Jan Hurych has very kindly emailed in a translation of the short piece of text I uncovered relating to the 14th century Prague apothecary Antonio of Florence. With a few minor style tweaks, here it is:-

The restoration of gothic painting in the house U Lilie [“By Lilly”] no. 459/1, Malé náměstí [“The Little Square”] 11.

During the 14th century, this house played host to a number of Italian apothecaries, such as Angelus of Florence who arrived in Prague in 1346. It was he who founded – at Emperor Charles IV’s suggestion – the botanical garden in Jindřišské ulici [“Jindrisska street”] in Prague’s Novém Městě [“New Town”] district, where the main Post Office is located today. In 1353, Angelus (who would later own the neighbouring house) lived at no. 459/1a, today called “Rychtrův dům” [Rychter’s house]. The business was continued by his maternal cousin Matthew of Florence. The first record referring to the house ‘U Lilie’ is from 1402 when it was already called that way and housed Rudolph’s pharmacy [no connection to the Emperor! j.h.] In 14th century the pharmacy was owned by Onofrio of Florence who sold the vineyard “Na Slupi” [“at the pillars”] to the apothecary Antonius of Florence, the owner of the neighbouring house no. 459/I, now part of Rychter’s house – apparently at that time these two houses were connected together.

Because I can tell that you’re simply desperate to see what this looks like from space, here’s a Google Maps link. Isn’t it amazing that we can put such a high-powered geographic database to such trivial uses? And as far as “Na Slupi” goes, Wikipedia’s page on Prague’s New Town says that “The slopes and plateaux east of Na Slupi street and south of the Augustinian convent were merely vineyards and extended green spaces.

Jan is convinced that this is indeed probably the specific alchemical Antonio de Florence we were looking for. He also notes:

In the 14th century, Emperor Charles IV brought many Italians in Bohemia – he knew Italy well, he was fighting there with his father John de Luxemburg, the one who fought Edward at Crecy and died there ( the Black Prince was said to take his coat of arms in his honor as his emblem).

Incidentally, while reading up on 13th and 14th century Bohemia, I stumbled across Wikipedia’s page on King Ottokar II of Bohemia, son of (the arguably more famous) King Wenceslaus. Ottokar II’s bitter (but ultimately successful) rival for the Imperial throne was Rudolph of Habsburg. The two were later commemorated by Dante as being locked in amiable discussion beside the gates to Purgatory. What I found fascinating was that this is presumably also why Rudolph II named his pet lion “Ottakar” – to commemorate the political jousting between (the victorious) Emperor Rudolph I and (the subdued) Bohemian king Ottokar II. Of course, I could be wrong but… this does have a certain ring of truth to it, wouldn’t you say?

I’ve just received (directly from the author, thanks!) a copy of Vladimír Karpenko’s admirably thorough 1990 AMBIX paper on the “cesta spravedlivá” pair of manuscripts. From his analysis, it seems very much as though these are both genuinely 15th century and (just as Rafal predicted) entirely unconnected with the VMs. Oh well! 🙁

Even so, the secret history of the mysterious “Antonio of Florence” (whose alchemical presence lurks behind this whole constellation of documents) is something which nobody seems to have tried to piece together in any substantive way. Of course, my particular interest in this lies in whether it has anything to do with Antonio Averlino of Florence (1400-ca.1469), whose libro architettonico (1455-1465) demonstrated familiarity both with books of secrets and with alchemical concepts (fol. 102r), and whose life prior to 1433 is largely unknown.

Right now, here is how the evidence sits:-

(1) As far as the alchemical background goes, the first two Latin works of Bohemian alchemy appeared circa 1400, attributed to “Johannes Ticinensis” – “Processus de lapide philosophorum” and “Aenigma de lapide“. Though both are now lost, German translations of them appear in the (1670) “Drei vortreffliche chymische Bücher des Johann Ticinensis, eines böhmischen Priesters, Antonii Abbatia, eines der Kunst erfahrenen Mensch und Eduardi Kelläi, eines weltberühmten Engländers, Tractate“, and in the even less snappily-titled (1691) “Johannis Ticinensis, eines Böhmischen Priesters/ Anthonii de Abbatia, eines in der Kunst erfahrenen Mönchs/ und Edoardi Kellaei eines Welt-berühmten Engländers vortreffliche und ausführliche chymische Bücher; Allen der geheimen und Hohen Kunst-Liebhabern zu Nutz und merklichen Unterricht in Teutscher Sprach übergesetzt/ und herausgegeben durch einen/ der niemahls genug gepriessenen Wissenschaft sonderbaren Befohrderer. Mit einer Warnung-Vorrede wider die Sophisten und Betriger“. (Neither is currently available on the Internet, I believe). This really should be the starting point for any study of Bohemian alchemy.

(2) In the first half of the 15th century, a Bohemian by the name of Jan z Lazu was noted (in several documentary sources) as having been skeptical about alchemy. Bohuslav Balbin (“Balbinus”) mentions two of his lost works: “zlato blato” (“Gold – Mud”?) and “aurum luttini” (I can’t read that final word satisfactorily, so please say if you know what it is supposed to say). Wraný (1902) “Geschichte der Chemie und der auf chemischer Grundlage beruhenden Betriebe in Böhmen bis zur Mitte des 19.Jahrhunderts” summarizes what (little) is known about Jan z Lazu. Not consulted (though Rene Zandbergen has apparently seen this).

