Mary
Sidney Countess of Pembroke, Sir Francis Bacon and Geomancy.
Mary Sidney (1516-1621) holds a position and place in
society during the era of Sir Francis Bacon that may include her clandestine
involvement in the use of his works in many secretive and clandestine ways.
Mary Sidney Countess of Pembroke was also known practitioner of the ancient art
of Geomancy. Mary Sidney was an intellect greater than or on a par with any of
the genius’ of her day including Sir Francis Bacon. It is possible that she was
also considered a Dame of the Knights Templar and served to support any value
of Mary Magdalene and the Sacred Feminine that the Templars may have possessed.
In addition to her fascination with geomancy it appears that
Mary Sidney was also known to do “Chemistry” experiments displaying that she
was indeed a female alchemist. The Countess of Pembroke seems to have
been a woman far ahead of her time in this realm and even displays many of the
Mary Magdalene and Empress Theodora overtones associated with a kind of occult
allegiance to the Magdalene and feminine concept. This may also shed light on
the values of Queen Elizabeth who held Mary as one of her favorite members of
Court. Mary Countess of Pembroke is also somewhat reminiscent of Mary Queen of
Scots in both appearance and relation to Queen Elizabeth even though the Queen
of Scots eventually lost her head as part of this amazing story. The influence
of Bacon and his family ties to original Knights Templar were likely also
valued by Mary Sidney and her circle of literary friends.
It is likely that any involvement of Mary Sidney in the
mysteries of Bacon and Shakespeare had evolved from a family tradition that she
displayed many tenets of during here life. Sidney was the daughter of Sir Henry
Sidney and Mary Dudley. This means her uncle was Robert Dudley close confidant
and some say lover of Queen Elizabeth. A great deal of information has been
written speculating that Robert Dudley was indeed the real father of Queen
Elizabeth’s bastard son Sir Francis Bacon. Mary Sidney and Sir Francis Bacon
would be cousins if this were indeed true.
This is just speculation but if true this accounts for an
amazing coincidence that may prove that a cadre of talented individuals either
penned the works of Shakespeare or helped to inform and inspire the bard to
create these works. Many aspects of her life reflect an undefined relationship to
the mysteries including some amazing correlations with Bacon himself and the
works of William Shakespeare. Robert Dudley even arranged Mary’s marriage to
Henry Herbert, 2nd Earl of Pembroke. This marriage produced four children
including William, Phillip, Katherine, and Anne. Her two sons would go on to be
the third and fourth Earls of Pembroke with William even holding the additional
title of the Earl of Montgomery.
The form of Geomancy that Mary Sidney practiced involved the
summoning of Angels and Demons using marks on the earth that were assigned
numerical values. A series of divined or interpreted numbers were assigned to
an array of Angels and Demons in a kind of John Dee Enochian mystery. This
practice also has Solomonic overtones relating to the tale of King Solomon
commanding the fallen angels to construct the First Temple in Jerusalem as the
legend relates. This Solomonic connection may be important here in this era of
developing Freemasonry and Rosicrucian philosophy. This form of Geomancy also
resembles some of the things the Knights Templar were accused of when they were
persecuted in 1308.
The practice of Geomancy in this way is interesting and many
aspects of what are known about Sidney’s practice of Geomancy indicate is was
practiced on a grand scale that may have included the entire known world at
that time. A belief such as this may explain why certain points are valued on
the globe in a talismanic way related to this tradition or art of divination,
control, and manipulation. Many aspects of this narrative are similar to what
research reveals Michael Kelly and Dr. John Dee were involved in during the
same era.
It seems that this form of Geomancy had indeed developed
into an occult art based on the use of similar techniques to legally describe
property or define one’s domain. This form of Geomancy also involves many
Enochian and Kabbalistic overtones that may have been brought back from the
Holy Land or the Spanish Marches of the Pyrenees. It is likely that Bacon who
had written a sort of plan for colonial expansion would also be aware of and
valued this form of divination. Is it even possible that the numbers
representative of Angels and Demons in a numerical context could be applied to
any numbers ciphered from the First Folio or other works produced by Mary’s
Wilton Circle? Bacon’s genetic lineage and the fact that h was educated in
France may have also exposed him to these mystery school concepts that may have
even been applied to keep the legacy of the Knights Templar alive.
