Become A Voynich Manuscript Expert In Just 5 Minutes…

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Would having “Expert on the Voynich Manuscript” on your CV significantly raise your perceived intellectuality (i.e. an extra ten grand per year on your salary)? It would? Then read on, and I’ll reveal the secret two-stage process that They don’t want you to find out…

Stage One. You start out by pretending to be a Voynich expert. All you have to know is:

(a) That the two jargon terms for the Voynich Manuscript are “VMs” (because “Ms” or “MS” is short for “manuscript”) and “Beinecke MS 408” (because it’s 408th in the Beinecke Library’s collection of manuscripts);
(b) That the VMs lives at Yale University in New Haven (because that’s what the Beinecke Library is part of); and
(c) That the VMs is a mysterious old handwritten book that nobody can read. Not even me!

If you really want, you can also read the Wikipedia VMs page: but apart from the fact that the Voynich Manuscript was [re]discovered in Italy in 1912 by dodgy book dealer Wilfrid Voynich (hence its name), feel free to basically skip the rest.

Incidentally, if you’re ever asked about anyone who has written about the VMs (Newbold, Brumbaugh, Terence McKenna, anyone really), any real Voynich expert would nod sympathetically and say “Poor old X – if only they had known what we know now“. Of course, this is a big fat lie, because we still know basically sod all about the VMs.

Stage Two. You continue by actually becoming a Voynich expert. This is also easy, as long as you can get a working grasp of the following basic statements:-

  • The VMs was probably made by a right-handed European between 1250 and 1640.
    If post-1622, explain how Jacobus de Tepenecz’s signature got on the front
    If post-1500, explain how 15th century quire numbers got on it
    If pre-1450, explain how Leonardo-style hatching ended up in some of the drawings
  • If the VMs is a language, note that its words don’t function like those in real languages
    If the VMs is a cipher, note that it doesn’t work like any known cipher
    If the VMs is nonsense, note that its letters appears to follow unknown rules
    If the VMs’ plants are botanical, note that most don’t resemble real plants

Now all you have to do is to devise your very own really, really lame signature theory. As long as it amuses you and doesn’t trample on the above dull bullet-points too badly, congratulations – you’re right up there with the big hitters! But how should you construct this new theory?

Actually, it’s quite helpful here to project how you feel about your own work onto how you think the original author(s) felt about the VMs. For example, if you think that your own work is meaningless, vacuous nonsense written solely to convince your employers to pay your wages, then you might try devising your own variant of the basic hoax theory template (which argues that the VMs is meaningless, vacuous nonsense written by [insert name here] solely to convince Emperor Rudolf II to pay a rumoured 600 gold ducats).

But be bold in your theorising! Be creative! Perhaps think of some vaguely Renaissance figure you admire (though Leonardo’s already taken, and he was left-handed anyway, d’oh!) or just happen to remember, preferably someone whose name you can consistently spell correctly. Wafer-thin historical connections to herbal medicine, astrology, astronomy, ciphers and mystery are probably bonuses here. So, Nostradamus would be a good ‘un: Queen Elizabeth I not so good.

But remember, you’re not trying to prove your theory is correct here (for what kind of an idiot would attempt that with such scanty evidence, 500-ish years after the event?) Rather, you’re just staking your claim to the possibility that

no images were found

might have been the author. And the level of proof required to achieve that is, frankly, negligible.

And hey, even if you choose the name with a pin and a biographical dictionary, if it eventually turns out that you are right, think how unbearably smug you’ll be. Possibly for decades!

Finally: however bad projecting your own life onto the VMs’ blank canvas may be as an historical approach (and believe me, it lies somewhere between ‘rubbish‘ and ‘pants‘), it is guaranteed to give you plenty of interestingly ironic things to say about the VMs when you’re asked about it at those hip higher-earner parties you’ll be attending. Oh, and at your book-launch too, naturally. 🙂

Czech Voynich theory…

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My fellow Voynich old-timer Jan Hurych has long been interested in various Prague-linked research strands: after all, Prague was home to the first three properly-documented owners of the Voynich Manuscript (Jacobus de Tepenecz, Georg Baresch, and Johannes Marcus Marci), as well as its most illustrious claimed owner (Holy Roman Emperor Rudolf II).

It is certainly true that Rudolf’s interests and obsessions acted as a powerful magnet to draw wonders from all over Europe to his court. Yet given that the claimed link with John Dee and Edward Kelley is gossamer-thin, it is no less sensible to wonder whether the VMs had been brought to Prague by someone from the town: perhaps someone well-travelled?

I mentioned Rudolf II’s manuscript-collecting astronomer / astrologer / herbalist / physician Tadeás Hájek here recently (who studied in Italy), but Jan Hurych regales me with tales of several others: for one, Hájek’s father (Simon Baccalareus) studied alchemy and collected manuscripts… though what happened to his library after his death is not currently known.

