Back in 2003, the (Paleo) Ideofact blogger (William Allison) reminisced about having once jointly compiled a list of meaningless dissertation titles, such as “The Semiotics of (En)Gendered Archetypes: A Contextual Deconstruction of the Voynich Manuscript.”  His pleasantly-meandering blog train of thought quickly sped on to the possibility of Voynich fiction, continuing…

Later, I thought of writing a few detective stories centered on a career grad student who promised for his dissertation a translation and analysis of the manuscript. Never got around to it, though — maybe in my retirement.

Now there’s a challenge, I thought… so, six years on, here’s my version of how Chapter 1 might go…
[Here are links to chapters 1, 2, 3, 4, and 5. Enjoy!]

* * * * * * *

The Voynich Translation

Chapter 1 – “Lesser Fleas”

7.07pm: Mrs Kurtz tapped Graydon Warnes Harvitz II sharply on the shoulder, waking him from his open-eyed slumber. “Stop sucking the end of your pencil so loudly“, she wheeshed through gritted teeth, “it’s disrespectful”. Vaguely nodding in approval, Graydon looked around at the empty chairs beached by the day’s ebbing tide of students – disrespectful to whom, he wondered? Perhaps she-of-the-library could see people that he couldn’t, he mused, possibly the ghosts of dead Yale grads, haunted by their own unfinished dissertations – a virtual “Skull and Bones” society? And look, over in the far corner, might that be dear old Montgomery Burns himself? Yesssss.

As the fug of dead presidents began to fade from his mind’s eye, Graydon’s own awful situation lurched back into sharp focus – of how to decipher the murderously intractable Voynich Manuscript for his PhD. All of a sudden, the purgatory endured by the library’s wraiths, endlessly waiting for long-stolen books to be returned to the stacks, seemed painfully close at hand. His boastful prediction (that this would be easy-peasy for someone as bright as him) had come back to haunt him.

All the same, his whole adventure had started brightly, zipping through all the literature on “The World’s Most Mysterious Manuscript” (so ‘P. T. Barnum’, wouldn’t you say, and isn’t there a Voynich Theorist born every minute?) Yet within a month, he had been reduced to trawling all the works of fiction appropriating the manuscript (typically as a tedious millennia-crossing conspiratorial MacGuffin). Then finally, not unlike an air crash survivor having eaten the seat-covers and the corpses of the other passengers before moving on to the dreaded airline food, Graydon had slurped his way messily through all the Voynich webpages. And the less said about that low-roughage diet the better.

Once the inevitable research euphoria had subsided, he had slid downwards into a bit of a decline – for if you don’t know what your subject is about, how can you read any secondary literature? He felt less like a Yale polymath than an intellectual vacuum cleaner, sucking up all the marginal detritus left over by other scholars, trying in vain to rearrange the collected dust and mites into patterns that would endure longer than a single big sneeze. And so the years had passed – not quite a decade, but far too long by any reasonable measure.

Eating and shaving less (but drinking and swearing more), Graydon began in time to resemble his fearsome alcoholic grandfather Mani Harvitz, the semi-legendary Allied code-breaker who as a young man had worked with John Manly and Edith Rickert breaking German diplomatic codes in World War I.

Once, he had mused whether his own grandfather might have looked at what Wilfrid Voynich had called (rather optimistically, it has to be said) “The Roger Bacon Manuscript”? Graydon had tirelessly gone through all that group’s archived correspondence, finding only that the brilliant young Mani, newly emigrated from Europe, had something of a huge schoolboy crush on the no-less-stellar Miss Rickert.

But this was merely symptomatic of the Mandelbrot Research Maze Of Doom he was stuck in, where each dead-end you go down sprouts off an infinite number of smaller dead-ends for you to recursively waste your time on. He found himself humming Augustus De Morgan’s rhyme “Great fleas have little fleas upon their backs to bite ’em,: And little fleas have lesser fleas, and so ad infinitum‘. Graydon wished he didn’t know that this was in turn based on a rhyme by Jonathan Swift: his mind had become crammed with a near-infinite constellation of similarly useless fact-bites, all held in interplanetary hibernation, eternally waiting to arrive at an unseen off-world colony.

