OK, I’ll admit it: people who talk about the Renaissance as a coherent historical phenomenon get on my nerves. There were numerous strands of thought at the time, all vying for the oxygen of attention, all trying to supplant medieval scholasticism: but arguably the two biggest new kids on the block circa 1400 were Renaissance humanism (think of Petrarch, etc) and Renaissance inventorship (think of Brunelleschi). While the former grew out of philology and a theoretical reverence for Classical texts, the latter emerged from the empirical world of clock-making.

Lynn Thorndike was happy enough (in his “Science & Thought in the XVth Century”) to point out that these two major strands were very often at odds with each other: but it should also be noted that the intersection between the two was far from empty. In fact, you might well look at the architects Leon Battista Alberti and Antonio Averlino – both born near Florence near to 1400 – as examples of “Renaissance Men” in the purest sense, in that they exemplified both strands at the same time.

The mystery of the Italian Renaissance (as described by Burckhardt and the generation of gung-ho pro-humanistic historians that followed him) is this: why did it emerge at such a narrow time (circa 1400) and place (Florence)?

For a long time, the dominant view has basically been that this was a random event, just one of those things that happen from time to time. However, some modern writers have begun to speculate whether a particular freak event or a subtle change in diet or eating habits might perhaps been the real “cause” of the Italian Renaissance.

For me, I would be unsurprised if insomnia turned out to be a key: Alberti writes, in his 1441 “On the Tranquillity of the Soul”, of “the agitation of his soul”at night, and how he can relieve this by trying to devise amazing machines for lifting and carrying weights. I wonder if an entire generation of Florentines suffered from a kind of intellectual insomnia, perhaps as a result of effectively becoming hyperthyroid from ingesting a particularly iodine-rich salt being brought into the city?

Or might the Florentines have simply become addicted to the sugar confections that had not long before suddenly filled the city’s apothecaries and markets? Might the Renaissance have simply been a metabolic balancing act as people tried to compensate for a giant communal sugar rush?

But there’s another possibility. If you were looking for a statistical explanation why a particular population produced more geniuses (while the overall bell-curve distribution probably remained intact), there would be two obvious candidates to consider – either (a) the mean IQ got shifted up (i.e. everyone somehow got smarter) , or (b) the variance increased dramatically (i.e. more extreme cases appeared at both ends of the scale).

This set me wondering: as I understand it, one of the problems often put forward with Darwinian evolution is that the natural rate of mutations is too low to support the amount of random change needed. So could it be that stable contexts inhibit mutations (i.e. encourage low adaptation rates), while troubled contexts somehow encourage mutations (i.e. encourage high adaptation rates)?

Interestingly, one medieval obsession presents itself here: that of whether “monsters” (freaks of nature) were signs (de-monstr-ations) of something greater happening in the world. Perhaps “monsters” in the human population were (and possibly still are?) literally a sign that the variance of the population is high.

Thinking about all this, it suddenly then became clear to me why low sperm counts make evolutionary sense: if a body is in significant physical difficulties, it makes no sense for it to try to reproduce offspring that are the same as it, as they would likely experience the same difficulties in the next generation. Instead, perhaps the body deliberately produces crippled, damaged sperm to try to encourage mutations that might be better adapted to the changing physical context. Otherwise, why would the body ever want to deliberately produce poor sperm or eggs? Perhaps the current medical view of “healthy” sperm is somehow clouded by an anti-mutation bias of some sort.

My prediction here is that that there will turn out to be reproductive mechanisms by which (a) healthy eggs repel damaged sperm and (b) damaged eggs discourage healthy sperm: leaving the two pivotal cases of (healthy eggs + healthy sperm) => low mutation rate (low variance, well-adapted to environment), and (damaged eggs + damaged sperm) => high mutation rate (high variance, poorly-adapted to environment).

But there’s a timing issue. Whereas sperm production is essentially a “just-in-time” process, women’s eggs are produced all in one go, and so form a lagging indicator to environmental adaptation (i.e. egg health in reproduction gives an indication of environmental fit 15-25 years earlier). So, could it be that, when looking for the source of the Renaissance circa 1400, we should instead look for a traumatic event in Florence circa 1380 that significantly affected women’s reproductive health, causing a change in the population’s IQ variance?

