The Voynich Ninja

Full Version: The Phaseis of Ptolemy and f86v3
You're currently viewing a stripped down version of our content. View the full version with proper formatting.
Pages: 1 2
I have for a number of years thought that representations of the classic Greek winds can be found in the Voynich. And I recently came across a new wind which bought new lights on You are not allowed to view links. Register or Login to view., a folio with text and four pillars, one in each corner, two nymphs clinging to two of the tower and a bird that appears twice, once seated and once flying.

Note: I think English terms in the following are correct, I am translating them from a mixture of Catalan and Spanish documents, which in term translate Arabic and ancient Greek terms, so it's a bit of a pot-pourri! I am unable to type the original Greek terms into here, I suppose it doesn't matter too much.

The source manuscript in question is the Phaseis of Claudius Ptolemy. A ‘parapegma’ is precursor to the modern day almanac. Originally it was a table that related star phases and corresponding weather predictions. Ptolemy believed that the astronomical phenomena caused the changes in seasonal weather; his explanation of why there was not an exact correlation of these events was that the physical influences of other heavenly bodies also came into play. Hence for him, weather prediction was a special division of astrology, and his philosophy filtered through into mainstream Arabic astrology in around the IX century under a translation known as the Kit'ab al-Anw'a, originally translated by Sin'an b.T'abit (b. 943). The Kit'ab formed the basis for many Arabian almanacs for the next few centuries.

Only the second tome of the Phaseis is preserved from the Greek. However, influences from it are preserved in original Arabic works. Kepler is believed to have had access to these when formulating his astronomical theories, as he lifted large parts of it straight from the Arabian works (his originality was to take the Arabian astronomic data and change it to a heliocentric model).

The Phaseis examines the many winds, assigning names and attributes to the most common ones depending upon the cardinal point from which they originate, and incorporates them into Ptolemy's parapegma. I shall here skip over most of them, concentrating on one that appears just once in the year, known in greek as (/eXiBovíai), in Spanish as "quelidonios", English translation unknown, but the term derives from the Greek for "swallows" (the bird). It refers to the winds of spring that bring the swallows, Sin`an calls it by its literal name in Arabic - al riyab al-jutt'afiyya, giving its dates as 22,23,24 Feb.

With relative frequency for these dates the text refers to the ornithological winds, the spring winds, which "expel young birds from the nest".

And on the 24th Feb a reference to the alciones [es] or wind of the halcyons blowing is made; the text refers to "the winter winds which force birds to their nests".

Now, in short, what the Phaseis is referring to are seasonal calendar dates recognised by the traditional winds that blew in Greece at the time, a tradition that is still recognised by country-folk today.

Given the unusual attribute of the bird to be found on You are not allowed to view links. Register or Login to view., inasmuch as it is an animal which is fairly well drawn and designed to be an integral part of the drawing rather than a scribble afterthought, I am starting to think that this page could be depicting the winds described in the Phaseis, although not necessarily from this book, but from the same mythology.

An important part of the ID would be whether or not the bird is on its "nest" in the bottom tower (swallows nest under eaves in custom built houses). I do not think the bird is in fact any sort of real animal. Instead, it is a mythological reference, most possible to a halcyon, which was a fabled bird identified with the kingfisher that was supposed to have had the power to calm the wind and the waves while it nested on the sea during the winter solstice. Ptomley however talks of "when the halycons make their nests".

Under this theory, the two nymphs appearing on the left hand towers would thus be wind spirits, as seen in other parts of the Voynich. Can the towers be linked to this mythology? Unknown at this time.

This is simply a brief outline of an idea forming in my head and I would be interested to see if anyone has pursued this, or can shed any light on the theories or sources mentioned.
Quite interesting. I agree this should be investigated further. First of all it is worth tracing the graphic pattern depicted in the corners of f86v3 throughout the VMS and in the contemporary literature to see if it is likely to represent the notion of "wind" (somewhat like I tried to summarize in my recent blog post about that famous "cloud-band" pattern).

Note that if upper right and lower right are winds, then upper left and lower left are winds, too. Because they share the same graphic pattern.

Juergen You are not allowed to view links. Register or Login to view. this folio very diferent interpretation, don't know if you read his article. Quite debatable, though.
David,
This is extremely interesting. I'm not sure if you follow Stephen Bax' blog, but about ten days ago, I left a note encouraging people to study the anwa' system. I was thinking of the astronomical matter, but this is great.

Couple of questions - what made you decide to concentrate on Claudius Ptolemy's weather-lore, rather than Homer's or Hesiod's, or the King's Mirror, or al-Biruni or Manilius, or the Arabs' system etc.etc.?

