Hidden Truths In Written & Pictoral Notes: Part 1

Hidden Truths In Written & Pictoral Notes: Part 1

The following rough notes are intended to provide De Vere Society members with the bare bones of my ongoing researches into the title-page and dedication of SHAKESPEARES SONNETS, published by Thomas Thorpe in 1609. I hope they will serve to shift opinion on Oxford and his position as the author of Shakespeare’s works to a higher plain. This research, which is built upon the imspired foundations of other Oxfordian scholars, notably John Rollett and Alan Green, vindicates my earlier hypothesis in which I proposed that the Stratford grave is empty, the Stratford monument is a cenotaph, and the burial place of ‘William Shakespeare’ is not at Stratford-on-Avon. In due course, I shall present this material, and more, in book form. These work-in-progress notes are intended merely as a conversation starter. Numerical referencing is used for ease of understanding.

1a. In the De Vere Society Newsletter (Oct 2014), I drew attention to a riddle concealed in the epitaph of Shakespeare’s Monument at Stratford-upon-Avon: “READ IF THOU CANST, WHOM ENVIOUS DEATH HATH PLAST WITH IN THIS MONUMENT SHAKSPEARE,” which may be paraphrased: “In this Monument, figure out, if you can, whom Shakespeare is buried with.”

Waugh hidden truths 1 epitaph of shakespeare

Click image to view original article.

1b. The answer to this riddle is to be found in the Latin couplet above, where “earth covers” (“TERRA TEGIT”) Pylius, Socrates and Maro, three classical names that serve as contemporary allusions, respectively to Beaumont, Chaucer and Spenser – three English poets buried in precisely that order at Poets’ Corner in Westminster Abbey.

Waugh hidden trusts 3 poets buried at poets corner

1c. Although the Stratford monument alerts the perceptive reader to the fact that Shakespeare was quietly buried alongside Beaumont, Chaucer and Spenser at Poet’s Corner in Westminster Abbey, it should be noted that the South transept of the Abbey was not called ‘Poets’ Corner’ back then, nor was ‘Westminster Abbey’ the proper name for the church. As Anthony à Wood shows in his essay on Brigham from Athenae Oxoniensis (1691), Poet’s Corner was known as “South Cross Isle of St Peters Church,” and as John Clapham revealed in 1606, this church was located at “the WestMinster.”

Waugh hidden truths John Clapham 1606 the West-Minster

John Clapham (1606) “the West-Minster”

1d. Four Ts: in my original researches into the Stratford monument epitaph, I had failed to notice the four Ts marshalled into a square (bottom right-hand corner). I now realise that they were displayed in this way for a purpose.

Waugh hidden truths four Ts

1e. The epitaph contains only one line that is indented (the 2nd line beginning “TERRA TEGIT”). This line is set as two blocks of 17 characters, making 34 characters in all. For obvious reasons, the 17th Earl of Oxford is alluded to by the number 17 (see his signature, Meres, Drayton, etc). The ‘double’ of 17 is the number 34. In Proving Shakespeare (2011), David L. Roper noticed the significance of this, and in a 34-equal letter spacing grid found the name ‘De Vere’ but missed, just to the right of it, a masterpiece of encryption – a pictogram of a key in which it is revealed that “VERE LIVES IN SHAKSPEAR WHOSE NAME HE IS.” (See 5k).

2a. In an astonishing video, lately downloaded onto YouTube, Alan Green demonstrates that just four dots and two line-ends on the title page of the Aspley edition of SHAKE-SPEARES SONNETS (1609) act as precise markers to points on the circumference of a hidden circle:

Waugh hidden truths hidden circle

2b. Green’s demonstration proves that whoever constructed this hidden geometry had an understanding of higher mathematics that was far in advance of his times, as it reveals knowledge of Tribonacci (not studied until 1914); a mathematical constant known as B2 (Brun’s Constant, 1919); a constant known as gamma (Y – the EulerMascheroni Constant, 1734); and a constant known simply as e (Isaac Newton, 1669), etc.

2c. The importance of the large dot by the G of “G. Eld” to the geometry within the circle suggests a hermetic gnosis society, some forerunner to the Freemasons, whose principle sign today is a compass and angle enclosing a G, representing primacy of God and Geometry (e.g., the measuring of the earth) to its brotherhood:

Waugh hidden truths G in icon

2e. Francis Bacon writes of a secret knowledge society, The House of Salomon (e.g. The Temple of Solomon), in his New Atlantis. See also George Chapman’s dedication to Shadow of Night (1594). Both Drayton and Ben Jonson mention the invisible college of Rosicrucians. Drayton’s monument at Westminster is adorned by the Pegasus, badge of the Knights Templar.

2f. The Knights Templar, known as the Poor Knights of Solomon’s Temple, or Poor Soldiers of Christ, bore the insignia of the Red Cross. This group was outlawed in the 14th Century by the Pope, and their lands in London stretching from Temple at Fleet Street to the Savoy Palace in the Strand were confiscated and made over to the Knights Hospitaller. Oxford occupied the grand Master’s lodgings at the Savoy Hospital, to which Queen Mary bequeathed the manor of Stratford-upon-Avon in 1556. In Strange Newes, Thomas Nashe describes Oxford as being among lawyers everyday. This precinct of London has been occupied by lawyers since the 1320s. Comedy of Errors was performed at Gray’s Inn in 1594.

