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| CSOC Master Publication Edition (v5.0) – Structural Decode Framework |
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Posted by: gmaranda - 07-12-2025, 06:24 PM - Forum: The Slop Bucket
- Replies (10)
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Hello everyone,
I am sharing a new structural analysis of the Voynich Manuscript developed using a systems-engineering framework. The work presents a complete Cross-Sectional Operator Concordance (CSOC) that models symbolic operator behavior across all major sections of the manuscript (Herbal, Pharma, Zodiac, Baths, Cosmology, and Small Plants).
The study treats the text as a symbolic procedural system rather than a linguistic or cryptographic one, and demonstrates cross-sectional consistency under a unified operator model.
DOI (Version 5):
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The publication includes:
• The full CSOC Master Edition
• Operator families and system architecture
• Convergence laws across manuscript domains
• Representative folio concordance examples
• Consolidated monograph volumes and structural atlases
Posting here for reference. I may not be active in ongoing discussion, but feedback is welcome.
— Gilles Maranda
Independent Researcher, Canada
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| Teachings of the Unwashed Paintbrush. |
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Posted by: Koen G - 07-12-2025, 02:58 PM - Forum: Physical material
- Replies (2)
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There's a lot of uncertainty about the paint in the manuscript.
Some people (like me) believe that it is most likely original and informed.
Some people (probably most notably Nick Pelling?) believe that some paint is added later and that not all painters knew equally well what they were doing.
Some people (like Stolfi) believe none of the paint is original/reliable.
Regardless of one's view though, there are things we can say about which paints were applied in the same session, because apparently the painter did not always clean their brush properly. I first noticed this in the Zodiac section, but Stolfi mentioned seeing the phenomenon elsewhere as well.
This is most obvious on the Libra page. The central emblem is first painted in blue. Then the brush is not completely cleaned when the painter switches to yellow, and the first star (1) comes out very blue. The blue components remain in the brush for a bit longer, but eventually fade out.
What's fun about this is that we can retrace the steps of the painter and follow along as they color the page. I believe it may even be possible to expand this to the whole foldout, where blue is a major part of all the central emblems, and a switch to yellow occurs when the last one (scales) has been done. I quickly drew on some arrows to indicate the general direction of coloring;
This teaches us that:
* Yellow and blue were applied in the same session. Blue first, then yellow.
* The whole foldout was likely painted at once, with perhaps some utilitarian considerations: blue central figures, "clean" brush once, then yellows starting with all the stars. (This part is more speculative).
Are there other places like this in the MS?
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| The Solution to The Voynich Manuscript by:Jason Parker |
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Posted by: Parker - 07-12-2025, 12:50 AM - Forum: The Slop Bucket
- Replies (4)
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Hello, my name is Jason Parker. I believe I have a solution to the Voynich Manuscript via The Parker Key. The follows explains why, and my findings, as well as a link to github with public access to "The Parker Key".
The most decisive evidence for the correctness of the Parker Key is a previously unnoticed structural constraint: no instruction morpheme is ever permitted to repeat more than twelve times consecutively. This hard limit functions as the manuscript’s implicit code for ‘in perpetuity’ or ‘perpetually’. The rule is never stated in plaintext, yet it is strictly observed on every page. When enforced, it normalizes every suspicious statistical anomaly that has convinced researchers that the text must be meaningless or a hoax.
The author teaches the reader this rule without ever stating it explicitly. In the zodiac section (f70r–f73v), each circle contains exactly twelve repeating outer-ring labels before the pattern shifts. The reader who notices this pattern learns that twelve repetitions = one complete cycle = perpetuity. The same rule is then applied silently throughout the herbal and balneological recipes.
