----------------------------------------------------------
(S)hake-sp(E)ares So(N)Nets. Ne(V)Er befo(R)E ImprinTED. .....................................
. . .<= 6 =>
.
. (S) h a k e-s
. p (E) a r e s
. S o (N) N E t
. s N e (V) E R
. b e f o (R) E
. I m p r i n
. T E D.
.
(RVNES) -7: Prob. ~ 1 in 353
--------------------------------------------------
Ben Jonson's: To the memory of my beloved, .................................................
That I not mixe thee so, my b(R)aine exc(U)ses;
I mea(N)e with gr(E)at, but di(S)proportion'd Muses: ........................................
. . . <= 7 =>
.
. .T . h a t I n O
. .t . m i x e t h
. .E . e s o m y b
. (R) .a i n e e x
. c (U) .s e s I m
. e a (N) .e w i t
. h g r (E) .a t b
. u t d i (S) .p r
. o p o r .t . i o
. n'd M u .s . e S
.
(RUNES) 8 : Prob. ~ 1 in 42 ------------------------------------------------------ http://www.mythographica.demon.co.uk
.
<<Odin hung upon the branches of Yggdrasil, the sacred Tree.
For *nine days* and nine nights he suffered.
Self wounded by his spear, sacrificed by his hand, an
offering unto himself. In agony and torment he stared into
the bottomless depths of Niflheim, searching the dark pool in
silence. Finally, with great effort, he reached down before
him. His hand was chilled to the bone in the ice cold waters.
With a cry of triumph he grasped the knowledge he sought
.
. the Sacred *RUNES* , their magic and their power.
. He took the *RUNES* and he used them well.
.
He carved them upon the shaft of his *SPEAR*; he carved *RUNES*
. upon all things. By this means he obtained power over all.>> -------------------------------------------------------------
. . . . . . . . . . . <= 34 =>
.
.{TERRATE (G) ITPOPUL U S M [Æ] R . E. T .O. LYMPUSHABE. T} ........................................................
. STAYPAS [S] ENGERWH Y G O [E](S) .T. T .H. OUBYSOFAST. R
. EADIFTH [O] UCANSTW H O M {E}[N] .V. I .O. USDEATHHAT. H
. PLASTWI [T] HINTHIS M O (N){U} M [E] N .T {SHAKSPEARE} W
. ITHWHOM [E] QUICKNA T (U) R {E}{D} I[D] E {WHOSENAMED} O
. THDeCKY [S] TOMBEFA (R) M. O {R}{E} t H[E] NCOSTSIEHA. L
. LYTHEHA [T] HWRITTL E . A . V {E} S L I V. INGARTBUTP. A
. GETOSER .V. EHISWIT T

(RUNES) -33 : Prob. in Roper array ~ 1 in 4930
[E.DENE] -35
..........................................................
the probability of David Roper's: {DE} next to {E.UERE}

assuming that the 34 letters of the
2nd line: {TERRA TEGIT POPULUS MÆRET OLYMPUS HABET}

provide the # key to the ELS array is ~ 1 in 106,000---------------------------------------------------------
. . . <= 6 =>
.
. G {O} O D F .R
. E {N} D F O .R
. I {E} S V S .S
. A .K. E F O .R
. B [E] A R E [T]
. O [D] I G G [T]
. H [E] D V S [T]
. E [N] C L O [A]
. S [E] D H E [A]
. R .E

[E]duard de [DENE] (Edward of the Danes) ------------------------------------------------------ http://tinyurl.com/374wsl

<<Flemish writer [E]duard de [DENE] published a comical poem
in 1539 about a nobleman who hatches a plan to send his servant
back & forth on absurd errands on April 1st, supposedly to
help prepare for a wedding feast. The servant recognizes
that what’s being done to him is an April 1st joke. In the
closing line of each stanza, the servant says, “I am afraid
…that you are trying to make me run a fool’s errand.”>> -----------------------------------------------------------
[E]duard de [DENE] friend: Marcus *Gheeraerts* the Elder http://en.wikipedia.org/wiki/Marcus_Gheeraerts_the_Elder

