Ever since Hans P. Kraus donated the Voynich Manuscript to Yale’s Beinecke Rare Book and Manuscript Library in 1969, it has been on an exceedingly short leash. (Has it even left New Haven? I don’t believe so.)

Well, that’s about to change. As part of a special “Decoding the Renaissance” exhibition at the Folger Shakespeare Library from 11th November 2014 to 1st March 2015, the Voynich Manuscript will be on show in Washington (free admittance, too!). The Folger people haven’t yet said how they plan to display it or illustrate it, but I’m sure they will be eager to make the most of this hens’-teethingly rare opportunity.

STC 20118a, p.73

The overall exhibition is curated by Renaissance historian Bill Sherman (his excellent “John Dee: the Politics of Reading and Writing in the English Renaissance” sits on the shelf next to me as I type), who will be giving a ‘public panel’ discussion with Rene Zandbergen at 7.30pm on 11th November 2014 to open the exhibition (tickets to the talk at $10/$15 are already on sale).

But… why the Folger, why Washington, why the Voynich Manuscript? The answer is simple: what links all the parts of the exhibition is the famous Washington-based code-breaker William F. Friedman. From his early days working on Baconian claims at Colonel George Fabyan’s “Riverbank” complex, to his Index of Coincidence, to his work breaking the Japanese “Purple” code, and right through to his long-standing interest in the Voynich Manuscript, Friedman was a fascinating and complex character.

220px-William-Friedman

Hence anyone wanting to get the most out of the exhibition should probably prepare themselves with a second-hand copy of Ronald W. Clark’s (1977) “The Man Who Broke Purple”, a biography of William Friedman. It’s not the whole story (government codebreaker stories rarely are), and it skirts unsubtly around Friedman’s depression and related problems during WW2: but even so, it’s far from a bare-bones sketch, with plenty of meat for interested readers to sink their teeth into.

Do I wish I had got the public panel gig with Bill and Rene? Of course I do, I’m only human. But it turns out that even though this is all fascinating news in its own right, there’s much, much more afoot to do with the Voynich Manuscript that is planned to be played out during the remainder of 2014. So, much as I applaud the Folger’s exhibition’s honouring and celebrating the man who (very probably) was the greatest code-breaker of all time, this is in many ways merely the antipasto for a very much larger cryptological feast that is approaching…

…but more on that as it happens. Don’t say I don’t spoil you. 🙂

Here’s what I think the Voynich Wikipedia page ought to look like. Enjoy! 🙂

* * * * * * *

History of a Mystery

Once upon a time (in 1912) in a crumbling Jesuit college near Rome, an antiquarian bookseller called Wilfrid Voynich bought a mysterious enciphered handwritten book. Despite its length (240 pages) it was an ugly, badly-painted little thing, for sure: but its strange text and drawings caught his imagination — and that was that.

Having quickly convinced himself that it could only have been written by one particular smart-arse medieval monk by the name of Roger Bacon, Voynich then spent the rest of his life trying to persuade gullible and/or overspeculative academics to ‘prove’ that his hunch was right. All of which amounted to a waste of twenty years, because it hadn’t even slightly been written by Bacon. D’oh!

Oh, so you’d like to see some pictures of his ‘Voynich Manuscript’, would you? Well… go ahead, knock yourself out. First up, here’s some of its ‘Voynichese’ script, which people only tend to recognize if they had stopped taking their meds a few days previously:

A nice clear example of Voynichese

Secondly, here’s one of the Voynich Manuscript’s many herbal drawings, almost all of which resemble mad scientist random hybrids of bits of other plants:-

Finally, here’s a close-up of one of its bizarre naked ladies (researchers call them ‘nymphs’, obviously trying not to mix business and pleasure), in this case apparently connected up to some odd-looking plumbing / tubing. Yup, the right word is indeed ‘bizarre’:

voynich f77v central nymph Q13 and Voynich balneology sources...?