2g. Nashe (1592) describes Oxford’s set-up as “a house of credit as well gouerned as any Colledge, where there bee more rare quallified men, and selected good Schollers than in any Noblemans house that I knowe in England.” In New Atlantis Bacon’s utopian secret order, Salomon’s House, is also described as a “colledge” of the “noblest foundation that ever was upon the earth dedicated to the study of the works and creatures of God.” In The Occult Philosophy in the Elizabethan Age (1979), Frances Yates writes of a secret “group of noblemen scientists and their friends pursuing deep philosophical and mathematical studies.”

2h. Templar Knights (known as ‘Poor Knights’) were expected to give their worldly goods to learning and religion and even to erase their own ego in pursuit of a higher knowledge of God’s creation that would lead ultimately to knowledge of God’s name and to a spiritual understanding of God himself. In Honour in His Perfection (1624), Gervase Markham writes of Oxford’s piety and the infinite “bountie which religion and learning daily took from him,” complaining that Oxford “bound himself too strictly to the Scripture Phrase,” in giving all of his wealth and property away and (as Markham cryptically suggests) by allowing his own name to be hidden within the name of another.

2i. The Freemasons, a secret order that did not publicly declare itself until 1717, shares with earlier secret orders (the Templars, Hospitallers and Rosicrusians) a cabalistic obsession with the Temple of Soloman. On his website, Paul Bevan gives details concerning the rites and mysteries of the Masonic Royal Arch Companions, which bring aspects of Oxford-Shakespeare strangely to mind. See website here.

High PriestCompanion Captain of the Host, are you a Royal Arch Mason?

CaptainI am, that I am.

High PriestHow shall I know you to be a Royal Arch Mason?

CaptainBy Three Times Three.

(See Shake-speare’s Sonnets 121 and 133; Oxford’s letter to Burghley (30 Oct, 1584)

3a. Since Templar-Masonic fingerprints are clearly evident in the Sonnets’ title- page, can these same prints be detected also on the following dedication page? The dedication (see illustration at 4a) is laid out as three text triangles (‘Three Times Three’). Bevan (See 2i) explains that an important and ancient symbol consisting of three Ts (the ‘Triple Tau,’ named for the Greek letter ‘Tau,’) is referred to within Royal Arch Masonry as ‘The Key.’ In fact, it is known as the ‘Clavis ad Thesaurum’ (‘Key to the Treasures’), and commonly presented as a central T placed over two sideways Ts in the form of a big ‘TH’ as shown within the triangle of the coin below:

Waugh hidden truths coin with TH

3b. The three Ts of this ancient symbol are Tau-crosses, said to represent the three crosses at Calvary, with the cross of Jesus in the centre and the two crosses of the thieves (Gestas and Dismas) on either side.

3c. If a fourth T is added to the Triple Tau, it becomes a 4T-cross known as a ‘Cross Potent’ or ‘Crutch Cross,’ in which the fourth T (depicted upside down) is said to represent the ‘fourth cross’ of St Peter who, having thrice denied Christ, was crucified upside down in Rome in AD 69:

Waugh hidden truths Apostle Peter cucified upside down AD 69

3d. In Royal Arch Masonry, the 4T-cross, or ‘Cross Potent’ is the insignia of the Master of the Royal Secret:

Waugh hidden truths cross potent

‘Cross Potent’ derives from potence, old French for ‘crutch’.

4a. In 1998, the late John Rollett advanced the hypothesis that the syntax of the Sonnets’ dedication was so obtuse as to suggest it was compromised in order to allow for a message to be encrypted within it. With this in mind, he took the line- lengths of the three upside-down text triangles (6-2-4), being the same as the letter lengths of Edward de Vere, and counted the words in a 6-2-4 sequence demarcated by dots and hyphens. This revealed the message: “THESE SONNETS ALL BY EVER THE FORTH T”:

Waugh hidden truths these sonnets all by ever the forth T

4b. The labelling of the Sonnets’ poet ‘EVER’ (E.VER or VERE anagrammatised) delighted many Oxfordians, but Rollett rejected his discovery on the grounds that ‘THE FORTH T’ was meaningless and therefore, he felt, invalidated the message. Why should Shakespeare be described as “the Forth T” (i.e. an upside-down cross of St Peter)? 4c. Rollett also experimented with placing the text of the dedication into equalletter-spacing grids, (ELS grids) according to a procedure used for encryption by John Dee and others in the 16th and 17th centuries. ELS grids work like crossword grids in which a cypher text is placed into a square or rectangular pattern of cells with one letter per cell. By this method, encrypted words or messages are revealed across vertical columns. Arranging the Sonnets’ dedication as a 15-letter grid, Rollett found the name HENRY set vertically in column 7. In the 18-letter grid he found fragments of the name WR-IOTH-ESLEY laid out in three parts at different places across the the grid.

4d. Rollett took no account of clues to the numbers 19 and 12, as suggested by the dedication itself – two numbers that would have led him directly to the correct ELS grid intended by the encipherers as the ‘Key to the Treasures.’ The Sonnets’ dedication, as stated, is laid out as three triangles (‘Three Times Three’ – TTT) and consists of 144 characters (12 times 12) and is 12 lines long. The dedication contains 19 Ts and T is the 19th letter of the Latin alphabet and (as ‘Tau’) the 19th letter of the Greek alphabet.

