crowned with vine leaves and grapes, sometimes with the ivy, often both combined. Montfaucon writes:

"The crowns of ivy are as common with Bacchus as those of vine-leaves. Therefore, it is (according to Pliny, 16, 33) that the ivy is called Bacchic. The ivy is consecrated to Bacchus, because he formerly lay hid under that tree; as others will have it, because the leaves of ivy resemble those of the vine. Anciently (says Pliny, 16, 4), a crown was given to none but a god. Homer attributes one only to heaven, and to battle, taken in the universal sense, no man wore it, even in fight. Father Bacchus is said to have been the first that put a crown on his head, and that, too, was made of ivy. We also find him crowned with vine-branches, the grapes sometimes hanging down from them." (Ib. p. 147.)

Montfaucon gives over twenty plates of Bacchus, taken from gems, vases or statues, where the vine, grapes or ivy are to be seen, either on the head or in the hands. Frequently Bacchus holds a vessel in the shape of a jug, out of which he is pouring wine. It is just such a vessel as is represented by the water-marks given by Mrs. Henry Pott, in her work Francis Bacon.

Nothing is more common than the jug or vase (in connection with the Dionysiak, or Bacchic wine jar), which was carried in the proces

sions of the Anthesteria or Feast of Flowers (February - - March). The type of this renewed earth-life of spring was wine; and so we find that in the Bacchian mysteries, a consecrated cup of wine was handed round after supper. The second day of the festival was called the Pitcher Feast, when every toper had his own cup and vessel. Thus the Herald, in the Acharnes, proclaims, "Hear ye people according to ancient custom the pitchers must be emptied at the sound of the trumpet." (vs. 1000, 2; cf. vs. 1070-1234) It is probable that the tragedians read to a select audience the "tragedies which they had composed for the festival in the following month." (Donaldson's Theatre of the Greeks, 213.) (Vide The Great Dionysiak Myth, pp. 233, 234, vol. i. Brown.) This ampelus or wine jar, may be refound in the plates given by Mrs. Henry Pott, in her work Francis Bacon and his Secret Society. (Plates xv., xvi., xvii., xviii., xix., xx., xxi., xxii.-xxvii.) The bunch of grapes and the jar, ampelus, or amphora, often with grapes coming out of it (or crowned with them), are the most frequent and constant water-marks to be found in Bacon's works, as these plates testify, and I am convinced they allude to the vintage songs, which gave rise to the origin of the drama, that is, the dithyambic chorus and Bacchic

แ

measure:

Dance we thy Bacchic measure, Oh Iacchus! God of the vine, Treading thy endless treasure in juice of the purple wine,

See how the wine waves flowing, waft the ivy wood bowls o'er each crest,

Brightly the nectar glowing, bears them like boats on its breast; Filling them high with laughter, we pledge as we closely stand, Needing no crystal water, poured fresh by a Naiad's hand."

THE PERSEUS MYTH.

(Agathias.)

There can be very little doubt Bacon has introduced this fable of Perseus, in his De Augmentis, as a hint for his Holy War, and the Rosicrucians. Bacon introduces three examples of parabolical poesy in his De Augmentis, in touch with stage plays, and in touch also with his Wisdom of the Ancients. Indeed, he writes, "We thought good to refer philosophy according to ancient parables, to the number of Deficients." (p. 108, Advancement of Learning, 1640.).

Upon referring to the catalogue of the Deficients or A New World of Sciences, at the end of the volume, we find this Deficient the sixth star, entitled Sapientia Veterum. Bacon gives us three examples, viz., PAN, PERSEUS and DIONYSUS. Now, the story of Perseus is not only a central myth of the Rosicrucians, which we

find Michael Maier introducing in context with direct allusions and enigmas concerning the fraternity. But it is a myth which relates to the freeing of the Church, and to the HOUSE OF WISDOM, and therefore particularly applicable to the Rosicrucian ends, implied in freeing the Church from the papal power, and assisting the Reformation. In the preface of that learned work, The Perfect Way, the authors, in describing this myth of Perseus, write:

"The names of Medusa and Andromeda have a common root, and signify, respectively, 'guardian' or 'HOUSE OF WISDOM,' and the ruler or helpmeet of man. They are thus typical names, the first of the church, the second of the soul. And the two myths, of which their bearers are the heroines, together constitute a prophesy -or perpetual verity-having special application to the present epoch. Medusa is that system which-originally pure and beautiful, the Church of God, and the guardian of the Mysteries-has, through corruption and idolatry, become the hold of 'every unclean thing, and the mother of a monstrous brood. And, moreover, like the once lovely face of Medusa, the doctrine which bore originally the divine impress and reflected the Celestial Wisdom Herself, has become, through the fall of the church, converted into dogma so pernicious and so deadly as to blight and destroy the reason of all who come under its control. And the Perseus of the myth is the true humanity-earth born, indeed, but heaven begotten-which, endowed by wisdom and understanding, with the wings of courage, the shield of intuition, and the sword of science, is gone forth to unite and destroy the corrupt church and to deliver the world from its blighting influence." (pp. vi., vii. Preface, Perfect Way.)