And now he had just ten short days to prepare a presentation for his supervisor about all the dramatic progress he had claimed to have made over the past six months, when all he actually had to show for his efforts was a pencil dangling from his unkempt, beardy mouth. Perhaps… perhaps that was his subconscious’ way of telling him to take up smoking again?

Lesser fleas, he thought to himself as he removed the pencil and took a closer look. Because he preferred harder pencils for note-taking (laptops gave him back-ache), he had a “2H” rather than an “HB”. The Pencil Code (all the way from 9H to 9B via HB ) was over a hundred years old, yet still sounds like a legal-ese sequel to The Da Vinci Code. More linked trivia tumbled out of his tangled skein of memory: pencils themselves were made of graphite, not lead (that was a 400-year-old misunderstanding, you don’t actually have “lead in your pencil”). But before the pencil came along, people had often used red lead to mark things…

That was it: the red lead drawings on page f55r of the Voynich Manuscript. The only other remaining construction marks (which had generally been so assiduously removed by the author, it would appear) were the horizontal lines drawn on f67r2, under a kind of odd-looking circular calendar with a starfish design in the centre: these lead lines were definitely symptomatic of something… but of what?

f55r-red-lead

Yes, these were the real deal – they were what his subconscious mind was telling him to examine right now, what he needed to be thinking about for his looming presentation. But what did they mean – and how on earth might such an incidental detail possibly help him translate the Voynich Manuscript?

Graydon’s mind raced through his Wikipedia-esque web of details – “red lead” A.K.A. lead tetroxide, better known to classicists as ‘minium’, from which we get ‘miniature’, a medieval style of small picture with lots of red finish. And what was that paper he’d never quite got round to reading? Yes, J. J. G. Alexander’s (1983) “Preliminary Marginal Drawings in Medieval Manuscripts“: that, and the ten thousand other cul-de-sacs to park your car in for a day he’d one day hope to read.

But the important point about f55r was that it was plainly unfinished. If red lead had been used to sketch out the shapes, then this was probably one of the last pages added: yet why would the author, so meticulous and rational in so many other ways, have left this one page in this state? Perhaps he/she had died (or had just given up, as Graydon had wanted to do so many times) before completing it?

Hold on, he thought – given the first page and the last page, perhaps we can use the changes in handwriting and in the cipher system between them to try to reorder the pages inbetween, to reconstruct the document’s construction order, and its flow of meaning… For the first time in perhaps even a year, his mind felt on fire, alive with the possibilities: he felt he was glimpsing something extraordinary, subtle and deep…

And that was when he saw Emm for the very first time, as she walked over to his desk to kick him out of the Beinecke Rare Book and Manuscript Library for the night. She was extraordinary, like a long-haired Halle Berry but with piercing, intense eyes, eyes that could slice watermelons.

“That’s odd”, he said, “I didn’t know supermodels worked in libraries”.

“That’s odd”, she deadpanned, parroting his tone, “I didn’t know they let bears handle manuscripts.”

“Oh, the beard thing? Yeah, my barber died and I never found a replacement.”

“Woah, the ’90s must have been a really tough decade for you. Anyhoo, it’s time to kick your bear ass out of the library.”

Graydon blinked. He didn’t know if this conversation was going really well or really badly. “Hi, I’m Graydon Harvitz”, he said, “I’m…”

“…’the eternal Voynich grad’, Mrs Kurtz told me already. Is it true they’re hoping to get rid of you next week?”

“Well, they’re certainly going to try – perhaps it’ll be third time lucky.”

She paused, looking him up and down in the way a butcher would look at a freshly-hung carcass. “That would be a shame – Mrs Kurtz would miss you”, she said with half a smile, turning to walk away. “Though not your pencil sucking.”

“And your name is…?”

“Call me Emm – I’m the new cleaner.”

She was a cleaner? Errm… what? “Do cleaners like to eat lunch?”

“We’re always starving. Tomorrow should be good, because they’ll be kicking you out at noon – a French film crew will have your precious manuscript for the afternoon.”

A French film crew?

