After these two noble fruits of friendship (peace in the affections, and support of the judgment), followeth the last fruit; which is like the pomegranate, full of many kernels; I mean aid, and bearing a part, in all actions and occasions. Here the best way to represent to life the manifold use of friendship, is to cast and see how many things there are, which a man cannot do himself; and then it will appear, that it was a sparing speech of the ancients, to say, that a friend is another himself; for that a friend is far more than himself. Men have their time, and die many times, in desire of some things which they principally take to heart; the bestowing of a child, the finishing of a work, or the like. If a man have a true friend, he may rest almost secure that the care of those things will continue after him. So that a man hath, as it were, two lives in his desires. A man hath a body, and that body is confined to a place; but where friendship is, all offices of life are as it were granted to him, and his deputy. For he may exercise them by his friend. How many things are there which a man cannot, with any face or comeliness, say or do himself? A man can scarce allege his own merits with modesty, much less extol them; a man cannot sometimes brook to supplicate or beg; and a number of the like. But all these things are graceful, in a friend’s mouth, which are blushing in a man’s own. So again, a man’s person hath many proper relations, which he cannot put off. A man cannot speak to his son but as a father; to his wife but as a husband; to his enemy but upon terms: whereas a friend may speak as the case requires, and not as it sorteth with the person. But to enumerate these things were endless; I have given the rule, where a man cannot fitly play his own part; if he have not a friend, he may quit the stage.
Because of its importance in Bacon’s later works the mouth has become a study in itself. In 1966, the artist spoke of the admiration he had had since the 1920s for the screams of the wounded nurse in Serge Eisenstein’s film Battleship Potemkin (1925) and of the mother in Poussin’s Massacre of the Innocents , 1630-1 (Musée Condé, Chantilly).  He professed: ‘I did hope one day to make the best painting of the human cry.’  He is known to have had an operation on the roof of his mouth,  but he traced his interest in the imagery to a medical treatise with coloured illustrations, La Maladie de la bouche which he acquired around 1935; it appears that one of its plates served as the model for the central panel of Three Studies .  Although such ambitions and associations were explored in retrospect and frequently in relation to later works - notably the paintings of Popes derived from Velazquez’s Portrait of Pope Innocent X - the artist may also have seen something in common between the outburst of both oppressor and innocent. In 1974, he told David Boxer of his interest in ‘the visual scream ... this image where you see the gums, the teeth, the saliva, the lips, the flesh outside’, and he added: ‘The scream can be the scream of the aggressor or ... the victim.’  The persistence of the open mouth as a locus of pain in Bacon’s work, together with the complex of images of beauty with which he would associate it - the wish, in 1966, ‘to be able to paint the mouth like Monet painted a sunset’  - reinforces the tone in Three Studies ; there it is simultaneously expressive and bestial, luscious and aggressive while screaming or biting. Furthermore, these concerns may be seen partially to circumscribe the use of photographs of Nazi leaders as source material.
In the years after Bacon's death, his theories began to have a major influence on the evolving field of 17th-century European science. British scientists belonging to Robert Boyle's circle, also known as the "Invisible College," followed through on Bacon's concept of a cooperative research institution, applying it toward their establishment of the Royal Society of London for Improving Natural Knowledge in 1662. The Royal Society utilized Bacon's applied science approach and followed the steps of his reformed scientific method. Scientific institutions followed this model in kind. Political philosopher Thomas Hobbes played the role of Bacon's last amanuensis. The "father of classic liberalism," John Locke, as well as 18th-century encyclopedists and inductive logicians David Hume and John Mill, also showed Bacon's influence in their work.