Did any of that help at all? No, probably not. So perhaps you can explain it now? No, I didn’t think so. Don’t worry, none of us can either. *sigh*

Back to the History Bit

Anyhow, tucked inside the manuscript was a letter dated 1665 from Johannes Marcus Marci in Prague, and addressed to the well-known delusional Jesuit polymath Athanasius Kircher. Marci’s letter said that he was giving the manuscript to Kircher both because of their friendship and because of Kircher’s reputation for being able to break any cipher. The manuscript seems then to have entered the Jesuit archives, which is presumably why the Jesuit college near Rome had it to sell to Wilfrid Voynich several centuries later, just as in all the best mystery novels.

But hold on a minute… might Wilfrid Voynich have forged his manuscript? Actually, a few years back researchers diligently dug up several other 17th century letters to Kircher almost certainly referring to the same thing, all of which makes the Voynich Manuscript at least 200 years older than Wilfrid Voynich. So no, he couldn’t have forged it, not without using Doc Brown’s flux capacitor. (Or possibly the time machine depicted in Quire 13. Unless that’s impossible.)

Incidentally, one of those other letters was from an obscure Prague alchemist called Georg Baresch, who seems to have wasted twenty or so years of his life pondering this curious object before giving it to Marci. So it would seem that twenty lost years is the de facto standard duration for Voynich research. Depressing, eh?

So, Where Did Baresch Get It From?

Well… Marci had heard it said that the Holy Roman Emperor Rudolf II had bought the manuscript for the ultra-tidy sum of 600 gold ducats, probably enough to buy a small castle. Similarly, Wilfrid Voynich discovered an erased signature for Sinapius (i.e. Jacobus Horcicky de Tepenecz, Rudolf II’s Imperial Distiller) on its front page. You can usefully assemble all these boring fragments of half-knowledge into a hugely unconvincing chain of ownership going all the way back to 1600-1610 or so, that would look something not entirely unlike this:-

Which is a bit of a shame, because in 2009 the Voynich Manuscript’s vellum was radiocarbon dated to 1404-1438 with 95% confidence. Hence it still has a gap of roughly 150 years on its reconstructed CV that we can’t account for at all – you know, the kind of hole that leads to those awkward pauses at job interviews, right before they shake your hand and say “We’ll let you know…

Hence, The Real Question Is…

Fast-forward to 2012, and Wilfrid Voynich’s manuscript has ended up in New Haven at Yale University’s Beinecke Rare Book and Manuscript Library. Yet many Voynichologists seemed to have learnt little from all that has gone before, in that – just as with Wilfrid himself – they continue to waste decades of their life trying to prove that it is an [insert-theory-here] written by [insert-historical-figure-here].

If repeatedly pressed, such theorists tend to claim that:
* the ‘quest’ is everything;
* it is better to travel than to arrive; and even
* cracking the Voynich might somehow spoil its perfect inscrutability.
All of which, of course, makes no real sense to anyone but a Zen Master: but if their earnest wish is to remain armchair mountaineers with slippers for crampons, then so be it.

Yet ultimately, if you strip back the inevitable vanity and posturing, the only genuine question most people have at this point is:

How can I crack the Voynich Manuscript and become an eternal intellectual hero?

The answer is: unless you’re demonstrably a polymathic Intellectual History Renaissance Man or Woman with high-tensile steel cable for nerves, a supercomputer cluster the size of Peru for a brain, and who just happens to have read every book ever written on medieval/Renaissance history and examined every scratchy document in every archive, your chances are basically nil. Zero. Nada. Zilch. Honestly, it’s a blatant exaggeration but near enough to the truth true: so please try to get over it, OK?

