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Welcome, Guest You have to register before you can post on our site. Username/Email:    Password    Remember me Search Forums (Advanced Search) Online Users There are currently 325 online users. » 5 Member(s) | 317 Guest(s) Applebot, Bing, Google, Cile cile, Gregor Latest Threads alchemical herbals Forum: Codicology and Paleography Last Post: Koen G Less than 1 minute ago » Replies: 32 » Views: 21,306 Una hipótesis Forum: Provenance & history Last Post: Koen G 2 hours ago » Replies: 1 » Views: 28 A Ardıç - "The Code Is De... Forum: News Last Post: Koen G 6 hours ago » Replies: 53 » Views: 3,253 Favorite Plant Tournament... Forum: Voynich Talk Last Post: Aga Tentakulus 6 hours ago » Replies: 9 » Views: 294 [split] Color annotations... Forum: Voynich Talk Last Post: MarcoP 7 hours ago » Replies: 83 » Views: 42,284 Eleven Moon Phases in Fol... Forum: Astrology Last Post: voynichrose 9 hours ago » Replies: 105 » Views: 9,037 Solutions [discussion thr... Forum: Voynich Talk Last Post: Aga Tentakulus Yesterday, 07:19 PM » Replies: 56 » Views: 9,972 Why not positional variat... Forum: Analysis of the text Last Post: Aga Tentakulus Yesterday, 07:01 PM » Replies: 69 » Views: 8,114 Big Red Weirdos Forum: Voynich Talk Last Post: Cile cile Yesterday, 06:11 PM » Replies: 64 » Views: 45,102 Origin of the Shield Shap... Forum: Imagery Last Post: Dobri Yesterday, 04:25 PM » Replies: 101 » Views: 4,291

Philip Neal's work - new web address. Posted by: Diane - 11-06-2017, 04:01 AM - Forum: News - Replies (6) Philip Neal's pages are now at You are not allowed to view links. Register or Login to view. Neal's contributions to Voynich studies are invaluable. They include his original translations of most of the important documents in Latin, and lucid notes on renaissance ciphers and people. On a more personal note - I was surprised to see that although we have had Neal's meticulous translation and notes made freely available to us for a decade, that Quote:Thomas Conlon is working on a professional edition of the Kinner-Kircher correspondence, to appear in due course, which will improve on my work. My immediate reaction was "If it ain't broke don't fix it"  but if Neal knows Mr. Conlon and  believes him able to improve on the original, then  I suppose I must bow to Neal's opinion.  Expect I'll still quote Neal, though.   People in Loges Posted by: -JKP- - 11-06-2017, 02:06 AM - Forum: Imagery - Replies (10) People in baskets is a prevalent theme in the VMS, in both the zodiac-symbol pages and many of the pool pages, so I thought it deserved a thread on its own. To start it off the discussion, here are people in loges with beakers, surrounding Adam and Eve, as drawn in a Ripley Scroll. These particular loges have an external architecture leaning: 17th-century interpretation of a scroll created by George Ripley in 1460.   Finding a combination Posted by: R. Sale - 11-06-2017, 01:13 AM - Forum: Analysis of the text - Replies (2) First of all, in confessing my ignorance, I'd like to say that I envision the investigation to proceed at the glyph (symbol) level, rather than looking at the parts of individual VMs symbols. The analysis of text is the search for a method of interpretation. But what is that method applied to? Is it to raw text or to abstracted statistics? What is the choice of subject material to be analyzed? And furthermore what is the source for the choice of methodology? Is method something the investigator learned or invented? And then it is just applied wherever and however? Or could method and material both be contained in the text waiting to be discovered, common medieval information waiting to be recognized? Is the method contained in the text, in the seventeen symbol sequence of f57v? And is the specific text segment as subject for analysis designated by the markers on You are not allowed to view links. Register or Login to view. and validated by references to a well-known religious tradition and related historical events? Is there some way that these two elements might work in combination?   Suggestions for decomposition of the Voynichese characters Posted by: Anton - 08-06-2017, 08:36 PM - Forum: Analysis of the text - Replies (49) This my table has been prepared for the draft of our submission to the European HCC of this year, but since the submission was declined, the stuff is unlikely to be ever released, especially given that it did not have enough time to progress from the draft version. The table, obviously, is also a raw draft and is posted into the forum for the sake of discussion, reference, and possible further development. It builds upon Cham's CLS and also incorporates ideas from You are not allowed to view links. Register or Login to view.. Here's how the table is to be interpreted. Each cell shows a combination of two "basic" shapes: the first one taken from the respective row on the left, the second one taken from the respective column on the top. The intersection of a basic shape with itself stands not for a "combination", but rather shows whether this basic shape does occur standalone in the VMS or not. If a combination or a basic shape does not occur in the VMS, the respective intersection cell is grayed out. The order matters. For example, e plus dash yields c, but dash plus e yields h. Some combinations are yet indefinite (as suggested by more than one character in a single cell).   