I really don’t know (this is a blog, not an article in Nature): but it is tempting to speculate whether it was simply coincidence that the Florentine Renaissance began two generations after the plague had ravaged Florence in 1348 (Boccaccio famously wrote about it). Might children born after the plague have stirred the Florentine gene-pool up in just the right way to set the Renaissance in motion a generation later?

Not long ago, I mentioned here that I had made a fist-punching-in-the-air breakthrough in my research, and promised to describe it more fully at a later date. Well, that later date has (thanks to a torrent of two gently chiding emails chivvying me along) now arrived: here’s what I found.

Regular Voynich News readers will by now be aware that I’ve spent a long time this year slowly trawling through various volumes of Lynn Thorndike’s vast “History of Magic & Experimental Science”. Given that I believe the Voynich Manuscript is an enciphered book of proto-scientific secrets rooted in Italian Quattrocento culture, Thorndike’s general focus on Italian scientific documents of the 14th (Volume III) and 15th (Volume IV) centuries is pretty much spot on. This approach has turned up a whole set of research leads to follow up over the next few weeks and months… so far so good.

But I also (sad completist I sometimes tend to be) picked up a copy of Thorndike’s rather less-well-known “Science & Thought In The Fifteenth Century” (1929, Columbia University Press): in which I found something pleasantly unexpected. But I’ll fill in all the background first…

Once upon a time (oh, in 2006), I wrote & published a book called “The Curse of the Voynich“, which described how I concluded from my meticulous codicological study that Quattrocento Florentine architect Antonio Averlino (better known as “Filarete”) was probably both the author and the encipherer of the Voynich Manuscript. Part of the textual evidence revolved around a set of “small works” to which Averlino alluded in his larger libro architettonico, and which I suspected were at least in part enciphered in the VMs. However, art historians have long disagreed about whether these other works actually existed, or whether they were just added in for spice to amuse Averlino’s (hoped-for) ducal audience: as far as anyone, there has long been no external evidence either way.

But then on p.219 of Thorndike’s “Science & Thought”, in chapter XII which is largely devoted to Giovanni Michele Alberto of Carrara’s “De constitutione mundi“, I found the following:

Antonio Averlino Filarete (1410-1470), who is commonly thought of as an architect and sculptor, is listed by John Michael Albert [i.e. Giovanni Michele Alberto da Carrara] among writers on plants as having treated that subject “elegantly in the vernacular tongue”. [94]

Thorndike’s footnote 94 then says:

Ibid. [MS Ashburnham 198], fol.78r: “Sed et Antonius Averlinus Philaretus lingua vernacula scripsit eleganter.” The work of Filarete on architecture was first printed only in 1890 (W. von Oettingen). In it he alludes to his work on agriculture, which is probably what John Michael Albert has in mind. See M. Lazzaroni and A Munoz, “Filarete, scultore e architetto del sec. XV”, 1908, p.281.

Somehow this whole mention appears to have gone unnoticed by all recent writers on Filarete: yet its existence would seem to strongly tip the balance of probability towards the likelihood that he did actually write his “other little works”. Hence why finding it was so rewarding (for me, at least).

Incidentally, MS Ashburnham 198 (one of the 11,000 manuscripts held by the Biblioteca Medicea Laurenziana in Florence) was dedicated to Boniface, marquis of Montferrat: and so was probably written between 1483 (when Bonifazio Palaeologo became marquis) and 1488 (when Alberto was given the title Count Palatine by Frederick III) or 1490 (when Alberto is thought to have died).

I then wondered where Alberto might have seen Filarete’s herbal manuscript. Alberto was born in Bergamo, trained in Padua, returned to Bergamo, and practised medicine at Rovato, Brescia, Chiari: and for a time was private physician to Roberto di Sanseverino, as well as Prior of the College of Physicians in Bergamo. I’d therefore guess that Alberto probably saw Filarete’s work (and perhaps even had a copy made of it) while in Bergamo, where he spent most of his life, only 50km or so from Milan where Filarete was working: or he may even have met Filarete, who is believed to have designed the plans for Bergamo Cathedral circa 1459, and who doubtless visited Bergamo on several occasions.

It would be amazing if Filarete’s elegant vernacular work on plants (or even just its incipit) could be identified: and so I started, emboldened by the archival research content of Day Three of the Warwick/Warburg Course, to think about where I might search (and for what, and for how long).

