A fulsome tip of the Cipher Mysteries hat to Luck Thief Luke Fitch for passing on a link to this (actually rather nice-looking, I think) Voynich-themed iPhone4 case shipped all the way from Hong Kong. Luke bought one for his girlfriend for Christmas “and she loves it“, thus proving once and for all that romance and cipher mysteries can indeed co-exist. (Though I’m not entirely sure my wife would 100% agree.)

As I’m sure at least 20% of Cipher Mysteries regulars will know, the image chosen is cropped from page f40v, the end page of the Voynich Manuscript’s Quire 7. The plant depicted is very similar-looking to the (marginally better-known) plant on f33v, which Hugh O’Neill in 1944 thought was a “sunflower”: Robert Brumbaugh also thought this was the case (though much later).

However, because of a number of compelling counter-arguments raised by Jorge Stolfi, the whole sunflower notion now seems to have, errm, had its day in the sun. More recent alternatives include:-
* Dana Scott suggested in 2001 that it might be related to Epiphyllum oxypetalum;
* Edith Sherwood suggests Crocus vernus;
* Berj N. Ensanian suggests that comparisons with giant Pitcher plants present themselves.

What I can say is that it’s a Herbal ‘B’ page written (as usual) in Currier Hand 2, with a ‘title’ (offset text block) on the bottom-most line. There is only a single l-initial word (‘lar’), and a fair smattering of single-leg gallows. I don’t think its roots or leaves are repeated in either of the later pharma sections.

Even though this is quite vividly coloured, I don’t personally believe this is actually a plant… but that’s another story entirely! 🙂

Roughly once a month on a Sunday morning, I take my son Alex along to a local kids’ group called Surrey Explorers for what is almost always a fascinating and hands-on talk about something a little unusual / challenging / stretchy / geeky / fun. Recent talks included “The Science of Zombies” (given by Surbiton zombie kung fu science fan-girl Anna Tanczos) as well as one on all sorts of weird and wonderful anamorphic art. These are normally held at Kingston University’s Kingston Hill campus, not too far from the A3.

Anyway, given that (a) I think Surrey Explorers is great, and (b) I blog about what is surely the coolest (if occasionally utterly ridiculous) geek thing going, I thought it was time to give something back to the group. Which is why I’ll be giving the best cipher mystery talk for kids ever there, entitled “Codes and Ciphers in History and Mystery – from The Hobbit to Winston Churchill” on 3rd February 2013 at 10.30am till 12.30pm. Hence the answer to the question “What’s on in Kingston for kids in February?”, the answer is now officially meeeeeeee.

As you’d expect, there’ll be no big surprises about the subject matter (errr… the clue’s in the title). I’ll be starting with a bit of interactive Hobbity rune stuff (A.K.A. “Futhark”), moving on to some real-life magical ciphers and recipes, then rapidly whizzing through a millennium or so of concealed writing (particularly those mysterious ones that nobody can yet read, Cipher Mysteries regulars will be utterly unsurprised to hear), before finishing up with the latest on that dead pigeon code that has so enthralled the media over recent months.

To end the day, I’ll answer questions on just about any cipher-related question anyone cares to throw my way, and perhaps give some recommendations about cool kids’ books based on ciphers.

If you have children aged 6-13 who this might be fun for, I hope to see you & them there – I’m a big fan of Surrey Explorers, and wish more people knew about it, so it would be great to have a full house!

PS: if you want links to some cipher articles to get you in the mood, I’d suggest
* The Phaistos Disk
* Voynich Manuscript
* Beale Papers
* Rohonc Codex
* The Dorabella Cipher
* The Unknown Man
* The Zodiac Killer

In four words, the Voynich Manuscript is a puzzling old thing (and really, ain’t that the truth?). Filled with unknown plants, unrecognizable astrology & astronomy, and numerous drawings of small naked women, the fact that we also can’t read a single word of its ‘Voynichese’ text doubles or even triples its already top-end mystery. Basically, the Voynich Manuscript is to normal mysteries as a Scooby sandwich is to an M&S prawn mayonnaise sandwich.