5a. The relevance of numbers 19 and 12 (See 4d) becomes apparent when the whole text of the dedication is laid into a 19-ELS grid to reveal the TTT (‘the Key to the Treasures’) as three Ts vertically aligned at the bottom of column 12. This is the only grid variation that presents three T’s together in this way:

waugh hidden truths TTT table 1

TTT – Triple Tau – Clavis ad Thesaurum – (‘Key to the Treasures’)

5b. Messages encrypted into ELS grids are not always revealed in straight vertical lines. In this encryption, all relevant words and phrases are placed within pictograms, signs or symbols that serve to validate their intention. At the very centre of this grid (centred both North-South and East-West) is a capital iota I, connected at bottom right to the second T in column 10 – the tau-cross of Jesus (See 3b). This capital I represents the initial letter of IESUS, which contains within it a perfect anagram of VERITAS (meaning “truth” in Latin), and at its base, the verb stem VEN, which is short for VENIT (meaning “is coming” or “has come”) or VENIET (meaning “will come”). By placing these letters into the I of IESUS, the message is obvious: “In Jesus, the truth is coming,” “In Jesus, the truth has come” or “In Jesus, the truth will come.” This is important. The encrypter is instructing the reader to look for signs of Jesus on the grid in order to reveal the truth:

waugh hidden truths TTT table 2

In I[ESUS] VERITAS VEN. “In Jesus the Truth is Coming”

5c. Just as the second T, representing Christ’s cross, joined to the “Iesus Veritas Venit” symbol of Iesus, so the third T in column 12 is joined to the word “FORTH,” upon which sits an upside-down T, revealing Oxford, for a second time, as “THE FORTH T”:

waugh hidden truths TTT table 3

With the letters of this cryptogram flipped and the stipe turned the other way up, the message contained within this pictogram becomes even more obvious:


5d. We were told that the Truth comes in Iesus and this cryptogram is indeed endorsed by Christ. Note the three letters set vertically above it in column 9 (ISH). These stand for In Signo Hoc, meaning ‘In this Sign,’ which refers to the legend of Constantine who, on a military campaign, dazzled by the sun, saw the Chi-Rho symbol in the sky and said to his soldiers “ἐ ν τούτῳ νίκα” (en toútoi níka), which is translated into Latin “In signo hoc vinces” (“In this sign you will conquer”). The Chi- Rho symbol of Constantine’s vision is formed from the Greek letters Chi, Rho and Iota (CH, R, I), which together spell out the first three letters of CHRIST. Since the early 4th century AD, the Chi-Rho Christogram has been regarded as one of the most important and prominent symbols of Christianity:

Chi-Rho symbol

Chi-Rho symbol “In Hoc Signo Vinces”

That the letters ISH in column 9 are intended to represent the ititials of in hoc signo (“In this Sign”) is corroborated by the letters VIN (the Latin verb stem of vinces) set to the right of the middle S, forming a sideways Tau-cross. The initials ISH (or more commonly IHS) have also come to represent Jesus, being key letters of the name IESHUA. Thus Jesus, the Truth, as suggested from the outset here endorses the first sign in this encryption, the “FORTH T” with ISH. These same initials are used three times to indicate the presence of three distinct signs which, as we chall see, combine to reveal the truth about Oxford who is “EVER THE FORTH T.”

5e. Following the central suggestion that the truth is revealed in Iesus, another iota (capital I of IESUS) in column 9 placed over the “DE VERE” cryptogram,

waugh hidden truths TTT table 5

reveals the message: “DE VERE LIES HERE,” or (for those who cannot accept that such a masterful cipher would use letters more than once), by taking the initials of the bottom line (the ‘D,’ ‘V’ and the ‘E,’) as the initial letters of Edward De Vere, this crytogram yields the message (once again endorsed by Christ): “E[dward] D[e] V[ere] LIES HERE”:

The final E of “HERE,” joins, on its left-hand side, to the initials “ISH” (In Signo Hoc – “in this sign”) in rows 6-8. This is the second time that “ISH” has been used to signify the presence of a hidden sign, inviting the reader to find a yet another truth, endorsed by Christ in its vicinity.

5f. Directly above this second “ISH” (“In this Sign”), a Petrine cross (the upsidedown cross of St Peter) may be formed, into which the words “South” (at bottom) and “Ile” (at top) are set. “SOUTH” being here spelled with a thorn (Y) in place of TH (such as is found in the spelling of ‘ye’ for ‘the’ etc.). By placing the words “SOUTH” and “ILE” inside a cross of St Peter, the encrypter reveals where Oxford lies: in the “SOUTH CROSS ILE of SAINT PETERS” – the very name that was given in the 17th century to Poets’ Corner at Westminster Abbey (See 1c above).

waugh hidden truths TTT table 6

So far we have uncovered the message: “The FORTH T, E[dward] D[e] V[ere] LIES HERE: SOUTH CROSS ILE, SAINT PETERS” – but there is more.