It is to be noted that in the Proficience and Advancement of Learning of 1605, these three examples of parabolical poetry, are not introduced by Bacon in context with the subject of parabolical poetry. They are first found in the 1623 De Augmentis. I wish to point out, they are evidently introduced with a profound purpose that is, to connect or show a connection between Bacon's Wisdom of the Ancients and his theatre. Nobody will doubt that who reads the final words with which he closes these three fables, on page 109 of Advancement, 1640: "We stay too long in the theatre; let us pass on to the palace of the mind." It is just as examples of parabolical poetry, which are to serve as illustration and obscuration, or which tend" to the folding up of those things the dignity whereof deserves to be retired and distinguished, as with a DRAWN CURTAIN; that is, when the secrets and mysteries of religion, policy and philosophy are veiled and invested with fables and parables" (p. 108), that Bacon introduces the examples of Pan, Perseus and Dionysus, with these words:

"And we will annex an example or two of this work, not that the matter, perhaps, is of such moment, but to maintain the purpose of our design. That is this: that if any portion of these works which we report as deficient, chance to be more obscure than ordinary, that we always propose either precepts or examples for the perfecting of that work, lest, perchance, some should imagine that our conceit hath only comprehended some light notions of them, and that we, like augurs, only measure countries in our minds, but know not how to set one foot forward thither. As for any other part defective in poesy, we find none; nay, rather, poesy being a plant coming, as it were, from the lust of a rank soil, without any certain seed, it hath sprung up and spread abroad above all other kind of learning" (p. 109).

The student is entreated to mark, Bacon repeats the same language in his Distribution Preface touching these Deficients, which play evidently a first part in the unlocking of the Instauration.

"Concerning those parts which we shall note as Prætermitted, we will so regulate ourselves, as to set down more than the naked titles, or brief arguments of Deficients. For where we deliver up anything as a Desiderate, so it be a matter of merit; and the reason thereof may seem somewhat obscure, so as upon good consideration, we may doubt, that we shall not be so easily conceived what we intend, or what the contemplation is, we comprehend in our mind, and in our meditation, there it shall ever be our precise care, to annex either precepts for the performing of such a work, OR A PART OF THE WORK ITSELF PERFORMED BY US ALREADY, for example to the whole, that so we may in every particular, either by operation or information, promote the business. For in my judgment, it is a matter which concerns not only the benefit of others, but our own reputation also, that no man imagine we have projected in our minds some slight superficial notion of these Designs; and that they are of the nature of those things which we could desire, and which we accept only as good wishes. For they are such as, without question, are within the power and possibility of men to compass, unless they be wanting to themselves; and hereof, we for our parts, have certain and evident demonstration, for we come not hither as augurs to measure countries in our mind for divination, but as captains to invade them for a conquest. (p. 23, Distribution Preface, 1640 Advancement.)

The reader notices the repetition of the same language quoted, page 109 of this Advancement, 1640. It is plain and certain Bacon is here describing, one of the most important keys to the opening of the Instauration - that is, works already completed by Bacon, in their relationship to the Instauration and its ends, as an entire whole. He shows plainly that he is intentionally obscure, and that part of the work" performed by us already," is hinted at by these Deficients The subject we treat of illustrates exactly in point. The fables of

Pan, Perseus, Dionysus, given by Bacon as examples of parabolical poetry, exist in his collection, entitled the Wisdom of the Ancients, showing we are to study the entire collection in reference to parabolical poetry and stage plays, with which the examples cited are connoted.

From this digression, I return to the subject of this chapter, the fable of Perseus. Bacon interprets it as an example of war and as political. Now, we must remember the Rosicrucians entitled themselves militia crucifera evangelica — soldiers of the cross. They were the lineal inheritors of the Knights Templar or Red Cross Knights. Their ends or objects was like the Templars, the rebuilding or restoring of Solomon's Temple-which really means a restoration of man's estate to primeval purity—a restoration of arts and sciences, of morals, and a rescuing of man from his fallen condition by means of their cornerstone, Christ. Like the Salvation Army of to-day, they considered themselves soldiers fighting for the good cause, and the myth of Perseus as the redeemer of the drawn sword or cabir, was their selected and particular emblem. They called themselves Invisibles. And we can see Bacon slyly hinting at this as an art politique, when he writes that Perseus borrowed from Mercury wings, Pallas a shield, and Pluto a helmet.

"Now the helmet of Pluto, which hath power to make men invisible, is plain in the moral, for the secreting of counsels, next to celerity, is of great moment in war" (page 124 Advancement of Learning). Bacon's Holy War was evidently written with a profound view to some secret society, or order, which I am convinced was the Rosicrucians. For example, he writes:

"The church, indeed, maketh her missions into the extreme part of the nations and isles, and it is well; but this is ecce unus gladius hic. The Christian princes and potentates are they that are wanting to the propagation of the faith by their arms. Yet our Lord that said on earth to the disciples, ite et prædicate, said from heaven to Constantine, in hoc signo vinces. What Christian soldier is there that will not be touched with a religious emulation to see an order of Jesus, or of Saint Francis, or of Saint Augustin do such service for enlarging the Christian borders; and an order of Saint Iago, or Saint Michael, or Saint George only to robe and feast and perform rites and observances? " (Holy War, p. 34.)

Now there are three distinct allusions or references here to the Rosicrucians, direct and unmistakable! The first is Ecce unus gladius hic,-this is the fiery sword that revolved in front of the cherubim, which smote all the sinful who sought to re-enter Paradise.