Identifying herbals from purely written descriptions is not unprecedented. In Thorndike’s “History of Magic & Experimental Science” Vol.IV (p.599), he describes Pandolphus Collenucius of Pesaro learning about herbs in Venice: “There in the street of the spice-dealers in a shop having as its sign the head of an Ethiopian he had consulted an herbal in which the plants were represented so carefully and artfully that you would have thought they grew on its pages.” In a footnote, Thorndike notes that Valentinelli (1872) “has shown that this was the De Simplicibus of Benedetto Rinio, with pictures of the plants by the Venetian painter, Andrea Amadio. The MS is now S. Marco VI, 59 (Valentinelli, XIII, 10).” All the same, we really don’t yet have enough to work with in the present case.

Where did Alberto’s belongings go after his death? Sergio Toresella tells me that Apostolo Zeno (1668-1750) wrote: “I understand that this Alberti was an humanist that wrote a lot of comedies and poetry but I do not know were his belongings went after his death.” So at least I’m not the first to ask!

But all is not lost: the Biblioteca Angelo Mai in Bergamo has a good collection of his letters and notes, and many manuscripts from his personal library (and so with his initials and coat of arms added to them). The library’s bibliographical description of its various humanistic documents taken from Kristeller’s Iter Italicum and Iter Supplementum is here. But, as Sergio points out, none looks particularly promising, with the possibly exception of MA 184-186 folio 8v “Ex experimentis et secretis magistri Guelmi” (though this too seems fairly unlikely).

There are some books on Alberto’s work. For instance, a 20th century academic called Giovanni Giraldi seems to have spent his life editing and publishing papers on him in obscure journals, many of which are reproduced in his 1967 book “Opera poetica, philosophica, rhetorica, theologica” (Novara: Istituto Geografico de Agostini): although none appears to be for sale online (boo), WorldCat lists 5 or 6 copies, one in the Warburg Institute (hooray!)

For Alberto’s life, there is “Giovanni Michele Alberto Carrara” by Ercole Vittorio Ferrario and Gian Camillo Donadi (1964), for which WorldCat lists just one copy (boo)… in the Wellcome Institute Library in London, just around the corner from the British Library (phew!). I’ve been meaning to go there for a while, partly to take a picture of its necromantic painting depicting John Dee (but that’s another story).

Interestingly, the Biblioteca Medicea Laurenziana makes a log of everyone who examines each of its manuscripts available on its website. Of the ten people listed for MS Ashburnham 198, there is someone from the Warburg Institute (in Hamburg!) in 1930, Patrick McGurk from the Warburg (in London) in 1953, Federici Vescalini Graziella in 1987, John Monfasani in 1995, and Ulrich Pfisterer in 1998, though I don’t yet know if Ulrich (who has written papers on Filarete) was or is aware of the mention on f78r: I’ll ask him, see what he says…

As far as the Voynich Manuscript goes, there’s always the tiny possibility that multispectral imaging of its very first page might just (if Alberto just happened to end up owning it) reveal a faint contact transfer from Alberto’s coat of arms and initials. But I’m more interested in seeing if the incipit is anywhere to be found: that would be far more useful for trying to break its cipher.

All of which may not seem like much to get hugely excited about, but it is a step forward (though admittedly only at the glacial pace normal for Voynich research). *sigh*

For me, Voynich research is one of those things that grind slowly onwards for long periods of time, punctuated by occasional testosteronal fist-clenching-in-the-air moments of elation, a bit like a prisoner being unexpectedly set free. OK, I know it’s a bit cliched: but I do it anyway.

For “The Curse of the Voynich“, I forensically examined the manuscript itself, travelled to all the places, critically read all the secondary sources, and from all that reconstructed the story as best I could. In short, I’d done an OK job: but though readers told me they liked it, it hadn’t set the world on fire. Though it ticked all the right boxes, it was obvious I had to go away and try harder. But what could I do better?

At first, I bought a pile of books on the history of cryptography, such as David Kahn’s “The Codebreakers”: all fascinating, but the question I’m trying to answer – “at the Quattrocento birth of mathematical cryptography, what kind of cryptography died?” – only features marginally (if at all) in the generally rather positivistic accounts presented there.