<<Marcus Gheeraerts the Elder (c.1520–c.1590) was a Flemish
printmaker & painter associated with the English court
of the mid-16th Century and mainly remembered as the
illustrator of the *1567* edition of Aesop's Fables.
He etched the title page and 107 fable illustrations
and had his friend, [E]duard de [DENE] ,
write the book's fables in Flemish verse.>> ........................................................
Marcus Gheeraerts: Allegory of Iconoclasm (1566-1568)
http://holiday.snrk.de/
Henry Holiday, Joseph Swain: The Vanishing (1876) ........................................................
Less is known about Gheeraerts' color portraits or paintings
as he never signed his work, & what does exist is identifiable
only a certain stylistic "fuzziness" & an attempt to imitate
*JAN Van Eyck*. Karel van Mander wrote in 1604 that
Gheeraerts was a good landscape painter, who "often had the
habit of including *a squatting, urinating woman on a bridge* .
A similar detail is seen in one of his fable illustrations.>> -----------------------------------------------------------
JAN Van Eyck's _Two guys urinating off a bridge_ http://www.ibiblio.org/wm/paint/auth/eyck/rolin.jpg .....................................................
*Gheerarts* JANssen(Jonson)'s bust of Shakespeare: http://mh.cla.umn.edu/ShakTrin.jpg

Appears to me to be a rendition of a JAN Van Eyck's work: http://www.ibiblio.org/wm/paint/auth/eyck/rolin.jpg .....................................................
Check out:

1) The two tone Red & Blue/Green tasselled cushion
(reversed for Shakespere) for holding "the word".

2) The Black Corinthian columns supporting an arch.

3) Shakespere's nose, mouth, eyes, curly hair,
. thick neck & sour apple expression as
. an amalgam of that of Rolin & the christ child
. (and possibly the madonna as well).

4) The breast shaped disks over Shakespere's head representing
the breast shaped disks in the windows that frame the painting.

5) Shakspere's right middle & forefinger extended in writing
as Jesus's right middle & forefinger extended in blessing. ....................................................
6) And *Two guys urinating off a bridge* ---------------------------------------------------------- https://en.wikipedia.org/wiki/Marcus_Gheeraerts_the_Younger

<<Marcus Gheeraerts (Bruges, c. 1561/2 – 19 Jan. 1636) was a Flemish artist brought to England as a child by his father Marcus Gheeraerts the Elder. He became a fashionable portraitist in the last decade of the reign of Elizabeth I under the patronage
of her champion and pageant-master Sir [HENRY LEE]. He introduced a new aesthetic in English court painting that captured the essence of a sitter through close observation. He became a favorite portraitist of James I's queen Anne of Denmark.>>
------------------------------------------------------
____ Sonnet 102 (Only Sonnet's *PUBLISH*)
.
. MY LOVE IS Strengthned though more weake in seeming
. I love not lesse, thogh lesse the show appeare,
. That love is marchandiz'd, whose ritch esteeming,
.
. The own[E]rs tongu[E] (DOTH} PUB[L]ISH {E}VER[Y] {WH}E{R}E) .
. Ou[R] lov{E} was [N]ew, and th[E]n but in t[H]e spring,
.
.{WH}en I was wont to greet it with my laies,
. As Philomell in summers front doth singe,
. And stops his pipe in growth of riper daies:
. Not that the summer is lesse pleasant now
. Then when her mournefull himns did hush the night,
. But that wild musick burthens *EVERy bow* ,
. And sweets growne common loose their deare delight.
. Therefore like her, I some-time hold my tongue:
. Because I would not dull you wiTH MY SONGE. ..................................................
. . . . <= 8 =>
.
. . .T h(E)o w n [E]
. .r s t(O)n g u [E]
. (D O T{H}P U B [L]
. .I S H{E}V E R [Y]
. {W H}E{R}E)O u [R]
. .l o v{E}w a s [N]
. .e w,a n d t h [E]
. .n b u t i n t [H]
. .e s p r i n g,{W H}
.
Sidney/Gheeraerts friend & Queen's Champion:
[HENRY LEE] -8 : Prob. in any Sonnet ~ 1 in 1765 -------------------------------------------------
. . . . . .<= 11 =>
.
. .T O T H E (O) N L I E B . . 'raw' probabilities:
. .E G E T T (E) R O F T H ........................
. .E S E I N (S) V I N G S
. .O N N E T (S) M r W H A
. [L]L H A P [P] I N E[S|S]
. E [A]N D T [H] A T E[T|E]
. R [N|I]T I [E] P R[O|M] I . . TIBIAL: 1 in 11,600
. S {E}d[B]Y [O] U[R|E] V E . . EMEPH: 1 in 300
. R {L}i V[I][N][G|P]O E .T . . GROTS: 1 in 199
. W {I}s h e |T][H]T H E {W}. . PHEON: 1 in 127
. E {L}l W I [S] H I N G {A}
. D {V}e n T [U] R E R I {N}
. S {E}t T i [N] G F O R {T}
. H .T T

