The two p's in propria are most easily compared, as the first is from the “a fount” and the second is from the “b fount.” The stem of the first is not quite so long as that of the second; and, in the first, the oval is somewhat angular on the right side at the top, in the second this angularity is seen at the bottom. The same rule applies to other cases. Of the half-dozen cited by Mr. Schooling, I have merely chosen two that stand close together. He would find as great difficulty in the differentiation of the o's and c's of any two founts of modern Italic type, as in these he points out, for the differences are often as minute.
Bacon and the Compositor.
Mr. Schooling says, “Mrs. Gallup does not tell us how Lord Bacon managed to get his work set up by the compositor.”
Any printer will tell him, if he will inquire, that it is not more difficult to take certain letters that have been marked on the MS. from one case of Italic type, and certain other letters, not marked, from another case of Italic, than to take Roman from one case and Italic from another in ordinary composition. The system has the advantage that the printer, in following copy, could not know the cipher without the key, which in Bacon’s case was withheld until 1623—forty-four years after the cipher was invented and first used.
The Powers of Imagination.
Perhaps I should thank Mr. Schooling for the implied compliment to my abilities in the realm of creation; for if not a deciphering, what is the alternative? I must first have conceived the plot of the entire fabric of 380 pages, its historical points, statements of facts not recorded in history—which in some particulars conflict with, in others supplement, the records. I must have imagined the moanings of remorse over the tragedy of Essex; the discovery of the motherhood of Elizabeth; guessed at the broadened field of Bacon’s literary powers to take in all the works which are disclosed as coming from his hand; the directions for writing out the word-cipher; the argument of the Tragedy of Anne Boleyn; the epitome of the Iliad and of the Odyssey; the explanatory letters of Dr. Rawley and Ben Jonson that are found in the cipher; the flights of fancy which occasionally appear in the deciphered work, and all the rest. This must all have been written out in the old English spelling and in the language of Bacon’s time; this previously written plot and story in the main narration must have been fitted to the exact number of Italic letters, and so arranged that the forms of the capital letters and those whose differences are easily perceived, must in every case fit into place as an a or a b, so that those letters, at least, should consistently follow Bacon’s biliteral cipher. The simple enumeration, with all that these things imply, carries the refutation of the possibility of such a manner of production, to say nothing of the absurdity of attempting it. Had it been undertaken, it would have been along lines that were better known, and statments of facts would have been in accord with the records. Historical romance would never so far have transcended the beliefs of the world, nor subverted all previous ideas concerning authorship of literature which will be immortal. The only reason for the book’s existence is that it is the transcription of a cipher placed in the works for the purposes disclosed by its decipherment.
BACON-SHAKESPEARE.
The Times, London, Eng., Jan. 27, 1902.
To the Editor of the Times:
Sir,—Your issues of December 19, 20, and 21 have been forwarded to me by Messrs. Gay and Bird, and, while regretting that distance will cause much time to elapse between the issues and the time this can reach London, I yet desire space to reply to the communications of Mr. Marston and Mr. Lee concerning myself, and the book recently given to the public, “The Bi-literal Cypher of Francis Bacon.” I trust I may not be refused because of lapse of time, or for any other reason.