Paracelsus had predicted some things before he died: soon after the decease of the Emperor Rudolph, three treasures would be found; the coming of Elias the Artist was imminent. The “three treasures” appeared as predicted, soon after the death of Rudolph II of the House of Hapsburg: These were, the Fama Fraternitatis, the Confessio Fraternitatis R.C., and The Chymical Marriage of Christian Rosencreutz. (Background: Esoteric Shakespeare (Part 10), Ersjdamoo’s Blog entry of February 28, 2014.)
But who was “Elias the Artist”? Ersjdamoo favors it having been Francis Bacon. (Others would say William Shakespeare, Edward de Vere, or Christopher Marlowe.)
Given that “Elias the Artist” was Francis Bacon, we therefore have at least a tenuous connection between Bacon and the Rosicrucians. Anthony Bacon, brother of Francis Bacon, likely met with Trajano Boccalini in Venice, and Boccalini connects with the “Universal Reformation” theme of the Rosicrucians. 
The Rosicrucian symbol was a crucified rose (see image at top). Pondering the possible meaning, Ersjdamoo had considered that “rose” was an anagram for “eros” (love). Did the symbol mean, “Love crucified”? The ideas of antiquity, particularly those of Hermes Trismegistus and Plato, were avidly studied during the Renaissance times. The Italian Sonneteers were heavily influenced by Plato. The poems of “Shakespeare” are also “Platonic in an extraordinary degree.” Author William Francis C. Wigston notices the Platonism of all the Elizabethan writers, and adds that even Queen Elizabeth herself wrote a commentary upon Plato. And, he later continues, “Love with Plato takes the place of Truth as Logos. It is deified, and it is always crucified.” 
So was that it? Did the crucified rose of the Rosicrucians signify love crucified? It was at this point that Ersjdamoo came across a deeper explanation in a book by Peter Dawkins: The Shakespeare Enigma.
“In England the Spear-shaker or poet-knight was in particular associated with St. George, the Red Cross knight and patron saint of England who shakes his spear of knowledge and virtue at the dragon of ignorance and vice.”  (For “vice” use “corruption.”)
According to tradition, William Shakespeare (the Spear-shaker) was born and also died on St. George’s Day, April 23rd. 
The Red Cross knight is associated with Britain’s King Arthur and also appears in Edmund Spenser’s epic poem and fantastical allegory, The Faerie Queen. The Red Cross and St. George were the emblem and ideal of the Knights Templar and of the Rosicrucians. 
The family emblem of St. George was the Rose of Sharon, thus the Red Cross was also the Rose Cross. 
It is said that in 1570, after Queen Elizabeth was excommunicated by the Pope, a revival of ancient societies occurred, all under the denomination of the Brothers of the Golden Rose-Cross. This society was presided over by a leader called the Apollo of the group. 
In mythology, Apollo’s consort was Pallas Athena, which name in Greek literally means “Spear Shaker” or “Shake Spear.” 
And who sits next to Apollo at The Great Assizes Holden at Parnassus, a satirical poem attributed to George Wither and published in 1645? Second only to Apollo in the Great Assizes is Lord Verulam, Chancellor of Parnassus. (Francis Bacon was created Baron Verulam in 1618 and Viscount St. Alban in 1621. ) On trial at the Great Assizes was trashy and misleading literature. One of those being tried for the “misleading literature” was William Shakespeare, who is among twelve malefactors listed as jurors. 
The Fama Fraternitatis of the Rosicrucians is signed by, among others, Brother F.B., Pictor et Architectus (Painter and Architect). The “F.B.” is easily construed as “Francis Bacon.” As for “Painter”, replace that with “Artist” and you possibly have “Elias the Artist”, foretold by Paracelsus.  And “Architect” suggests Freemasonry’s “Great Architect.” Another of the Rosicrucian works, the Confessio Fraternitatis R.C., complains about persons who profit by the curiosity of the credulous: “…our age doth produce many such, one of the greatest being a stage-player, a man with sufficient ingenuity for imposition…” (Besides being a grain merchant, Willelmus Shackspere was also an actor, i.e. stage-player.)
“Love with Plato takes the place of Truth as Logos. It is deified, and it is always crucified.” (See above). In Plato’s well-known cave allegory, a gathering of people have lived chained to the wall of a cave all of their lives. They face a blank wall. The people watch shadows projected on the wall by things passing in front of a fire behind them, and begin to designate names to these shadows. The shadows are as close as the prisoners get to viewing reality. But one of these people escapes the cave and comes to understand that the shadows on the wall do not make up reality at all. If this man were to return to the cave and try to tell the prisoners the truth, they would kill the man. “And if they were somehow able to get their hands on and kill the man who attempts to release and lead them up, wouldn’t they kill him?” 
Love (Truth) is always crucified. Emanuel Swedenborg (1688 – 1772) considered Truth to be an aspect of Love. Truth is Love in action. Truth is the way Love works.  The Spear Shaker (Shake-Spear) shakes his spear of knowledge and virtue at the dragon of ignorance and corruption. But the Truth (Love) is always crucified. It is the crucified Rose (Eros) of the Rosicrucians.
——- Sources ——-
 A New Study Of Shakespeare, by William Francis C. Wigston
 The Shakespeare Enigma, by Peter Dawkins. London: Polair Publishing, 2004.
 “Francis Bacon”, Wikipedia, March 1, 2014
 “Allegory of the Cave”, Wikipedia, March 1, 2014
 “Tenets of Swedenborgianism”, by The Swedenborgian Church of North America. http://www.swedenborg.org/Beliefs/Tenets_of_Swedenborgianism.aspx