styles, long and short. The first is the union of the a-font 
 long s with a narrow-based t usually having a slanting cross-bar, as in 
 "Resistance," page 15, line 24. The second is the union of short s in 
 font a, with a somewhat narrow and often quite heavy long t, as in 
 
 "Christians," page 4, line 2. 
 
 {ba) is in two styles, long and short. The first is the union of long s in 
 font b with a long-stemmed t somewhat wide at the base, as in "least," 
 page 15, line 16. The second is the union of a short j in font b with a 
 long-stemmed / wide at the base, as in "East," page 14, line 23. 
 
 {bb) is in two styles, long and short. The first is the union of long s in 
 font b with a somewhat narrow long-stemmed t, as in "still," Plate 80, 
 line 17. The second is the union of short s in font b with a somewhat 
 narrow, though heavy, t, as in "amongst," page 15, line 21. 
 
OF SIR FRANCIS BACON 183 
 
 (aa) is the union of a wide-based u with a blunt-topped short s, as in 
 iJ \ "curious," page i8, Hne I2. 
 
 {ah) is the union of a wide-based u with a small-headed j, as in "Fabu- 
 lous," page 15, line 13. 
 
 (ba) is the union of a narrow-based ?^ with a blunt-headed, awkward, short 
 s, as in "Marueilous," Plate 79, line 18. 
 
 (i/») is the union of a narrow-based u with an j small and delicate in the 
 head, as in "famous," page 19, line 14. 
 
XIII. 
 DECIPHERED MESSAGES 
 
 I. Second Folio, 1632. 
 
 /. Actors^ Names and First of Ben Jonson's Poem. 
 
 — (m)ale desce'da't o' the Henry that founds th' Tudors — had the boor W's claim 
 gainsay'd. Trust me mankind is surpris'd to say "In shor(t) f 
 
 oe ! I cry grace — . Is pre- 
 ominate reaping found any less fully your suits ? Justice ?" 
 
 //. Last of Ben Jonson's Poem and First of I. M. S. Poem. 
 
 —that no obtensios would lighten Fr's toil o're some play (they who obeying long his 
 warie eye — P., J., and G., or X. M. — would not stay the exody, i. e.) will I not deny. 
 "T 
 
 ut, cease!" or othe' such hasty wayes of giving slight reproofe but fell on heedless eare." 
 
 ///. Last of L M. S. Poem, and Hugh Holland Poem. 
 
 — wh'ch opponent he suddenly found to be (thus prooving S., 
 
 P., G. liars) th' Qu. K. 
 F. embodied a letter so nicely givi'g a stateme't at the time. Yet it erst did lie upo' th' 
 union w'ch K. conniv'd. A ne're pledg'd word grown in ol 
 
 d disciples work. 
 184 
 
OF SIR FRANCIS BACON 185 
 
 IV. Poems: "Upon the Effigies," and "An Epitaph." 
 
 W. R. tels why wee honor gay S. F. his royal tome thou hast, will shew in severall places 
 is th' manuscript kept. I, (ay) there shall friends find affix'd to each play th' author's name, 
 with a rightful signe of F's (s)o to bee discov'r'd and substituted, I trust, if .* 
 
 V. I. M. Poem. 
 — toole and we know MS. the fellow masked and us'd F's seale thereon seen Rex. 
 
 VI. Prologue, Troilus and Cressida. 
 
 I lost favour, ergo, oppone'ts presume, as my ciphers at least do put it, to get such as 
 sudde'ly turn playwright, witty or stale, under, wisht, yea, promist Judases. 
 
 I to aide one writer — one which never liv'd in F. St. A.'s service yet knows the deputie 
 of two Kings doth F's fist most — . 
 
 2. Sylva Sylvarum, 1627. 
 /. Prefatory Pages. 
 
 Go to G early. Who lern by wit, as you will note elsewher, yet will not have 
 
 yeeres work shut w't'in old graves, nor seldom loose faith. Yet I preach a faith but ill, if 
 ever, to right some singularly uncommon faults, various Wm. S. bookes shall, by robbers 
 might, be disturb'd. Who carpeth so uprooteth them by zeale to him. 
 
 B , my trust now, to them writeth — to utter it, hoping some heede this — of 
 
 a box, thus to denote F's own wish. 
 
 Wm. R. 
 
 //. Body of the Work. 
 
 See whatsoever is not thus worth, as I do u'fold my nowise alter'd letter, if, taking some 
 stu'id, blind, indifrent but vain jesters i'to my inner court, a wit's carnassial mind but lingers 
 
 *L. Digges poem contains cipher story connecting Numbers IV and V. See page 16. 
 
186 THE BI-LITERAL CIPHER 
 
 to make ravine — of everie ones best skil'd to rob, by a separating, culling processe that doth 
 wrest 'ones' thought. 
 
 You may extoll both, ut supra, or upsetting nature go without my rush finding the way 
 oft with the brute sense called th' instinctive faculty. One not common, wit, may Wm. 
 most wisely emploie lesse, should our fame ever mou't his loftie Olympic height. 
 