* * * * * * * *

Update: the story continues with Chapter 2 (“Game On”)

As a brief follow-up to yesterday’s post on Edith Rickert, I wondered whether her papers might be in the University of Chicago archives – and indeed here they are. For any Voynich researcher who just happens to be passing by, you might consider looking through Box 1 Folder 8 (for correspondence) and Box 10 Folder 13 (for photographs of her family – not important, but nice to see all the same).

The U. of C. also holds the papers of her younger sister Margaret Rickert: she specialised in medieval illuminated manuscripts (there’s a 10-page paper on her in the 2005 book “Women Medievalists and the Academy) and worked as a code-breaker in WWII, just as her older sister had done in WWI. She’s briefly mentioned in the First Study Group minutes – one from 1944 that notes she “accompanied WFF [William Friedman] at Phila[delphia] in 1923 to hear Newbold. Cannot add anything else“; and another that notes she attended a 31 August 1945 FSG meeting. Box 1 holds her notes on various manuscripts: might she have taken notes on the Voynich Manuscript? My guess is no, that the small range of poor quality reproductions of Voynich Manuscript pages available at that time probably dissuaded her from getting interested in it as an art history puzzle. But you never know until you look!

Of course, John Matthews Manly’s papers are there too (the link has a nice summary of his life, including his famous “cigar” story) – I’ve summarized the Voynich-related ones here already, but would also note here that his Series II of folders related purely to cryptographic correspondence.

According to Pittsburgh-based Chilean artist Alberto Almarza’s blog profile, he “meticulously blurs the boundaries between consensus and potential reality, creating a bridge between the realm of matter and that of inner vision.” All of which rather reminds me of the Jim Morrison quote: “There are things known and things unknown and in between are The Doors“.

Anyhoo, given Almarza’s interests and self-proclaimed liminality, it was starkly inevitable that he would one day pick up on the Voynich Manuscript (as indeed he just has). Even so, I think it’s fair to say that the form of his preliminary sketches (“Voynichus Conifralias”) seems far closer to the draughtsmanlike excesses of the Codex Seraphinianus (though without its whimsical distorted rationality thing, admittedly).

Luigi Serafini’s beautiful objet d’art strikes me as an infinite postmodern jest, an internally evolved architecture of a private language, with too many arbitrary degrees of separation for us to tease out any of the tortuous tweening stages. And what of its striking parallels with the Voynich Manuscript? Having probably grown in similar ways, I say, both ended up broadly as unreadable as each other.

Incidentally, recapitulation theory famously tried to claim that ontogeny [how an individual develops] recapitulates phylogeny [how species developed]. Though this is scientifically incorrect, its internal confusion might help points to the confusion within Voynich Manuscript research – do people look for a macro-level / species-level phylogenetic explanation when they should be looking for a micro-level / individual-level ontogenetic explanation?

Almarza certainly has excellent technique: but to grow his own Voynich Manuscript or Codex Serafinianus, I suspect he would need not a seed, but a weed – something almost with its own will to live that develops almost by itself, despite extensive authorial rational pruning. Surely what is most remarkable about both these texts is not their mad structure, but their lack of construction marks, hmmm?

A new day dawns, bringing with it a nice email from Augusto Buonafalce in response to my post on Leonardo da Vinci’s ‘x’-like abbreviation for ‘ver (as recently mentioned by Edith Sherwood).

buonafalce_verbuonafalce_ver_normal

Augusto points out that if you remove the plain diagonal line in the reflected version, what remains appears to be similar to a ‘b’… but isn’t. In the 15th century “mercantesca” script, this particular ‘b’-like shape was used to denote ‘v’: Leone Battista Alberti suggested (in his Tuscan grammar) that this shape should be more widely employed to help tell ‘v’ apart from ‘u’. Specifically, Alberti’s ‘b’-like shape looked like this:-

buonafalce_b

Now, mercantesca hasn’t really been discussed in the context of the Voynich Manuscript before (Google returns no useful hits, while even the old VMs mailing list archives appear to be silent), which is something of a shame – for if arch-Florentines such as Leonardo, Alberti, and even Michaelangelo used it, mercantesca must surely have been as close to the beating heart of the Quattrocento project as the much-touted (but very different) ‘humanist hand’.

