The Voynich Manuscript (Part 3c) - The (Un)usual Suspects

A second illumination of Barbara von Celje via one
of the numerous copies of Bellifortis; possibly portrayed here
as a younger woman in contrast to the image shown previously
(inset left below). Note the color of her hair.
(Also: I took the liberty of altering the length of the flag-pole for design-purposes.)
(Click on images to enlarge.)

"'His consort Barbara was a German Messalina, a woman of insatiable appetite for lust; at the same time so heinous that she did not believe in God and neither angel nor devil, neither heaven nor hell. How she scolded her maidservants when they fasted and prayed, that they were agonizing their bodies and worshipped a fictional god: she on the other hand admonishes, in the spirit of  Sardanapalus, that they should make use of all the pleasures of this life, because after this one, there is no other to hope for. This denier of God, searching for her heaven upon this foul earth and her paradise in groveling lust, even though she was already 60 years old…'

The notion about Barbara was taken from her contemporary, Aenea Silvio Piccolomini (1405-1464), the later Pope Pius II, chancellor of Frederick III of Habsburg (1415-1493), who later became the Holy Roman Emperor. Since the Habsburgs were always the enemies of the Cillis, a family that had been under their Lehensherrschaft and since then tried to climb the ladder of nobility, it is clear why Piccolomini tried with such hateful words to denigrate Barbara’s character. Only after her death did Piccolomini change his attitude, or neutralized it if anything. When describing her looks, Piccolomini talks about a woman of pale, almost snow white skin and of a beautiful physical constitution. Furthermore, Barbara knew several languages, had an unusually profound education, and displayed an interest for politics and diplomacy. Misogyny is therefore another explanation why such a versatile woman had a so bad reputation from the Middle Ages, which was carried on by history up until the recent years."

- Another excerpt from Sara Katanec's 2014 online dissertation: The Perquisite of a Medieval Wedding: Barbara of Cilli’s Acquisition of Wealth, Power, and Lands. Inset left is a reposted illumination of Barbara von Celje from Bellifortis. Inset right is a modern interpretation of Barbara von Celje by Rudi Španzel, 1999.

"In Europe, following the 12th-century Renaissance produced by the translation of Islamic works on science and the Recovery of Aristotle, alchemists played a significant role in early modern science (particularly chemistry and medicine). Islamic and European alchemists developed a structure of basic laboratory techniques, theory, terminology, and experimental method, some of which are still in use today. However, they continued antiquity's belief in four elements and guarded their work in secrecy including cyphers and cryptic symbolism. Their work was guided by Hermetic principles related to magic, mythology, and religion."

- From the Wiki entry for Alchemy.

"The first confirmed owner was Georg Baresch (1585 -1662), an obscure alchemist from Prague. Baresch was apparently just as puzzled as modern scientists about this "Sphynx" that had been "taking up space uselessly in his library" for many years...

Upon Baresch's death, the manuscript passed to his friend Jan Marek Marci (1595–1667; also known as Johannes Marcus Marci), then rector of Charles University in Prague.

A letter written on August 19, 1665 or 1666 was found inside the cover and accompanied the manuscript when Johannes Marcus sent it to Kircher. It claims that the book once belonged to Emperor Rudolf II (1552–1612), who paid 600 gold ducats (about 2.07 kg of gold) for it. The letter was written in Latin and has been translated to English. The book was then given or lent to Jacobus Horcicky de Tepenecz (died 1622), the head of Rudolf's botanical gardens in Prague, probably as part of the debt that Rudolf II owed upon his death."

- Excerpt from the Wiki entry for Voynich Manuscript. Inset left is a portrait of Emperor Rudolph II.

***

From a contemporary monument to Barbara
von Celje and Sigismund in Hungary.

Via this Wiki page, she is considered "one of the ancestresses of modern European royal families, her blood flowing in the veins of all European dynasties." *

Can't touch that! But, why might Barbara von Celje be a contender for a role in the Voynich saga?

Well, first, let's cover some old ground. By way of review, Barbara lived in the early half of the 15th century (1392 -1451), the scientifically-determined Voynich time-frame. So, unless the carbon-dating of the MS was flawed, or the ink applied to the vellum much later, we have a match.