People have their theories about it, of course. The last ripe strawberry of a mainstream Voynich theory came back in 2004 from academic Gordon Rugg, who declared that it was a hoax made using late 16th century cryptographic table-based trickery. Sadly 2009 saw an early 15th century radiocarbon dating of its vellum, which would seem to have made a fool of such fruity ingredients. Or if not a fool, then certainly a bit of a mess.

Despite almost-irreconcilable dating problems, numerous Voynich theories continue to find support from eager evangelists, angrily jabbing their fingers at any epistemological cracks they can see. The most notable get-out clause proposed is that some devious so-and-so could theoretically have used centuries-old vellum for <insert fiendishly clever reason here>, rather than some fresh stuff. This is indeed possible. But also, I think, rather ridiculous.

Why? Because it adds yet another layer of possible unlikeliness (for it is surely extraordinarily unlikely that someone back then would have such a modern sensibility about faking or hoaxing that they would knowingly simulate a century or more of codicological activity), without actually helping us to manage or even reduce any of the existing layers of actual unlikeliness.

Ironically, many such theorists prove anxious to invoke Occam’s Razor even as they propose overcomplex theories that sit at odds with the (admittedly somewhat fragmented) array of evidence we have. Incidentally, my own version is what I call “Occam’s Blunt Razor”: “hypotheses that make things more complicated should be tested last, if ever“.

For more than a decade, I’ve been watching such drearily unimpressive Voynich theories ping (usually only briefly, thank goodness) onto the world’s cultural radar. Most come across as little more than work-in-progress airport novella plots, but without the (apparently obligatory) interestingly-damaged-yet-thrustingly-squat-jawed protagonist to counterbalance the boredom of trawling through what passes for historical mystery research these days (i.e. the first half of Wikipedia entries).

And so I think it was something of a surprise when, back in 2006, I grew convinced that the Voynich Manuscript had been put together by the Italian architect Antonio Averlino (better known as Filarete), and even wrote a book about it (“The Curse of the Voynich”). But by taking that step, wasn’t I doing exactly the same thing as all those other Voynich wannabe theorists? Wasn’t I too putting out an overcomplex theory at odds with the evidence that signally failed to explain anything?

Well… no, not at all, I’d say. Averlino was the cherry on the dating cake I’d patiently built up over the years: the cake led me to the cherry, not the other way around. And that dating framework still stands – all the analysis I’ve carried out in the years since has remained strongly consistent with that framework.

Even so, I’m not wedded to Averlino: my guess is that you could probably construct a list of one or two hundred Quattrocento candidates nearly as good a match as him, and it could very well have been one of those. Yet what I am sure about is that when we ultimately find out the Voynich’s secrets, it will prove to be what I said: a mid-15th century European book of secrets; collected from a variety of sources on herbalism, astronomy, astrology, water and even machines; whose travelling author was linked directly to Milan, Florence, and Venice; and whose cipher was largely composed of 15th century scribal shorthand disguised as medieval scribal shapes (though with an annoying twist).

Averlino aside, please feel free to disagree with any of that… but if you do, be aware that you’ve got some important detail just plain wrong. 🙂

Perhaps the most disappointing thing about the Voynich Manuscript is that historians still skirt around it: yet in many ways, it offers the purest of codicological challenges ever devised. For without the contents of the text to help us (and a provenance that starts only in the 17th century, some 150 years or so after it was constructed), all a professional historian can rely on is a whole constellation of secondary clues. Surely this is the best gladiatorial arena ever offered?

I’ll happily help any historian who wants to take the mystery of the Voynich Manuscript on, 21st century style. Yet it would seem that few have the skills (and indeed the research cojones) to do ‘proper’ history any more, having lost them in the dense intertextuality of secondary research. Without close reading to back their judgment up, how many can build a historical case from a single, unreadable primary source?