(The ‘humanist hand’, you may recall, is an upright, formal script that was a conscious revival of an earlier script – which is why dating the Voynich Manuscript based on supposed similarities with the the humanist hand alone is so contentious.)

While the formal humanist hand was used mainly for writing in Latin, the informal mercantesca (which flourished from 1350 to 1550, peaking around 1450-1500) was used mainly for writing in the vulgar tongue: when written well, it is sometimes called ‘bella mercantesca’.

There’s a reasonable literature on this which a Voynich researcher with palaeographic leanings ought to have at least a reasonable look through.:-

  • Orlanelli, G. ‘Osservazioni sulla scrittura mercantesca nel secoli XIV e XV’, in Studi in onore di Riccardo Filangieri (Naples 1959) I, pp.445-460
  • Irene Ceccherini (Firenze): La Genesi della Scrittura Mercantesca. (summary of 2005 poster session)
  • Albert Derolez, The palaeography of Gothic manuscript books (2003)

Having said that, it is perhaps the 45 volumes of the CMD (the Catalogue of Dated Manuscripts) produced over the last 50 years that need checking here, particularly the CMDIt (the Italian section), I suspect. A proper palaeography research challenge is something I’ve been meaning to post about for a while: but that’s definitely a job for another day…

Stuff to be thinking about! 🙂

(Here’s a guest post by Voynich researcher Marke Fincher that I’ve edited to Cipher Mysteries house style – I hope you enjoy it!)

Let’s say you want to do something really crazy, like decode the Voynich Manuscript. What… you do? Well, good luck to you! And to help on your way, here are some handy (but hard-earned) rules of thumb that might just help you achieve what nobody else has managed in five centuries…

(1) Don’t waste time on very well-trodden ground

  • Don’t make assumptions. Don’t make assumptions about what it can or can’t be. One of the reasons the Voynich Manuscript remains unsolved despite all the brilliant minds that have worked on it is probably due to similar assumptions. Keep your mind open – there has to be a first for anything which is by definition unprecedented.
  • Get more facts, as well as different types of facts. It is always a good use of time to go out and “get more facts”, by which I mean: get more detail, qualify (and quantify) what you know / expect / suspect / predict, study entirely new areas and learn more about what the VMs actually is.  If you try to link the different areas of your knowledge together, in due course better fitting hypotheses will emerge naturally.
  • Strong disproof is more useful than weak proof. It is far easier to prove what the Voynich Manuscript isn’t than to prove what it is. Keep a list of “it can’t be X because of Y” statements,  but check through them periodically. Don’t spend ages studying what it “could be”,  just study what it is (and what it is not) i.e. don’t spend too much time trying to fit your pet hypothesis to the facts.
  • The drawings aren’t just window dressing. Study the images as much as you study the transcriptions.  You should check and relate what you learn from the transcription back to the real thing as much as possible.  Check any suggestive text results manually against the images & vice versa.

(2) Appreciate the rational patterning underlying ‘Voynichese’

  • Get a good working grasp of Voynichese. One good pragmatic way to achieve this is (a) to learn the EVA transcription system and (b) to transcribe an entire A-language page and an entire B-language page for yourself. Once you’ve done this, you should start to see that the countless patterns at play within the text are not (despite what some linguists like to claim) really like the ones you find in normal languages.
  • Look for differences in system between pages. As far as these patterns go, some pages show similar rules at work, while others exhibit important differences – be warned, ignoring these differences between different system variants is undoubtedly a Very Bad Idea. Do your best to categorise the VMs pages into what you think are consistent sections (hint: these may not actually be on currently adjacent pages). Futhermore, it’s another Very Bad Idea to analyse large sets of pages without first satisfying yourself that the same system is at work throughout those pages.
  • Determine which letters are usual and which are unusual. Take the time to compile a study of the unusual and rare symbols, especially the unusual gallows variants and “bench” symbols. Might these shapes hold clues to the function of the regular symbols of which they appear to be variants?