She was born a noblewoman; both well-educated and wealthy enough to afford the necessary materials, accoutrements (and leisure time) for creating a manuscript. Apparently, according to the experts, the quality of the materials used was less than the very best, but, depending upon the maturity and/or the intentions of the maker, quality might not have been necessary.

Then, there are all those stars in the Voynich illuminations - predominately in the various charts - as if stars were some type of obsession for the Voynich maker. As it was, stars were elements on the Celje coat of arms and the single star on a blue banner appeared as Barbara's personal symbol in the Bellifortis illuminations. Stars are also an alchemical symbol with several different meanings, and as we established in Part 3b, Barbara von Celje was an alchemist. Very likely she was also aware of other esoteric and occult disciplines which bloomed during the Renaissance, up to and including the tarot.

Speaking of which, one can't help but notice a resemblance between the Voynich star-nymphs and various versions of The Star card, the 17th card in the major arcana of the tarot (see Part 3a - The Star).

That Barbara may have seen a version of this card would not have been impossible. While the earliest decks (inset right) were first recorded mid-century, hand-painted and affordable by few, a royal personage - like Barbara - may have had an earlier access to them, possibly having the opportunity to view the initial drawings in the tarot's development or, at the very least, having familiarity with the Mantegna Tarocchi series. Obviously, she could also afford to purchase a deck, and, even if she hadn't, she doubtlessly knew someone who possessed one.

***

Then, as we saw in Part 3b - The Empress, a caricature of an empress is found on the VMS zodiac page for Libra wearing an imperial crown (above). Barbara's daughter, Elizabeth (7 October 1409 -19 December 1442), whom she assumed would become empress, was born under the zodiacal sign of Libra. Barbara herself (inset left) was a Holy Roman Empress for a period of four years. Unfortunately, we do not know the date of her birth.

Once again, Barbara was a practicing alchemist, and, although it is said she "turned" to alchemy after the death of her husband, Emperor Sigismund, it's more than likely she was introduced to the subject earlier in her life. In any case, she knew the alchemists of her day and was (allegedly) a patron of the author of Aurora consurgens. And, there's a very good chance that she was, because the author may have paid tribute to she (and her daughter, Elizabeth) in this illumination from Aurora consurgens (below the jump)...

The Voynich Manuscript (Part 3b) - The Empress & the Alchemist

Three classic versions of The Empress tarot card, the third trump of the Major Arcana.
From left to right: 1. The Empress from the Visconti Bergamo deck, 1452.
2. L'impératrice from the Tarot de Marseilles, 1890 reproduction of Arnoult's 1748 edition. 3. The Empress from the Rider-Waite deck, 1910.

"Then again, via the Wiki entry for salamander folklore we learn that the Bretons of France so feared the salamander that to even utter the amphibian's name aloud was potentially lethal; especially if a local salamander was in ear-shot!  Oddly enough, however, the French King, Francis I (1494-1547), had as his symbol the salamander, and emblems carved with salamanders (inset, right) can be found in a number of places in his chateau at Fontainbleu... That a king might choose a salamander for an emblem is a curious thing, especially when his countrymen so loathed the creatures. Well, that is, unless King Francis had some knowledge of alchemy. For, it was around the time of Francis's reign that a Swiss-German alchemist by the name of Paracelsus ordained the salamander as the honorary elemental of fire, although it wouldn't be till the next century that Michael Maier regarded it as the metaphorical embodiment of the Philosopher's Stone."

- Quoting myself from the Trans-D Digital Art post, Eye of Newt.

"This is a zodiac illustration from a medical almanac, 1486. Ideas of astrology in medieval Europe were a long way from today's star sign horoscopes. Although some medieval astrologers were thought to be magicians, many were highly respected scholars. Astrologers believed that the movements of the stars influenced numerous things on Earth, from the weather and the growth of crops to the personalities of new born babies and the inner workings of the human body. Ancient studies of astrology were translated from Arabic to Latin in the 12th and 13th centuries and soon became a part of everyday medical practice in Europe. Doctors combined Galenic medicine (inherited from the Greek physiologist Galen - AD 129-216) with careful studies of the stars. By the end of the 1500s, physicians across Europe were required by law to calculate the position of the moon before carrying out complicated medical procedures, such as surgery or bleeding."