You know, I still sometimes wonder what might have happened if, in the 1920s, John Matthews Manly and Edith Rickert had chosen not Chaucer as their über-subject matter but the Voynich Manuscript instead. As a team, they surely had more than enough cryptological and historical brains to come devilishly close to the answer. And yet… other times it seems to me that the Voynich offers a brutally nihilistic challenge to any generation of historians: for the techniques you have been taught may well be a hindrance rather than a help.

All in all, perhaps (capital-H) History is a thing you have to unlearn (if only partially) if you want to make sense of the Voynich Manuscript’s deep mystery – and that is a terrifically hazardous starting point for any quest. For that reason, it may well be something that no professional historian could ever afford to take on – for as Locard’s Exchange Principle would have it, every contact between things affects both parties. A historian might change Voynich thinking, but Voynich thinking might change the historian in the process… which might well be a risky exchange. Ho hum… 😐

It may surprise you a little, but sometimes I do like to think about things which aren’t to do with cipher mysteries at all. Today I stumbled upon a short video on situational irony that, just like Alanis Morissette’s song “It’s Ironic”, professed to explain irony by example yet failed miserably. Having said that, perhaps the creator’s inability to explain irony despite setting out to do so is the best example of irony that could be given… but I’ll leave you to decide for yourself.

But that set me thinking about irony punctuation, specifically the reversed question mark ‘⸮’ which your browser may or may not support. And that set me thinking about the 16th century English origins of the modern question mark glyph ‘?’. And that set me thinking about the late mediaeval abbreviation for ‘quaestio’ (‘what’) i.e. ‘qo’ or ‘4o’, where (many typography historians believe) the ‘o’ subsequently migrated down beneath the ‘q’/’4’ to yield the modern question mark shape.

But that reminded me of a decade ago when I was tracing the origins of the ‘4o’ shape seen in the Voynich Manuscript: back then, I stumbled across some late 14th and early 15th century examples of ‘4o’ in legal documents, but have been unable to find any since. In retrospect, I think that what I was looking at were very probably examples of abbreviated ‘q[aesti]o’, i.e. prototypical question marks. In fact, this ‘4o’ glyph pair appears in a number of Northern Italian fifteenth century ciphers, particularly in Milan (but that’s another story).

Yet in Voynichese, the ‘4o’ shape almost always appears at the start of words (which isn’t where question marks go), and at the start of multiple adjacent words such as ‘qokedy qokedy’ etc (which is also not how question marks work). Hence I believe that what we are looking at in Voynichese’s ‘4o’ is a 14th century abbreviation-cum-shape being appropriated and put to some other confusing use within a non-obvious textual system, in just the same way that the Voynich’s ‘aiir’ / ‘aiiv’ family of shapes appears to be a 13th-14th century page numbering abbreviation-cum-shape being appropriated and put to some other confusing use within a non-obvious textual system.

If you can think of a better definition of cryptography, please let me know. 🙂

But while I was idly looking all this up, I noticed several mentions of medieval brackets: apparently, the widely used convention for these was to surround the contents with reversed brackets (i.e. back-to-front relative to modern brackets) and to underline the contents. So, whereas we would write (tum ti tum), a medieval scribe would write )tum ti tum( instead.

Wait just a minute, I thought, I’ve seen these early on in the Voynich Manuscript. Isn’t it the case that what researchers sometimes call “split gallows” enclosing text is simply visually hiding an upside-down medieval bracket set?

Just to be clear, here’s what I’m thinking:-

This visual trick only occurs right at the start of the manuscript (in fact, the above example is from f8v, on the back of the first bifolio). However, I suspect that splitting gallows in this way served to highlight the contents rather than to hide them, and so the encipherer then finessed the cipher system to use other (far less obvious) ways of achieving the same end through the rest of the document. Hence I believe that this was an early experiment in hiding the contents of the split gallows, which morphed into the far less visually obvious horizontal Neal keys (pairs of single-leg gallows, usually placed about 2/3rds of the way across the top line of a page or paragraph).

So… I started out trying to read about irony (and not do Voynich research), and ended up doing Voynich research after all. Is that ironic?