[PHEON] 11
.....................................................
<<*EMEPH(T)* leader of the celestial gods...
an intellect, itself intellectually perceiving
itself & converting intellections to itself.>>

"*VILE* gave them INTELLIGENCE & the ability to move"
(Spearshaker) "ODIN[/EMEPH] gave them SPIRIT & life," ------------------------------------------------------------- https://tspace.library.utoronto.ca/html/1807/4350/poem65.html

. . _A Sonnet upon the Pitiful Burning
of the Globe [P]lay[H]ous[E] in L[O]ndo[N]_ (1613)
.
[PHEON] 4
.
. Now sitt thee down(E), Melpomene,
[W]rapt in a *SEA-COAL ROBE* ,
[A]n(D) tell the dolefull tragedie,
[T]hat lat(E) was playd at Globe;
.For noe man that ca(N) *SINGE* and saye
. But was {S}card on St. Pet(E)rs Daye.
. Oh sorrow, pittifull sorr{O}w, and yett *A{L}L THIS IS TRUE* .
. All yow that ple{A}se to understand,
. Come listen {T}o my storye,
. To see Death with his rakeing brand
. Mongst such an auditor[Y]e;
. R[E]ga[R]di[N]g n[E]it[H]er Cardinalls might,
. Nor yett the rugged face of [HENRY] the Eight.
. Oh sorrow, pittifull sorrow, and yett *ALL THIS IS TRUE*. ...............................................
. . . . . . . .<= 31 =>
.
. Nowsitttheedown (E) MelpomeneWrapti
. naSEACOALROBEAn (D) tellthedolefull
. tragedieThatlat (E) wasplaydatGlobe
. Fornoemanthatca (N) SINGEandsayeBut
. wasScardonStPet (E) rsDaye

(E.DENE) 31
{TALOS} -25
[HENREY] -3
..............................
. This fearfull fire beganne above,
. A wonder *STRANGE AND TRUE*,
. And to th[E] stage-howse did remove,
. As round as tay[L]ors clewe;
. And burnt downe both beame a[N]d snagg,
. And did not spare the silken fl[A]gg.
. Oh sorrow, pittifull sorrow, and yet[T] *ALL THIS IS TRUE*.
. Out runne the knighte[S], out {R}u{N}n{E} t{H}e lordes,
. And there was great adoe;
. Some lost their hattes and some their swordes;
. T{H}en out runne *BURbidge* too;
. The r{E}probates, though druncke on Mu{N}day,
. Prayd for the Foole and Hen{R}y Condye.
. Oh sorrow, pittifull sorrow, and yett *ALL THIS IS TRUE*.
.
[STANLE] -32
{HENR} -2, 26
----------------------------------------------------- http://tinyurl.com/4qcmhhm

Newly Discovered Oxford-Shakespeare Pictorial Evidence
by Charles Wisner Barrell
The Shakespeare Fellowship Quarterly, April 1944.