And then I realised what I had been missing. Sure, I had read plenty on Quattrocento individuals such as Filarete, Alberti, Brunelleschi, Taccola: but there was one gigantic motherlode of information which most historians seem to pay lip service to (rather than have to set aside several months to read): Lynn Thorndike’s epic multi-volume “History of Magic and Experimental Science”.

I therefore bought volumes III and IV (for the 14th and 15th centuries) and have now reached halfway through the latter. What continually amazes me is the amount of ground Thorndike covered that has apparently not been touched by anyone since: though there is a large literature tree cascading off it, it is very deep in places and non-existent in others.

From what I have read, I am now quite sure that virtually all of the Voynich Manuscript’s roots will turn out to be directly traceable from the late 14th and early 15th century: which means that we might in time be able to reconstruct or predict plaintexts for some sections. But these are still very early days in this ultra-long-term research programme. *sigh*

However, the good news is that I also bought a copy of “Science and Thought in the Fifteenth Century” by Lynn Thorndike: and one obscure page from that gave me precisely the clenching-both-fists-in-the-air-YESSSSS-moment I mentioned at the start. The details are too convoluted to go through here, but trust me, it’s a peach.

Shopping in the Renaissance“, Evelyn Welch [finished, still need to write review]

Astrology: a history“, Peter Whitfield [about half-way through, lots of good stuff]

Elizabeth’s Spy Master“, Robert Hutchinson [80 pages in, but a bit of a dour character to read much about]

The Renaissance in Europe: A Reader”, Keith Whitlock [Still not yet started this, beginning to wonder if I ever will]

Decipher” Stel Pavlou [33 pages in, a nice bit of superficial fun, shame I don’t have a beach holiday to take it on]

“History of Magic & Experimental Science” Vol. IV (Fourteenth and Fifteenth Centuries), Lynn Thorndike [20 pages in, but everything else has to go on hold while I read it]

Having just worked my way through Vol III of Lynn Thorndike’s “History of Magic & Experimental Science”, I thought I’d give my reading eyes a rest with some fiction: and so turned to “Vellum” by Australian writer Matt Rubinstein, a 2007-vintage Voynich-themed novel I mentioned here before.

The story revolves around Jack, a translator/subtitler who, while working on a near-untranslatable Russian film, stumbles upon an unreadable (and unapologetically Voynich-like) manuscript. Many of the other characters are librarians or collectors of obscure aphorisms, who seem to share his delight not so much in etymology, but in the living texture of language, its flow. However, the book’s central irony is that though Jack can read many languages, he cannot read the people around him: while their lives are complex and conflicted, his is empty – and so he allows the strange manuscript to fill his void.

Of course, while at first he can make no sense of it, under UV light its margins yield many clues to its provenance and history: and as Jack becomes progressively more attuned to its nuances and strange ur-language, it begins to reveal details to him of a fantastical machine to build, not entirely unlike a medieval version of the one in Carl Sagan‘s novel “Contact” (you know, the one filmed with Jodie Foster).

I have to say that at one point while reading Vellum, I did find myself completely immersed: this was when Jack’s growing obsession for his pet manuscript (and his disconnection from the world) suddenly lurched and exceeded my own. I felt the urge to try to pull him back from going over the brink: perhaps this was Matt Rubinstein’s focus for the book, to help readers find and explore the point where they felt uncomfortable with the change in Jack’s downward arc.

Though it has a contemporary European vibe to its vocabulary, Vellum is firmly situated in the Australian geographical and historical landscapes (spinifex, First Fleet, etc): and is all the fresher and more engaging for it. The paradoxical idea of an inland desert lighthouse recurs through the book, and (surprisingly to me) one such does exist, at Point Malcolm: I think this nicely mirrors various Voynich-like conundrums, which I’m sure you can work out for yourself.

In short, I like Vellum: though not perfect (plot-wise, the explosion is a bit clumsy, for example: and half-quoting Foucault’s quoting Borges don’t really work), it does have a lot going for it. For the mass market, though, I think the issue is whether Rubinstein manages to find just the right balance between research and story, between exposition and narrative: even though a few times he does err a little too far towards the former, overall I think he earns enough goodwill from the latter to get away with it. Buy it, read it, enjoy it! 🙂

One very early cipher involved replacing the vowels with dots. In his “Codes and Ciphers” (1939/1949) p.15, Alexander d’Agapeyeff asserts that this was a “Benedictine tradition”, in that the Benedictine order of monks (of which Trithemius was later an Abbot) had long used it as a cipher. The first direct mention we have of it was in a ninth century Benedictine “Treatise of Diplomacy“, where it worked like this:-

  • i = .
  • a = :
  • e = :.
  • o = ::
  • u = ::.