(3) In medieval Bohemia, Northern Italian ore prospectors (known locally as “Vlach” or “Wallach”)  often kept their secret notes in books known as “Wallenbuch”. According to Wraný (1902), the earliest Wallenbuch dates to 1430 and is attributed to “Antonious von Medici”. Of course, after 1945 Breslau became Wroclaw, which is why I don’t yet know where this intriguing-sounding Wallenbuch is. Not consulted (though the two Wroclaw academic libraries here and here are where I’d start).

(4) In the last few days, Daniele Metili very kindly left a comment here on Cipher Mysteries noting a hitherto unremarked “Anthony of Florence” reference. Noted in Kristeller’s famous “Iter Italicum (Alia Itinera I)”, Olomouc State Archive manuscript #349 (described on pp.133-134 of this scan of J. Bistricky, M. Bohåcek, F. Cåda, “Seznam Rukopisu Metropolitní Kapituly v Olomouci,” in Ståtní Archiv v Opave, Pruvodce po archivních fondech III [Pruvodce po statních archivech XIV; Prague, 1961]) is a collection of late 15th century alchemical works (“Varia praecepta alchimistica in latina et germanica lingua”), one of which is entitled “Fixatio argenti magistri Antonii de Florencia probata per Johannem de Olomucz discipulum eius“. Not consulted (but very intriguing, nonetheless). Who was this Johannes of Olomouc? Though the generally-best-known “John of Olomouc” from the 1400s was a Hussite burned alive in 1415, this seems unlikely to be connected at all. Might this person (as Rafal Prinke suggested) have instead been Jan z Lazu?

(5) 1457 “cesta spravedlivá” manuscript (supposedly by Antonio of Florence’s Czech servant) was composed.

(6) After 1606 (and probably before 1610, I’d guess), a document commenting on the “cesta spravedlivá” was written, presumably in Prague and close to the Rudolfine Imperial Court.

(7) According to Zibrt (thanks Rafal!), in 1611, two versions of the “Tractatus I. de secretissimo philosophorum arcano, II. de lapide philosophico” were printed in Prague. These were attributed to Jan z Lazu, who claimed (in one of the versions) to have been a follower of Antonio of Florence. This same printed edition was later noted by Bohuslav Balbin (“Balbinus”). Jan Hurych believes that this was (or was derived from) an original 15th century work, which is certainly possible.

(8) In 1613,  the same small book was reproduced in “Theatrum Chemicum” volume IV.

(9) Around 1704, what I call “the Leopold copy” was executed: this included copies of the “cesta spravedlivá” manuscript, and an “observationes quaedam…” text (which seems to have been based on an earlier document (marked (6) above).

What is going on here? I think it is important to note that nowhere in the cesta spravedlivá is any explicit connection made with Jan z Lazu – the connection with him only seems to have been made after 1600 or so. This, however, would depend on whether the alchemical manuscript upon which the 1611 books were based was genuine or fake – I’m not sure if this question has been asked. Could it be that the two people genuinely linked here were actually “Antonio of Florence” and “John of Olomouc” (as per the Olomouc manuscript), but that circa 1610 somebody guessed (wrongly?) that John of Olomouc and Jan z Lazu were the same person, and so felt the need to construct a secondary, nationalistic alchemical work to fill in the large gap between the two?

There’s a really great paper waiting to be written here (though probably not really enough for a dissertation), trying to answer one question: how do all these fragments relate to one another?

But there may yet be an even simpler answer: here’s a reference [pp.71-72] to a Prague apothecary from circa 1400-1420 called “Antonius de Florencia” that I dug up. Someone with better access to the archival sources should be able to work out precise dates for this person, as he would seem to be a far more local (and likely) candidate for the mysterious alchemist at the heart of this story:-

Restaurování gotické malby v domě U Lilie čp. 459/I, Malé náměstí 11 Ve 14. století si bydlení Na Malém náměstí oblíbili lékárníci, zejména italští. Roku 1346 přišel do Prahy Angelus de Florencie, který založil na pokyn Karla IV. bota- nickou zahradu v Jindřišské ulici na Novém Městě pražském, v místě dnešní hlavní pošty. V roce 1353 pobýval v Praze Augustinus de Florencie, lékárník a budoucí vlastník vedlejšího domu čp. 459/Ia, nyní zvaného Rychtrův dům, v jeho živnosti po-

kračoval sestřenec (bratranec z matčiny strany) Matěj z Florencie. První zmínka o domu U Lilie pochází z r. 1402, kdy již nesl dnešní pojmenování a byla zde Rudol- fova lékárna. Ve 14. století vlastnil lékárnu lékárník z Florencie Onoforio, od kterého zakoupil vinici na Slupi lékarník Antonius de Florencia, který byl majitelem vedlej- šího domu čp. 459/I, dnes součást Rychterova domu; oba objekty byly patrně v té do- bě spojeny.

Incidentally, looking at a modern map, I’d guess (so please correct me if I’m wrong!) that “Laz” is actually the town of Łazy in Upper Silesia (southern Poland), a good way away from Olomouc. Hmmm… could it be that the town of “Łazy” was some kind of verbal inspiration for the Icelandic children’s TV show Lazytown? Of course, that’s a thoroughly stupid (if not “rotten”) question – but I thought it would be fun to be the first one to ask it. 🙂

Just to let you know that, following the malware attack that Cipher Mysteries recently suffered, I’ve now moved the entire blog over to a completely new server. Of course, though this should have been straightforward, in practice these things always take days more than they should. Oh well!