- Text and illumination (inset right) from this British Library page. The illumination is an example of the "zodiac man," illustrating the body parts the various zodiac signs ruled. Note the eight-legged, amphibious-looking Scorpion near the genital area.

"The first horoscopes written for Jadwiga's and Jogaila's child predicted a son in mid-September 1398. However, a girl was delivered on 22 June 1399 at Wawel Castle. Reports of the time stated that the child was born prematurely. According to the horoscope, however, she was actually born a bit late. More than a bit surely - a due date of 18 June would rule out the suspicion of pregnancy as early as mid-September."

- From the Wiki entry for Queen Jadwiga of Poland. I've used this quote to demonstrate how seriously astrology was considered throughout Europe at the time... especially for the royal houses who could well afford to keep court astrologers. Inset left is an example of medieval astrological chart.

***

Seriously, cats and kitties, when I first began this investigation, I neither intended to - nor expected to - come to any major conclusions regarding the mysterious maker(s) of the Voynich MS. Which is not to say that I've actually solved anything in the interim, but, as it turns out, I did ferret out another enigmatic personality to add to the Voynich mix... which will (no doubt) go against the grain of previous speculations, but, well, maybe it's time to shake up things a bit.

Now, obviously I'm not an expert in the medieval manuscript field, and virtually a neophyte when it comes to the Voynich MS, but, I love discovering new possibilities, and, when I do, well, in the spirit of Mac Tonnies, my impulse is to just throw the idea "out there." So, allow me to present (yet) another Voynich proposition to play around with... and you can blame it on the salamander.

As it happened (and as I mentioned in my last Voynich post), I had cause to research salamanders in 2016, at which time I discovered that, not only was the salamander an alchemical symbol, it was also the symbol of a certain French king: Francis I (12 September 1494 - 31 March 1547). Above inset right is one of Francis's wooden emblems of a salamander emerging from flames. Inset left is Francis I (as St. John the Baptist) from a painting by Jean Clouet). (Also, see: Francis the Salamander KIng.)

Anyway, for one crazy minute I wondered if the Voynich salamander was a reference to Francis I, but, as one can see by his birthdate, apart from the fact that he wasn't born with his sun in Scorpio (he was a Libra, as was his wife Claude), he was also born too late in the century to fit our time frame. So, that was one idea that wouldn't fly.*

Yet, In the end, I still had the feeling that some (if not all) of the figures wandering around on the zodiac pages represented actual people contemporary with the time and, possibly, born under the zodiac sign in which their caricatures are found. While this interpretation isn't without its flaws, there's seemingly no other recognizable purpose for the pages... nothing remotely "medical" nor particularly astrological beyond the central zodiac symbol. Moreover, a few of the zodiac pages (above: a page for Aries) seem to depict members of nobility - or even a royal house - in lieu of the marching nymphs.

Inset left is an another (actual) medieval astrological chart found here. Below is another 15th century "zodiac man."

In any case, if the drawings are caricatures of actual personalities and the (estimated) early 15th century time-frame is correct, identifying them - although seemingly an impossible task - might reveal (at the very least) the country of the manuscript's origin... and offer some clues regarding the author's true identity.

Ultimately (and essentially), it might only be necessary to identify a single one of them. My choice? The little Empress figure in the zodiac "chart" for Libra...

The Voynich Manuscript (Part 3a) - The Star

Three classic versions of the "The Star" tarot card, 17th of the 22 trumps.
From left to right: "Hope" from the Visconti Bergamo deck, 1452; "L'Étoile" from the Tarot de Marseilles (Pierre Madenie), 1709; "The Star," Rider-Waite deck, 1910.
(Click on images for enlargements throughout the post.)

"Early tarot images may seem exotic to us, but they were very familiar to 15th century card players from wall frescoes, illustrated books, plays and pageants. From the start, all tarot decks exhibited a great deal of consistency. They all had the same twenty-two images we’re familiar with, and no other. For instance, the Star card could depict an astronomer, the Magi following the star of Bethlehem, or a woman holding up a star; but the card was easily recognizable as illustrating the concept of Star."