Just a quick note to let you know that a freshly printed boxful of my book “The Curse of the Voynich” arrived here today, and with shinier covers than ever. 🙂 It is, of course, a perfect last-minute cipher-mystery-related Christmas present (for others or indeed for yourself), so feel free to order a copy (click on the appropriate PayPal-linked Buy Now button at the top there, and off you go).

If you don’t know about my take on the Voynich Manuscript, I’ve posted a 1000-word summary of the book here, part of which was covered in the National Geographic Ancient X-Files half-episode you may have seen (and which YouTube has now taken down). What I like best about “Curse” is that for all the potshots people have tried to take at it, it’s all basically still standing, which – considering that this is a highly-contested field where a typical Voynich theory has a shelf-life of a few days at most – is pretty good going, I think. 🙂

As always, I sign all copies bought direct from the Compelling Press site, and offer the option of adding an anagrammatic dedication at the front: so if your name was (for example) “Leonardo da Vinci”, you could have your copy dedicated to “Vindaloo and Rice” (which remains one of the best anagrams ever, however much you happen to like “Invalided Racoon”).

Incidentally, of all the other books on the Voynich Manuscript out there, I’d strongly recommend Mary D’Imperio’s classic (1976) “An Elegant Enigma”, which is now freely downloadable from the NSA as a PDF. Anyone with an interest in the Voynich Manuscript should read this – even if it is a little bit dated in places, D’Imperio does cover a lot of ground.

Sometimes I see stuff sold on eBay or elsewhere that namechecks the Voynich Manuscript in a very superficial way, like a fine sprinkling of mystery pixie dust to elevate the ordinary into the not-quite-so-ordinary. But pretty much all I’ve seen before pales when compared with this handmade jewellery sales pages patter for (I swear it’s true, I couldn’t make it up) “NECKLACE of naiad nymph erotic magick sex slave voodoo multi lovers rare djinn“.

What kind of rare genius could construct such a wondrous-sounding sequence of allusive words? Well…

“I am one of the very few. As the last single translator of the Voynich manuscript, I am the only one who knows secret norse runic knowledge, and I have made a rare & amazing strange items to share. I come from a secret sect in Iceland of Ásatrúarfélagið Alchemists of The Exalted Most High Ones of Ásatrú. As a Most High One, I have influenced world leaders and everyday people alike. My power comes from secret sources long put aside by the waning influence of Germanic Norse Paganism and forgotten by modern man. After my teacher died and I am not teaching any further, my death shall mean my secrets will die with me. Knowledge of how to translate the Voynich manuscript with runes is something no other priest, witch, or other energy worker has. Most have no idea of its meaning whatsoever. My talents are more ancient than any other source on heaven, on earth, or in the secret hollow earth cities run by the reptilians.”

Sooooo… what do you get for your 19USD or so? Apparently “two bone beads around a coyote tooth on a hemp necklace“, which yields “an item of ultimate power and wisdom, made with runic wisdom. In this case I have harnessed the powers of the Voynich Runic Writings to achieve amazingly powerful positive results“.

What strikes me most from this is that at some point in the last couple of years, the “mysterious Voynich Manuscript” cultural meme seems to have broken out of its ‘hoodoo history’ micro-cage and gone diffusely viral into the world at large. I doubt if this was triggered by anything so rational or sensible as the Voynich Centenary Conference, or even by the whole Voynich centenary itself: rather, it seems to have “just grow’d”, one twisted little step at a time.

So in many ways I suspect the whole idea of the Voynich Manuscript now finds itself at a kind of Koyaanisqatsi-like paradoxical tipping point: a physical object that remains too incredible to be properly researched, yet which is well-known enough to find itself retrospectively attached to intangible / ethereal / insubstantial subjects that lack external credibility. In our culture at large, is it too credible or too incredible? Really, I just don’t know, sorry. 🙁

Codes – ciphers – concealed stuff – secret histories – I love it all, really I do. But… in moderation and in balance: and the #1 reason I don’t believe in century-spanning conspiracies (of the kind so loved by trashy novelists) is not “because they’re impossible”, but because I haven’t as yet seen a single shred of evidence that actually supports the existence of such things.

