The Voynich Ninja

(09-08-2026, 08:40 AM)Radim Dobeš Wrote: You are not allowed to view links. Register or Login to view.I believe Linda made an important point by suggesting we focus on vats and barrels that aren't the standard wooden kind with hoops, but rather those featuring ornamentation.

That sounds like a good plan to me. This one below is especially striking...

I'd think looking for illustrations in other documents that most closely match VMS illustrations is more likely to get closer to common themes/locations/cultures?

In general, I'd suggest more use of Ockham's Razor, and focus first on illustrations and reasoning that require the least use of creative interpretation. Humans are very good at seeing patterns where they don't exist, and boring everyday coincidences are far more common than we might instinctively imagine.


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I also like that one, the architectural similarity is striking. The wiki for this baptismal font: You are not allowed to view links. Register or Login to view.

It was presumably made by Renier de Huy, a 12th century Mosan (southern Belgium) metalworker. But the classical style is so authentic that this is being questioned, with some (outliers) arguing earlier Byzantine influence. Apparently debate about the font's origin is "vigorous and sometimes acrimonious and in recent decades mostly conducted in French". There are theories about it just like we have Voynich theories.

The scene with the VM-style baptismal font shows "Saint Peter baptising Cornelius the Centurion, the first gentile to be baptised (Acts 10), with a sponsor or godfather. The Hand of God appears from above to signal approval."

"While the baptism of Jesus is very commonly depicted in Early Medieval art, those of the other figures are very rare subjects indeed, and this unusually elaborate and learned programme was no doubt composed with clerical assistance."

Here is a linear view of the images: You are not allowed to view links. Register or Login to view.

French Wikipedia is strongly in favor of a Mediterranean origin.

The pattern is called 'arcaded' - a series of arches.

Tubs have a variety of uses.

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Patterned tubs start at the top of VMs Pisces outer ring.

Given that I see further research potential in baptismal fonts in connection with the VMS, I present additional examples.

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Although some plants in the VMS may have real-world counterparts, here they are combined to serve as symbolic expressions of biblical scenes and parables. 
These plant symbols are fundamental elements of the imagery.

Fig tree – In Christian iconography, the fig tree represents the Old Testament, the Synagogue, or humanity prior to the coming of Christ. It also alludes to the Tree of the Knowledge of Good and Evil in the Garden of Eden (with whose leaves Adam and Eve covered themselves). In the context of baptism, it symbolizes the overcoming of original sin and the old era of humanity.

Palm tree – The palm is an ancient symbol of victory, martyrdom, and immortality. In the context of victory, it signifies spiritual rebirth—triumph over eternal death and the new, eternal life that a Christian gains through baptismal water.

Olive tree – Since the time of the Great Flood (the story of Noah’s Ark), the olive branch has been a universal symbol of peace, God’s mercy, and reconciliation between God and humanity. Furthermore, since early times, the Church has used olive oil for anointing during baptism and confirmation, symbolizing the outpouring of the Holy Spirit.

Additionally, the symbolism of shapes and colors serves as a visual code:

Green leaves: In the Middle Ages, the color green (*viriditas*) was understood as the color of God’s creation, hope, spiritual growth, and renewal.
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Withered, brown foliage symbolizes the human soul burdened by sin. In theology, sin separates man from God (the source of life), causing the soul—figuratively speaking—to wither, rot, and lose its purity.
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(12-08-2026, 09:36 AM)Radim Dobeš Wrote: You are not allowed to view links. Register or Login to view.Although some plants in the VMS may have real-world counterparts, here they are combined to serve as symbolic expressions of biblical scenes and parables. 
These plant symbols are fundamental elements of the imagery.

Fig tree – In Christian iconography, the fig tree represents the Old Testament, the Synagogue, or humanity prior to the coming of Christ. It also alludes to the Tree of the Knowledge of Good and Evil in the Garden of Eden (with whose leaves Adam and Eve covered themselves). In the context of baptism, it symbolizes the overcoming of original sin and the old era of humanity.

Palm tree – The palm is an ancient symbol of victory, martyrdom, and immortality. In the context of victory, it signifies spiritual rebirth—triumph over eternal death and the new, eternal life that a Christian gains through baptismal water.

Olive tree – Since the time of the Great Flood (the story of Noah’s Ark), the olive branch has been a universal symbol of peace, God’s mercy, and reconciliation between God and humanity. Furthermore, since early times, the Church has used olive oil for anointing during baptism and confirmation, symbolizing the outpouring of the Holy Spirit.

Additionally, the symbolism of shapes and colors serves as a visual code:

Green leaves: In the Middle Ages, the color green (*viriditas*) was understood as the color of God’s creation, hope, spiritual growth, and renewal.
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Withered, brown foliage symbolizes the human soul burdened by sin. In theology, sin separates man from God (the source of life), causing the soul—figuratively speaking—to wither, rot, and lose its purity.
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Oh, I’ve also wondered whether this plant might actually be a tree…

Folio F77v, depicting an apocalyptic scene from the Apocalypse (Revelation of John)
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An eagle flying from heaven announces a threefold destruction
The Latin translation of this phrase is:
"Vae, vae, vae habitantibus in terra!"
In the context of the entire biblical verse from the Latin Vulgate (Revelation of John 8:13), it then reads as follows:
"Vae, vae, vae habitantibus in terra de ceteris vocibus tubae trium angelorum qui futuri sunt canere tuba!"
("Woe, woe, woe to the inhabitants of the earth because of the other sounds of the trumpets of the three angels who are yet to sound!")

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detail of the seven-trumpet motif by other artists
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The epistles within the Book of Enoch (chapters 91–108) contain teachings and prophetic warnings for sinners. The author of the VMS borrows various scenes from different apocalyptic works and assembles them into a condensed version of the Enoch narrative. As I have noted previously, the result is a bizarre compilation. In my view, the motifs of the Whore of Babylon and the Samaritan woman at Jacob's Well are employed here. There are numerous potential references to these scenes available. "WHORE OF BABYLON," "JESUS AND THE SAMARITAN WOMAN."