- An excerpt from the Tarot Heritage article: Italian Tarot in the 15th Century. Inset right: The Star from the contemporary Silver Era Tarot.

"The 14th and 15th centuries were a major period of popularity for alchemy, which continued into the 16th and 17th centuries. Alchemical works used a combination of text and pictures. It presented its material in discreet stages, many with accompanying illustrations, with both a spiritual and a material goal. The stages usually involved symbolic death, transformation, and spiritual rebirth...

... Some surviving alchemical texts antedated or were contemporaneous with the first tarot. The Turbo Philosophorum, an anthology of Arabic sources, was part of the Visconti Library in Milan. A so-called "Arnaldian" work (from Arnald of Villanova) called the Rosarium Philosophorum existed in manuscript by the end of the 14th century... illustrated versions circulated by 1400, called 'Rosarium cum figuris'."

- Excerpt from the introduction to Tarot and Alchemy: Two Parallel Traditions, 2012, Michael S. Howard.

"Secrecy is virtually inseparable from alchemy.  Already in the Greco-Egyptian period, alchemists had devised ways of speaking to hide the very information they claimed to transmit.  They used “cover names” to conceal the identity of key ingredients, and called one substance by many different names and many different substances by a single name.  This culture of secrecy had partly been inherited naturally from the craft traditions that sired alchemy, where keeping proprietary secrets was equivalent to maintaining one’s livelihood.  But the secrecy that accompanied alchemy from its origins intensified in the Middle Ages."

- Excerpt (and inset images) from Primer 2 - Alchemy (.pdf), 2013, by Lawrence M. Principe and Laura Light. The subject matter of the photograph above (inset left above): three alchemical miniatures (circa 1450-1475) from Southern Germany or Austria. Inset right is the cover of a MS from Northern Italy (circa 1425-1450) which is described as including: "Recipes and Extracts on Alchemy, Medicine, Metal-Working, Cosmetics, Veterinary Science, Agriculture, Wine-making, and other subjects." Although difficult to see, the beaded metal work on the leather binding is in the shape of a six-pointed star within a circle. For an  investigation of the alchemical meaning of the six-fold star see: The Restoration of Symmetry: The Philosopher's Stone.

***

From the Voynich MS: the top portion of the zodiac page for Scorpio featuring
4 nymphs (apparently named). Two other zodiac pages also feature this same
arrangement of nymphs placed outside and above the chart: Gemini & Sagittarius.

One of the most striking things about the Voynich MS is the almost obsessive repetition of what must be one of its key figures: the naked (skyclad) blonde nymphs who (more or less) hold large stars aloft with their left hands. They appear in the majority of the zodiac pages in varying numbers, marching clock-wise around the charts, and although a handful of male figures* appear as well - inset left is one male nymph amid the females on the Gemini page - for the most part the star-bearers are women... and women of all ages. Although their appearances change somewhat throughout the zodiac sequence, there seems to be no obvious rhyme nor reason for their presence except to possibly establish the importance of their presence. Once again, they seem to have been individually named - like the bathing nymphs in Part 2 - and, in light of this possibility, I'm inclined to tentatively agree with Voynich researcher Claudette Cohen in that the authors were, in fact, a group of actual women whom the nymphs represent... a sort of Sisterhood of the Star. Well, that's one of the more plausible interpretations anyway.

But, what's most odd about the star-bearing nymphs is that they are uncannily familiar, similar to an esoteric figure that, certainly, some of us have encountered before: the nude, blonde woman with a star (or stars) on the 17th trump card of the tarot: The Star. The interesting thing about The Star is that it corresponds with the astrological sign of Aquarius, the Water Bearer, which just happens to be one of the Zodiac pages missing from the manuscript. (The other is allegedly Capricorn.**) In any case, as you can see in the three versions of the card introducing this post, in the first and oldest image (first documented in the mid-15th century), the position of "Hope" - inset left - who is cloaked and holding a star aloft - is similar to that of the nymphs. One gets the impression that this symbolic figure may have had an even older precedent...

The Voynich Manuscript (Part 2) - Puzzling Pieces: The "Map"

The Voynich MS "map" (This link has been repaired).
(Click on images for larger views.)