To tell which of the two versions you’re looking at, I’ve tweaked the colour of the top picture from blue to green – so if it’s blue, you’re looking at an old (cached) version. Green good, blue bad. 😉

Doubtless the malware warning will linger in places for a few more days, but thankfully Google itself has already dropped the malware warning: by the weekend everything should be just about back to normal. Sorry for the disruption to your surfing, this was due to events beyond my control, yada yada yada. *sigh*

Fingers on buzzers for a quicky historical quiz: name these three historical characters and the unusual link they share

  1. A 13th century speculative English monk
  2. A 14th century Parisian bookseller (and his wife)
  3. A 15th century Bohemian disbeliever in alchemy

How did you do?

The first one’s easy, particularly for Voynich Manuscript devotees – it’s the Franciscan friar Roger Bacon. The second one’s also pretty easy, especially for Harry Potter fans – it’s Nicolas Flamel (and his wife Peronelle). The final one is next to impossible (unless you just happen to be Czech) – it’s Jan z Lazu (whose name has come up here in recent days). But what fine historical filament connects these three very different people?

The simple answer is that they were each declared to be famous alchemists long after their death, with their printed alchemical works well-read across Europe. Bacon’s supposed “Speculum Alchemiae” was translated into English in 1597; Flamel similarly first made the transition from obscure Parisian bookseller to noted “alchemist” in the late 16th century / early 17th century; and even though Jan z Lazu is recorded as having been “lucky to get away alive” when he told ex-Empress Barbara Celska (1390-1452) that the alchemy she was practising in Melnik (post-1441) was “fraudulent”, yet suddenly around 1611 printed works appeared in Prague attributing great alchemical secrets of the Philosopher’s Stone to him.

However, the more complex answer is (I think) that in each of these three cases alchemy was falsely attributed to the person in the decades around 1600 in order to further nationalistic quasi-historical purposes. Hence, the actual purpose of many alchemical texts from this period is not so much chrysopoeia (“gold-making”) as mythopoeia (“myth-making”) – people perceived that there was a pressing political need for an historical English / French / Czech alchemist to have existed, and so pressed existing historical figures into service. It might not make a lot of sense to us now, but that’s how it definitely worked way back then.

Incidentally, when in 2008 I asked the alchemy expert Adam McLean about Flamel-themed pseudo-alchemy, his response was well-nuanced and thoroughly helpful when considering this whole genre:-

Although contrived they are not "fakes" in the modern sense, rather
they are attempts to reconstruct the past, by devising an object
apparently emerging from a personality they wished had existed.
PS: J. R. R. Tolkien wrote a poem called Mythopoeia in 1931 (even before The Hobbit was written!), which certainly touches on a lot of themes eerily familar to both alchemy historians and cipher mystery aficionados. Voynich list-member Anthony was sure that Tolkien had seen positive rotographs of the Voynich Manuscript, which gives the following few lines an added resonance:-
[...]
and as on page o'erwitten without clue,
with script and limning packed of various hue,
and endless multitude of forms appear,
some grim, some frail, some beautiful, some queer,
each alien, except as kin from one
remote Origo, gnat, man, stone, and sun.
[...]
Yes! `wish-fulfilment dreams' we spin to cheat
our timid hearts and ugly Fact defeat!

My recently-started hunt for the authentic source of the “Anthony z Florencie” manuscript (which popped up at the Rudolphine court) continues. Only one person claims to be a disciple of Antonio of Florence: the early (if not the very first!) Czech alchemist Jan z Lazu / Johann von Laaz / Ioannis Lasnioro / Laznioro / Lassnior. This claim is in the last two sentences of his short book on the Philosopher’s Stone as it appeared in print in 1614, on pages 579 to 584 of the snappily-titled “Theatrum chemicum, praecipuos selectorum auctorum tractatus de chemiae et lapidis philosoplici antiquitate, veritate, jure, praestantia, & operationibus” Volume 4:-

Explicit via universalis Joannis de Lasnioro Lazon. sub Anno millesimo quadringentesimo quadragesimo octavo. Feria Sexta in Vigilia Viti. Ego vero Joannes Lucianus exemplavi diligentia magna anno quadringentesimo. Sit laus almae trinitati & individuae unitati sine fine. Amen.

Hic Joannes superius subscriptus de Lazionoro fuit discipulus apsius Antonij Itali de Florentia oriundi, qui hic in Bohemia propter eam artem Chymicam ab hominibus impiis est trucidatus, prout in Bohemico de lapide Philosophorum scripto testatus ita accidisse.

Basically, it claims that it was Jan z Lazu who wrote this down in 1448, after Antonio of Florence himself had been murdered in Bohemia (as a result of his alchemy).

Bohuslav Balbin in Tractatus II of his Bohemia Docta (Manuscriptorium shelfmark I C 21), claimed to have seen the original 1611 document, “de philosophico Ioannis Lassniori Bohemi opusculum“: and this discussion which in turn was picked up by Jungmann (1825). According to John Ferguson, Jan z Lazu was also discussed both by Schmieder and by Petraeus: while A. E. Waite’s “Lives of Alchemystical Philosophers”  (p.291) lists the first date for Lasnioro’s “Tractatus Aureus” as 1612.

However, there are four things I’d say about this:-

  1. The 1448 date is earlier than the 1457 date actually given in the “True Path of Alchemy
  2. The 1611 / 1612 / 1614 date is almost exactly the same time (or perhaps slightly after) when the “Observationes quaedam…” were written, which is hugely coincidental
  3. To my eye, there appear to be very few obvious similarities between the alchemy presented in this document and the alchemy presented in the “True Path of Alchemy
  4. None of it, sadly, rings particularly true.