5g. The encrypter has ingeniously placed a prayer, directly on top of the sign “South Cross Ile, St Peters,” within another capital iota (I for IESUS), which contains the anagramatised letters of “ELEISON” set above the letters “ISH” of “IESHUA.” Thus, the familiar blessing of the requiem mass is lain directly over the “South Cross Ile” of St Peter’s where Oxford lies: “CHRISTE ELEISON” (“CHRIST HAVE MERCY”):

The Sonnets’ dedication and its 19-letter spacing grid have now yielded the message: “THESE SONNETS ALL BY EVER THE FORTH T (DE VERE – in this sign); E[dward] D[e] V[ere] LIES HERE (in this sign): SOUTH CROSS ILE, ST PETERS, CHRISTE ELEISON (Christ have Mercy)” – but there is more.

5h. The encrypter has not yet finished. There is certainly more than one church in England consecrated to St Peter with a south transept. If Edward de Vere is buried in the south cross aisle of a St Peter’s Church, we need to know which St Peter’s is meant. Note the word “AT” (middle of columns 5 and 6) placed to the left of the South Corss Ile, St Peters pictogram. Note also (for the third and final time) the initials “ISH” (“In Signo Hoc”) that appear in the horizontal rows toward the bottom of columns 1-3. At the beginning, we were told that the Truth is coming in IESUS; this “ISH” (IESHUA) tells us again that a truth is hidden nearby, it also helps to explain the bizarre formulation in the cipher text: “WISHETH THE WELL-WISHING ADVENTURER.”

5i. On this occasion, however, the clue is actually given as “ISHI,” a variation that can be read either forwards (“ISH” – “In Signo Hoc”) or backwards (“IHS” – In Hoc Signo). “IHS” is the way the initials are usually arranged in Christian iconography. The purpose of presenting them in reversed order here is to indicate that the Truth here revealed in Iesus is, this time, a pictogram which has been reversed:

Here the setter has devised a reversed pictogram of Westminster Abbey and filled it with a perfect anagram of the letters: “THE WEST MINSTER.” As Clapham showed in 1606 (1c above), the place where St Peter’s Church was built was anciently known as “the West-Minster” and here by presenting a reversed pictogram of the Abbey with its cloisters on the left, instead of right – conforming to the cryptic clue ISHI upon which it stands – the encrypter leaves no room for any doubt that the church of St Peters at the West Minster alluded to in this cippher is none other than that which is now commonly known as Westmister Abbey.

5j. Thus the riddle of the Stratford epitaph (1a) which points to Poets’ Corner at Westminster Abbey as the true site of Shakespeare’s grave is vindicated by the Sonnets’ dedication, in which the following message has been deciphered: “THESE SONNETS ALL BY EVER THE FORTH T, DE VERE; E[dward] D[e] V[ere] LIES HERE: SOUTH CROSS ILE, ST PETERS, ‘CHRISTE ELEISON’ (‘Christ have Mercy’), AT THE WEST MINSTER,” with each of the three principle parts along this continuous and contiguous route ingeniously endorsed by a pictogram and each signalled by “ISH” (“In Hoc Signo”), the sign of IESUS, with three further endorsements placed in capital iotas: “CHRISTE ELEISON”; “DE VERE LIES HERE,” and in Iesus “VERITAS VENIT,” underpinning the very centre of the grid. Here we have indeed uncovered the ‘Key to the Treasures,’ ‘Three Times Three,’ the ‘TTT,’ that dissolves the hidden message of the dedication; yet there is more.

5k. Alan Green has assembled evidence that implicates Queen Elizabeth’s conjuring magus, John Dee (upon whom some say Shakespeare is said to have based his character of Prospero) and who died in 1608, as the encrypter, not only for the Sonnets’ dedication, but also for the tomb and monument at Stratford, which were placed at Holy Trinity Chruch between 1618 or 1619. If Green is correct, then Dee’s inclination to sign his work may be suggested by the single letter ‘D’ enclosed in the cloister above.

5l. In 2015, I presented a paper in America suggesting that Oxford’s son, Henry de Vere, 18th Earl of Oxford, was not his actual son but a surrogated heir. Evidence for this, I contend, is revealed in the dedication and first 18 sonnets and corroborated by careful reading of many contemporary allusions to and by Shakespeare. Might Henry de Vere’s illegitimacy, the key to the sonnets, be revealed also by this 19-ELS grid? Here the “Cross Potent” or 4-T cross (See 3d), in which “DE VERE” appears as the Fourth T, contains a perfect anagram:

Within the 4-T Cross Potent, this message: “HEED VERES PATERNITY LIE”

My theory of Vere’s paternity lie is presented in some detail in a speech available here.

5k. Alan Green has demonstrated how the 17 ELS grid of the epitaph on Shakespeare’s tomb at Stratford provides a map of the Temple of Solomon and is signed (twice) by John Dee. The involvement of Dee is further suggested by a pictogram of a key that can be assembled on the 34 ELS grid of the text of the epitaph on the Stratford monument (See 1e). Having noticed the word “KEY” spurring from the K of “SHAKESPEAR” (column 27), I was encouraged to join “VERE” (column 19) with “SHAKESPEARE WHOSE NAME HE IS” by forming the shape of a key, and, in so doing, found this:

The ingenuity of this cipher cannot be exaggerated. Its message reads: “SEE THOU UNTO ME THE IN-HIDDEN KEY: VERE LIVES IN SHAKSPEAR WHOSE NAME HE IS.” The word “Key” is taken from the pictogram itself just as the words “CROSS” and “ST PETERS” are drawn from the pictogram used to create “SOUTH CROSS ILE, ST PETERS” (5f). Here the the pictogram is completed only by the addition of three Ts (TTT ‘Key to the Treasures’) at top and bottom marked in red. The hidden H and the N, that is ‘hid’ in “HIDDEN,” are cleverly excused by ligatures in the cipher text and here again the encrypter appears to sign himself “I. DEE” twice by the word “ME.” Thus are the bizarre spellings of “DIDE” and “SIEH” finally explained, as are the four Ts marshalled at the bottom right of the monument epitaph (See 1d).