Even the infamous ‘Priory of Sion’ was ultimately no more than an archival fantasy constructed by a man who believed it would help support his delusional claim to be King of France: and that was arguably the best of a bad bunch.

All of this is in my head as I turn to a new book called “The Encrypted“. Its author Loret Love claims to have found and decrypted a code more than 5,500 years old, that is hidden in plain sight in (you probably guessed already)…

“the Declaration of Independence, King Tut’s Throne, The Kensington Stone, The Statue of Liberty, Mt. Rushmore, Newport Tower, the Voynich Manuscript, and many others. Among the famous artists and writers associated with the code were Da Vinci, Jules Vern, Robert Louis Stevenson, Sir Francis Bacon, J.R. Tolkien, Picasso, Nostradamus, Thomas Jefferson, Ben Franklin, Nikola Tesla, and Bram Stoker. All of these people, places and objects hold shocking mysteries protected and venerated by the early Knights Templar.”

Countless other historical X-Files get pulled aboard Love’s syncretic rollercoaster ride, which ultimately reveals to the world a “horrifying legacy exposing Vampires, Werewolves and shape shifting monsters“. All that and the Holy Grail too… really, if I didn’t know better I’d say the whole exercise comes across like “National Treasure” on badly cut mescaline.

What I found most, errrm, awe-inspiring when reading about “The Encrypted” was that when I looked back at my 2009 cut-out-and-keep map of historical conspiracy clichés, it was as if Love has treated that diagram as Level 1 of a giant game of ‘Conspiracy Buzzword Bingo’, and then decided to write a book around a brand new Level 2.

As a blogger, I’m supposed to operate under the guiding principle “I check out all this stuff (and then write about it) so that you don’t have to“: but in this instance, I simply can’t bring myself to buy a copy – it’s just too much, even for me. Sorry if this disappoints you!

Nick Redfern’s book “The Pyramids and The Pentagon” is subtitled “The Government’s Top Secret Pursuit of Mystical Relices, Ancient Astronauts, and Lost Civilizations“, and its 250+ pages basically deliver what it says on the tin, although (as nearly always with this kind of thing) each short vignette seems to end with some variation on the rider ‘…but perhaps They don’t know what’s going on either‘.

What intrigued me about the book enough to buy a copy was its suggestion (repeated by Redfern on a Binnall of America podcasty interview he did) that Jonathan Swift had seen the Voynich Manuscript, and from that had (somehow) deduced that Mars had two moons (as mentioned in his book “Gulliver’s Travels”, some 150 years before Phobos and Deimos were physically observed for the first time). Redfern had the Voynich connection suggested to him by someone called “Robert Manners” (who I’ve never seen any mention of, please leave a comment here if you know who he is!), who also asserted that the NSA archives were full of other extraordinary Voynich Manuscript-related information, which will presumably all come out in the fullness of time.

To be fair, though, NASA’s view on the subject is that Swift was probably more influenced by Kepler’s ideas on Celestial Harmony, and for whom the Earth’s one moon and Jupiter’s four moons mathematically implied that Mars (in between) could well have two moons. And – to be brutally honest – it’s hard to see how Swift (who I don’t think ever ventured onto mainland Europe) would have even seen the Voynich Manuscript (which during his lifetime probably languished unseen in a Jesuit trunk or archive), let alone deduce from its deviously impenetrable script some meaning relating to two moons that telescopes would not be able to optically resolve for another century or so. It’s all a bit… thin, I have to say.

All the same, I rather enjoyed the rest of Redfern’s book: given that it had interesting stuff about the Rollright Stones, I had better pass it on at speed to my old friend Pete Edwards (who was once a Rollright Stones trustee) who is bound to enjoy that section thoroughly. As would you, I think, just… don’t take too much notice of the Voynich bit, OK? =:-o

I read Robin Wasserman’s Voynich-themed young adult novel ages ago but never got round to reviewing it here…

Curiously, though, it has to be said that the Voynich Manuscript itself only ends up playing a relatively small part in the overall story: ultimately, most of the action revolves around the discovery & translation of a series of (fictional) letters to or from (the very real) Elizabeth Weston, Edward Kelley’s literary poetess stepdaughter, each of which gradually reveals details that move the teen gothic plot towards its nicely horrific conclusion.