"The Voynich Manuscript isn’t a beautiful book; in fact, it’s crude and cheaply done. It’s traditionally divided into four sections - herbal, astrological, balneological (pertaining to baths), and pharmacological - not for what those sections are but for what analysts, grasping for understanding, think they resemble. The symbols arranged in prosaic lines look like language, though the significance of the “Voynichese,” as it’s called, has never been established. And the illustrations don’t illuminate the mystery; they only throw further shadows on the darkness.

The long herbal section, our first indication that something is off, comprises colorful drawings of what look like uprooted plants alongside paragraphs of text. There’s something unsettling about the drawings; it’s almost like a catalogue of extinct species. Hairy bulbs sprout rust-red tubers and yellow pods. Colorless flowers perch on leaves with spikes like Venus flytraps. A creature, a mix between a dragon and a sea horse, suckles on a speckled leaf. Some of the bulbs have faces.

... Many critics believe that it is a hoax. It’s probably the most persuasive theory, as everything in the book conveniently falls under the umbrella of “total nonsense.” While the European Middle Ages are often perceived as an austere and circumscribed culture, the Voynich Manuscript was conceived by a liberated imagination. There’s a genuine joy communicated through the details, like a monk doodling racy cartoons in the margins of a scholastic text. It could very well have been composed as an elaborate lampoon of medieval knowledge, and it’s amusing to imagine that we’re still falling for the trick."

- Excerpts from a article by Michael LaPointe via The Paris Review (2016): The Pleasures of Incomprehensibility. Inset right is the Voynich MS folio mentioned in the quote featuring the weird little dragon/sea-horse creature.

"The top righthand corner of each recto (righthand) page has been numbered from 1 to 116, using numerals of a later date. From the various numbering gaps in the quires and pages, it seems likely that in the past the manuscript had at least 272 pages in 20 quires, some of which were already missing when Wilfrid Voynich acquired the manuscript in 1912. There is strong evidence that many of the book's bifolios were reordered at various points in its history, and that the original page order may well have been quite different from what it is today.

...the colored paint was applied (somewhat crudely) to the figures, possibly at a later date.

...Five folios contain only text, and at least 28 folios are missing from the manuscript."

- From the Wiki entry for Voynich manuscript. Inset right is the rondel located in the upper right-hand corner of the Voynich map. It seems to describe a fortified castle overlooking a bay (with exaggerated ocean waves) in an easterly direction.

***

Apart from the indecipherable script, what is it about the Voynich manuscript that defies all attempts at definition?

Actually, let me re-phrase that: is there anything about the Voynich MS that makes sense? One has to wonder if the key to the whole dilemma was hidden within those 28 missing pages... and whether those pages were deliberately removed, rendering the remainder ultimately meaningless.

Perhaps, one problem is that we assume the various sections are intrinsically related when, in reality, the only element which ties them together is the enigmatic script. In other words, we have no reason to assume the sections were originally created in the order in which we presently find them nor even created for the same purpose. Was the Voynich MS meant to be an actual manuscript, or was it fragments of a private journal which were cobbled together and somehow survived? Do the bathing nymphs have anything to do with the plants or the star-charts or are they elements of something else entirely? Judging by the marginalia (inset left) we might be looking at a science fiction tale!

In any case, in this (my second) and my third (and last) Voynich post - I'll be tinkering with a few separate elements, without necessarily trying to stitch them into one recognizable whole, and the first of these will be the enigmatic fold-out  Voynich "map" (introducing this post): a series of interconnected vignettes or roundels defining a general locale... although, where this locale was located is anybody's guess!

____________________________________

Location, Location, Location

Despite being wedged between the star charts and a second botanical section, my guess is that the Voynich "map" most likely originally accompanied the bathing nymphs. Once again, contrary to the "medical therapy" hypothesis regarding this section, we might as easily be discussing a narrative: a fictional tale, a fanciful, historical account or plans for the creation of a medieval "spa town".* In other words, the nymph section might have a marginal relation to the rest of the MS and represent nothing apart from the nymphs (and their world) within the context of the narrative. After all, the ladies even seem to have been given names in the illustration (above), indicated by the words inscribed directly over their heads. And, as for their world, well, the image may actually hold a clue. While the various bathing enclosures in the nymph section have been compared to Jewish ritual baths - or mikvah (see Part 1) - or even Roman baths, the background details here more closely resemble a Turkish bath or hammam. Inset right is an example: a medieval Turkish bath in Granada, Spain (sourced here). Below the jump is one in Istanbul, followed by one of several 16th century Turkish baths (Kiraly Bath) which continue to operate in Budapest (the "City of Baths"), Hungary.