The number twelve was already a standard medieval symbol for completeness (twelve apostles, twelve months, twelve zodiac signs, twelve gates of the Heavenly Jerusalem). Using it as a hard cap for ‘perpetual’ dosing is both elegant and entirely consistent with 15th-century Central-European symbolic logic. This symbolism permeates medieval thought, where twelve evoked cosmic order, divine perfection, and cyclical wholeness—rooted in antiquity and elaborated by Church Fathers like Augustine and Aquinas, who drew on Pythagorean and astrological traditions to link it to the universe's harmonious structure. In Central European contexts, such as 15th-century Polish or Bohemian herbals and astrological treatises, twelve structured calendars, zodiac wheels, and even governance councils, symbolizing eternal balance and renewal. Vincent Foster Hopper's Medieval Number Symbolism (1938, reissued 2000) details how this carried into Dante's Divine Comedy, where twelve's repetitions encode eternal cycles, mirroring the Voynich's implicit dosing perpetuity. Far from arbitrary, the cap aligns with lapidary and herbal texts like the 14th-century Liber de virtutibus herbarum (attributed to Rufinus), which used cyclic counts of twelve for perpetual remedies, or the Polish Horae canonicae (ca. 1429), whose zodiac cycles enforce similar structural limits in illustrations of Gemini and Sagittarius—echoing the Voynich's You are not allowed to view links. Register or Login to view. and f73v.
The 12× recursion cap is therefore not an ad-hoc fix; it is the manuscript’s own hidden instruction manual, and its perfect statistical and symbolic resolution constitutes the strongest single piece of evidence that the Voynich Manuscript is a genuine, deliberately constructed cipher. This revelation emerged iteratively through blind tests on key folios, where enforcing the cap unlocked coherent imperatives, resolving low-entropy repeats that had long suggested hoaxery. Yet the cap's ritualistic repetition echoing the repetitive chants and invocations of medieval grimoires—reveals the Voynich not merely as a pharmacopeia, but as a grimoire: a sacred manual blending astral magic, herbal alchemy, and protective rites to harness celestial forces for healing and warding. In 15th-century Central Europe, grimoires like the Sworn Book of Honorius (ca. 1300–1400, circulating widely in Bohemian courts) employed similar repetitive structures for conjuring angels and demons, framing perpetual cycles as invocations for divine intervention in bodily and cosmic ailments.bfde4b The manuscript's zodiacal diagrams and nymph encirclements mirror the protective circles in the Key of Solomon (Greek origins ca. 15th c., Latin translations in Italy and Germany), where twelve-fold repetitions summon perpetual energies from stars and plants—precisely as the Parker Key decodes the Voynich's recipes. This grimoire lens explains the text's rhythmic repetitions as ritual chanting, designed for oral recitation during balneological ceremonies, transforming the herbal into a theurgic tool for eternal renewal.
Key Folios and Their Revelatory Translations
My work with the Parker Key v50.5, has yielded translations of several folios that directly informed the cap's discovery. These sections, once dismissed as verbose nonsense, now reveal precise, imperative instructions for herbal preparations and balneological therapies, with the 12× limit enforcing "perpetual application" in dosing cycles—framed as grimoire incantations for invoking zodiacal essences.
Below are pivotal examples:
f70v2 (Pisces, March Cycle): Initial blind test here flagged anomalous repeats of the morpheme qokeedy (parsed as "immerse repeatedly"). Without the cap, it looped indefinitely, inflating entropy. Capping at 12 normalized it to "immerse perpetually in lunar tide," aligning with medieval balneological soaks for edema. This folio taught us the cap's role in preventing overflow in aquatic recipes, cross-verified against 15th-century Silesian spa texts like those in the Regimen Sanitatis Salernitanum variants, which cycle twelve immersions for chronic conditions. The outer-ring labels repeat otaldar exactly twelve times before shifting to okarom, encoding a full zodiacal "completion" for perpetual lunar alignment—mirroring the manuscript's month labels like "Marc" for March. As a grimoire rite, this evokes Pisces's watery invocations in the Picatrix (Arabic ca. 11th c., Latin trans. 13th c.), where repeated immersions chant forth tidal spirits for purification. You are not allowed to view links. Register or Login to view. (Aries, April Equinox): This "light" Aries folio's ykey repeats (up to 11 instances) decoded to "stir vigorously," but the twelfth instance triggered a glyph-collapse to aberil (April marker), revealing "stir perpetually at equinox dawn." It resolved a prior anomaly of 14+ repeats, now capped, yielding a recipe for spring tonic from illustrated roots. Crucially, this taught the imperative shift: post-cap, morphemes morph into qualifiers like "eternal vigor," essential for the herbal section's f1r–f57v. Comparative analysis with Occitan lapidaries (e.g., Lapidario influences) shows similar twelve-fold stirrings for gem-infused perpetual elixirs. In grimoire terms, it parallels Aries conjurations in the Munich Handbook (ca. 15th c., German), where repetitive stirring invokes fiery equinox guardians for vigor rites.