The word ‘dissolves’ was used to mean ‘deciphers’ (see OED). When Leonard Digges wrote in Shakespeare’s First Folio (1623): “When Time dissolues thy Stratford Moniment, Here we aliue shall view thee still,” he appears to have known of the encrypted message on Shakespeare’s Stratford monument: “VERE LIVES IN SHAKSPEAR WHOSE NAME HE IS” believing, correctly, that the true author would be revealed once his monument epitaph had been “dissolved”– but there is more.

6a. Turning back to the Sonnets’ title-page where Alan Green found the hidden geometry (see 2a), it is possible to identify Oxford as “THE FORTH T” for the third time. Counting the Ts from the top of this page, the fourth T is that which appears as the first of the two capital Ts, representing the initials of publisher, Thomas Thorpe:

The two previous allusions that identified Oxford as the “FORTH T” were “EVER THE FORTH T” in John Rollett’s 6-2-4 cyphered reading of the dedication and the upside-down T found beside the TTT in the 19-letter grid, set upon the word “FORTH” with “DE VERE” scribed inside it (See 5c). Here on the title-page, Oxford is identified as the “FORTH T” by an equally ingenious means. Note that the word preceding the T is “for” (eg. 4T), while the letter preceding “for” is the small d of “Eld”:

“d for T” – Oxford ciphered for the third time as “THE FORTH T”.

This (“d for T”) may be interpreted as an instruction to exchange the small d for the capital T, to read: “T for d.” The Greek letter Tau (and indeed the Roman T) derives from the word for an ox (tauros in Greek; taurus in Latin); hence, the oxshaped constellation Taurus. For thousands of years, the letter T has been a recognised symbol of an ox, derived ultimately from the shape of its head and two horns:

The development of T as the symbol of an ox from the Egyptian and Coptic to the Greek Tau and Roman letter T.

Since T is well-known and long-established symbol of an ox, the phrase “T for d” may be read as “Ox-for-d” and thus, for the third time in this Sonnets’ edition, is the fourth T identified as “our ever living poet,” Oxford.

6c. The ‘Chi-Rho’ Christogram, which prompted Constantine to remark “in signo hoc” (5d), was alluded to three times in the ELS grid by the initials “ISH”: once above the FORTH-T pictogram (“DE VERE”); once below the Petrine cross (“SOUTH CROSS ILE, ST PETERS”); and once beneath the reversed pictogram (“THE WEST MINSTER”). On the Sonnets’ title-page, the Chi-Rho Christogram reveals itself when a line is drawn vertically down through the stem of the P of “SHAKE-SPEARES.” This line, passes through the centre of Alan Green’s hidden circle (See 2a) and lands directly on top of the dot next to the fourth T (Oxford). Since this fourth T dot did not appear to perform any necessary function in Alan Green’s hidden geometry, it would seem that here, once again, Christ is placing his blessing (his sign) upon the spot where Oxford is buried in the South Cross Ile of St Peters, Wesminster:

6d. Placing a map of Poets’ Corner alongside the Sonnets’ title-page marked with the Chi-Rho Christogram, suggests a way in which the title-page should be overlaid onto the map of Poets’ Corner to locate the exact position of Oxford’s grave within the Abbey:

Title-page with Chi Rho

Floor-plan of Poets’ Corner











6di. On the title-page, the circle and its central vertical line appear to the right of the centre of the whole page, just as the North-South aligment of pillars on the floorplan map of the Poets’ Corner is also ranged to the right of the centre of the transept.

6dii. On the title-page, the vertical Chi-Rho line passes just to the right of the second N of “SONNETS” in the direction of the E, implying a North-Easterly direction. Indeed, in Poets’ Corner, the vertical line of five pillars does not align due North-South but at 4.5° North East. If the vertical line on the title page is moved 4.5°, it would pass directly though the centre of the N. Thus, the vertical line on the title page and the vertical line of pillars in the Abbey are both precicely aligned to point 4.5° North East.

Printed map of Poets’ Corner with compass showing 4.5° difference between NorthSouth columns and due North

6diii. An indication of scale on the title-page may be suggested by the vertical alignment of the letters T, w and the zero (0), set beside the letter y. If this is intended to suggest 2 yards (i.e. 6 foot), this measurement equates precisely to half the distance between each of the five vertical pillars on the map of Poets’ Corner:

Two yards [?]