(3) Look at the patterns inside words

  • Study symbol order preferences and rules within words.  There is more evidence of the nature of the system at work here than anywhere else.   It is one of the best places to start to get a feel for the thing.
  • Study repeating sequences (but NOT in terms of whole words).  Introduce some flexibility/fuzzyness to your matching of sequences or you’ll not see it all (but not too much, or you’ll go crazy).
  • Study the extent of “anagrams” within the vocabularies and contrast with known languages.
  • Study the extent of “words within words”. Similarly, look at the hierachical nature of Voynichese word formation.

(4) Look at the patterns between words

  • Study the relationships between words.  They are not like “real” words. Don’t just study vocabularies, word-lists and generative grammars in isolation.  Relate those structures and rules to what appears on actual pages (i.e. study them in context) and you will see a lot more of what is going on.
  • Be wary of coincidental relationships.  Contrast the real patterns with coincidental ones by randomizing the word order and repeating the analysis.
  • Adjacency relationships exist across spaces.  Study these and always be aware of them. Be extemely wary of spaces and assumptions of what they are there for.
  • Study the ‘families’ of similar words. Do they just look the same or do they operate similarly as well? There are also vital things to learn here about variation in Voynichese.

(5) Look at the positions of words inside paragraphs, lines, and pages

  • Study the position within the line and paragraph that ‘words’ appear.  There are plenty of unusual happenings here that any reasonably comprehensive explanation would need to cover.
  • Repeat any analysis that you do on the VMs on real-world language samples. Contrast the results and try to understand the differences you find. Many “unusual properties” of the VMs turn out to be properties of known language as well!  🙂
  • Pick some of the hardest properties to explain and target those first. Systems which match the easier properties of the VMs to recreate whilst ignoring the more perplexing and problematic properties aren’t really very helpful.  The more unusual the property, the more it probably has to say about the actual system at work.

(6) Transcriptions can hide problems, not just expose them

  • Check your transcriptions. There are errors (of course) but also many situations where the transcribers were uncertain of what to record, or glossed over unusual or awkward details in the actual text.  There are also details not captured in any of the current transcriptions which could well turn out to be crucial.
  • Repeat any analysis methods you use on multiple transcriptions. Compare and contrast the results.

(7) Be patient – this whole process takes an awfully long time!

  • Once you get going, five years can pass by in a flash. So be warned!

OK, I’ll admit that the following has no ‘cipher mystery’ angle whatsoever: all the same, it’s a truly remarkable story that trumps 90% of Templar fiction.

According to a piece in The Times, in 2003 a historian at the Vatican called Barbara Frale uncovered a misplaced document (dating to after 1287) which seems to prove beyond much doubt that it was the Knights Templar who brought the Turin Shroud back from Byzantium and venerated its “bearded figure” for a century. Historians had long known of its indisputable 14th century history in Italy and its (often-questioned) 12th century history in the town-formerly-known-as-Constantinople – Frale’s discovery thus sensationally answers the long-standing question of where the shroud was in the 13th century. Additionally, it answers many open questions Templar conspiracy theorists have long riffed on about the nature of their alleged heresy and the secret religious things they brought back from the East.

But… hold on, I hear you cry, wasn’t the Turin Shroud scientifically proven to be a medieval hoax? Well, another news story from the last few days (which I also picked up from the Daily Grail newsfeed, but this time from the Daily Mail) relays some unreported comments from a member of the 1978 testing team, the late Dr Raymond Rogers (he died in 2005). Rogers came to believe that the piece of cloth they had taken for testing was from a medieval section that had been added to mend a fire-damaged part of the shroud – by 1998, he realised that what they had examined was a piece of cotton that had been heavily dyed in order to colour-match the rest of the (far older) linen.

Of course, the really big question is whether this sounds the death-knell for trashy Templar historical fiction. Without some bizarre demonomantic kruft to riff off, that whole historical episode must surely cease to hold the seditious / heretical pungency romantic authors seem to relish so much. All the same… I do suspect that novelists for years to come will carry on telling us that the location of the Templars’ accursed treasure is encrypted in the Voynich Manuscript. Oh well!