There are plenty (if not actually a majority) of old alchemy texts that appeal to authority by linking themselves to an older (but unconnected) writer on alchemy – and I suspect that this is precisely the case here, i.e. that Jan z Lazu (if such a person even existed) was entirely unconnected to Antonio of Florence.

Anyway, now that I’ve started to separate all the different documents into historiographical strands, the formerly rather marky picture is beginning to clear. The connection with Vaclav Hanka seems to be a red herring; and similarly for the supposed connection with Jan z Lazu. What we have left appears to be a single issue: whether the “True Path of Alchemy” (marked in red in the following diagram) was the same document that is described in the “Observationes quaedam…”, or whether the versions we now have derive from a version that was concocted between 1606 and whatever date that the Leopold copy (shelfmark III H 11) was made.

AntonioProvenance

As yet, I’m still unclear where all this is headed – but I think we’re making good progress towards getting there. More as it happens… 🙂

Today’s Cipher Mysteries post comes from long-time Voynich researcher Jan Hurych, who very kindly agreed to go through Otakar Zachar’s (1899) monograph on the “Cesta spravedliva v alchymii” (“The True Path of Alchemy”) manuscript by Antonio of Florence dated 1457. Here’s what Jan found…

* * * * * * *

While Otakar Zachar’s name is now generally unknown, he appears to have been connected with various Czech National Museum archivists who he mentions in his book, and so was probably a known historical scholar.

His book is basically a commentary on (and a modern Czech translation of) the manuscript “Cesta spravedliva v alchymii” dated 1457, and which was written in the old Czech medieval language. Though its title translates as “The Right [or righteous, or just, or correct] Way in Alchemy” , it is not about travel 🙂 but rather about the alchemical methods and recipes written therein.

Zachar claims he saw the Czech original (or rather a copy, as explained below) in the National Museum (and which should today be in the National Library): however, becasue I was not able to reach that, I will describe only what is in his book, namely in his conclusion (from p.95 onwards). He also quotes some Latin text taken from Knihovna Národního muzea v Praze MS III H 11 (starting at its page 129r) that relates to this same manuscript, but which dates from around after 1606.

Zachar claims that the book was written by the Czech servant of an Italian alchemist called Antonio di Firenze (Florence) and was then hidden somewhere (in Bohemia?). In 1606 (an interesting date!) it was discovered – a hearsay, Zachar admits – by a doctor of medicine (perhaps Czech?) who recognized its value and brought the book to Jerusalem (apparently personally). After the doctor’s death, the book was hidden again (where, in Jerusalem? Or back in Bohemia?) and then rediscovered. Zachar studied the manuscript for several months and copied its text verbatim for his own book (the original text was written on parchment in black ink, with only its chapter headings in red).

The manuscript describes four methods for making gold:-

  1. A bottle of elixir provides gold in value of 30 marks
  2. A cheaper method, providing only gold “fluviatile”, that cannot stand fire
  3. An improvement on method #1
  4. Since gold above (the result of all three methods) contains sulphur, this method is a new way by which the “Veneris” [note that Venus” is normally the alchemical codeword for “copper”] can be removed

Zachar thinks that #4 is the real secret, and that Antonio and other Italians in Bohemia were looking for a special kind of sulphur, say a “secret sulphur” as it was called in old Czech. Zachar wonders where in Bohemia they were looking… Incidentally, here he calls Antonio “Venezian” (benatcan) so was he from Venice and not from Florence as Zachar said at the beginning? Apparently this was only Zachar’s slight mistake. He also mentioned that “Czech ways” were not as advanced as Italian ones. He noted that some passages in the manuscript were erazed – these passages interested Zachar most, but the erasure was too good for him to read past – he apparently did not have Wilfrid Voynich’s dark room! 🙂

Zachar believes that the Czech manuscript is only a copy of some original – why, he does not say. Also, nothing more is known about Antonio’s servant (who wrote down this manuscript). As for “1457”, that could well be when the original was written, the copy could have been much younger [my comment, j.h.].

So the book – or its history only? – must have been known in the 17th century while the good doctor was still alive, since the book was then in Jerusalem and hidden again after his death.  Of course, all this could have been merely the history of the original manuscript, while what Hanka found in Bohemia was a copy (though exactly when he did was never noted) which may never have travelled to Jerusalem and back again. 🙂

All in all, Zachar’s book does not describe the Voynich Manuscript, but another book entirely. Whether  Antonio himself ever wrote any book, especially the one we now call the VMs – we cannot tell. The Czech manuscript is of course solely concerned with alchemy – no zodiacs, no stars, and no bathing beauties!