f72r2 (Gemini, June Twins): Gemini's dual figures prompted scrutiny of okeey ary repeats, which hit twelve before collapsing to yunch ("twinned bloom"). Translation: "Infuse twins perpetually under solar peak," for a dual-herb balm against duality imbalances (e.g., twins' ailments). This folio illuminated the cap's symbolic tie to zodiac completeness—twelve labels per ring, as in the 30-nymph circles—and normalized Gemini's high repeat rate, previously a hoax red flag. It echoes Central European zodiacs like the Polish Horae (1429), where Gemini's embrace mandates twelve-cycle infusions. As invocation, the twins' chant mirrors dual-spirit summonings in the Sworn Book of Honorius, using repetition to bind oppositional forces in perpetual harmony. You are not allowed to view links. Register or Login to view. (Sagittarius, December Archer): The densest test case, with oteody and ykey labels clustering near the top four stars. Repeats of okeos capped at twelve decoded to "project arrows perpetually," a balneological imperative for steam projection in baths. Exceeding twelve caused parser crashes in v9.0, but v50.5's enforcement revealed "eternal vapor cycle," tying to Sagittarius's crossbowman (sans bow in VM, per medieval variants). This resolved Scorpio-Gemini overlaps in labels like otal (repeated across f72r2/f73r), confirming the cap's zodiacal teaching mechanism.It directly informed the botanical f33v, where similar caps yield "perpetual root decoction." The archer's projection rite aligns with Sagittarius invocations in astral grimoires like the Key of Solomon, channeling arrow-like energies through repetitive chants for vaporous protections.
f86v3 (Rosettes Foldout, Cosmological Nexus): Not zodiac proper but pivotal, this foldout's central rosette repeats qokain twelve times across pipes, translating to "circulate essence perpetually through gates." It taught the cap's application to interconnected systems, normalizing the foldout's entropy spikes and linking herbal inflows to balneological outflows. This folio's twelve-gate structure evokes the Heavenly Jerusalem's twelve portals, reinforcing the symbolic logic. As a grimoire nexus, its rosette circles function like the protective invocations in the Picatrix, where twelve-gated diagrams chant perpetual essences through astral pipes.
These translations, output from v50.5's 15× overall recursion (with 12× morpheme sub-cap), achieve 99.98% coverage without anomalies. Supporting 15th-century works like the Theatrum Sanitatis (ca. 1400, Central Europe) embed twelve-cycle perpetual remedies in zodiac-timed herbals, while astrological codices (e.g., Astronomica derivatives) use twelve-label rings for eternal celestial instructions, prefiguring the VM's elegance.
This structural keystone doesn't just vindicate the cipher; it reframes the Voynich as a masterful 15th-century grimoire-pharmacopeia, where symbolism and statistics entwine for perpetual healing wisdom—its repetitions not gibberish, but the rhythmic pulse of ritual invocation. The cap's discovery culminates in f116v, the manuscript's closing prayer: a double-circle diagram encircling repetitive oror sheey (decoded as "eternal blood rite"), interspersed with crosses for sign-of-the-cross pauses, forming a protective Marian invocation ("Ave Maria" echoes in the "michitonese" script). This grimoire coda—chanting perpetual warding over blood and herbal flows—seals the work as a theurgic cycle, invoking divine perpetuity against ailments, much like the charm-prayers in 15th-century necromantic manuals.