Update: more details in this follow-up post on the Turin Shroud

Rene Zandbergen recently commented that much of the codicological reasoning presented on my Voynich codicology page fails to satisfactorily differentiate between observation, hypothesis, reasoning, and fact. At the same time, Glen Claston has also set about trying to pin down key facts about the Voynich Manuscript’s codicology (though taking his own angle on the evidence): while I have also been thinking about alternative (and hopefully better!) ways to present this mass of information.

From my perspective, doing significantly better is a far harder challenge than it might first appear. Generally speaking, I’ve been working to ‘art history‘ standards of proof – but I think that what Rene is asking me to do is to raise my presentation to the level of scientific proof.

Here’s a first pass attempt, that examines merely part of the chain of codicological reasoning I put forward in 2006 (Curse, pp.54-56) to do with the stitched-up vellum flaws in the herbal section. I’ve marked observations in yellow, and inferences in green, with the arrows mapping out the chain of reasoning:-

vellum-flaw-evidence-chain

However, even this tiny fragment of codicological reasoning needs to be accompanied by extensive visual evidence to back it up. I did what I could in The Curse to present all my visual evidence in as clear a manner as I reasonably could, but without a great deal of parallel forensic evidence, this will always amount merely to probabilistic arguments, not scientific arguments.

In retrospect, given that science can only (except in certain remarkable situations) ever disprove, not prove, I think I did tolerably well to present my evidence so openly. But who (apart from Glen Claston) is out there actively trying to disprove my hypotheses? For all Rene’s desire to see a scientific presentation, where are all the Voynich scientists?

Edith Sherwood recently posted up a webpage comparing one of Leonardo da Vinci’s abbreviations with the third character on the Voynich Manuscript’s back page. She says that this is an ‘x’ – a letter which doesn’t appear in Italian, but which Leonardo often uses to denote “ver“. Might she be right?

pox-labor-large

Just to be sure, let’s zoom right in on that first word: is this ‘pox‘, ‘pof‘, or ‘por‘ (etc)?

pox-large

Does that first letter seems oddly familiar? Let’s look at the letters in the bottom-left margin of f66r:-

y-en-muc-mal

So, the stakes are high insofar as these pieces of added writing (on f116v and f66r) both appear to be by the same hand – and so understanding one better might well also help us decrypt the other.

Anyway… for her ‘x’ claim, Edith refers us to the “Clavis sigillorum” (key to the ‘seals’ i.e. to the special symbols) on pages 1-4 of Jean Paul Richter’s (1883) “The Literary Works of Leonardo Da Vinci” (later reprinted as “The Diaries of Leonardo da Vinci”), which we can now see online here, courtesy of Cornerstone Book Publishers (who publish a zesty mix of Masonic, Esoteric & Pulp Fiction books, just so you know). In common with many other Quattrocento Florentines, Leonardo often placed a (nasalizing) bar above a, e, i, o, and u to indicate an, en, in, on, and un (or sometimes am, em, etc). But the special abbreviating symbols he used were:-

leonardo-abbreviations-v2

So, as you can see, Leonardo did indeed use an ‘x’-like abbreviation for ver: but is this what we see on f116v? To my eye, there’s something that doesn’t quite ring true: partly because the distinctive shape used by Leonardo is not really present – but mainly because the ‘x’-like character that is there has so clearly been emended by someone using a different colour ink.

It therefore seems very likely to me that a later owner guessed that this should read ‘pox‘ (for whatever reason) and emended it accordingly: but was this (as Edith Sherwood claims) what was originally written here? I think very probably not. So… what does it say, then?

Back in 2006, I hazarded a guess (Curse, p.27) that this line was written in Occitan and originally read “por labor a mon aut…” followed by EVA ‘och‘ (Voynichese): now, though I still suspect Occitan, my current reading (somewhat to my surprise) is that it starts with “por le bon simon s…

Lest you think this is some kind of slightly delayed April Fool’s joke (and that I’m trying to sneak in a reference to Duran Duran singer/lyricist Simon Le Bon), please be assured that it’s honestly not – “le bon simon” is simply what it seems to say in this (admittedly much-disputed) margin. Unless you know better? Look at it for yourself and feel free to post your own reading!