 3. New Atlantis, 1627. 
 
 Learned men did equal me. Know you, had my rigol, a king's crowne allured stil, honor 
 delay'd hitherto been mine, one blis in any th' past woes tenderly recall'd my erly love, 'tis 
 verily to greatnes unmatcht — dreamt sub luna — that I might come. 
 
 M's old art, men say most true, in this probable future more subtilly percha'ce should 
 implant her just character, both that by goodnesse th' boy wrote so artlesse a storie in two 
 worthily approov'd plays w'ch buried and left it not to dawes wit, nor wiseacres writi'gs I 
 myselfe can note as wiselie; and th't unto me, certes, vows of devout, simple life you may 
 know did yet defy me, slyly mov'd a like cruel suspect. Clearer and greater proof, old cipher, 
 most happily overcomming oppositio', th't task may awe you* murmuring spirit — true note 
 of art: O wit, curiosity ! good meanes, withall, by wh'ch subtletie marreth hope or trust too. 
 
 Th' box my William R — so fears, or hates in very truth, to treasure well as he wil out 
 of doubt let [hinder] all discov'rers — though many other my erly printed works went at once 
 into finall crypt — to his lofty monument, meetly us'd thus for concealing it, only by my ut- 
 most skill can duely bee giv'n. 'Tis seen of late surely chang'd (also a blasted hope may 
 beseem slow, overwrought plans), rul'd by prominent, but commonlie musty volumns, dry 
 fustian, men must predigest to get any nutr'm't. 
 
 Graves at one time superiour, as no tim'rous perso' tryeth for entra'ce, or no bold one 
 could wrest his treasures thence {vide W. on tombs, etc.), old or young mind [watch or care 
 for] ill; so must every man on guard be told much more, quod bene notandum. I, [ay,] 
 save Burton, ne're a man can now be with Wm., almost none built upon. My book he, as I 
 but then did know though I was naturally unwilling, us'd; for forced by change and my ad- 
 versity, I printed — but W. thrice previously did bury MS. sett up. To mold so this duke to 
 th' wish of Wm., though men do know him not, MS. is hid ere you find my will to you kind. 
 
 *NoTE — The r and m were joined in one group by the cipherer's mistake in this way: bbabb. 
 
OF SIR FRANCIS BACON 187 
 
 As my companion found out many foes rather then but few, so th' fox you hunt you name 
 Legion, tho' some runneth alone. By trust in him these sons, in years nor mist by honours 
 nor linkt w't shame, whom E. forc'd i. [e.], by preclusion, forc'd to give way, liking it ill, nor 
 led any forlorne hope to try experiments by might — so to win, redeem or maintain lost glory — 
 nor lawlessly us'd power. 
 
XIV. 
 
 "TO THE READER" AND 
 
 CATALOGUE, SECOND FOLIO, 1632 
 
 To The Reader 
 
 Tothe Reade rThis Figur ethat thouh erese estpu titwa sforg entle Shake spear ecutW 
 herei ntheG raver hadas trife With Natur etoou tdoot heUf eOcou Idheb 
 uthav edraw nehis VVitA sweLl inBra sseas hehat hhitH isFac etheP rintv vould 
 thens urpas seAll thatw aseve rvvri tinBr asseB utsin cehec annot 
 Reade rlook eNoto nhisP ictur ebuth isBoo keBI 
 
 By two guards do I watch F's vastly importa't playes cunningly. 
 
 WM. RAWLEY. 
 
 Catalogue, Second Folio, 1632 
 
 With Roman letters marked for the b-font with capital letters a7id grouped in fives. See plates 87 and 88. 
 dacAT aLogu EofaL IthEc oMedi eSHIs tOrle saNdt RageD leSco nTAiN 
 Edint hIsbO okehe tempe stthe twoge ntlem eno/u eRoNa theme rrywi vesof 
 winds ormea suref ormea suret hecom edy of error smuch adoea boutn othin glove slaho urslo 
 stmid somme rsnig htsdr eamet hemer chant o/VeN iceaj youU keiit hetam ingof thesh rewal 
 Iswel Ithat endsw elltw elfen ighto rvvha tyovv villt hewin terst aleYil sTOrl e'Sithe lifea 
 nddea thofk iOHnt helif e hdea thofk Rthet helif eandd eatho fkhth eseco ndpar tofkh 
 theth elife ofkin ^HENr Ythet hefir stpar tofkh. 'E.nyth ethep artof Ahenr ythet hepar 
 tofkH enrY< hethe trage dieof Richa xAthe thefa moush istor _yo/He NryTr agEDI eSTrO 
 yLusfl ndCxe sSiDA thetr agedy of COR lolan uStit UsanD rONic uSRoM eoand iuLie 
 tTiMo no/AT Kenst hetra gedyo /lUli uSCaE SaRf^ etrag edyof Macbe ththe trage 
 dyofh amLet thetr agedy ofkin ^LEar themo oreof vENic EanTH onYan JCleo pATra 
 thetr agedy o/cYm Bellne 
 
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