* * * * * *

To make things even more complicated, Zachar claims the book reached the National museum via Mr. Vaclav Hanka, who was (in)famous for the discovery of two historical Czech manuscripts (Zelenohorsky, disc. 1817 and Kralodvorsky, 1818). Both of them are today generally considered as fakes, written from nationalistic motives – even though Hanka was an expert on Medieval Czech langauge, he apparently made a number of linguistic mistakes there. 🙂 Zachar confirms he saw the manuscript being first mentioned in 1825 (Jungman’s book History of Czech Literature) but he also quotes some  of the above history, from the copies of some alchemical works dating from the 1600’s. He unfortunately omits to say how he found out (or worked out) that they described exactly the same manuscript. 😮

Hanka himself  lived from 1791 till 1861 and from 1819 onwards he was an archivist in a Czech museum. After his discovery of those two manuscripts, they became the subject of the largely popularized nationalistic “Battle Of The Manuscripts” which lasted right up until the end of the 20th century. The quarrel split the Czech nation (which back then was under the control of the Austrian Empire) into two groups: passionate defenders and passionate rejectors. The battle later subsided and while it never fully stopped, today most people think both manuscripts were just frauds. That is not to say the old “Cesta spravedliva” definitely comes from the workshop of Hanka (and his friend Linda), but the almost-perfect medieval Czech language might just be a gentle giveway…

A big tip of the hat to Rafal Prinke: thanks to a swift reply from him last night, I can now say definitively that “The True Path of Alchemy” is not the VMs (confirming Rene’s suspicion), because both still exist independently. And the romanticized 1904 mention of the former by Henry Carrington Bolton that quickened my historical pulse yesterday with its uncanny resemblance to the VMs was, shall we say, rather less than 100% accurate. All the same, the affair is not completely closed just yet…

The manuscript of “The True Path of Alchemy” currently lives in the National Museum Library in Prague (though it doesn’t appear in any of their online catalogues). The first person to write about it in any detail was Otakar Zachar, whose 112-page 1899 monograph “Mistra Antonia z Florencie Cesta spravedlivá v alchymii” is available online (you can download it as a set of six 20-page PDFs). As an aside, “Otakar” was the name of Rudolph II’s pet lion, whose death in 1612 was (reputedly) seen as a portent of Rudolph’s own death later that year. Just so you know! 🙂

Zachar’s monograph contains (facing p.47) only one rather underwhelming scan of the original manuscript’s text: click on the following cropped & enhanced thumbnail to see a larger version:-

TruePath-f22v-f23r
“The True Path of Alchemy” f22v and f23r

Unless I’m hugely mistaken (no laughing at the back), the True Path appears to be written not in Italian or Latin but in Czech / Bohemian in an apparently 15th century hand, with the folio numbering in a standard 16th century hand.

Zachar also includes (facing his page 24) an image of a flask with a crown, which unfortunately appears as a near-black page in the scan (though you can just about resurrect it using fairly heavy image enhancement):-

TruePath-flask
“The True Path of Alchemy”, flask with a crown

According to note 43 on this webpage, a more up-to-date article on the Ms by V Karpenko appeared in Ambix 37, 61 (1990), which I shall try to read. Karpenko mentions that the ms contains 13 questions for telling whether an alchemist is false. Presumably #1 is: “does he/she claim to be an alchemist?” 🙂

As to attribution, one webpage I found seems to claim that the manuscript was actually written by Jan z Lazu (A.K.A. “Laznioro”, reputedly the first Czech alchemist) [the claim appears here as well]: but as my Czech extends no further than occasional words such as “rukopisu” (manuscript), I couldn’t say whether that relates to authorship, translation, or adaptation. Perhaps my Czech mate Hurychnioro will have a look and tell me how badly I’ve got it wrong. 🙂

I then went hunting for the MS reference in the scans of the National Museum Library’s card index, where Zachar’s book merits five cards (is that five copies? or five cross-references?): the card annotations mention “86 J 121”, “Schiller 294”, and “Zeyer 1977”. However, even though “86 J …” appears to be a plausible-looking shelfmark for the Knihovna národního muzea v Praze, searching for “86 J 121” in the Manuscriptorium returned no hits. Oh well!

Rene Zandbergen also very kindly sent over the GIFs absent from the voynich.nu site: unfortunately, there doesn’t seem to be any obvious mention of the “True Path” there. Really, to identify any manuscript in the Kunstkammer inventory (whether the True Path or even the Voynich Manuscript!), you’d need to know how it was bound (i.e. whether the cover was red or white leather etc) and what else was bound in with it. Zachar and/or Karpenko may well have included this information, of course, but I’ve yet to get quite that far. 🙁

And so… back to Bolton, where this all started.

If you compare the basic factuality with Bolton’s floridity, I think you’d have to conclude that the two don’t quite gel:-

  • 1475” – should have been 1457 (d’oh!)
  • “beautifully illuminated” – though there are some pictures and illuminated letters, from the poor quality of the handwriting I’d be fairly surprised if they were “beautiful” per se
  • “rare” – given that it’s the only extant copy, perhaps we’ll give Bolton the benefit of the doubt on this one 🙂
  • couched in exceedingly obscure and mystical language” – the jury’s out, as Karpenko seems to gives the impression that the text is a touch more rational than most alchemical texts. All the same, an alchemy text that’s not exceedingly obscure is probably a fake, so perhaps this is just Bolton being tautologous. 🙂
  • “library of Wresowitz” – Rafal Prinke highlights a good-sized 1855 article on Czech alchemy by Ferdinand Mikovec in the periodical “Lumir”, which says that Vaclav Vresovec z Vresovic (d. 1583) bequeathed his library (containing various alchemical mss) to the town council of Mala Strana in Prague. However, even though linking “The True Path” to this collection would be a good guess, I saw no mention at all of Counsellor VVzV in Zachar’s monograph, so I’m a little skeptical…
  • high price” – without any textual source, this may well be another Boltonian ’embellishment’, let’s say. 🙂