And finally… here’s a link to a nice little web application that transforms a message you type in into Leonardo’s handwriting. Now that you are an expert on Leonardo’s abbreviations, you should quickly realise that this fails to handle both “per“, “ver“, “di“, “br“, “ser“, “uno“, and “una” and “an“, “en” (etc) properly. Incidentally, Leonardo also replaced “j” for “i” if it was next to an “n” (so that the resulting letter-pair wouldn’t get confused with an “m“), which this (otherwise very cool) app also doesn’t handle correctly… but perhaps I’ve covered enough arcane palaeographic ground for one day, and should stop there! 🙂

“Geezer”, sighed the bald little man, “this is London, rip-off centre of the world. As they say, ‘Walloons devise, Londoners revise’.”

The long-haired man shifted awkwardly, twiddling his cheap codpiece. “It’s not just a matter of copying – my master has certain… unusual requirements.”

“Heh, this part of town’s full of pretty girls who for the price of…”

“No, you lecherous fool, his requirements are about the manuscript. He says it has to look old – really old, as though God’s own angels had written it.”

“Must… have… angelic… script…”, muttered the mordant midget as he scribbled notes on a scrap of paper. “Hold on a mo’, your master must have that spooky German abbot’s book in his library – padiel aporsy mesarpon omeuas an’ all that, eh?”

“As yet he has not – but if you hear of a copy…”

“…yeah, I’ll whistle, don’t you worry, geezer”, soothed the midget, mysteriously noting down ‘humpty bonus real russet’ in his notes. “Anything else about this ancient fake he wants us to make?”

Kelley’s eyes raised and narrowed, as if he was looking at a far-off object. “My master wants hundreds of pictures threaded through the book – plants, star diagrams, and small naked women to please the reader’s eye.”

“Phwoah, your man does have ‘unusual requirements’ after all!”, snickered the faker. “Well, I can’t promise you no works of art, seeing as it’ll be the boy what does the drawings, he’s only eight, and he’ll be using his pregnant muvva as a drawing guide.”

“Well… OK… but be sure to tell your boy not to use any fashionable hairstyles or clothes, as it has to look really old…”

“Ah, clever stuff, matey-boy! You’ve really been workin’ this out, ain’tcha?”

Kelley ignored his uncouth patter, and continued counting an imaginary feature list on his fingers. “Use whatever size sheets of vellum you can get your hands on: oh, and use Cardano’s clever grilles to generate text that resembles the patterns of language. It’s simple once you get going, I’m told.”

Now I’m beginnin’ to see where you’re headin'”, chortled the little old guy, a shy grin smirking its way across his toothless face. “Howsabout we also make it look like loads of people have owned it? You know, shuffle the pages around, rebind it several times, flip the leaves around, add little comments in the margins, add fake wear-marks along various folds, overpaint it in twenty different paints and styles. If we leave all kinds of different fake clues for your buyer’s so-called experts, it’ll take them centuries to figure out how we turned ’em over, the suckers!”

“Now you’re just being ridiculous!“, snorted Kelley as he pushed the fake factory manager aside and marched off into the crowd. “What kind of a fool would go to that much trouble?”

“Hmmm… what kind, indeed?” mumbled the old man to himself. “Get me my quill, boy – I’m feeling inspired…”

Here’s a novel Voynich theory I somehow missed along the way. ‘Oiram’, a Senior Member on David Icke’s Official Forums, suggested last October that the ‘balneo’ nymphs in tubs might actually be grape treaders, that the zodiac nymphs are illustrating a grape planting calendar, and that they all had a nice shower after they were finished to clean themselves up.

As with everything viticultural, there’s a 1000-franc phrase for grape-treading – “pigeage à pied” – which I thought you’d like to know. Gotta get that resveratrol hit, eh?

In Oiram’s defence, I have to say that page f83v (belowdoes indeed seem to depict nymphs treading grapes (can you see the grapes rolling along the pipework at the top left?), along with two stupendously large grapes in the foreground to press the point home:-

giant-voynich-grapes

Truth be told, I somehow doubt Quire 13 will turn out to be a secret book of grape planting. But it would be rather nice if it was, right? 🙂