Jan has put together a nice page on one of his favourite Renaissance Czech travelling knights, Krystof Harant de Polzic and Bezdruzic, and his travels from Venice to Crete to Cyprus to the Holy Land to Egypt (etc). But I have to say that if a writer had picked up an intriguing cipher manuscript on their travels, it would be one of the first things they would write about: yet there is no mention. So we can probably rule Harant out, sorry Jan. 🙁

But Jan brings up a rather more full-on Czech Voynich theory, courtesy of Karel Dudek’s Czech webpage (though I used Google Translate, Dudek also put up his own English translation here). Dudek discusses Georg Handsch of Limuz (1529-1578), whose 1563 German translation of Mattioli’s Latin herbal came out a year after Tadeás Hájek’s Czech translation (it even used the same nice woodcuts!) Like Hájek, Handsch was a physician living in Prague, but whose main client was instead Ferdinand II Tyrolský (1529-1595) and his wealthy wife Filipina Welserová (1527-1580).

Dudek got his information from Leopold Selfender’s “Handsch Georg von Limuz – Lebensbild a Arztes aus dem XVI.Jahrenhunderts”: but after a bit of a false start (linking Handsch directly to Baresch, which I doubt would convince anyone), he proposes a possible chain of ownership from Handsch -> Welserová -> Ferdinand II Tyrolský -> Rudolph II -> Jacobus de Tepenecz, before Tepenecz’s estate got looted in the chaos of 1618 and the manuscript somehow ended up with Baresch (with the signature erased).

OK… but why Handsch? Dudek points to the VMs’ botany, and Handsch’s translation of Matthioli’s herbal (though I’d have to say that Hájek fits that bill even better). Dudek also discusses a book by Handsch based on his trips to visit medicinal baths and spas in 1571 called “Die Elbfischerei in Bohmen und Meissen” (eventually published in Prague in 1933), and sees parallels with the VMs’ water section there.

But Dudek gets even more speculative, talking about whether Bartoloměj Welser was financed by Charles V to undertake a (possibly Lutheran?) mission to South America, and drew pictures inspired by exotic plants he saw beside the Orinoco (hey, I thought he was a Womble?)

It’s a good story, but a little lacking in connection to the VMs: and doesn’t really explain why we see (for example) 15th century handwriting in the quire numbers, or even the Occitan-like month names on the zodiac, etc. Perhaps we should really admit that looking for an origin for the VMs in Prague may be a little too hopeful, not dissimilar to the way 19th century German historians’ looked to see if Nicholas of Cusa might secretly have been some kind of Teutonic Leonardo. Nice try… but no cigar.

Navigating Voynich Manuscript f1r…

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Seeing the Voynich Manuscript for the first time is quite an intimidating experience: you’re looking at something which is so uncertain in so many different ways – how should you try to “read” it?

In general, when you look at a page of text, you do two different types of reading: (1) you work out how everything is laid out (you navigate the page) and (2) you read what is contained within it (you read the text). In computer science terms, you could describe the layout conventions and text conventions as having two quite separate ‘grammars’.

For instance, if you picked up a Hungarian newspaper, I would predict that you would stand a good chance of being able to work out its structure, even though you may not be able to understand a single word. It’s perfectly reasonable, then, to be able to navigate a page without being able to read it.

What’s not widely known about the Voynich Manuscript is that researchers have identified many of the navigational elements that structure the text (even though they cannot actually read them). I thought it might be helpful to post about these (oh, and I’m getting emails mildly berated me for posting too much about the wrong ‘v’, i.e. that it’s not “Vampire News“).

As a practical example, let’s look at the very first page of the manuscript proper: this has the name “f1r” (which means “the recto [front] side of folio [double-sided page] #1″). You may also see this referred to as “f001r” (some people use this naming style so that their image files get sorted nicely), or even as “1006076.sid” (this is the Beinecke Rare Book & Manuscript Library’s internal database reference for the high-resolution scan of f1r, which they store as a kind of highly compressed image). This is what f1r looks like:-

Note that the green splodges aren’t actually part of the page itself – they’re green leaves painted onto the reverse side of the folio (that is, on f1v, “folio #1 verso [back]“) that happen to be visible through the vellum. I’ll leave the issue of whether this is because the paint is too thick or the vellum is too thin to another day…

If we use a tricky colour filter written by Jon Grove (more on it here), we can make a passable attempt at removing the green splodges: and if we then bump up the contrast to make everything a little clearer, we can get a revised image of f1r:-


Red areas: these form the first four paragraphs of the text. These often start with one of four large vertical characters (known as “gallows characters”), and appear to have been written from top-left down to bottom-right, as you would English, French, Latin etc.

Blue areas: these are known as “titles”, and are typically right-aligned words or short phrases added to the end of paragraphs. It has been proposed that the text contained in these might actually be section titles (which seems fairly reasonable). There’s a brief discussion on this by (a differently spelled!) John Grove here, who first suggested the term.

Yellow area: this is a cipher key arranged vertically down the right hand side of the page that someone has written in (and only partially filled before giving up) in a 16th century hand. Though a bit indistinct, you can still make out “a b c d e” at the top left and a few other letters besides.

Bright green areas: these odd shapes appear nowhere else, and are generally referred to as “weirdoes” (for want of a better name). Interestingly, these are picked out in bright red: f67r2 is the only other place with red text that I can think of (the page that was originally on the front of what is now Quire 9).