An examination of the art of Geomancy as practiced by the
Countess may also reveal an association between this practice and the use of
numbered grids known as Magic Squares. It is even entirely possible that Thomas
Jefferson’s Township and Range system used a form of Geomancy, as it resembles
a geomantic grid seen in the works of Sidney. It is possible that Jefferson had
arranged this grid to both legally describe property and summon the angels and
demons just as the Countess had long before.
It is not known if Jefferson was aware of Sidney but he
certainly would have been aware of the works of Shakespeare and even possibly
the First Folio. If Thomas Jefferson had read the introduction to the First
Folio then he may have been aware of who Mary Sidney was and how important she
was in this over all clandestine tale. As we may see Ben Jonson’s dedication in
the First Folio is related to Mary Sidney and her sons.
Jefferson the code breaker and knowledgeable occultist
certainly held the capacity to understand a divination technique like Geomancy
that also involved geometry and mathematics. If this technique was practiced on
a large scale then Jefferson the cartographer and land surveyor would have also
understood it easily. A person that wanted to learn the art of Geomancy would
also be forced to learn these disciplines. This factor may have also
contributed to others misinterpretations of this occult art while at the same
time contributing to the public at large’s lack of ability to understand such a
thing. This tradition was well hidden beneath a layer of science and practical
logic that many were unfamiliar with during this era.
Several volumes or books and charts related to this period
expression of the art of Geomancy were indeed authored by Mary Sidney. One
researcher even claims that she was involved in every book or record of this
art that remains. Indeed the Countess was a contemporary of both Sir Francis
Bacon and Dr. John Dee. Mary Sidney is even held by many to be one of the
suspects who were involved in the creation of the works of William Shakespeare.
Here we have another highly educated and talented writer and artist expressing
herself in this traditional way.
Mary Sidney is credited with creating a work that was the
inspiration of Shakespeare’s “Anthony and Cleopatra.” In addition she sponsored
a writers consortium at her estate that was known of as “The Wilton Circle.”
Other members of this group also comprise others that have been put forth as
having a hand in the creation of the works of William Shakespeare much in the
same way many believe Sir Francis Bacon was involved. Mary Sidney was a member
of the inner Court of Queen Elizabeth I so she was undoubtedly associated with
the Earl of Oxford de Vere, Bacon, Dr. Dee, and others. Mary’s role in this
group displays a very strong, intelligent, female role that fits a spiritual
and practical value of the Sacred Feminine as associated with the figure of
Mary Magdalene. This in itself would have been counter to the philosophy of the
Roman Church that Elizabeth I had rejected.
Ben Jonson who penned the dedication included in the First
Folio was a member of the “Wilton Circle” held at Mary Sidney’s estate
(Wilton). Other members included Michael Drayton (de Vere), Spenser, Daniels,
and Sir John Davies. In addition her brother Phillip wrote much of his work
“Arcadia” at Wilton House in the presence of Mary. Her and her brother were
also close associates and writers. Phillip also wrote a work known of as the
“Sidney-Pembroke Psalter” that included lyrical interpretation of the psalms of
the bible. This work alone is considered to be a major influence in the advent
of lyrical rhymes in later works that became hugely popular similar to the
sonnets of Shakespeare himself. This family had apparently had a huge and
little known of influence in the development of the more modern form of prose
often associated with Sir Francis Bacon or more popularly William Shakespeare.
Is it even possible that Phillip’s Arcadia is part of the
impetus for the inclusion of this imagery in the Rennes le Chateau mystery?
Supporting this association between Shakespeare and the
Countess is the fact that she sponsored one of the earliest traveling troupes
of actors that would preform the plays of William Shakespeare known of as “The
Pembroke’s Men’s Playing Company.” It appears that the Shakespeare parallels to
the Countess of Pembroke are many including a possible blood relation to Bacon,
her talent as a gifted author, and the existence of this company of actors
dedicated to Shakespeare. Among those in here group were those that had come
from previously Catholic families. Ben Jonson and Inigo Jones were both known
to have been Catholic and had also been involved in the development of
Freemasonry during that era of English history. In addition we may now be aware
of the possibility that these men were also hidden Knights Templar.
