Droeshout Video

This video reviews some of reasons which led me to conclude that the Droeshout engraving was intended to be folded in half.

 

Droeshoutfolded

Left half of Droeshout with right side folded behind it and illuminated from behind
https://hiddenepitaph.files.wordpress.com/2015/01/this-side-idolatry.pdf

 

 

Leave a comment

Filed under Uncategorized

Is Edward de Vere’s coronet signature in Shakespeare’s First Folio?

Was the First Folio woodcut at the top of Ben Jonson’s “To my beloved” meant to resemble Oxford’s coronet signature?

woodcut

This woodcut is used at the top of Jonson’s poem and at the beginning of twelve of the plays (Hamlet, Romeo and Juliet, Henry VIII,  Richard III, Henry IV Part 1, Henry IV Part 2, Merry Wives of Windsor, King John, Much Ado about Nothing, Twelfth Night, Midsummer Nights Dream, and As You Like It)

Was it intended as an homage to the Earl who signed his name with a similar flourish, seen by some to resemble an earl’s coronet?

 Edward_de_Vere_Earl_of_Oxford_Signature

The woodcut in the First Folio resembles the earl’s coronet on the de Vere coat of arms, shown here on an engraving and on the cover of de Vere’s Geneva Bible:

A closer view of all three:

coat close up1

bible close up

woodcutsplit

 

Was it the intention of the compilers of the First Folio to give the Author Earl a discreet way to “sign” his works?

edward-oxenford-signature2

I am currently keeping an eye out for recurrences of this woodcut in other literature of the era.  Some of the other woodcuts in the First Folio seem to have been commonly used, but have yet to discover this one elsewhere.

 

UPDATE (July 7, 2016):

Since this original post, I have found this woodcut on two other works published by William Jaggard:

1622 Vincent, Augustine. A discoverie of errours in the first edition of the catalogue of nobility

brooke

1623 Favyn, André. Theatre of Honour

to the right honorable

This isn’t to say that the woodcut wasn’t chosen because of its resemblance to an earl’s coronet and de Vere’s signature, but that it does appear to have been in current use, at least by Jaggard, and not created solely for the First Folio.

 

More on the signature:

https://hankwhittemore.wordpress.com/2009/10/05/edward-de-veres-crown-signature-and-more/

https://hankwhittemore.wordpress.com/tag/crown-signature/

http://www.elizabethanreview.com/price.pdf “Oxford’s signature would more appropriately be called the “coronet signature,” because it depicts spikes topped with little balls, emanating from the headband, signifying the coronet of earldom”

Photos:

http://internetshakespeare.uvic.ca/Library/facsimile/book/SLNSW_F1/9/?zoom=425

https://upload.wikimedia.org/wikipedia/commons/0/0f/Edward_de_Vere_Earl_of_Oxford_Signature.jpeg

http://shake-speares-bible.com/bible-faq/

http://www.sourcetext.com/sourcebook/Vere/jpgs/Vere-arms-1588.jpg

https://hankwhittemore.wordpress.com/tag/edward-oxenford/ 

 

4 Comments

Filed under Uncategorized

Ben Jonson, Fine Grand, and the Droeshout Engraving

Ben Jonson was an integral part of the production of Shake-speare’s First Folio. In the paper below, I propose that Jonson’s dedicatory poems in the First Folio and his epigram “To Fine Grand” considered alongside the Droeshout engraving serve to discredit William Shakspere of Stratford-Upon-Avon and identify Edward de Vere as the True Author of the Shake-speare canon.

This Side Idolatry

2 Comments

Filed under Uncategorized

paralell

Leave a comment

Filed under Uncategorized