The Voynich Ninja

I don't know if it's a matter of perspective, but there might be two main types in the VM: with "ball" on top and without. I think it may be interesting to focus on the ones with a ball or tuft on top because they are so distinct. 

In the VM, the top thing is separated from the cap with a line, so it is not like the grey cap in your bottom right example (cleric figure). They are probably also not like the example you included from the Devonshire hunting tapestries since this is more like a wide turban. These also exist in the VM and they look different.


Some of your examples I would consider very close. For example the second one, with the man in blue winning at rock-paper-scissors against the king. Do you know the source?

pal.germ.314

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There are also a couple interesting red-hatted clergy in the KBR files and lost somewhere in my notes. But, being surprised by this response, let me reply here ASAP - local time. The VMs can be ambiguous. It's not about appearance. I learned only recently that the galero was formally replaced by the saturno back in the 1600s - after Galileo. But the heraldic designations based on color were maintained. It's not about appearance, because appearance is deceptive. It's about *color*. The VMs hats are green and red and unpainted. And unpainted is white, perhaps. Not everyone is that familiar with ecclesiastical heraldry, but these color designations of rank and order in the church hierarchy certainly predate the C-14 results.

An interesting thing about the use of heraldic colors and their representation with pigments is that one color cannot be used to represent another. So when it comes the red, green and white hats and to the blue-striped patterns on VMs White Aries, color is not ambiguous. What is ambiguous is the actual direction in which the blue stripes are oriented, from a heraldic perspective. Ambiguity derives from the fundamental nature of the illustration, which visually tends toward a radial interpretation, but also contains the more fundamental, page-based interpretation. This is an optical illusion - of sorts. This is a hidden key to the VMs. <<This is the rabbit hole - the hidden path that opens the alternate world.>> Certainly the appearance of these characters is not as ostentatious as it might be. But for those who knew / who know / the details of Catholic Church history, there is only a very specific historical situation in which paired insignia of the blue-striped bendy pattern and the red hat of the cardinals' have ever come together. And despite other attempts at disguise, which can be shown to be innately flawed, there are also a number of independent structural confirmations of this ecclesiastical interpretation, culminating in the papelonny pun, based on heraldic canting.

The purpose of this construction is to establish historical grounding. And through that grounding to establish validity, which is then passed, through direct contact, as it is drawn in the White Aries illustration, to the Stolfi's 'start here' markers (patterned boxes), and to the circular bands of text thus designated. No other text in the VMs is marked out by such rigorously designed, carefully concealed, historically and traditionally validated indicators. But why???

I split JKP's reply about the color palette and ensuing discussion to here: You are not allowed to view links. Register or Login to view.

Thanks, I was hoping you would do that.

Just interesting facts:
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And what about "galero-style" hats on religious figures?  I don't find them that common. And as the definition says, there was a lot variation.

That doesn't mean all VMs hats are galeros. So there are examples of hats with knots, tassels, nobs or crowns (tops). No one can deny that. It's a 'what about that' argument. What about it? The point is moot.

The discussion of the red galero is focused on the examples of You are not allowed to view links. Register or Login to view. White Aries. Here there are several examples of 'nymphs' with 'hats' who are shown from a perspective, looking up, so that only the underside of the 'hat' and none of the prospective top has been represented. Since none of the top can be seen, this allows the introduction of ambiguity. Ambiguity allows for alternative interpretation. Ambiguity is used to disguise alternative interpretations.

Alternative interpretations aren't all that great. They just fuzzy up the possibilities and add to the confusion. The difference is when one of the alternative interpretations connects to history. Doesn't that deserve consideration? Doesn't the next interpretation also deserve consideration? And the next, and the next? But always there is ambiguity and never a solid result. Ambiguous elements may not stand on their own, however, mutual support enhances their strength. This creates a situation where two or more ambiguities may share certain commonalities.

From all the VMs interpretations that connect to history, there is a set of connections from diverse sources that show a common history, and a clear historical connection. Blue stripes and red galeros connect to a common history. That common history is a part of Catholic tradition. And for the author and the prospective reader of the C-14 era, common history provides historical grounding. But in the VMs White Aries illustration, there is a built-in, two-way interpretation, two paths of investigation.

For the C-14 era, ambiguous information plus historical grounding yields the potential for recognition.
As always, ambiguous information without historical grounding gives nothing.

The problem with ambiguity is that ambiguity has become a problem. Ambiguity now, for some reason, apparently requires rejection. And in such a case, the investigation of VMs art work ends up signifying nothing in particular, because it is all ambiguous. I believe the White Aries page contains a historical and traditional reference well constructed and intentionally disguised - that has a purpose. Historical grounding is part. This does reflect a real event. And the combination (red galero + blue stripes) in a single 'nymph' is a clear physical association. All that is required is for the reader to make the historical interpretation. And that interpretation was the C-14 *valid* Genoese interpretation. Not the post-1912 *lost - Duh!* unknown interpretation. Lost in the dark mirror of history from the modern perspective and obfuscated besides. Obfuscation that was used to disguise, not to contradict any necessary factors.

So, the first blue-striped 'nymph'' is accompanied by a second blue-striped 'nymph'. Does anyone know that story? It's a sort of heraldic identification, like a plant ID, except it connects to cultural history, tradition, and real events.