The Voynich Manuscript (Part 1) - Curious Goods

A "star chart" found in the Voynich MS. The tiny group of 7 stars
in the upper portion of the chart is thought to be the Pleiades
(or Seven Sisters) constellation. If so, it is the only solid astronomical
reference I can find in the MS. (Click-on images to enlarge.)

"...These illustrations range from the fanciful (legions of heavy-headed flowers that bear no relation to any earthly variety) to the bizarre (naked and possibly pregnant women, frolicking in what look like amusement-park waterslides from the fifteenth century). With their distended bellies, stick-like arms and legs, and earnest expressions, the naked figures have a whimsical quality, though their anatomy is frankly rendered—something unusual for the period. The manuscript’s botanical drawings are no less strange: the plants appear to be chimerical, combining incompatible parts from different species, even different kingdoms. (Click on the images to expand.) Tentacled balls of roots take the forms of animals, or of human organs—in one case, sprouting two disembodied heads with vexed expressions. But perhaps the oddest thing about this book is that no one has ever read it.

That’s because the book—called the Voynich manuscript after the rare-book dealer who stumbled upon it a century ago—is written in an unknown script, with an alphabet that appears nowhere other than in its pages... What these glyphs signify—whether they represent phonetic information or numeric values or something else—is anyone’s guess. Judging by its illustrations, the manuscript seems to be a compendium of knowledge related to the natural world, including a section about herbs, a section apparently detailing biological processes, various zodiac charts, and pages devoted to the movements of celestial bodies, such as the transit of the moon across the Pleiades. The writing flows smoothly hesitation from one letter to the next; based on the handwriting, it’s thought to be the work of at least two and as many as eight practiced scribes, and possibly required years of labor."

- From the New Yorker article: The Unread: The Mystery of the Voynich Manuscript, (2013) by Reed Johnson. Inset right is an unidentified botanical illustration from the manuscript.

"...Despite numerous attempts to crack the code by some of the world’s best cryptographers, including Alan Turing and the Bletchley Park team, the contents of the enigmatic book have long remained a mystery. But that hasn’t stopped people from trying. The latest to give it a stab? The Artificial Intelligence Lab at the University of Alberta.

But Voynich scholars are skeptical. Medievalist Damian Fleming of Indiana University–Purdue University Fort Wayne was among those who responded to news of the work in frustration on social media, specifically critiquing the decision to use Google Translate to decipher the manuscript rather than consult a Hebrew scholar.

...Though we still do not know what the book says, researchers have several hypotheses about what the manuscript is about. Based on the book’s illustrations of plants and bathing women, a number of scholars believe that it’s actually a medical textbook about women’s health—a subject so mysterious that it had to be hidden away in one of the world’s most perplexing manuscripts."

- From the Smithsonian magazine article: Artificial Intelligence Takes a Crack at Decoding the Mysterious Voynich Manuscript. Inset left is a marginalia figure from the women's "bathing" section. Here the "nymph" seems to be depositing something into a disembodied sea-serpent tail as she whisks around in her oddly phallic-shaped vehicle. Note: the red square around a word on the right side of the image is my own notation.

"One of the world's most confounding literary mysteries may finally be, in part, solved: the author of the mysterious and as-yet untranslatable Voynich manuscript has been identified as a Jewish physician based in northern Italy, an expert in medieval manuscripts has claimed. The Voynich manuscript is an illustrated book printed on vellum written entirely in an indecipherable script, leaving scholars and code-breakers scratching their heads since it re-emerged a century ago. Writing in the foreword of a new facsimile of the 15th-century codex, Stephen Skinner claims visual clues in each section provide evidence of the manuscript's author. If proved true, Skinner believes his theory will help unlock more secrets of the coded manuscript.