Despite my obvious disappointment that the True Path hasn’t turned out to be an early sighting of the Voynich Manuscript, I remain optimistic that it might yet turn out to be linked with Filarete. For example, 1457 is a perfect match for when the Florentine claimed to have been collecting and writing his little books of secrets in his (ample) spare time. It may well be that nobody to date has thought to examine “The True Path of Alchemy” specifically with a Filarete hypothesis in mind – might there be some textual ‘tell’ hidden in there? There’s only one way to find out…

Finally, Zachar includes (pp.91-95) a decent chunk of Latin taken from Knihovna Národního muzea v Praze MS III H 11 that relates to this manuscript. Thanks to the online magic of Manuscriptorium, I can see that these Observationes quaedam circa suprascriptum processum Bohemicum appear on pages 129r to 153r, and that they were written at the beginning of the 17th century (the text specifically mentions “1606”). Later on I’ll ask Philip Neal if there’s anything hugely interesting there – though the chances are quite small, you never know until you look!

A vast constellation of curious books revolves around the hazily uncertain core of the Voynich Manuscript: as with most things, some are outright good, some are just plain bad, while most live in a mixed-up zone in the middle.

Henry Carrington Bolton’s (1904) ” The Follies of Science at the Court of Rudolph II” is a poster-child for that mixed-up zone – equal parts fact and fiction, Bolton’s oeuvre contains more than a dash of both historical sense and hysterical nonsense. Though it does go on to cover many varied aspects of Rudolph’s court, the first half of it amounts to a greatest-hits compilation of the credulous alchemical mythology surrounding John Dee’s Bohemian adventure – “Now That’s What I Call Bohemian Alchemy #1“, if you like. 🙂

However, for all the hallucinogenic tableaux he conjures up via the shewstone of his historical imagination (and for all the brazen liberties he takes with the facts), Bolton clearly did go to a great deal of trouble to fabricate his Ikea mansion out a lot of, well, basically good stuff. Hence the reader (though often deeply suspicious) finds hundreds of genuine factual nuggets embedded into the walls of the proto-scientific passageway Bolton has tunnelled through the Rudolfine era.

So, my question to you is this: is the following particularly shiny nugget (pp.37-38) gold or lead?

[...] when conversation was interrupted by the
entrance of Martin de Rutzke, bringing with him a beautifully
illuminated and rare manuscript rescued at the dispersal of
the library of Wresowitz, who was reputed to have been a
successful experimenter. The work was entitled "The True

Path of Alchemy," and was written by Antonio of Florence
in the year 1475; being couched in exceedingly obscure and
mystical language, hinting only at the secrets of the black
art, it was particularly admired by Rudolph who ordered his
treasurer to pay the high price demanded for it, and instructed
his librarian to add it to his valuable collection.

For a start, this “beautifully illuminated and rare manuscript… couched in exceedingly obscure and mystical language, hinting only at the secrets of the black art” bought by Rudolph for a “high price” does sounds terrifically like the Voynich Manuscript as described by Dr Raphael Mnishovsky (according to Johannes Marcus Marci in 1665).

Furthermore, even if I just happened to have a time machine in my shed I could barely have engineered a more blatant archival link between Rudolph II and a mid-Quattrocento Florentine called “Antonio”. (Note that Antonio Averlino is reported by Giorgio Vasari to have died in Rome around 1469, but given that there is no documentation to support or refute this, 1475 is entirely possible.)

As far as the book’s 16th century provenance goes, Wolfgang von Wresowitz died on 21st March 1569, while Bernhard Wresowitz died in 1571, and presumably the alchemical “library of Wresowitz” Bolton mentions was dispersed not long after: Rudolph moved his court to Prague in 1583, but it would probably take someone like Rafal Prinke to trace the Wresowitz alchemical library connection any further.

All in all, the big research question then becomes: did Bolton just make up this whole thing (the document name, author name, date, price, and provenance), or was he reporting something he found while trawling relevant books for intriguing-sounding alchemical stories? He comments elsewhere that he made use of the books by Czech historian Josef Svatek (1835-1897), so perhaps that’s one place to start.

Normally, the first proper place one would look for this would be the 1607-1611 Kunstkammer inventory drawn up by miniaturist Daniel Fröschl, as described in detail in Rotraud Bauer and Herbert Haupt’s (1976), “Die Kunstkammer Rudolfs II“. Unfortunately, the relevant gifs have long disappeared from the voynich.nu Bauer-Haupt page, so doing this will probably require someone (i.e. probably me) to spend a day at the library. However, I should also caution that, because Rudolph II may well have presented the same book to Sinapius around 1608 when he gave him the “de Tepenecz” title (i.e. while Fröschl was drawing up the inventory), it is entirely possible that it may not appear there – so, absence of evidence there would (as ever) not be evidence of absence.

However, the problem with this is that Fröschl’s inventory was completely unknown to historians until the middle of the twentieth century, and hence was unknown to Bolton: so, whatever Bolton’s source for this story, the one place we can be sure it didn’t (directly) come from is that inventory.

But all the same: if not there, where on earth did Bolton happen to read about “The True Path of Alchemy“? If we could answer that question, we might well be able to find out about the Voynich Manuscript’s very early history… definitely worth a closer look, I’d say… 🙂

PS: quick reminder not to forget the London Voynich pub meet at 5pm tonight!