Look, people have been analyzing the Voynich with computers since World War Two and still can’t reliably interpret a single letter – not a vowel, consonant, digit, punctuation mark, nothing. [A possible hyphen is about as good as it gets, honestly.] Nobody’s even sure if the spaces between words are genuinely spaces, if Voynichese ‘words’ are indeed actual words. *sigh*

Cryptologically, we can’t even properly tell what kind of an enciphering system was used – and if you can’t get that far, it should be no great surprise that applying massive computing power will yield no significant benefit. Basically, you can’t force your way into a castle with a battering ram if you don’t even know where its walls are. For the global community of clever-clogs codebreakers, can you even conceive of how embarrassing a failure this is, hmmm?

So, How Do We Crack It, Then?

If we do end up breaking the Voynich’s cipher, it looks unlikely that it will have been thanks to the superhuman efforts of a single Champollion-like person. Rather, it will most likely have come about from a succession of small things that get uncovered that all somehow cumulatively add up into some much bigger things. You could try to crack it yourself but… really, is there much sense in trying to climb Everest if everyone in the army of mountaineers that went before you has failed to work out even where base camp should go? It’s not hugely clear that even half of them even were looking at the right mountain.

All the same, there are dozens of open questions ranging across a wide set of fields (e.g. codicology, palaeography, statistical analysis, cryptanalysis, etc), each of which might help to move our collective understanding of the Voynich Manuscript forward if we could only answer them. For example…
* Can we find a handwriting match for the marginalia? [More details here & here]
* Can we find a reliable way of reading the wonky marginalia (particularly on f116v, the endmost page)? [More details here]
* Can we find another document using the same unusual quire numbering scheme (‘abbreviated longhand Roman ordinals’)? [More details here].
* Precisely how do state machine models of the Voynich’s two ‘Currier language’s differ? Moreover, why do they differ? [More details here]
* etc

The basic idea here is that if you can’t do big at all, do us all a favour and try to do small well instead. But nobody’s listening: and so it all goes on, year after year. What a waste of time. 🙁

A Warning From History

Finally: I completely understand that you’re a busy person with lots on your mind, so the chances are you’ll forget almost all of the above within a matter of minutes. Possibly even seconds. And that’s OK. But if you can only spare sufficient mental capacity to remember a seven-word soundbite from this whole dismal summary, perhaps they ought to be:

Underestimate the Voynich Manuscript at your peril!

Now ain’t that the truth!?

I remember when I first saw the “Roger Bacon Manuscript”: Wilfrid Voynich brought it with him to Philadelphia for his lecture back in 1921 – my old friend Bill Newbold was there, taking in every word, nodding like the crazy-but-brilliant spiritualist and Antioch-obsessed nutter he was. So it just had to be Bacon behind it all, right? I sat at the back, laughing quietly: but all the same, I couldn’t help but notice that there was something rather disconcerting about the whole thing that demanded being checked out at a convenient point…

My big break came in late 1929, in a chance visit to New York: though charming as ever, Voynich was already sickly, well along the path to his own deathbed. Though he was unwilling at first, I convinced him to let me take a closer look at his manuscript’s oh-so-boring quire 13 – why not, what could a lowly UPhil Italian academic possibly find of interest there? Yet behind the scenes, I’d had help from Johnny Manly and Edith Rickerts: though they’d initially tried to dissuade me from looking closely, I’d carefully zoomed in on the bits they were most intrigued by – and with stunning results. They’d been so utterly wrong to think it was Latin (hardly surprising, given that they were arch-Latinists), when I’d instead worked out it was mostly an abbreviated Italian scribal shorthand…

But honestly – how could I not remember the day when Hans Kraus pitched up to Yale with the 1428 Albergati bible ($204,000, and worth every cent) along with Wilfrid’s “ugly duckling” manuscript. Old man Beinecke had come along for the ride, too: everyone there was trembling with excitement – but I swear nobody could have been sweating like me. If only they knew how I felt! Once dear old Annie Nill had sold it to HPK, I’d worked out where things were leading and had networked my way into the position as Beinecke curator – so my first unofficial job was to remove it from the stacks, to give myself the opportunity of making sense of quire 20‘s recipes for myself. But sad to say, I never quite did, and so my last job there was to retire.