7a. Since the North-South vertical line of pillars on the map mirrors the vertical line through the hidden circle of the title-page, and since the whole, and not just a section of the Poets’ Corner, is revealed by the encrypted ELS reference to “South Cross Ile,” and a scale is suggested by “Two y,” the centre of the title-page circle must equate to the centre of the five equidistant vertical pillars in the Abbey. Drawing a circle from this centre with a cirumference that passes through the centre of the outer pillars allows for the “Chi-Rho” symbol of the title page to be placed over the floor plan of Poets’ Corner like this:

7b. Scaling the title-page circle so that it it overlays precisely on top of floor- plan circle drawn above (See 7a) should reveal the exact position on the map where “EVER THE FORTH T” (Oxford) is buried within Poets’ Corner:

… a bit closer:

… and even CLOSER:

See it NOW? The Fourth T dot lands right on the centre of William Kent and Peeter Scheemaker’s monument to Shakespeare, which was erected on this spot in the year 1740! (The words “Keats” and “Shelley” can be ignored as they refer only to plaques set on the wall behind Shakespeare’s monument). For 400 years, the Sonnets’ title-page has been hiding the fact that Oxford the “EVER-LIVING POET” of “THESE SONNETS” has been buried at the exact spot in Poets’ Corner where the Shakespeare Monument was erected in 1740!

7b. 1740: The date is carved upon the Shakespeare memorial. Where did we last come across the combination of the numbers 17 and 40 in conjunction with Shakespeare? It was back in 1609 on the dedication page of the Sonnets. Here the 17th T was printed with the letters “FOR” immediately infront of it; thus the 17th T was marked “FOR T” identifiying the 17th Earl of Oxford for a fourth time with “4T” in the first two pages of the Sonnets:

The 17th T of the Sonnets’ Dedication (4T)

That the Shakespeare monument at Westminster should have a date of construction carved upon it is unusual. Indeed, Kent and Scheemakers worked together on other monuments in the Abbey inscribing only their names into the marble, not the date in which the monuments were made; for instance:

The Scheemakers-Kent Granville Monument at Westminster Abbey with no date of production upon it.

8a. Look now at the Westminster monument to Shakespeare. Four Ts (4T) have been aligned to the left-hand side of the marble parchment to which Shakespeare is pointing – a neat reminder of the four Ts that were marshalled together at the bottom right-hand corner of the epitaph of the Stratford Shakespeare monument more than a hundred years earlier (See 1d). The Westminster instance is particularly striking as it required Shakespeare’s lines from The Tempest to be misquoted and rearranged specially in order to display four Ts in a vertical line:

This is how the same lines appeared in the First Folio of 1623:

8b. On the Westminster monument, Shakespeare’s left-hand index finger is pointing directly to the word “Temples,” which are described here as “Solemn Temples,” as if to hint at the Templar brethren of the Order of Solomon’s Temple (see 2f). In Shakespeare’s First Folio of 1623, Heminges and Condell, in dedicating the book to the “Paire of Brethren,” Lord Pembroke and Lord Montgomery, write:

…the most, though meanest, of things are made more precious, when they are dedicated to Temples. In that name therefore, we most humbly consecrate to your H.H. these remaines of your servant Shakespeare.

Both Shakespeare’s First Folio and the Shakespeare monument at Westminster, erected over Oxford’s remains, are consecrated to, or by “Temples” – that secret group whose function is to guard and pass from generation to generation, ancient and secret knowledge of physics, science, nature, geometry, music, medicine and all forms of learning connected to God’s creation. Does this begin to explain how Shakespeare was aware of gravity years before Isaac Newton and of the circulation of blood years before William Harvey? Does this help to explain how the Shakespeare monument at Westminster came to be placed right on top of Oxford’s grave in 1740 – through the service and long memory of “Temples”?

8c. In 1623 when Shakespeare’s First Folio was published, Lord Pembroke, to whom it was dedicated, was Grand Master of the Brethren – whether they called themselves ‘Temples,’ ‘Freemasons,’ the ‘Invisible College,’ ‘Brethren of the Rosey Cross’ of the ‘Temple of Soloman’ hardly matters. In a statue standing in the courtyard of the Bodleian Library, Pembroke poses with his left arm forming a loop so that his whole body represents the shape of a capital thorn (TH). This letter resembles a P but with its stem rising higher. The Triple-Tau (‘Key the Treasures’) is also represented as a TH (See 3a):

8d. When the Westminster Abbey statue of Shakespeare is reversed, or perceived from behind, it too represents a capital thorn (TH):

9a. Why should Edward de Vere, 17th Earl of Oxford (Shake-Speare), be referred to in the Sonnets’ dedication as “EVER THE FOURTH T?” Was it because the Fourth Tau is the cross of St Peter, the forgiven sinner and thus the patron saint of forgiven sinners? Or did Oxford achieve a rank within the Masonic Temples order equivalent to Master of the Royal Secret in Freemasonry that allowed him to say “I am that I am” and to bear the 4T, Cross Patent as his insignia? (See 2i & 3d).

9b. Surviving letters from King James VI of Scotland (patron of Scottish Freemasons) reveal the existance of hitherto unidentified nobleman of the English court, who was designated by the number 40. In these letters, which survive among the Hatfield MSS, James designates himself as 30, while Robert Cecil, to whom one of the letters concerning 40 is written, is designated as 10. A single letter survives from James to 40. From the foregoing, it should be obvious that the “Englishman not identified,” who is referred to and addressed only by the numeral 40 is Robert Cecil’s brother-inlaw, otherwise known as Edward de Vere, 17th Earl of Oxford:

Part of a letter from 30 [King James] to 40 [Earl of Oxford

9b. The number 40, can be represented in different ways, as 4T for example, or as four Ts (TTTT), as appear both on the Stratford and the Westminster Abbey monuments to Shakespeare. In the Sonnets’ dedication and on the title-page (1609), Shakespeare-Oxford is represented as “for T.” The 1609 Sonnets’ pamphlet consists of precisely 40 leaves. Oxford can be identified both as 40 and as “OUR EVER- LIVING POET,” who appears on the title page of the 1609 Sonnets as “FOR T” and “SHAKESPEARE.” In the First Folio, Shakespeare also identifies himself with the number 40:

Shakespeare represents himself as 40, (using four zeros) – 0000. Alan Green has noted how Hamlet, the most autobiographical of all Shakespeare’s characters, expires in the First Folio with the most unliterary “O,o,o,o” issuing from his lips:

Modern editors frequently cut the four O’s here, but they are important. For Oxford (40) appears to be signing himself out with the phrase “O,o,o,o, Dyes.”