Glyphs.jpg (Size: 61.66 KB / Downloads: 767)   The origin of the base shapes of the Voynich alphabet Posted by: Anton - 08-06-2017, 01:08 AM - Forum: Analysis of the text - Replies (26) I was thinking about the Voynich alphabet the other day at some interesting angle. Let's say the Voynich alphabet is a constructed alphabet. In other words, it's not taken from any script existing apriori, but rather invented by the guy(s) behind the Voynich. (This may be the case irrespectively of whether it conveys a cipher, an artificial language or even a natural language). Now, it is often noted that many Voynich symbols resemble medieval Latin abbreviations. However, the abbreviations were quite various, while great part of the Voynich alphabet revolves around the "base shape + modifier (mostly tail modifier, but not exclusively)" scheme, where the two predominant base shapes are e and i, - as also already noted (by Cham and those before him). Let's suppose this is the real principle of construction, and not mere visibilty. That the guy indeed "constructed" characters by combining e and i shapes with modifiers. And, btw, a is e plus i. Then the question emerges - why these two shapes, in particular? Have they had any special significance anywhere else - whether textually, graphically or semiotically? Where could they have been "borrowed" from, and why?   Resemblance between central rosette's "towers" and small-plants' "containers". Posted by: Koen G - 07-06-2017, 12:30 PM - Forum: Imagery - Replies (43) In a recent blog post I touched upon the subject of the similarity between the small-plants containers and the central rosette's towers. This has obviously been noted before, but I haven't read any proposed solutions for it yet. Does anyone have an idea?   Another "thing" (77v) Posted by: Koen G - 07-06-2017, 10:24 AM - Forum: Imagery - Replies (8) I was going over the nymph objects again and I can't remember if anyone has ever found a parallel for this one:   77v.jpg (Size: 107.38 KB / Downloads: 139) It's not just the identification of the object itself which is problematic, but also the way it is held and the pose of its nymph.  At first sight, one would say that she is holding it in her mouth, but if the drawing's accuracy at this scale is to be trusted, this is not the case. the object appears to pass behind her face, against her cheek.  Her hair appears to have a knot in it where the object crosses it, which raises the strange possibility that it is in fact tied to her hair. Again, this is hard to tell given the size of the drawing. Her lips slightly part, as if she's blowing at the object. An important note here may be that in a first pass her face was drawn slim, but then a curved line has been added to her cheek to make it appear puffy. This lends credibility to a "blowing" interpretation. Or whistling?  Her arms are held in an unnatural, even impossible position. Challenge: find a large mirror, stand in front of it and hold your arms like this. It will only work if you're made of pudding. Their positioning is more appropriate for wings (bird's or angel's).  The base ends in a weird leg with three "toes". The nymph appears to be blowing over or into the object, which has been marked with a black spot. This spot looks intentional, it is not just an overly thick line. From the object some kind of lines are connected to the water below, and blue marks have been applied to the lines, possibly also indicating water. So... Anyone? House of Este, Voynich Manuscript Posted by: coded - 02-06-2017, 04:56 AM - Forum: News - No Replies Published May 8, 2017 Authored: Tom E. O'Neil 8.5" x 11" (21.59 x 27.94 cm)  Full Color on White paper 52 pages ISBN-13: 978-1546573272 (CreateSpace-Assigned)  ISBN-10: 1546573275  BISAC: History / Renaissance   Repetition of letter groups Posted by: ThomasCoon - 01-06-2017, 02:56 PM - Forum: Analysis of the text - Replies (15) Hi all, I've been looking at different vords, trying to uncover an underlying structure that all or most VMS vords contain.  I've been wrong in the past and could be wrong now, but I wonder if characters that look alike (all "circle" characters, all gallows characters, all "ch/e" things) have the same function because they seem to appear in the same places. Take a look at the following:   TCoon-VoynichStructure1.JPG (Size: 145.87 KB / Downloads: 194) There seem to be four groups of characters, and they repeat in a predictable and uniform way: "Circle" group: o a y ai "Hook" group: r l n m  "C" group: c h ch sh e ee eee che ech etc. "Tall" group: k t p f d s Can all (or most) vords be reduced to this 4-unit paradigm? Is that the underlying structure of the Voynichese cipher?   Bench Gallows Writing Order Posted by: Emma May Smith - 27-05-2017, 06:28 PM - Forum: Analysis of the text - Replies (27) I've been looking at the characters known as 'bench gallows' for a little while (the characters ckh, cth, cfh, cph) and there is something I cannot settle. What order are the characters stroke written in? I did think this was the order: 1) e, 2) ek, 3) eke, 4) ckh. But now I'm not so sure. I think that the writer could have possible written c-h with a long crossbar first, then inserted k to make ckh. There are ways to test this, but I wonder if anybody has an insight to share. I think it would be very useful to know and may make some interpretations of the character more likely than others. First Previous Next Last