17-04-2026, 11:35 AM
From today April 17, to June 21, 2026 the Norwegian Drawing Center in Oslo, Norway, is showing my studies of the Voynich manuscript as hand-drawn copies. Most of them fragments at the scale 1:1.
The main work is a version of the large foldout diagram, folio 85v-86r, at the scale 4:1, 180x180 cm. I have measured every detail, and copied the forms as close as possible, but straightening up the lines, the geometry and colouring for a clearer reading. Also done with the equipment I find most useful for studies: Pencil, pen and colour pencils on paper.
Part of the exhibition is the independent publication Unknown Alphabet. The digital version can be viewed or downloaded for free here:
You are not allowed to view links. Register or Login to view.
This publication summarizes my work and suggests a decoding. In Parts 2 and 3 of the publication, there are interpretations of the images and the text in the large foldout diagram.
This probably touches on previous observations in this forum. I have tried to refer to them as thoroughly as possible, but unfortunately I have not been able to read all the threads in the forum’s history.
Hopefully there are some new contributions or ideas, such as:
My interpretations align with some of the ideas discussed in this forum:
ReneZ and Antonio García Jiménez: The large foldout is about medicine. Healing medicine is connected to the six containers in the middle (You are not allowed to view links. Register or Login to view.). I see this theme of medicine by comparing the forms in the diagram with Brunschwig’s illustrations, and readings of Rupescissa and Testamentum, in addition to symbols from Medisinisch-chymisch-und alchemistisches Oraculum.
Koen G: There are vault-like shapes in three of the intermediary circles, as a metaphor for a celestial influence. I suggest a solution for why some of them are shaped exactly as they are.
Jorge Stolfi: I see what you call “extensive retouching” in the letters, but I have a different understanding of why there are several layers of strokes in many letters. To me, this is not “retouching” but a construction of ligatures, or combinations of letters—for example, where v and i are combined.
[attachment=15140]
The main work is a version of the large foldout diagram, folio 85v-86r, at the scale 4:1, 180x180 cm. I have measured every detail, and copied the forms as close as possible, but straightening up the lines, the geometry and colouring for a clearer reading. Also done with the equipment I find most useful for studies: Pencil, pen and colour pencils on paper.
Part of the exhibition is the independent publication Unknown Alphabet. The digital version can be viewed or downloaded for free here:
You are not allowed to view links. Register or Login to view.
This publication summarizes my work and suggests a decoding. In Parts 2 and 3 of the publication, there are interpretations of the images and the text in the large foldout diagram.
This probably touches on previous observations in this forum. I have tried to refer to them as thoroughly as possible, but unfortunately I have not been able to read all the threads in the forum’s history.
Hopefully there are some new contributions or ideas, such as:
- An analysis of the graphic and abstract aspects of the large foldout diagram.
- A decoding with the logic of a set of single letters that can be combined into ligatures. (An adjustment of my 2022 decoding.)
My interpretations align with some of the ideas discussed in this forum:
ReneZ and Antonio García Jiménez: The large foldout is about medicine. Healing medicine is connected to the six containers in the middle (You are not allowed to view links. Register or Login to view.). I see this theme of medicine by comparing the forms in the diagram with Brunschwig’s illustrations, and readings of Rupescissa and Testamentum, in addition to symbols from Medisinisch-chymisch-und alchemistisches Oraculum.
Koen G: There are vault-like shapes in three of the intermediary circles, as a metaphor for a celestial influence. I suggest a solution for why some of them are shaped exactly as they are.
Jorge Stolfi: I see what you call “extensive retouching” in the letters, but I have a different understanding of why there are several layers of strokes in many letters. To me, this is not “retouching” but a construction of ligatures, or combinations of letters—for example, where v and i are combined.
[attachment=15140]