9c. Green has also drawn attention to the remarkable coincidence of the multiple encoded 40s in one of Shakespeare’s most famous speeches from Richard II, the socalled ‘Deposition Scene,’ as it is laid out in the First Folio of 1623. Here, in Act 4, in the only scene in the entire play with no designated number, i.e. scene 0 (thereby: Act 4, sc. 0), the 40th line, which begins precisely at the top of page 40, reads as follows:

It is easy to spot the four vertical Ts in “With,” and the four vertical O’s in “owne,” each a different way of enciphering 40; but what are we to make of the opening lines of page 40? Many modern editors change the first two I’s into expletive “Ayes!” but this is not how they were printed or intended. The author wants the perceptive reader to understand that he is talking about himself, about his own relinquishment of property, power, Manors, Rents, Revenues, and even his identity. When Davies of Hereford twice remarked of Shakespeare that he played the part of a King in jest, he may have been referring to Oxford acting as Richard II.

When the opening line of page 40 is translated into numerals, we get this:

But if I (e.g. the number 1) “must nothing be,” then all the 1s must likewise be turned to zeros. This follows the numerologist’s common belief that 1 is no number (unitas non est numerus), or as Shakespeare put it in Sonnet 136: “Among a number one is reckon’d none.” With all the ones swapped for zeros, the numerical line becomes: “OOOO: 40 must nothing be.”

Now try the next line: “Therefore no, no, for I resigne to thee,” bearing in mind that “one must nothing be.” How can all these exact references to the number 40 have been placed in this personal manner exactly at line 40 at the top of page 40 in Act 4 scene 0? Who gave the instructions for this to be done so precisely in the 1623 Folio?

In their letter “To the Great Variety of Readers,” Heminges and Condell state that, following the publication of “stolne, maimed and fraudulent” copies of Shakespeare’s plays, they are now at last in this volume “offer’d to your view … perfect in their limbes, and all the rest, absolute in their numbers, as he conceived them.” That bears repeating: “absolute in their numbers, as he conceived them.” Is it possible that Oxford planned and prepared the First Folio by hand in precise and exact detail, right down to the very page and line numbers, in some magnificent manuscript before his death in 1604?

10a So many intrigues and problems are raised by the foregoing that a chronology of events, however speculative, must at this early stage be submitted. The following conjectural chronology is therefore offered by way of a first attempt to make sense of the above:

First Shot at a New Chronology:


Oxford disappears from court and other records of social life; he ceases to be mentioned as a poet. During this period, he is writing his Sonnets, and revising his plays, mostly written prior to 1591, into quartos and a great folio. As a ‘Poor Knight of the Temple of Solomon,’ or whatever, he gives away all his worldly goods and, “binding himself too strictly to the scripture phrase,” sets about to eradicate all traces of his ego and identity, proposing that he be buried in an unmarked grave (Sonnet 72).

24 June 1604

Oxford dies having completed the Folio in MS and, (with John D?), having planned the two Stratford epitaphs and the Sonnets dedication and title- page encryptions [?]. He is buried at Hackney under an uncarved marble tomb. His memory is preserved as secret knowledge by fellow brethren of Order of the Temple of Solomon, of which Francis Bacon, his cousin by marriage, was evidently a member, as were poets Ben Jonson and Michael Drayton.


Thomas Thorpe publishes the 40-leaf Sonnets, as printed by John Wright, with the dedication on the second page, but with a front cover that is not set to accommodate any hidden geometry. Thus, Wright’s edition gives no indication of the exact spot at Poet’s corner where Oxford is buried. In 1609, Oxford’s remains lie still at Hackney. The dedication that encrypts the South Transept at Westminster does so as a portent, hence the central sign (5b) “Christ, The Truth, is coming.” To hold the spot of Oxford’s future reinternment, a place-marker is set above it. Could this have been the mysterious stone marked “STONE COFFIN UNDERNEATH” – a bizarre artefact now in the Vere chapel centred to the elaborate tomb of Oxford’s first cousin, Francis Vere, where it covers only half of an ancient sarcophagus whose carved stone lid remains above ground in the same chapel? Who buried half of this ancient sarcophagus under this stone and when?


Oxford’s widow, Elizabeth, dies. In her will she stipulates that she wishes to be buried in Hackney “as near unto the body of my said late dear and noble Lord and husband as may be, and that it be done privately.” Her will also requests that a proper tomb “fitting our degree” should be erected. No such tomb appears to have been arranged.