In the modern novelistic style, Wasserman has the various ancient artefacts protected and sought (respectively) by a Conspiracy of Basically-Good and a Conspiracy of Basically-Evil: the teen novel conceit is that despite the ridiculously amplified level of peril surrounding the main character, she tends to trust wholeheartedly pretty much any drop-dead-gorgeous young hunk (from either conspiracy) who asks her to do anything.

From a Voynich researcher’s point of view, the good stuff about this novel is that it foregrounds a lot of the gritty historical stuff that people tend not to think about much – transcription, translation, cross-referencing, etc. Yet the bad stuff about it is that the way it mythologizes Europe and romanticizes Latin translation makes it feel like it was written for Lisa Simpson – several times I imagined Lisa clutching the book to her heart and exclaiming “She didn’t dumb it down for me!” (not unlike the “Mother Simpson” episode with Glenn Close).

The book was clearly not written with me in mind, so I don’t really want to dwell too much on its nitty gritty: but even so, I get the impression it would make a very much better teen film than a book. In short: one to option rather than to read! 😉

Elmar Vogt just posted up some nice statistical analyses of the Voynich Manuscript’s language, looking particularly at the problematic issue of line-related structure.

You see, if Voynichese is no more than a ‘simple language’ (however lost, obscure and/or artificial), there would surely be no obvious reason for words at the beginning or end of any line to show any significant differences from words in the middle of the line. And yet they do: line-initial words are slightly longer (about a character), second words are slightly shorter, while line-terminal words are slightly shorter than the average (though some of Elmar’s graphs get a bit snarled up in noise mapping this last case).

The things I infer from such line-structure observations are
(a) any fundamental asymmetry means that Voynichese can’t be a simple language, because simple languages are uniform & symmetrical
(b) it’s very probably not a complex language either, because no complex language I’ve ever seen has done this kind of thing either
(c) the first “extra” letter on the first word is either a null or performs some kind of additional function (such as a vertical “Neal key”, a notion suggested by Philip Neal many years ago)
(d) the missing letter in the second word is probably removed to balance the extra letter in the first word, i.e. to retain the original text layout, while
(e) the last word has its own statistics completely because words in the plaintext were probably split across line-ends.

In Voynichese, we see the EVA letter combination ‘-am’ predominantly at the right-hand end of lines, which has given rise to the long-standing suspicion that this might encipher a hyphen character, or a rare character (say ‘X’) appropriated to use as a hyphen character. For what conceivable kind of character would have a preference for appearing at the end of a line? In fact, the more you think about this, the stronger the likelihood that this is indeed a hyphen becomes.

But there’s an extraordinary bit of misinformation you have to dodge here: the Wikipedia page on the hyphen asserts (wrongly) that the first noted use of a hyphen in this way was with Johannes Gutenberg in 1455 with his 42-line-per-page Bible. According to this nice post, “Gutenberg’s hyphen was a short, double line, inclined to the right at a sixty degree angle”, like this:-

In fact, Gutenberg was straightforwardly emulating existing scribal practices: according to this lengthy online discussion, the double stroke hyphen was most common in the 15th century, single-stroke hyphens were certainly in use in 13th century French manuscripts (if not earlier), and that both ultimately derive from the maqaf in Hebrew manuscripts that was in use “by the end of the first millennium AD”.

So if you think Voynichese line-terminal ‘-am’ does encipher a hyphen, the original glyph as written was probably a double-stroke hyphen: moreover, I’d predict that Voynich pages containing many ‘-am’s were probably enciphered from pages that had a ruled right-hand line that the plaintext’s scribe kept bumping into! Something to think about! 🙂