The next item I’d like to share here has to do with the three “V” images on the first page of the VM (f1r). There are two prominent ones beginning the second and third “paragraphs” and one more faintly on the top right corner of the page. Let me for ease of reference call them V1 (beginning second p.), V2 (beginning third p.), and V3 (on the top right corner of the page).
As far as I know the nature of these images are still unknown among scholars. They are treated as possible letters (even given Unicode numbers or EVA assignments), or as capitals that often in larger size begin paragraphs.
Dr. Lisa Fagin Davis has stated on her blog: “It is quite possible, likely even, that these two unusual characters were found on one of the missing leaves. The style of the letters identifies them as what Voynichologists call “capitals” or “majuscules” out of expedience and convention (what they ACTUALLY are is unknown). These characters are now only found on the first page, and they are clearly different from the glyphs at the bottom of the second column of revealed symbols. There’s another character in this style at the top of the right margin (shown at the lower right in the mosaic above), but its purpose, too, cannot yet be determined.” (You are not allowed to view links.
Register or
Login to view.)
Below, I will show and explain how they can be explained as a possibility.
Please note that the church I will be referring to is not anything I claim to be directly associated with the VM (unless someone finds a reason to do so). All I want to do is to show that in Medieval Europe, the images (especially V1 and V2, and perhaps V3 if also related but is still illegible, standing for something else), were employed to convey meanings that happen to be also central to the Voynich manuscript, as far as (at least) its illustrations go.
In Denmark, there is a church named Sjelle Krike (Sjelle Church). Although its present building dates to more recent times, rebuilt in major parts in recent centuries going back to 1595, the earlier structures of the church that survived (perhaps going even back to the 12th century or earlier) had a wall fresco/mural that despite having faded, was legible enough to be redrawn in a painting that adorns one of its walls.
The old fresco image had looked like this: You are not allowed to view links.
Register or
Login to view.
The restored image can be found on this page of the church on the right column: You are not allowed to view links.
Register or
Login to view. . It can also be seen here (you have to choose the tab “Kalkmalerier” to see these) You are not allowed to view links.
Register or
Login to view. both as the same restored image, and also how it is displayed on the wall of the church, prominently.
I found the image doing a google “image” search of the V2 image on the first page of the VM.
Why is this finding relevant?
First, what is the fresco image on the church wall?
There are three depictions of the curvy lines and it is clear to me that they represent the same image usually depicted around the Sun, that is, Sun rays. For example you can see a depiction here in a different church (just used as an example here) You are not allowed to view links.
Register or
Login to view.
But the rays in the fresco of Sjelle Kirke are not around the Sun, but in my reading, just rays from the stars, that can include the Sun, but also can have religious connotations of heavenly influences.
There are two V shaped figures on the fresco images. One on the left without the circle (it must have been faintly present in the older mural for later restoration), and another with the circle in the middle of the large V in the center. Two rays appear on the left, and one directly on the top of another element on the bottom right.
In my reading, the left image is a plant without a blossom, and the prominent V at the center is with the blossom. There is a thin curve connecting the barren V on the left (without the blossom) to an element on the right. I think they represent female and male elements respectively, from whose interaction (depicted by the thin curved line) the prominent plant with the blossom results.
Overall, the fresco is expressing the influence of the stars (not just the Sun), on plants as well as the female/male human elements. In a church setting like this, this is also likely representing the immaculate conception in particular, but perhaps more generally how natural/plant and human lives are influenced by heavenly rays.
I think this is what we are seeing on the “first page” of the Voynich manuscript.
V1 represents a barren plant without a blossom, or female not yet pregnant. V2 represents the same receiving the influence of the stars. The fact that they begin the second and third paragraphs respectively is that perhaps in the 2nd paragraph, V1 is referring to the problem of infertility, or a plant not yet with a blossom, and V2 is suggesting that the book includes a discussion of how rays can influence plants and humans in favor of growth and fertility.
Now, regarding V3, given its faint status, it is hard to judge whether it is playing on the same symbolisms as in V1 and V2. The V of the V3 is more curvy and thicker, and to me the overall image of it (including all the parts including the 2-3 lines forming a face) looks like a bull’s head seen from the side (could be a ram, but, it is more like a bull’s head, since the horns are short). If so, the first paragraph may be referring to a Zodiac identification of the person the VM belongs to, with a Taurus ascendant, for example. My V3 interpretation is more speculative, but I am more confident about the interpretations of V1 and V2.
All the three symbols looking similar and appearing on the same, important, first page of the Voynich manuscript seems to be deliberate, playing with the double-meanings of a plant, femininity, star ray influences, and something having to do with a Taurus Zodiac ascendant sign.
The text of the first page appears to be 4 signed paragraphs. I doubt they are “quotes” in the modern sense of the word, but who knows if they are or not. But the first page is structured differently than the text in other parts of the manuscript, as if it is an explanation of what the book is mostly about.