What other hints or facts may exist tying Mary Sidney to the
works of Shakespeare?
Amazingly an examination of her two sons the subsequent
Earls of Pembroke may expose an ever more astounding connection linking Bacon,
Shakespeare, and the Countess. The dedication included in the First Folio of
Shakespeare’s works is to Mary Sidney’s two son’s Phillip and William. The
pertinent part of the dedication is as follows:
“Ben Jonson
To the Reader
To the Reader
{This text is facing Droeshout's portrait of Shakespeare
prefixed to the First Folio.}
This Figure, that thou here feest put,
It was for gentle Shakespeare cut:
Wherein the Grauer had a strife
with Naure, to out-doo the life:
O, could he but haue dravvne his vvit
As vvell in frasse, as he hath hit
Hisface; the Print vvould then surpasse
All, that vvas euer in frasse.
But, since he cannot, Reader, looke
Not on his picture, but his Booke.
B.J.
MR. William
SHAKESPEARES
Comedies,
Histories &
Tragedies,
Published according to the True Original Copies
London
Printed by Ifaac Iaggard, and Ed, Bount. 1623
TO THE MOST NOBLE AND INCOMPARABLE PAIRE OF BRETHREN
This Figure, that thou here feest put,
It was for gentle Shakespeare cut:
Wherein the Grauer had a strife
with Naure, to out-doo the life:
O, could he but haue dravvne his vvit
As vvell in frasse, as he hath hit
Hisface; the Print vvould then surpasse
All, that vvas euer in frasse.
But, since he cannot, Reader, looke
Not on his picture, but his Booke.
B.J.
MR. William
SHAKESPEARES
Comedies,
Histories &
Tragedies,
Published according to the True Original Copies
London
Printed by Ifaac Iaggard, and Ed, Bount. 1623
TO THE MOST NOBLE AND INCOMPARABLE PAIRE OF BRETHREN
WILLIAM Earle of Pembroke, &c;. Lord Chamberlaine to the
Kings most Excellent Majesty.
AND
PHILIP Earle of Montgomery,&c;. Gentleman of his
Majesties
Bed-Chamber. Both Knights of the most Noble Order
of the Garter, and our singular good L O R D S.”
What are we to
make of this given the other associations between Mary Sidney Countess of Pembroke
and the works of William Shakespeare? This is an amazing correlation that
places these two relatives in a special relationship with Shakespeare himself. Or
was it his sister that had been Shakespeare and had dedicated this tome to her
sons? Either way it is very interesting from many different perspectives that
these two men are in the dedication in this manner. It is likely true that both
of them were strong patrons of the arts yet this is still of great note and
interest.
The First
Folio was compiled by John Heminges and Henry Condel who were said to have been
personal friends with William Shakespeare who was a relative of John Webb as
discussed earlier. Here again is a grand example of hidden secrets either
encoded in cipher or metaphor in this famous volume of the Bard’s works. There
have been several interpretations of coded messages included in the dedication
that was written by Wilton Circle member Ben Jonson so the connections to this
group and the works of Shakespeare is entirely possible if not probable. Also
note here the close relationship of Ben Jonson and early Freemason and
architect Inigo Jones who mentored John Webb also an architect of building and
landscape. It seems the Wilton Circle was also composed of possible Knights
Templar members.
The first
portion of the dedication seems to be referring to the engraving of Shakespeare
present on the page opposite. The engraving does indeed seem to include the
likeness of Shakespeare wearing a “Masque” to hide his true identity. Many have
pointed this out before in a sort of metaphorical and graphic analysis of the
engraving as opposed to hidden miniature artwork, which may also be present. During
this era the elite factions held kind of parties that were termed “Masques.”
Shakespeare and Bacon both authored Masques as did Inigo Jones who also was the
premiere set designer of the era. Using this line of reasoning the Masque may
be compelling us to question the identity of the Bard from Avon.