All the same, I have to give a big hooray for the Beinecke’s hi-res scans: though I’d really thought my second act was over (and so did wife #7), with a bit of help from Steve Ekwall I finally managed to get Voynich’s other fountain working. Whoever it was that said that diligence has its own rewards was really onto something – it certainly works for me!

And so here I am once again, back to square #1 and wife #8. Sure, I do my best to prevent anyone on the Voynich mailing list from coming even close to reproducing what I found: but everyone thinks I’m just some kind of ultra-informed troll, and they back off from the truth. Which suits me 100%.

Here’s to wife #9!

If (like me) you enjoyed Roman Polanski’s film “The Ninth Gate” (I happened to see it in a hotel room in New Haven, giving it a particular resonance for me) which I mentioned recently, you might think about reading the novel from which it sprang, Arturo Perez-Reverte’s “The Dumas Club”.

Its main protagonist, Lucas Corso, gets described early on as a “book detective”: but he is closer to the romantic archetype of a charmingly ruthless European antiquarian book-hunter for which Wilfrid Voynich and Hans Kraus both felt nostalgic. Whenever short-sighted, boyish-looking Corso takes off his glasses and puts on his “innocent rabbit” face, everyone seems to give him what he wants: perhaps Wilfrid Voynich used much the same kind of trick, who knows?

But it’s not simply a cherchez-la-livre romance: there are two stories intertwined, one concerning various Spanish book-dealers’ passions for Alexander Dumas’ pulpy (but vastly popular) bestsellers such as “The Three Musketeers”; and the other about the three remaining copies of a mysterious 17th century printed book for summoning the Devil, written in heavily abbreviated/coded Latin and with nine Tarot-like drawings, and whose printer (Aristide Torchia) was supposedly burned at the stake for creating it.

Structurally, this reminds me a lot of the TV show “CSI” (the proper Las Vegas one), which typically fills its hour-long slot by telling two forensic detective stories (each roughly half-hour long), and leaving it as a point of suspense whether the two strands are connected or not. Lucas Corso struggles gamely to see the link, but ultimately none materialises in the way that he expects. Despite the reader’s (and Corso’s) sense of a buzzing conspiratorial coherency in the early few chapters, the book actually ends up more like two intertwined extended short stories (one horror, one literary) than a single majestic novel, which is a shame.

For the film adaptation, Polanski simply ditched the whole Dumas connection, and instead concentrated on the “Book of Nine Gates” half of the book – essentially, whereas he optioned “The Dumas Club”, he actually filmed “The Non-Dumas Club”.

Yet the first hundred pages are simply brilliant, inspiring, edgy, like peering anxiously through Montecristo cigar fug to make out the looming shape of an unknown menace. But then Perez-Reverte (quite literally) loses the plot: the writing disintegrates into a mess of intertextuality and clunky self-referentiality, with the novelist having Corso continually feel as if he is a character in a serial novel – essentially, in a remake of a Dumas novel. Whether that’s true or not, having it rammed down my, errrm, eyes so many times completely broke the spell.

One glaringly missed opportunity throughout is the aspect of whether the unidentified young girl (who takes the name “Irene Adler” from a Sherlock Holmes novel) actually exists, or is merely some kind of strange hallucinatory being, conjured up by Corso himself: a kind of “Dumas Club” meets “Fight Club”, if you like. Kudos to Polanski for picking up this angle more strongly in his film. Perhaps she had to physically exist in the book as a result of Perez-Reverte’s (I think wrong) decision to have to have one of the characters (Boris Balkan) as the storyteller. And so in the book, Irene’s ambiguity centres not on whether or not she exists outside Corso’ mind, but on whether for him she acts as a force for good or evil – an angel, succubus or demon.