PPS: thanks to a high-speed reply from Rafal Prinke, it now looks as though this is not (after all) the Voynich Manuscript (which is a shame, but what do you expect if you rely on Bolton?) – and possibly closer to a chicken nugget than to a gold nugget. Even so, expect a further post on this shortly! 😮

What (in my opinion) has scuppered just about every code-breaking assault on the VMs to date has been the faulty presumption that you don’t need to worry about anything so boring as “getting the history right first”, because the statistical analysis fairy will fly in waving her +10 Wand of ANOVA and somehow sort it all out. Errrm… won’t she?

Yet even as early as 1931 John Matthews Manly pointed out that the Voynich Manuscript’s quire numbers were clearly written in a 15th century hand – hence it couldn’t easily post-date 1500. So why do people still persist in using their stats tricks to hunt for complex mechanisms (such as Vigenère polyalphabetic ciphers, and even the dreaded Cardan grille – though personally, I’d rather have a nice mixed grille) that weren’t invented till nearly a century later? Whatever cryptographic arrangement you propose yielded the VMs’ distinctively structured behaviour should be consistent with the limited palette of techniques available to a cipher-maker circa 1450-1500.

In short, history says (whether you choose to listen to it or not) that we shouldn’t hypothesize some single high-powered cipher trick – rather, we need to look for a set of simple techniques consistent with Quattrocento knowledge of cryptography blended together in a devious (and probably subtly deceptive) way.

Even so, 50 years of statistical hackery later, it seems pretty clear that the cryptographic stats fairy hasn’t worked her spell as hoped. But why should her (usually pretty good) magic have failed so abysmally?

Well… if you delve a little deeper into theoretical statistica, you find the theorists’ nimble “get-out clause” – that the presence of so-called confounding factors can disrupt all the neat assumptions underlying stats’ mathematical models. These factors, in a nutshell, are ways in which individual samples within your overall dataset are causally linked together locally in non-obvious ways that make the global numerical tests go wrong… really quite badly wrong, in fact.

Unsurprisingly, I believe that the presence of confounding factors is precisely the reason that the standard statistical toolbox continues to draw so much of a blank with the VMs – that is, the individual letters / glyphs are silently linked together in ways that act as local confounding factors to any global analytical pass. But if so, what exactly are those pesky linkages?

My conclusion is that the bulk of the, errrm, ‘confundity‘ arises because the “vowel” glyphs (a / e / i / o / y) are like many Budapest workers – they only get to pay their rent by holding down two or more different jobs at the same time (though normally only one job at any given moment). For example, I don’t believe that the “o” in “qo” has anything at all to do with the “o”s in “ot”, “or” or “ol” (you can tell this because “qol” only pops up in those later sections where you find free-standing “l” glyphs). Similarly, I don’t think the “a” in “aiin” is in any way linked with the “a” in “al”, or even with the “a” in “aiir” (because their usage and context patterns are so different).

Yet once you fully accept that this is the case, you’re more or less forced to follow a long path of uncomfortable reasoning that leads you right to the doorstep of an even more uncomfortable conclusion: that the cover cipher is largely formed of groups of letters. Which is to say, that a / e / i / o / y have no independent meaning except as part of the letters with which they are immediately paired or grouped, and that the Voynichese CVCV structure (to which linguists have clung for so long through a storm of criticism) is not definitive evidence of the presence of language, but is instead an artefact of the cipher system’s covertext – merely its misleading outer appearance, not its inner structure at all.

Furthermore, the VMs’ cunning encipherer occasionally adds in a “space-transposition cipher” after his “pairification” stage to prevent repetition of the pairs becoming just that little bit too obvious for his liking: for example, on page f15v, the first line’s “ororor” has been turned into “oror or“, while the second line’s “orororor” has been turned into “or or oro r“. To my eyes, the underlying sequential repetitions look very much as if the plaintext contains the oh-so-familiar “MMM”, “CCC”, “XXX” or “III” of Roman numbers, even circa 1450 a pattern so visually obvious to codebreakers that the verbose cipher system needed to be hacked yet further to conceal it.

Hmmm… four repeated Roman number letters, and four pairs in the or / ol / ar / al set apparently to hide repetitions – a coincidence? Or might it be that or / ol / ar / al in some way encipher m / c / x / i (though probably not in that order)? Well… I would be hugely unsurprised if this miniature four-pair cipher system turns out to have been designed specifically for this purpose in an earlier cipher, and that the mechanism was reused and adapted for the later (and far more complex) Voynichese cipher system that evolved out of it – that is, it remained in the encipherer’s personal cipher alphabet rather like a “cryptographic fossil”. (As a general aside, the idea that Voynichese popped into existence fully formed in the shape we now see it makes no engineering sense at all to me – something as tricksy and structurally complex must necessarily have gone through a fair number of stages of evolution en route.)

Incidentally: with spaces included, you see olol (51), arar (47), alal (37) and oror (23) – but take spaces out, and you get olol (186), arar (161), oror (87), alal (60), ololol (13), ararar (7), ororor (1), alalal (1)  and the orororor (1) mentioned above. At the same time, remove all the spaces and you see just four instances of okok and two of otot in the entire VMs, i.e. ol is followed by ol more than 50x more often than ok is followed by ok.

To be sure, this does not explain all the behavioural properties of Voynichese: ultimately, repetitive phrases like “qokedy qokedy dal qokedy qokedy” (and “ur so qokedy daiin, m8 lol“?) are dancing to a quite different underlying beat. Whatever kind of token gallows characters turn out to encipher, I think it is extremely unlikely that they are a single letter substitution – some other kind of enciphering mechanism is going on there (I suspect some kind of in-page transposition cipher). Similarly, I’m pretty sure that “qo”, “d”, and “y” encipher tokens of a quite different nature again (here, I suspect that they match the three basic abbreviatory shorthand marks that were in active use in the Quattrocento, i.e. “qo” => subscriptio, “d” => superscriptio [macron], and “y” => truncatio).