Dull green area: this is where the earliest proven owner wrote his signature (something like “Jacobus de Tepenecz, Prag”, though it is very hard to make out), which a subsequent owner appears to have (quite literally) scrubbed off the page (if you look carefully, you can see what appears to be two or more watermarks at the edges of the area). The question of why someone would want to do this is a matter for another day…

Pink area: hidden in the top right corner next to some wormholes and the folio number (“1”, in a sixteenth century hand) is a very faint picture, possibly of a bird. Surprisingly, this subtle piece of marginalia doesn’t appear in GC’s otherwise-very-good gallery of Voynich marginalia: so here’s an enhanced picture of it so you can see what I’m talking about:-.

So, even if we can’t yet read f1r’s text, can we navigate its layout? I believe we can! From the presence of red text, I’m fairly certain it was the first page of a quire: and from the signature and weathering, I don’t see any reason to think this was ever bound anywhere apart from at the front of the manuscript. This leads me to predict that the set of four paragraphs forms an index to the manuscript as a whole, and so very probably describe four separate “books” or “works”, where the “title” (appended to the end of the paragraph) is indeed the title of that book.

If you were looking for cribs to crack the titles 🙂 , my best guess is that the first book (section) is a herbal, the second book is on the stars (astronomy and astrology), the third book is on water, while the fourth book comprises recipes and secrets. I also suspect that this index page was composed about three-quarters of the way through the project, and that the (really quite strange) Herbal-B pages were added in a subsequent phase. But, once again, that’s another story entirely…

Review of "Enoch’s Portal"…

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Another day, another Voynich novel to read: but “Enoch’s Portal” by A.W.Hill is certainly one with a heady sense of ambition. The flame the author wants us readers to touch is nothing short of an occult ‘Theory Of Everything‘: a kind of quantum alchemy, linking Cathar euthanasia with Renaissance magic all the way through to Nazi Germany, the Temple of the Sun (though this is the name of a 1969 Tintin film, the Order of the Solar Temple is what is really meant) and the twin modern magics of finance and Hollywood. And the threads binding this bulging mass of ideas together are the Voynich Manuscript, an impossibly virginal woman called Sofia, an impossibly filmic hero called Stephan Raszer, and… former Czech president Vaclav Havel. Ohhhh yes.

The Voynich aspect of the book is straightforward enough: the author buys in to Leo Levitov’s whole Cathar Endura ritual reading of the manuscript, along with all the John Dee fairy dust that people like to sprinkle on the VMs to make an otherwise unpalatable mystery taste that little bit sweeter. Yet the author has a character called Dr Noel Branch describe the VMs as “A theurgic riddle in the guise of soft-core pornography” and insisting that the “the key might lie in those silly illustrations” which are usually dismissed as nonsense: which would seen to indicate that Hill has at least properly engaged with the VMs on some level. 🙂

But for me, Hill gets enough of the history wrong in important places to break the narrative spell: for example, John Dee was never Emperor Rudolf’s alchemist (though Edward Kelley was, and Sinapius / de Tepenecz arguably came close enough too [though one might perhaps call him the “Imperial Distiller”]). Which is a bit of a shame, as this isn’t really a key support for the story.

Speaking of the story: in it, Stephan Raszer’s job is basically to track down rich women lost in cults, empathize with them, show them his own scarred wrists, have them fall in love with his failed-actor good looks, and convince them to transfer their (implicitly sexual) passion for the cult over to him… so that he can then haul them back to the pampered bland existance in Richville they worked so hard to escape from, thereby earning his handsome fee.

But Raszer is not so much a character as a filmic construct, formed from the unholy merging of a Kundalini/chakra-obsessed later Stevan Seagal (though Raszer never actually fights as such), a later Arnold Schwarzenegger (his “I don’t shoot peepul, I only saif cheeldren” phase), and the asexual 1990s James Bonds, who (along with their audiences) were neither shaken nor stirred by the various Dreary Hi-Tech Plot Devices Of Doom placed in their paths.

Females in “Enoch’s Portal” fare little better: Raszer’s partner comes from the same mop-up-all-the-loose-plot-threads school as did Tom Cruise’s impossibly capable assistant in “The Firm” (Holly Hunter); while the empowered modern women Raszer meets are all so, errrm, “enmoistened” by his good looks that they basically make love to him while his soul leaves his body on a brief spiritual holiday. Ghastly stuff.

All the same, there was a good idea in here: though Raszer lives in a supernatural world of walk-ins, succubi, and the like, the cults he deals with are basically spiritual frauds – which leads to an (actually quite interesting) question of whether Raszer is in fact delusional… but this is never obviously addressed.

Really, the problem I had with the book is that (whether it is actually true or not) it comes across again and again as having been written by someone who has watched too many trashy 1990s action movies and taken too many drugs, all the while not really engaging with the world around them. The thought kept returning when I was reading the book that it could all have been redeemed if only the author had done X or pulled back from Y… *sigh*. All in all, I just wish that Hill had had the courage of his convictions and written a screenplay instead, rather than the book of the film in his head. Oh, well!