Liber You are not allowed to view links. Register or Login to view. has often been mentioned as a parallel for some parts of the Voynich ms.
From the Wikipedia page:
Trotula is a name referring to a group of three texts on women's medicine, the Trotula, that were composed in the southern Italian port town of Salerno in the 12th century. The name derives from a historic female figure, Trota of Salerno, a physician and medical writer who was associated with one of the three texts.
1 Liber de sinthomatibus mulierum ("Book on the Conditions of Women")
2 De curis mulierum ("On Treatments for Women")
3 De ornatu mulierum ("On Women’s Cosmetics")
On You are not allowed to view links. Register or Login to view., Darren Worley has mentioned a manuscript (You are not allowed to view links. Register or Login to view.) with a few interesting illustrations.
Check out my paper at You are not allowed to view links. Register or Login to view.
Sorry that it's written in german.
It describes how to transform the voynich-Manuskript into music.
If you want to listen to it, you can either download pages 29-28 as mp3
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or the whole transformed document as midi-file
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For listening to the midi, you need some midi-player. I used timidity:
timidity -K -20 voynich-music.mid
I believe I'm on to something which is a serious cipher, but it's hard to tackle. The text cipher which I believe is Welsh Numerology needs your help. I'm uploading the cipher here and a present picture of what I have. I just found gall and rhubarb from Edith Sherwood's site and along with Craf the numerology is holding up. The problem is if the whole Voynich is in Welsh then we only have the word number for welsh words and so decoding using this method is a nightmare. We need to find 8 more Voynich Glyph's to complete the project. Edith Sherwood's site is the best for identification of herbs. Please share in this endeavor with me.
Numerology
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English to Welsh Dictionary
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Voynich Numerology Welsh Language
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Sherwood's Site
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Voynich Gardens
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I have to say that I developed a decoding process for the voynich manuscript; which discovers welsh words for the images and themes within the voynich manuscript. I realize that I have been a bit vague in my presentation here. I discovered a Pythagorean Numerology Method by decoding all the astrology signs in folio 67r2 which runs consistent to my cipher, something which has never occurred yet to my knowledge. I assigned voynich glyph's to number equivalents. If you understand the traditional model of astrology Aries which is the Ram sits on the ascendant and then moving counter clockwise; I found all the signs in folio 67r2 of the voynich manuscript in welsh and one English word for scorpion. I believe John Dee designed the Voynich Manuscript. 1) Astrology fallows an order of welsh words that are labels for the signs that are counter clockwise 2) and are static as number totals for numerology. 3) In my cipher the voynich words have to equate to those labels in numerology. So with these three very strict rules my output shows welsh as the primary language for the voynich manuscript.
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Numerology Calculator
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Welsh Dictionary
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Some characters in the Voynich script behave like one another. For example, an instance of [ch] can usually be replaced with [sh]. We could consider them to be members of the same 'class' of characters. We might think of numerous tests by which such similarity could be measured. What are the character classes that have been proposed, or we could agree on?
The characters [ch, sh] look alike and act alike. Stolfi placed [ee] with them, but I'm not certain that is valid because they cannot always replace one another.
The 'gallows' characters, which themselves can be subdivided into smaller classes dependent on the presence of a bench and/or two legs. This is the most commonly referred to group, but is it really valid?
Stolfi suggested the 'dealers', [d, l, r, s], which often occur in similar contexts. Within that class I would suggest that [d, s] and [l, r] are natural subgroups.
Stolfi also suggested the 'circles', [a, o, y], which in his theory were highly mobile. I think that if we consider [a] to be a variant of [y], then [y/a, o] make a fairly coherent class of character.
I think that being able to see characters as members of classes helps in analyzing the text because it gives us another level of insight. If we take some or all of the classes mentioned above as valid, we can see that words such as [oteal] and [ykeeor] have some structural similarity.
So how can we interpret the validity of things that are found in the VMs? The validation is found in the text.
For example the triple convergence of interpretation applied to the fifth symbol in the 4 x 17 symbol sequence of VMs f 57v. In EVA transcription, they are o, l, d, r and v. And so the fifth symbol is 'v'. Not that the fifth symbol really is a 'v', if you actually look at it.
A person familiar with Greek letters might identify it as an upper case version of lambda. A person working with medieval mathematics might see the number seven. And supplementary both of those, there is an inverted version of the letter 'V'.
Is this coincidence? Three different interpretations for one simple symbol. Is there a way to establish validity of interpretation?
I believe there is something that goes a long way in that direction. And that is the use of positional confirmation.
Here are the examples:
1. 'Lambda' interpretation: Within the Greek alphabet, if symbol 5 might be lambda, symbol 1 might be omicron. The reading is right to left, which was permitted in Greek. And the spacing, with three symbols in between, is the same placement as in the Greek alphabet.
Note that position is a measurement not a subjective assessment of perceived similarity. It is a mathematical equality and therefore an objective fact. This is a positional confirmation.
So perhaps the lambda interpretation is correct. But look again.
2. 'Seven' interpretation: Within the realm of medieval mathematics, as evidenced on the skirts of Typus Arithmetica are the first few powers of '2' and '3'. Not only does the form of the number seven match with the form of symbol 5 of the VMs sequence, the number four is a match with symbol 2 of the sequence. There are two intervening spaces between symbol 2 and symbol 5. Just as there are two intervening spaces between numbers '4' and '7'. This is the same sort or positional confirmation as the first example.