R:.:lly“, you might well say, “wh:t : l:::d ::f b::ll::cks” (and you’d be r.ght, ::f c::::.rs:.). But for all its uselessness, this was a very long-lived idea: David Kahn’s “The Codebreakers” (1967) [the 1164-page version, of course!] mentions the earlier St Boniface taking a dots-for-vowels system from England over to Germany in the eighth century (p.89), a “faint political cryptography” in Venice circa 1226, where the vowels in a few documents were replaced by “dots or crosses” (p.106), as well as vowels being enciphered in 1363 by the Archbishop of Naples, Pietro di Grazie (p.106).

However, perhaps the best story on the dots-for-vowels cipher comes from Lynn Thorndike, in his “History of Magic & Experimental Science” Volume III, pp.24-26. In 1320, a Milanese cleric called Bartholomew Canholati told the papal court at Avignon that Matteo Visconti’s underlings had asked him to suffumigate a silver human statuette engraved with “Jacobus Papa Johannes” (the name of the Pope), as well as the sigil for Saturn and “the name of the spirit Amaymom” (he refused). He was then asked for some zuccum de napello (aconite), the most common poison in the Middle Ages (he refused). He was then asked to decipher some “‘experiments for love and hate, and discovering thefts and the like’, which were written without vowels which had been replaced by points” (he again refused). The pope thought it unwise to rely on a single witness, and sent Bartholomew back to Milan; the Viscontis claimed it was all a misunderstanding (though they tortured the cleric for a while, just to be sure); all in all, nobody comes out of the whole farrago smelling of roses.

(Incidentally, the only citation I could find on this was from 1972, when William R. Jones wrote an article on “Political Uses of Sorcery in Medieval Europe” in The Historian: clearly, this has well and truly fallen out of historical fashion.)

All of which I perhaps should have included in Chapter 12 of “The Curse of the Voynich“, where I predicted that various “c / cc / ccc / cccc” patterns in Voynichese are used to cipher the plaintext vowels. After all, this would be little more than a steganographically-obscured version of the same dots-for-vowels cipher that had been in use for more than half a millennium.

As another aside, I once mentioned Amaymon as one of the four possible compass spirits on the Voynich manuscript f57v (on p.124 of my book) magic circle: on p.169 of Richard Kieckhefer’s “Magic in the Middle Ages”, he mentions Cecco d’Ascoli as having used N = Paymon, E = Oriens, S = Egim, and W = Amaymen (which is often written Amaymon). May not be relevant, but I thought I’d mention it, especially seeing as there’s the talk on magic circles at Treadwell’s next month (which I’m still looking forward to).

Finally, here’s a picture of Voynichese text with some annotations of how I think it is divided up into tokens. My predictions: vowels are red, verbose pairs (which encipher a single token) are green, numbers are blue, characters or marks which are unexpected or improvised (such as the arch over the ‘4o’ pair at bottom left, which I guess denotes a contraction between two adjacent pairs) are purple. Make of it all what you will!

My copies of Eileen Reeves “Galileo’s Glassworks” and Matt Rubinstein’s “Vellum” have both arrived in the post: and so the inevitable book triage process sets in, whereby I work out which of the books I’m currently reading to put to one side to make time/space for the new arrivals.

Unfortunately, I’m so utterly captivated by Lynn Thorndike’s “History of Magic & Experimental Science” Vol III (covering the 14th century), I’ll probably have to finish that one first. Only a few hundred pages to go, then…

A Latin aside: I’ve been programming with a code library from 3Dlabs with a function that normally appears as “des.init()”. However, desinit is a proper Latin word meaning “it ceases”, and refers (as anyone who has read Thorndike will know) to the words at the end of manuscripts, just as incipit refers to the words at their start. What I didn’t know until this week was that there is also a nice saying from Horace desinit in piscem (or in full “desinit in piscem mulier formosa superne“), which refers to a statue that starts beautiful at the top but ends up as a ugly fish at the bottom (it even gets quoted in Asterix and the Secret Weapon) – a handy metaphor for things which seem to start out well but end up badly. Nothing at all to do with 3Dlabs, then.