<<It is surprising——to find that up to the present only
three representations of the Poet Earl have come to
light in an unchanged and easily recognizable state.

These are: the life-size, half-length canvas of Oxford at 25, painted
by a Flemish artist named Lewyn or Levins during the Earl's first
visit to Paris in 1575, and now the property of the Duke of Portland;
the less-than-life-size panel portrait evidently painted in 1585-86 by
Marcus Gheeraedts the Younger and now owned by the Duke of St. Albans;
and the drawing in the British Museum by Marcus Gheeraedts the Elder,
showing Oxford, aged 22, carrying the same Sword of State before
Queen Elizabeth during a Garter procession at Windsor in June 1572. ............................................................... http://en.wikipedia.org/wiki/File:Edward_de_Vere.JPG
Portrait of Earl of Oxford (16th/17th?)
by Marcus Gheeraedts the Younger

An engraving of the Gheeraedts sketch was made during the 17th century
by that great master, Wenceslaus Hollar. A reproduction of Hollar's
work was printed in Capt. Bernard M. Ward's biography, The Seventeenth
Earl of Oxford (1928). Mr.Looney had reproduced the Duke of Portland's
painting as the frontispiece to "Shakespeare" Identified in 1920;
and the first photographic reproduction to be made of the Duke of
St. Albans' panel appeared among the illustrations that I used in
the January 1940, issue of Scientific American to identify the
Ashbourne "portrait of Shakespeare" as a slightly disguised original
painting of Lord Oxford by the Dutch master, Cornelius Ketel.

These three pictures—the Hollar engraving, the Portland
canvas and the St. Albans Panel—have been the touchstones of
pictorial research in solving the Oxford-Shakespeare mystery,
beginning with Mr. Looney's great work in 1920.>> -----------------------------------------------------
"The reminiscences of Lady Dorothy Nevill :
edited by her son Ralph Nevill" (1906)

A great authority on musical instruments, he was
especially learned about bells, and knew all about
the manner in which they were cast. I wished to have
a bell set up at the entrance to my garden in the
country, and he gave me the address of an excellent
BELL-founder at Louvain — Severin Van Aerschoots,
I think the name was. Mr. Haweis composed
a motto to be inscribed on this BELL, which ran :

__ *NEVILE VELIS* — as I swing,
__ *NE VELIS VILE* — so I sing.

Welcome to all, nor wish them ill,
__ My Lady Dorothy Nevill'

This bell, of excellent sound and tone, was
duly cast by the fondeur des cloches whom
I have mentioned, and became an object
of great interest in my Sussex garden. ----------------------------------------------------------- http://en.wikipedia.org/wiki/Council_of_the_NORTH
.
. *Council of the NORTH*
.
After the Wars of the Roses and the emergence of the Tudor
dynasty, there were some troubles in the area in relation
to the English Reformation, and the dissolution of the
Monasteries under Henry VIII. In the NORTH, most people remained
staunch supporters of the Catholic faith and were deepy unhappy
with the changes; the people rose up in York creating a
30,000 strong rebel Catholic army carrying crosses & banners
depicting the Holy Wounds; this became known as the Pilgrimage of
Grace. Henry VIII's army was not strong enough to fight them, and so
Thomas Howard was sent to negotiate peace with rebel leader Robert
Aske. It was promised that the rebels would be pardoned and a
parliament would be held in York to discuss their demands; the
rebels convinced that the monasteries would be re-opened returned
to their homes. However as soon as they returned to their homes,
Henry had the rebel leaders arrested and executed 200 people.
In 1530, the Council of the NORTH was re-instated in York as a means
to govern the area at arms length. It had its own set of presidents
who were generally earls, Church of England bishops and lords; some of
whom were actually born in the NORTH. By 1641 the Long Parliament had
the Council abolished due to reasons relating to the Reformation, the
Council was the chief support for Catholic Recusants and Anglicans. --------------------------------------------------------
List of Presidents of the Council of the NORTH: ................................................
Cuthbert Tunstall, Bishop of Durham 1530–1533