3. 'Roman' interpretation: The Roman numeral five is "V". And VMs symbol 5 is a 'V' inverted. If this were a random sequence of symbols, the symbol could have been placed anywhere. Given that the interpretation and the placement are same, this is also a positional confirmation of interpretation.
In my book, this sort of triple convergence thing cannot pass as a coincidence or random concatenation of circumstance. And in an artifact of human manufacture, the only alternative is intentional creation.
This triple convergence shows how the choice of symbol position can be used to confirm subjective visual interpretations by means of measurable distance and relative location. The method of using positional confirmations has been used again on VMs You are not allowed to view links. Register or Login to view. (White Aries) as part of the Genoese Gambit and the tradition of the red galero.
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1) The botanical folios in the manuscript exclusively depict plants and plant parts. There is no reference to animal products.
2) There are two possible exceptions in the "small plants" section. A colored cube and a frog.
I have some ideas concerning VM and was advised to start separate thread. I'll try to describe them briefly.
First of all the map from Voynich to Latin (* stands for any vowel sequence):
o - v, y, b, u e - c, t, g y - com-, con-, -is, -us d - l ch - e*r l - m, n k - d r - r, -rum n - (none) t - l*l [font=Eva]q[/font]- q, k [font=Eva]sh[/font]- pr, fr [font=Eva]s[/font]- s, x p[font=Arial] [/font][font=Arial]- p, f[/font] m- ris, rus cth- l*l*r [font=Eva][font=Eva]ckh[/font]- d*r[/font] f[font=Arial] [/font][font=Arial]- s[/font] [font=Eva][font=Eva]cfh[/font][/font]- f*r g[font=Arial] [/font][font=Arial]- lis, lus[/font] x[font=Arial] [/font][font=Arial]- z[/font]
ai-family are vowels
Second hypothesis: words with gallow in front are capitalized, others are not. So,
a) if a word starts with gallow, but shouldn't be capitalized, o is written in front (that's why texts near images often start with o)
b) if a word starts with non-gallow, but should be capitalized, gallow is written in front.
Separate words undoubtedley can be translated with this key. For example, famous daiin appears to be form of Latin ille.
More specific details can be found in attachment.
Cheers
I decided to run a text analysis of the Marci Letter which was supposedly sent to Kircher. I found anomalies with the Capital, "R" straight out and it was not consistent, in fact 1 R looked like a voynich, "e". The spacing of the words and the upward momentum to leveling off is seen in the Voynich Manuscript. The dot in the letter, "i" tilts to the right like his signature.
The letter reads in English
Quote:The letter of Johannes Marcus Marci to Athanasius Kircher (1665) Reverend Lord Father in Christ This book was left to me by a close friend in his will and ever since I first owned it I have destined it for you my dearest Athanasius, persuaded as I am that it can be read by none if not by you. The then possessor of the book once sent you letters seeking your judgment about a part of it which he wrote down and sent to you, being convinced that the rest of it could be read by you. He refused to send the actual book and put untiring work into its decipherment. as will be seen from his attempts now sent to you under the same cover. He did not give up this hope until he reached the end of his life. But in fact his work was in vain, as such riddles only obey their very own Kircher. So now please accept what was long owed to you as some small token of my affection for you, and break through its bars with your habitual ease. Doctor Raphael, the Czech language tutor of King Ferdinand III as they both then were, once told me that the said book belonged to Emperor Rudolph and that he presented 600 ducats to the messenger who brought him the book. He, Raphael, thought that the author was Roger Bacon the Englishman. I suspend my judgement on the matter. You be the judge of what we should think about it. I commend myself to your favour and grace and I remain At the service of your Reverence. Prague 19 August 1665
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I will present a set of statements here about the human figures in the manuscript, their number and state of undress.
1) There are [over five hundred] human figures in the manuscript.
I'm not sure of the number, but I seem to remember Rene once said something like this. Does anyone know more or have a source?
2) Additionally, a number of faces are found in the roots of some plants and on representations of heavenly bodies. Plants with faces are: - f33r: two faces - f89r1 bottom middle: five faces - f101v2 bottom: one face
3) Most human figures are completely naked (ignoring headgear).
4) Fifty human figures are clothed with at least one piece of clothing (ignoring headgear).
5) A large majority of human figures are female.
6) Some human figures have androgynous features.
Number (4) is based on a count I did just now. I ignored everything worn on the head, but included all other clothes worn, including a couple of ambiguous cases. The count might be repeated by somebody else to see if I didn't make any big mistakes.
![[Image: voynichwelshnumerology1.jpg?w=840]](https://voynichnumerology.files.wordpress.com/2016/09/voynichwelshnumerology1.jpg?w=840)
![[Image: numerologychart16.jpg?w=840]](https://voynichnumerology.files.wordpress.com/2016/09/numerologychart16.jpg?w=840)
![[Image: pleiade1.jpg?w=840]](https://voynichnumerology.files.wordpress.com/2016/09/pleiade1.jpg?w=840)
![[Image: planets67r21.jpg?w=840]](https://voynichnumerology.files.wordpress.com/2016/09/planets67r21.jpg?w=840)
![[Image: 67r2welsh-recovered.jpg?w=840]](https://voynichnumerology.files.wordpress.com/2016/09/67r2welsh-recovered.jpg?w=840)
![[Image: marci_letter_450x_for_blog.jpg?w=840]](https://voynichsignature.files.wordpress.com/2016/09/marci_letter_450x_for_blog.jpg?w=840)