On the subject of books, I recently found a reference on WorldCat to a a real (ie non-fiction) Voynich book I’d never heard of, written by VMs mailing list member Jim Comegys in 2001, and with the catchy title “Keys for the voynich scholar : necessary clues for the decipherment and reading of the world’s most mysterious manuscript which is a medical text in Nahuatl attributable to Francisco Hernández and his Aztec Ticiti collaborators.” I’ll see if I can get a copy from Jim (though I suspect he may not have properly published it per se).

After my recent (and unexpectedly extended) foray into Voynich-themed novels, I thought it would be a good idea to get back to proper manuscript research.

f112r-star-para1One small feature I’ve been mulling over is the “starred paragraphs” in Quire 20, the final gathering in the VMs (the one which famously ends with the “michiton oladabas” page). I posted about this section not long ago, discussing Vladimir Sazonov’s suggestion that it might originally have formed some kind of 365-paragraph calendar. But what I’m thinking about here is the possibility that the “tailed stars” used to mark the start of each paragraph here were actually comets, chosen on the basis of a Latin pun.

Back circa 1500, the named structures used for written works were often slightly different from now. What we moderns would call a chapter or part, would typically have been called a book: while a modern subsection (a block of continuous text with a descriptive header) would typically have been called a chapter, or capitulum (literally “diminutive caput“, “little head”). Ironically, the short punchy chapters in Dan Brown’s “The Da Vinci Code” are closer in spirit to this medieval world of text than most other modern books.

What we therefore see in Quire 20 is what I think would have been understood in context to be not so much a series of paragraphs, but a series of “chapters” within a “book”. With this in mind, might those little shapes that have usually been called the “stars” or “tailed stars” be instead iconic comets?

Our word “comet” originally came from the Latin cometes, which itself was a loan-word from the Greek kometes, “wearing long hair” (it’s in Aristotle). Similarly, the Latin term crinis means hair, or tail of a comet, or rays of sun: and so a comet may be called a stella crinita, a ‘hairy star’ (yes, really!)

So, when I now look at the starred paragraphs, I do think that the “stars” there are very probably comets comprised of a little head (capitulum) and a deliberately hair-like tail. This kind of punning visual / Latin iconographic word-play would be consistent with the view of the VMs as a high-culture cipher: but perhaps seems a little too ornate or too conceptually ‘fancy’ for a mere hoax.

Modern astrologers (even such mainstream ones as Jonathan Cainer) are still sent into a tailspin (if you’ll forgive the pun) by comets, seeing in them omens for, well, all sorts of things, such as the death of Benazir Bhutto, etc: which is, of course, no different to ancient, medieval and Renaissance astrologers alike, for whom comets had the power to invite speculation, wonder, and fear.

But for the VMs, where should this research thread go next? As far as art history goes, Giotto famously depicted the 1301 appearance of Halley’s Comet in his Adoration of the Magi: and if you subscribe to a likely Quattrocento origin for the manuscript (as I do), I would guess that there is a lot more to find in Roberta Olson’s (2000) “The Florentine Tondo” (ISBN10: 019817425X, ISBN13: 9780198174257, £85) – pricy (but supposedly fascinating). I would also suggest “Cometary theory in Fifteenth Century Europe” (Kluwer, 1985, also £80 or so) by Jane L. Jervis, and Lynn Thorndike’s (1958) “Some tracts on Comets 1456-1500” (in Archives Internationales d’Histoire des Sciences 11 (1958) pp.225-260), none of which I’ve seen myself but perhaps will one day soon (if I spend a day at the BL, or win the lottery). I’ve also read that Galileo discussed (in his “Il Saggiatore“) the three comets that were seen in 1417: and so there was presumably much debate on this at the time.

I don’t know: it seems possibly too lightweight an issue to devote a great deal of time to. And yet there is much in the VMs that points to astronomical and astrological thinking – enough that I can empathize with Enrique Joven’s novel “Castle in the Stars“, where the VMs is imagined as being part of that general tradition (No! Enough with the novels, already!). Maybe there is enough there after all…