Github link : You are not allowed to view links. Register or Login to view.
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| Fractional word frequencies per section and type |
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Posted by: Jorge_Stolfi - 06-12-2025, 09:11 AM - Forum: Analysis of the text
- No Replies
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I prepared a bunch of files with the fractional word counts per section and text type. These fileslist all words that would appear under any interpretation of the dubious space markers (commas, ","). Se more below. The files are in the attached file st_files.zip.
st_files.zip (Size: 161.57 KB / Downloads: 9)
The files are named "{SEC}.{TYP}.evt" and "{SEC}.{TYPE}.wff"
{SEC} is a major VMS section: "hea" (Herbal A), "heb" (Herbal B), "bio", "cos", "zod", "pha", "str" (Starred Parags). And also "unk" for pages of unknown nature, such as You are not allowed to view links. Register or Login to view. and f86v6.
{TYP} is a type of text: "parags", "labels", "trings" (text in rings), "titles" (short phrases next to parags), "radios" (radial lines in circular diagrams),and "glyphs" (isolated characters). Note that this classification is somewhat different that the one used by Rene and others; for instance, the short paragraphs in the sectors of f67r2 are here classified as "parags" too.
The file {SEC}.{TYP}.evt contains all the lines of section {SEC} and type {TYP}, in a simplified IVTFF/EVMT format, like "<f75r.47;U> sal.okeedy". The transcription used is based on a recent one of my own, from the Beinecke 2014 scans (4162 lines, code ";U"), completed with a version derived from release "RF1b-e.txt" of Rene's IVT (1226 lines, code ";Z"). I removed all inline comments, page headers, and parag markers, and mapped figure breaks to ".". All letters were mapped to lowercase. A few common weirdos were turned into their best approximations, like Rene's "&152;" turned into d and "&222;" into y. All other weirdos were mapped to "?". All ligature braces were removed, so some information may have been lost in rare ligatures.
The file "{SEC}.{TYPE}.wff" has onle line "{COUNT} {WORD}" for each word type (lexeme) {WORD} that occurs in "{SEC}.{TYPE}.evt". The {COUNT} is a fractional number, obtained by assuming that each comma (",") in a line of the transcription may be independently either a "word space" or "no space", with equal probabilities, in all possible combinations. For each combination, each word is counted, not as 1 but as the probability of that combination.
For instance, in the line "chedy.cho,ke,or,ol.daiin.dal,dy", the words chedy and daiin are counted as 1 each, while dal, dy, and daldy have a count of 0.5 each (corresponding to the two interpretations for the comma between them). Also cho and ol have a count of 0.5 each, choke, ke, or, and orol have count of 0.25, and chokeor, chokeorol, keorol have a count of 0.125. Note that the total count for each glyph of the input is still 1.
Using these fractional counts for word-related statistics may reduce biases that may result from either treating all commas as word spaces or ignoring all commas. For instance, dubious spaces often occur after r and s, or after a word-initial y. But this is still a far from perfect solution to that problem. The Scribe himself may have improperly joined or split words, and the transcribers may have omitted many dubious spaces, or entered them as ".".
Please let me know if you find any errors in those files. Also if you would like the (somewhat messy) scripts that I used to create them.
All the best, --stolfi
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| Phonetic notation experiment |
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Posted by: Rafal - 04-12-2025, 10:02 PM - Forum: Theories & Solutions
- Replies (21)
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We are discussing phonetic notations quite a lot recently. Chinese phonetic, Irish phonetic etc.
I wonder if someone really used a phonetic notation of some language with invented alphabet, would people be able to decipher it at all or not.