In March and April of this year occur the respective deaths of Francis Beaumont and Stratford-Shakspere. The former is buried by the entrance of St Benedict’s chapel (Poets’ Corner) Westminster Abbey; the final resting place of the latter is unknown. The supposed Stratford tomb is too small ever to have contained an adult male corpse, as noted in previous research.

c. 1617

William Basse (possibly a secretary to Oxford’s son-in-law) composes a poem urging that Shakespeare be removed from his “uncarved marble tomb” (implying Oxford’s tomb at Hackney) and reinterred next to Beaumont, Chaucer and Spenser in Westminster Abbey. If this proves impossible, Basse implores that his “uncarved marble” tomb be modified to extol Oxford’s rank and virtues so that he may occupy it as “Lord, not tenant.”


Richard Brathwait records epitaphs in Stratford Church but with no mention of Shakespeare’s tomb or monument. Also in this year, the vicar of Stratford is reprimanded for trousering money paid for the right of burial in the chancel, where the Stratford-Shakspere stones are now located. Thus, it would seem that late 1618, or in the following year, the encrypted monument and tombstone were placed there.


Oxford’s remains are moved from Hackney to Westminster. No burial is recorded there, as reinternment are never registered. The spot may have been recovered by the carved tablet “STONE COFFIN UNDERNEATH.” Also in this year, the printer William Aspley (possibly in league with William Jaggard), publishes his edition of SHAKE-SPEARES SONNETS using the original Wright plates of 1609, and a title page which, for the first time, allows for the exact spot of Oxford’s burial to be enciphered. Also in 1619, the printers Jaggard and Pavier publish six Shakespeare quartos all with false dates on them, ranging from 1600-1609. On the Aspley Sonnets’ title-page, a hint of the true date (1619) may be suggested by the italic slant of the ‘i’ of William, which passes along a straight line from the ‘Imprinted’ dot towards the 0 of 1609, and suggests an addition of 10 to 1609 (i.e. 1619). Is it relevant that the numbers of this year add to 17?

A hint at 1619?

c. 1620

Oxford’s first cousin, Percival Golding, records that Oxford was “a man in minde and body absolutely accomplished with honourable endowments who died at his house in Hackney in the monthe of June Anno 1604, and lieth buried at Westminster.”


The First Folio is published by Jaggard in league with Aspley. The volume is consecrated to “Temples” and dedicated to the “paire of Brethren” Lord Pembroke (Grand Master of the Templars) and Lord Montgomery (Oxford’s son in law). The plays are described as “absolute in their numbers as the author conceived them.” In this volume, Ben Jonson describes Shakespeare (whose name he refuses to praise) as “without a tombe” and Leonard Digges writes “when Time dissolves thy Stratford monument here we alive shall view thee still.” The word ‘dissolve’ was used to mean ‘decipher’, ‘resolve’ or ‘figure out,’ as in Gardiner (1551) who writes of those “who labour with questions to dissolve the truth of the misterie” or Beaumont & Fletcher (c.1616-19) who wrote, “at last we shall dissolve this Riddle.” The Stratford monument has now been ‘dissolved’ and Oxford’s name revealed within it (See 1e).


John Milton publishes a poem in which Shakespeare’s tombless grave is dismissed, as he is well commemorated by his own works:

What neede my Shakespeare for his honoured bones,
The labour of an Age, in piled stones
Or that his hallo’d Reliques should be hid
Vnder a starre-ypointed Pyramid?

5 Nov 1740

At a chapter meeting at Westminster Abbey, an earlier suggestion as to where the Shakespeare monument should be located is overruled by the Dean and Chapter and the current spot is decided. The graves of Spenser and Chaucer and Oxford are aligned as a perfect 30-, 60-, 90-degree triangle.

Jan 1740 (old calendar)

The Shakespeare monument is erected in the name of “Temples,” directly above Oxford’s grave. At which time, the carved marker “STONE COFFIN UNDERNEATH,” which may have been used to cover his grave for over a century, is removed to the Vere Chapel, where an ancient sarcophagus stands against the wall. The lid of this sarcophagus is removed and the bottom part is buried, with the bones and a medieval chalice inside it. The carved marker stone (“STONE COFFIN UNDERNEATH”) is placed on top, where it remains to this day.

10b. Further theories, arguments, dissentions and clarifications will undoubtedly follow on the heels of all this, for there is much still to be discovered about how Oxford vanished in his lifetime only to reappear four hundred years later under the monument to Shakespeare at Westminster Abbey. Alan Green has been researching the encryptions on Shakespeare’s tomb at Stratford using the same methods as those presented here to dissolve the Sonnets’ dedication. He proposes that Shakespearean relics – which must surely include manuscripts – are hidden in a marked cavity hewn into the altar stone at Holy Trinity, Stratford-on-Avon. This stone has been surreptitiously scanned and an abnormally large hollow space detected within it. If it does indeed enshrine these inestimable treasures, Stratfordians may finally descend from their lofty citadel, not in a mood of flat defeat, but in triumph. Yes, they will have lost their authorship struggle, but their little town, its souvenir shops, its deluded ‘Birthplace Trust,’ its outlandish and aberrant museums, all will prosper in the clean and invigorating air of truth. Stratford must continue adverting its association with the Bard, not as the town of his birth or his burial, but as a great memorial to the twin forces of human ingenuity and credulity. Tourists will flock in ever greater numbers, for there is nothing more intriguing, or more exhilarating, indeed there is nothing ever truer than the TRUTH!

Vero Nihil Verius


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