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| Under the Big Tent |
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Posted by: MarcoP - 08-10-2019, 03:10 PM - Forum: Imagery
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You are not allowed to view links. Register or Login to view. is the title of a 2012 short but insightful blog post by Ellie Velinska. I believe it is one of the best contributions I have read about the Rosettes page.
Ellie's interpretation requires to turn the South-East Rosette according to the orientation of the text. The result is a couple of tents. That interpretation explains several details in the illustration: - The two larger rectangular areas, decorated by different patterns: the one on the left is split into four triangles joining at the centre; the one on the right is more simply decorated by parallel patterns;
- The six parallel cylinders that appear below the rectangles (three for each structure): this interpretation explains why they are cylindrical, why they are parallel and why they are below the rectangles; the cylindrical shape of the objects is particularly clear in the first and third from the left.
- A bronze object known as You are not allowed to view links. Register or Login to view. was used to support the poles of the tents. This one is monumental, but I guess others were considerable smaller. Zhighris could correspond to the thicker part of some of the poles near the ground;
- In both structures, the lower part of the rectangle features a parallel wavy area that extends towards the ground. This area appears to be in front of the upper part of the poles in the left structure and behind the upper part of the poles in the right structure. Following Ellie's idea, these areas represent fringes or tissue hanging at the site of the baldaquin.
Here I have added colour and shades, trying to make the three-dimensional interpretation of the drawing easier to see. The image on the right is from You are not allowed to view links. Register or Login to view. (Mughal Empire, 1590 ca).
Original illustration:
It seems clear to me that the two baldachins have a symbolic function: the rest of the circle is filled with patterns (stars, mountains/clouds, unidentifiable "flows") that seem suggestive of a cosmological meaning.
I like that Ellie's interpretations accounts for both structures. Some (e.g. You are not allowed to view links. Register or Login to view.) have seen the top of the left structure as an illustration of the rivers of paradise, but this interpretation ignores the other details (the poles and the fringes) and the fact that two complex and similar structures appear side by side.
Mark's recent You are not allowed to view links. Register or Login to view. as a cloister and a herb-garden has similar problems: the poles, the fringes and the similarity between the two structures remains unexplained.
Also, the two baldaquins relate well with the much more bizarre structure in the central rosette: even here we see a flat horizontal surface supported by vertical "pillars" that in this case are shaped like "pharma" containers. Ellie's interpretation catches the overall 3D nature of the diagram.
Besides discussing the rectangular structures, Ellie also notes that other rosettes look like pavilions seen from above. This is particularly clear in the South rosette, where one can see what could be ropes and knots holding in place a circular tent (or canopy).
This tent/canopy motif recurring in the Rosettes diagram could also be related with the "umbrellas" in Q13 (see discussion You are not allowed to view links. Register or Login to view. and You are not allowed to view links. Register or Login to view. by Karl Lehmann, on Jstor). The motif is traditionally related with heaven, and the presence of stars on several of the Rosettes canopies reinforces the possibility of a connection.
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| [split] Half-spaces |
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Posted by: -JKP- - 08-10-2019, 03:50 AM - Forum: Analysis of the text
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Searcher, there is something else going on in the VMS that is somewhat under-studied and which may have something to do with related tokens...
There are half-spaces, and the half-spaces are frequently in places where two common tokens are adjacent.
The problem with the various transcripts is that some ignore the half-spaces and some treat them as full spaces (mostly they are ignored but because of where they fall, I don't think they should be ignored because they occur in regular patterns).
I had mentioned half-spaces some time ago. I have one transcript that tries to document the half-spaces (I had to create three transcripts before I felt really confident about being able to see them correctly). I haven't seen René's transcript, but he has mentioned half-spaces since then, so it might be reflected in his transcript, but you would have to ask him.
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| Voynichese a Morse Code Cipher? (new book) |
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Posted by: Gavin Güldenpfennig - 02-10-2019, 08:32 AM - Forum: Theories & Solutions
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Dear Voynich researchers,
the author of this book asked me to share his theory about the manuscript with you.
I don't really know, what I should think about it. For me it seems to be very unlikely, that the VMS is written in a Morse Code Cipher.
What do you think?
Mod note :no advertising or commercial endorsement on site. The book's name is Voynich Morse Code Steganography Cipher by Tom O'Neil. On sale via self publishment on amazon.
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| Another interesting blog post by Peter Kidd |
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Posted by: ReneZ - 02-10-2019, 07:35 AM - Forum: Voynich Talk
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In this blog post:
You are not allowed to view links. Register or Login to view.
there are two interesting questions / suggestions.
The first is a potential inspiration from the Voynich MS, about two thirds down the page.
Could it be something else?
Finally, an open question at the very end, which someone here might have an idea about.
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| 9 Rosette - Specific Details |
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Posted by: Mark Knowles - 01-10-2019, 07:32 PM - Forum: Imagery
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One thing that has slightly annoyed me is the lack of attention or failure to observe many of the specific and deliberate details on the page.
One particular example is the numerous buildings. If one looks carefully one can notice that even many of the very small buildings are drawn in very specific and deliberate ways. Now it might be argued these buildings do not correspond to any specific geographical locations and even if that is the case I think it worth asking why the drawings of these buildings are so specific and not generic. Are the drawings of the buildings influenced by or copied from buildings that the author was familiar with or were they made up purely out of the author's imagination and why did the author not believe that general drawings of buildings would suffice. I should add that these specifics become very clear when one looks at the scan of the page, though zooming in on the drawings certainly can help to make the details particularly clear.
I would argue that not only is this page the largest page it is also the most detailed, though one often needs to look carefully to spot the specifics, something I think very few people do. There are certainly parts of the page that lack detail, such as the top left rosette, but there are also other parts that are rich in specific detail. I think when one notices the specific details it is worth asking why the author chose to draw this or that think one way when it would have been easier to draw it another way. Also I think one should ask whether it is more likely that those very specific details were drawn from pure imagination or memory or possibly a mixture of both.
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| Arcades Cornices |
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Posted by: Mark Knowles - 01-10-2019, 04:07 PM - Forum: Imagery
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There is a drawing of a building on the causeway from the top-right rosette to the top centre rosette. Now to me that looks very much like the kind of pretty flat roofed campanile(church bell tower) that we find prevalent in South Eastern France and Northern Italy.
To me there is a feature of this drawing that I particularly associate with campanile. This is arcaded cornices. Now arcades cornices are a series of semicircular architectural features that we see particularly at the tops of many campanile. It is noteworthy that the author of the Voynich made a deliberate decision to draw these curly semicircular features at the top of the building in question, this is not the natural or normal thing to do, it requires a deliberate decision to represent the building in that way.
To me, like the swallow tail battlements, these arcades cornices again tie the Voynich to Northern Italy or possibly South Eastern France.
Now I don't know the history or origin of the use of arcades cornices and whether they have a specific meaning in the way that swallow-tailed battlements do. I don't know how their usage dispersed geographically over time. However I do know that they were definitely in use in the early 15th century in Lombardy. If anyone else has any knowledge of arcades cornices or where to find more information of this kind that would be interesting.
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