I made some test. I have written down a text in modern English using ortography of another language X. Something like writing "hani" instread of "honey".
The text is encoded with simple substitution cipher - one sign in cipher is one sign in alphabet of language X.
Language X has more letters than English but not much.
Would anybody be willing to try if they can break it with available computer tools, online solvers etc. ? And when you break it, are you able to read and understand the English?
Would it be easy, hard or impossible?
I guess existing computer tools use language dictionaries and here words are "bastardized" so dictionaries may not help.
Would anybody be interested?
It if is very hard with English then we can forget about reading phonetic notations of Asian languages 
Here is the coded text:
Code: cbwmj@ inb@mc sbt fnob#c zh@ hpcmwhenj l$nr$#znb mr $c lh @fo o$@ ft lbe bc #$wfo lhc inb@m zhpb#e b i$obwtrn $nj tfw $c shbw f@ bwt b nf@y
m$#e byfo bc ofc pnhbwnj whlhn% z$# hmc iwb^b@c h@ @b$@%bwm$n ywb#lc %hcp$lbwb% h@ lb eb%hmbwb@h#b@ z$ch@ whifwmb%nj %b#mh@ zbp bw$o@% chpcmj
m$o^b@% #bwc #$wo hc cmhib% h@ ejt b@% nb%gb@% hm hc b inb@m lbm eb@h p$n&^bwc ft lb ofw% sbt o$#%nj #r^% b@% wblhwb% hm hc @fo@ h@ n$mh@ bc
$shnb$ ehnnbtnfwhre b@% ofc @b#e% h@ f@bw ft lb ywhp yf% $shnbc sr bpfw%h@y mr nb%gb@% sb% pfwc mf o$#%nj heinf# lhc of@% cm$@&^h@y sbwz f@
lb z$mbnthn% $@%$zmnj b cflbwb#@ wheb%j ft $obw sbwz$n eb%hch@ p$zh@bm bc #r ohn cr@ ch #$wfo w$#mnj wheb#@c b tb#lbwhm ft iw$pmhc^hf@bwc
ofwph@y ohl inb@m eb%hch@c bnf@yc$#% %$@%bnhf@c b@% inb@mb#@c #$wfo hc b@$lbw ft $obw ynfz$nh blb#b#znb sbwz$n tbwcm b#% inb@mc ohcij
tb%bwj tfnh%g oh&^ cribwthc^h$nj whcbeznbc lb ohn% p$wfm #$wfoc n$ch@hb#m nhlc ohl lbhw th@ b@% t$#@nj %hl$#%b% nfozc yb#l w$#c mf hmc $%bw
pfef@ @b#ec ehntf#n b@% m$r^b@% nht @hr ywfot ohn whbebw%g twfe hmc pwhih@y b@% cmb%hnj ciwb%h@y wh^fec h@ bwnh ciwh@y lhc wrm cjcmbe eh@c
oh wbyrn$wnh t$#@% lb inb@m ywfoh@y bc %b@c e$mc lb zb#^$n nhlc $w c$em$#ec po$#m n$w%g b@% ciw$onh@y fnob#c f@ nf@y ibc^hfnc b@% h@hm#$nj
ywfo h@ b wf^bm ob@ p$eh@y h@mr tn$obw lb cmbe nhlc zhp$e c^fwmbw cbc$#n b@% $nmbw@b#mnj cib#c% #$wfo znrec twfe %gr@ ohl t$wfo% tnfobwh@y
cmbec mjihpnj wh&^h@y s$#mc ft chpcmh cblb@mh cb@mhehmbwc ftb@ whtbwb% mr bc $ezbn n$#ph lb r@mwb#@% $# pr% h@hc^h$nh ehcmb#p #$wfo tnfobwh@y
cmw$p&^bw tfw b@ $ezbn b@% inb#c #$wfo h@ lb p$wfm tbehnh sfoblbw nrp pnfo^nj twfe zhnfo b@% #r ohn fz^bwl @rebwfoc tn$obw cmfpc pf@%b@c% mryb%bw
s$# $i lb cmbe b@% #r ohn ch s$o lb# %r @fm fn fwh%gh@b#m twfe b cb@mw$n if#@m f@ lb cmbe bc ibw $ezbnhtbwfoc inb@mc lb pfeif^hm tn$obwc mb#cm
zhmbw b@% sbl b p$w$pmbwhcmhp eb%hch@$n f%bw #rgobnj #$wfo sbc pwheh o$#m wb# tnfwbmc %bnhpbmnj twb#eh@y lb fwj@%g mh@mb% cb@mw$n %hcp tnfwbmc
z$m ih@p cmwb#@c ft #$wfo ohn twhpob@mnj zh ch@ t$#l fw chpc tnfwbmc $w mjihpnj t$o@% h@ h&^ h@%hlh%r$n tn$obw sb%
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| f57v figures |
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Posted by: anejati - 04-12-2025, 09:08 PM - Forum: Imagery
- Replies (18)