The scholar draws evidence for his theory of the author's identity from a range of illustrations in the manuscript, particularly a section in which naked women are depicted bathing in green pools supplied by intestinal-like pipes. The doctor, whose work includes editing the spiritual diaries of the Tudor mystic John Dee, believes the illustrations show communal Jewish baths called mikvah, which are still used in Orthodox Judaism to clean women after childbirth or menstruation."

- Via the Crystalinks Voynich page. Inset right above are the infamous Voynich "nymphs" in what we can assume is water, but are they actually bathing? And, what are those bizarre features near the top of the page? The uppermost detail looks like one of the open parasol-shapes that appear often in the MS.

"Kennedy and Churchill use Hildegard von Bingen's works to point out similarities between the Voynich manuscript and the illustrations that she drew when she was suffering from severe bouts of migraine, which can induce a trance-like state prone to glossolalia. Prominent features found in both are abundant "streams of stars", and the repetitive nature of the "nymphs" in the biological section. This theory has been found unlikely by other researchers.

The theory is virtually impossible to prove or disprove, short of deciphering the text. Kennedy and Churchill are themselves not convinced of the hypothesis, but consider it plausible. In the culminating chapter of their work, Kennedy states his belief that it is a hoax or forgery. Churchill acknowledges the possibility that the manuscript is a synthetic forgotten language (as advanced by Friedman) or a forgery as preeminent theories. However, he concludes that, if the manuscript is genuine, mental illness or delusion seems to have affected the author."

- From the Wiki entry for Voynich Manuscript. Inset left is an image from Hildegard von Bingen's illustrated work, the Scivias codex in which she describes one of her visions. More images can be found here.

"This manuscript is of Martian origin, the strange astrological interpretations, the plants which don’t seem to exist on this planet. And last and finally a language that cannot be deciphered by humanity, or any “earthling” because the language and the writing system did not originate on our planet. Considering an advanced language beyond our own may be impossible to decipher even given thousands of years without access to this language in any other form. This book which seems to be drawn on parchments from earth, by an earthlings hand, may in fact shed light on the fact that advanced beings from Mars have “abducted” Earths inhabitants and given them tours of their own home planet. I had even heard some theories that suggest Leonardo Da Vinci could have written the book as a child. Perhaps he was the “abducted” taken and taught about another planet and it’s biology with sensitivity to the beings that inhabit the said planet." 

- Excerpt of a comment left on Nick Pelling's Cipher Mystery (VMS) page. Inset right are two "nymphs" that seem to be standing in structures which look like levitating fish or mermaid tails... joined by a rainbow.

***

As a self-described Fortean, Mac Tonnies always loved a good anomaly, and I seem to remember Mac mentioning the Voynich Manuscript at some point in time, if only in passing, but I can't remember when or where. A radio show, perhaps? In any case, there's no mention of it on Posthuman Blues... which leads me to believe that, as a popular Fortean subject, it hadn't yet surfaced on the internet before 2009.

In any case, if you (like me) thought the Voynich MS - a mysterious, anonymous manuscript carbon-dated from the 15th century - was merely a perplexing medieval herbal written in an unintelligible script, well, then, guess again, cats and kitties, because it's far weirder than that! "Martian," in this case, is an almost sober proposition.

I can't exactly remember the first time I heard about the manuscript but, at that time, the only interior shots online were its botanical illuminations accompanied by the cryptic script. It wasn't until recently, however, that I happened to come across a few articles implying the Voynich mystery had been solved (by AI) when I found links to the VMS image files via the website of Yale University's Beinecke Rare Book and Manuscript Library (where the  manuscript is housed). As for the Big Reveal, well, the AI hypothesis had already been debunked by the time most of the articles were written. And, this seems to be the trend: new Voynich code-breaking claims appear frequently, but, thus far, well, the champagne remains on ice.

Meanwhile, I wasted no time in heading over to the Beinecke pages and checking out the MS images for myself. As there's about 200 of them this was no small feat. I chose to download the "sequential" .jpg files and, basically, the first 113 pages are filled with botanical images. Arriving at image #114, I found the first diagram (above, inset left, and below)...