The lives of
Mary’s two son’s whom the First Folio is dedicated also have some amazing
overlaps with other characters that may have been involved in any literary
shenanigans of the day.
William the 3rd
Earl of Pembroke married Bridget de Vere daughter of the 17th Earl
of Oxford de Vere. In addition William founded Pembroke College at Oxford with
King James I himself. Both of Mary’s sons would marry members of the de Vere
family. William also served as Chamberlain of England just as had many of Bridget’s
ancestors had. Bridget was also related directly to writer Michael Drayton who
was a member of the Wilton Circle. Many Shakespeare scholars also insist that
William the 3rd Earl of Pembroke was the “Fair youth” of Shakespeare’s sonnets.
Phillip was a patron of Shakespeare so he likely knew him personally. The
dedication of the Sonnets appears as “Mr. W.H.” or possibly William Herbert 3rd
Earl of Pembroke.
Phillip named
for Mary’s sister was the 4th Earl of Pembroke. Phillip was a Knight of the
Garter, The 1st Earl of Montgomery and a favorite of King James I.
Philip married Susan de Vere Also the daughter of the 17th Earl of
Oxford. Given all of these relations in the realm of literature it is easy to
see why both the Countess of Pembroke and the Earl of Oxford would make good
candidates to have penned the works of Shakespeare. Philip enjoyed hunting and hawking with the
King and was also know to especially enjoy the Masques or plays mixed with a
party that were often held at court. Philip was also an investor in the East
India and Virginia Companies as was Sir Francis Bacon. He would go on to become
the next Chamberlain after his older brother William and would also assume the
title of the 4th Earl of Pembroke in addition to the title of Earl
of Montgomery awarded to him by the King.
Philip’s favor
continued under the next King Charles I. At one point the King invited Philip
and Inigo Jones to examine several rare paintings he had obtained on the
continent. As a result of admiring the structures designed for the King by
Inigo Jones he changed the appearance of Wilton House to reflect the Palladian
style popularized by Jones on many of the Kings estates. Inigo Jones was the
chief architect for Philip at this time. This style would go on to be used by
Sir Francis Dashwood at West Wycombe, Admiral and Thomas Anson of Shugborough
Hall, as well as the architecture of Thomas Jefferson later in the colonies as
well as countless others.
In fact the
remodeling of Wilton House was designed by Inigo Jones himself with the help of
landscape architects Saloman de Caus and his brother Isaac de Caus. Inigo Jones
is credited with bringing the Palladian style to England after his long stay in
Italy. It seems the arts of geomancy and occult concepts of landscape design
had a legacy in Mary Countess of Pembroke and both of her sons. This in
addition to all the Baconian and Shakespeare overtones of all of their lives.
This family was intimately involved in these mysterious events at this
fascinating time of history.
Eventually
Philip would lose the favor of the King Charles I due to religious differences.
Charles’ Queen Henrietta was Roman Catholic so this added to the strain of
Philip having Protestant, Puritan, and Coventer sympathies. This may identify
Herbert as part of the true Rosicrucian camp that was continually assaulted with
infiltration from the Church and King. Philip’s support of the Protestant cause
was exemplified by his patronage of his own cousin George Herbert who was an
Anglican Priest who would also have a great impact on the hidden mores of
Shakespeare and the socio-political climate of the day.
George Herbert
was born in Wales in 1593 and may have some family ties to people who have some
real and metaphorical connections to the Newport Tower in Rhode Island United
States. Amazingly his mother’s name was Margaret (Magdalen) Newport daughter of
Sir Richard Newport (1511-70). His mother’s name Magdalen is interesting in
that the concept of Mary Magdalene was more appreciated as a symbol by those
who opposed the Latin Church in many countries besides England as well. Here we
have a woman named for a word that means “Tower” (Magdala) also possessing the
same name as the famous Newport Tower, which is also a kind of place of mystery
and intrigue in the entire scheme we are studying here.
Her friend Ben
Jonson also wrote Mary Sidney’s epitaph:
Underneath
this sable hearse,Lies the subject of all verse,
Sidney's sister, Pembroke's mother.
Death, ere thou hast slain another
Fair and learned and good as she,
Time shall throw a dart at thee.
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