Arrange all these smaller systems together, and I think that what is revealed is a multi-stage cipher architecture looking broadly like this:-

vmsciphersystem-v001

Now, I’ve had flak from a number of people over the years (ummm… mainly Elmar, truth be told, bless ‘im) who comment that this kind of arrangment seems far too complex to be right. The problem I have is how to convince such naysayers that what I present here is the end result of a basically sensible methodology – that of decomposing the heavily-structured nature of Voynichese into its constituent pieces, each of which is consistent with the (relatively low) level of cryptographic technique available before 1500. That is, the real cleverness we are up against here isn’t one of fiendish mathematical complexity, but of cunning arrangement of simple pieces – not of Albertian innovative technique, but of Filaretian innovative architecture.

All the same, even the best-designed house needs walls and a roof – and here, the main cipher properties arise from the use of verbose cipher to make a language-like covertext. Get around that, and I the rest of the structure’s secrets may very well yield to the repetitive numerical prodding that is statistical analysis. Here’s how to do it:-

(1) write a simple text filter to undo the space transposition cipher:-
–> (a) get rid of any spaces between [o | a] and [l | r] – i.e. transform “oro ror” into “ororor
–> (b) get rid of any spaces between [or | ol | ar | al]  and [or | ol | ar | al] – i.e. transform “or al or” into “oralor

(2) tokenize the text into the following units, making sure that you tokenize “qo” before anything else (i.e. “qok” must tokenize to “qo” + “k”, and not to “q” + “ok”). Of course, I may have got the precise details very slightly wrong, but I’m pretty sure that this is not less than 90% of the way there.

qo
eeee, eee, ee, ch, sh
ok, ot, of, op, yk, yt, yf, yp
ockh, octh, ocfh, ocph, yckh, ycth, ycfh, ycph
ol, or, al, ar, an, am
air, aiir, aiiir, aiiiir
ain, aiin, aiiin, aiiiin
aim, aiim, aiiim, aiiiim
ckh, cth, cfh, cph
eo, od  <--- these two are the wobbly ones that may need further thought!

Note that a number of additional single-letter tokens get left over (most notably s, d, y, l, k, t, f, p), but these are not paired, so that’s OK. My guess is that any left-over “o” and “a” characters are probably nulls or pen-slips.

(3) perform your statistical analyses on the set of (roughly 50) tokens output by stage 2.

Note that I don’t believe that this somehow “solves” Voynichese in a single step (becaus nothing connected with the VMs has ever been that simple before, and that is unlikely to change now). However, I do believe that removing the pairs like this removes arguably the most problematic set of confounding factors from the text, and hence that doing so should allow the productive use of statistics to crack the rest of the cryptographic problems associated with Voynichese.

Gifted and talented kids have a pretty tough time of it. Even when they do manage find an outlet for the stuff buzzing in their head (here’s my 5-year-old son’s first film, if you haven’t seen it already), what on earth can their perpetually-lagging-behind parents point them at to keep them stimulated? While there are some genuinely cool things out there (such as the Robot Zoo at the Horniman Museum), these sadly tend to be as rare as hen’s teeth. With gold fillings.

One nice thing I like to take Alex to is the interactive monthly meetings of the Surrey Explorers, our local Kingston branch of the NAGC (the “National Association for Gifted Children”). He enjoyed building robots with Dr Bobor of Mitsubishi (here’s Alex’s jet-powered kangaroo robot design), finding out about Lonesome George, making music with balloons, learning magic tricks, etc. This term, he’s really looking forward to Street Dance in September and (as you probably guessed already, CM readers) Codes and Ciphers in October.

On this general theme, here’s something I found yesterday when playing with the Scirus scientific search engine. This summer (I believe), an Australian gifted and talented support organization called G.A.T.E.WAYS ran a series of four Voynich Manuscript-themed days (costing about £100 per child) called “The Mysterious Case of the Voynich Manuscript“, hosted by microbiologist / researcher Dr Geoff Crawford. Session #1 was a introduction to the VMs, Session #2 summarized historical codes & ciphers, Session #3 looked at forgery and hoaxes, while Session #4 was set up so that participants could actually try to crack the VMs for themselves. Yes, I’d say that pitching the VMs to kids like this is pretty cool – good job, I hope it went well! 🙂

Incidentally, for ages I’ve been meaning to give a (rather more modestly-priced, it has to be said) Voynich lecture, possibly at Treadwell’s. However, over the last couple of years, it seems – somewhat paradoxically – that the more I learn about the VMs, the less there is to say. “Voynich history”? Wishful thinking. “Voynich theories“? Hallucinatory enigmatology. Which is not to say that I’m pessimistic: but, rather, that I’d rather now talk about what the VMs is rather than what it might be, as the latter seems not to have got us anywhere in 500 years. 🙁

All the same, I think that there are two huge lessons to be learnt from Voynich research (for both adults and children!): (a) how easy it is to make mistakes when trying to do something really difficult, however clever you are; and (b) how hard it is to join different types of evidence together to build persuasive arguments. Hmmm… I’m not sure how well a über-rationalist message like that would go down with a typical Treadwell’s audience, though. Oh well! 😮