*Henry Percy* , 6th Earl of NORTHumberland 1533–1536

*Thomas Howard* , 3rd Duke of Norfolk, 1536–1537

Cuthbert Tunstall, Bishop of Durham 1537–1538
Robert Holgate, Bishop of Llandaff 1538–1540

Francis *TALBOT* , 5th Earl of Shrewsbury, 1549–1560
*Henry Manners* , 2nd Earl of *RUTLAND* , 1561–1563
Ambrose Dudley, 3rd Earl of Warwick, 1564

Thomas Young, Archbishop of York, 1564–1568
Thomas Radcliffe, 3rd Earl of Sussex, 1568–1572
Henry Hastings, 3rd Earl of Huntingdon, 1572–1595
Matthew Hutton, Bishop of Durham & Archbishop of York, 1596–1599

*THOMAS CECIL* , Lord Burghley 1599–1603

Edmund Sheffield, 3rd Baron Sheffield 1603–1619
Emanuel Scrope, 1st Earl of Sunderland 1619–1628

*Thomas Wentworth* , Earl of Strafford 1628–1641 -----------------------------------------------------
Thomas Shelton's Don Quixote, Part 2.
. . Chap. XIV A NEW ENCHANTMENT
.
<<Now Sancho, seeing him without his former deformity,
said to him, 'and your nose ? ' To which he answered,
'Here it is in my pocket ' ; and, putting his hand
to his right side, he pulled out a pasted nose and
a varnished vizard, of the manufacture described.
And Sancho, more and more beholding him, with a loud
and admiring voice said, 'Saint Mary defend me ! and
is not this *Thomas CECIaL* my neighbour and my gossip?'
'And how say you by that ? ' quoth the unnosed squire.
' *Thomas CECIaL* I am, gossip and friend Sancho,
and straight I will tell you the conveyances, sleights,
and tricks that brought me hither ; in the meantime
request and entreat your master that he touch not,
misuse, wound, or kill the Knight of *The Looking-Glasses*
, now at his mercy, for doubtless it is the bold and
ill-advised bachelor Samson Carrasco our countryman.'>> ..............................................
_____ *CECIaL* : *STUTTER* (Welsh) --------------------------------------------------------
____ . . . . . SONNET 60
.
. LIke as the waues make towards the pibled shore,
. So do our minuites hasten to [T]heir end,
. Each [C]hanging plac[E] with that whi[C]h goes before,
. [I]n sequent toi[L]e all forwards do contend.
. Natiuity once in the maine of light.
. Crawles to maturity, wherewith being crown'd,
. *CROOKED ECLIPSES* gainst his glory fight,
. [A]nd time that gaue, doth now his gift confound.
. [T]ime doth transfixe the florish set on youth,
. [A]nd delues the paralels in beauties brow,
.([F]EEDE)s on the rarities of natures *TRUTH* ,
. And nothing stands but for his sieth to mow.
. And yet to times in hope, my verse shall stand
. Praising thy *WORTH*, dispight his cruell hand. ................................................
___ . . . . <= 12 =>

. S o d o o u r m i n u (I)
. t e s h a s t e n t o [T]
. h e i r e n d,E a c h [C]
. h a n g i n g p l a c [E]
. w i t h t h a t w h i [C]
. h g o e s b e f o r e,[I]
. n s e q u e n t t o i [L]
. e a l l f o r w a r d s
. d o c o n t e n d.

[T.CECIL] 12 prob. in Sonnets ~ 1 in 67 ................................................
[T]homas [CECIL]: only Garter vote for Oxford.
Robert CECIL: *CROOKED ECLIPSES* ? ------------------------------------------------
Art Neuendorffer

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