All in all, I have to say that I really wish Perez-Reverte had found sufficient writing courage to take the horror through to its logical conclusion, rather than pull up short at the final hurdle. Though Polanski’s literary take on the novel was (perhaps necessarily) quite superficial, his filmic instinct to raise the stakes yet higher than the book worked fabulously well.

For the full literary effect, I’d recommend reading “The Three Musketeers” first, then “Twenty Years After”, then “The Dumas Club”, and then watching “The Ninth Gate” late at night, with the curtains drawn, and a bottle of Bols gin by your side. Enjoy!

Incidentally, looking at the book with my Voynich research hat on, it was nice to see Perez-Reverte pick up on things like “The art of locking devils inside bottles or books is very ancient… Gervase of Tilbury and Gerson both mentioned it in the thirteenth and fourteenth centuries” (p.202), and to have Torchia trawling around Prague for the cabalistic secrets of an unknown brotherhood (p.203). The uber-convoluted magic circle in the final chapter (p.312) is quite fun, too.

Of the three magic circles in the Voynich Manuscript, it is interesting that both sun and moon ones depict people holding bottles: here’s the left man from the “hidden moon” magic circle – the “S” in his face probably denotes “Septentrio” (i.e. North). I’ll write more about these another day: here’s a link to an earlier post I made on William Kiesel’s lecture at Treadwell’s. Suffice it to say that this picture might simply refer to water and hyssop, both used to purify magic circles for millennia… unless you know better?

When the Voynich Manuscript misdecipherer William Romaine Newbold died, his friend & colleague Roland Grubb Kent decided to bring all his late friend’s notes together into a book: this was published in 1928 by the University of Philadelphia Press under the title “The Cipher of Roger Bacon”. If you’d like your own copy, Kessinger sell a modern print-on-demand reproduction of it, with quite reasonable quality pictures (apart from the awful picture of Newbold right at the start).

And it was from Newbold’s and Kent’s book that the story of the modern missing pages sprang.

You see, there’s an innocuous-looking table in page 45’s footnote 2 that describes the physical make-up of the manuscript: in particular, it lists the first (what we would now call the “Herbal”) section (“Part I. Botanical, ff. 1-11, 13-66″) as having 65 folios (“leaves”), with 125 drawings and 5 text-only pages.

However, the manuscript as now owned by the Beinecke only has 59 leaves: Rene Zandbergen’s page on this lists folios 12, 59, 60, 61, 62, 63, and 64 as missing. Might folios 59 to 64 (at the centre of a quire) have gone missing in the 20th century, sometime between Newbold examining them and being given to the Beinecke by Hans Kraus? If so, might Newbold have had any reproductions of them?

While researching my book, en route to New Haven I stayed with some old friends near Philadelphia: and so used the opportunity to drop by the University of Pennsylvania’s archives, which I happened to know held several boxes of Newbold’s records. At last, I thought, I would be able to see if these missing pages might be there.

The good news was that the set of photostats Wilfrid Voynich had given Newbold were still there: yet the reproduction of the Herbal section contained precisely the same pages as we see nowadays – the same pages that are missing now were missing then.

So what actually happened? Simply, I’m reasonably sure that the table on page 45 was miscopied from an intermediate handwritten count, and that Newbold or Kent (whichever of the two) just got it wrong. The missing folios were long gone, decades (probably centuries) before Wilfrid Voynich bought it in 1912.

I suspect that the folio numbers were added between 1580 and 1600, around the time that the manuscript was rebound into its current order and repainted (probably to gain a higher price): and that many (if not all) of the missing pages-as-numbered were sent by George Baresch to Athanasius Kircher, as per the correspondence.

Perhaps Kircher’s collection of cipher notes will turn up one day (which would be very nice), and will turn out to contain many/all of these missing pages: but perhaps it is safer to assume that somewhere along the way, some well-meaning Jesuit administrator destroyed them – after all, something you can’t read surely has no value?