Since the usual custom has always been, everywhere, to describe a wind by the direction from which it comes, and then its associated natural phenomena, how can you tell the "nationality" of the system on that folio [MS Beinecke 408 fol.86r-2] Why are they not Indian, or English, or ...
And it's a small thing, but I find reduction to four winds a bit puzzling if you're positing Claudius Ptolemy's time. An eightfold system had become standard some time before.

Thanks for posting this, though. Really interesting.

PS - I meant to raise it as a policy matter, but if referring to foliation for MS Beinecke 408, the standard across the board in every area of study (except Voynich-land) is to use the holding library's foliation first (right or wrong). If you wish to correct, or modify or use a more casual notation, then it ought to do into brackets, with an explanation:

folio 86r-2 [ = 86v-3 JR.]

J.R. stands for Jim Reeds who, as far as I can find out created in mailing-list's inhouse system which then Rene put on his personal website, and under the influence of ... whoever... then Jason Davies provided his very idiosyncratic listings. - Just a bit of history.

It's bad manners all round to ignore the holding library's foliation. Sounds as if a small number of "researchers" had developed an over-blown sense of self-importance and, in addition, implies that any newcomer *must* become a mailing list member and read this person's blog or that in order to know what the hell people are talking about.

All anyone should need to understand what we talk about is the Beinceke library's website and new scans, I think. So please - Beinecke foliation first and any other you like afterwards, ok?
Hi Diane,
I've been looking into the Ptolemy system (and others of his persuasion) precisely because they were the main influences for the Arabian systems of the 9th century onwards, and their subsequent reintroduction into Europe a few centuries later, this becoming a major influence for the European renaissance astrology movement.
I was thinking about the concepts in the VM in a "backwards" manner - if I were drawing the VM illustrations in the early Renaissance and needed a "template" from which to draw my concepts, which one would fit? Ptolemy's ideas, unlike the others you mention, would have been some of the most influential of the time. So I'm not suggesting the book comes from Ptolemy's time. I'm suggesting that an early Renaissance illustrator used the astrological theories of his time, which drew upon these Greek foundations.
And whilst the eight point wind idea is true, the winds can be sub divided into two bunches of four, the main cardinal (NSEW) winds and the subcardinal (SE, SW, NE, NW), each with their own set of natural philosophies. But in any case, I have a hunch that the VM is depicting a natural calendar, based on seasonal changes, rather than a date calendar (based on dates or the moon, etc).
As for the referencing system, thanks for the tip which had never occurred to me. I will make a suggestion on the Resources section. To be honest I tend to use the folio number as it appears on jasondavies.com for the simple fact that that way I can link to the online representation of the page I'm on about. Does anyone have a conversion list to save me making one?
Hi David,
You say
"...if I were drawing the VM illustrations in the early Renaissance..."
Dear David
I quite like your version of f86v3. Yours overcomes an issue I was struggling with: The birds seem to be integral to the folio's imagery from the beginnings, whereas the nymphs (in your words) or what I assume to be Dante and Beatrice (paradiso, ascent, as described in my paper) are really marginal and not integral.
I still believe them (the additional figures) to be Dante and Beatrice, but added (possibly) later. Possibly the birds (falcon/hawk) inspired the late artist to add a Dante theme?

Best wishes

Juergen
Dante, eh?
Ever tried to link the nine rosette map to Dante's Inferno? 8-)
David,
No - I tend to research what the manuscript contains, and it contains no evident allusion to Latin culture until what I estimate to be its last or next-to-last version. These I date to the late thirteenth or earlier fourteenth century, and the early fifteenth century, respectively.

So although Dante is possible, the imagery doesn't look at all like something produced by a Latin Christian of his time. 

About the introduction of works translated from the Arabic into Latin, I've just been re-reading  Dorothee Metlitzki's, The Matter of Araby in Medieval England (Yale Uni Press, 1977).  I'd quite forgotten her fascinating discussion of the role played by 'Petrus Alfonsi'.  Well worth a look, if you can get it.  

It is especially good in showing that to imagine that what was known in Spain wouldn't be known in England, and France, and Italy is inappropriate for those times.  It's extraordinary how readily, often and far people did.

Diane

I see that a copy is listed with Google books, but whether it will show you all the pages about Petrus, I can't say. These things seem to change from day to day, or region to region.

David
I don't suppose that you're the same David who recently left a comment on my blog?

The blog is voynichimagery.wordpress.com

Perhaps you'd like to leave your second initial as well if you visit? It's lovely to be invited to read other people's work, but difficult when you're not quite sure who's doing the invitation. Smile

Thanks
Diane O'Donovan
Whilst I often read your blog, I don't think I've left a comment on there for some time now, so probably not.
I've just ordered a copy of the book you recommend, looked interesting.
Heh, I hadn't seen this before. The bird anecdote seems rather convincing, since one is seen sitting and the other in flight. Did you find out anything more since then?
Pages: 1 2