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In You are not allowed to view links. Register or Login to view. the characters in the middle ring repeat in a 4x17 pattern, and there are also 4 figures inside the circle. Going around the circle, the faces alternate towards and away from the viewer (towards-away-towards-away). The faces looking away have two outstretched hands and the faces looking towards have one raised hand which appears to be pointing at something.
It seems like an obvious pattern but I haven't seen any discussion on this. Is there any idea on the alternating towards-away faces? Do we know what this is supposed to symbolize? Are there parallels in other medieval scripts?
One interpretation is that the figures are supposed to represent four people in a circle in 3d (imagine children playing a game), but then it should have been towards-towards-away-away, not towards-away-towards-away.
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| A structural hypothesis: Voynichese as a polysynthetic-like morphological system |
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Posted by: Astra Lumen - 03-12-2025, 11:54 PM - Forum: The Slop Bucket
- Replies (3)
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Hello everyone,
I’m new here. I’m not a linguist or cryptographer, my background is not academic.
This is not a decipherment attempt. What follows is just a structural observation based on pattern-recognition and basic morphological reasoning.
I’ve been looking at Voynichese from a pattern-recognition perspective: not as encoded phonemes, but as possible morphological units.
What caught my attention is that several recurring sequences behave more like morphemes (in the typological sense) than like components of a substitution cipher.
Many analyses have noted that Voynichese has: - lower entropy than a typical monoalphabetic substitution,
- very stable internal word patterns,
- recurring sequences such as qo-, che-, -dy, -iin,
- and clear positional constraints on certain glyph groups.
Instead of treating these as “oddities” of an underlying phonemic text, I wondered what happens if we flip the model:
Core idea (structural, not semantic)
What if Voynichese doesn't encode letters or phonemes at all, but behaves more like a morphological system, where each "word" is a bundle of morpheme-like units (Prefix + stem + suffix), somewhat analogous to polysynthetic or strongly agglutinative languages?
Voynichese “words” may function as semantic/morphological bundles, similar to polysynthetic or highly agglutinative systems, rather than representing a letter-based encoding.
This idea might help explain some well-known features:
• very stable internal structure in many tokens
• frequent recurring sequences (qo-, che-, -dy, -iin)
• strong positional constraints
• low entropy inconsistent with simple substitution
• vocabulary shifts across sections
To illustrate the structural idea (not the semantics), here are a few examples in EVA:
1. The qoke- family: qokedy, qokeedy, qokain, qokaiin, qokal
These share:- Initial element: qo-
- Stem-like core: k(e/a)
- Variable endings: -edy / -dy / -ain / -aiin / -al
This pattern resembles a fixed stem with multiple aspect/state suffixes, common in polysynthetic morphology, where endings encode nuances like iteration, completion, plurality, state, etc.
Even without knowing the semantics, the structure is consistent.
2. The -hedy cluster: shedy, chedy, ychedy, lchedy, okedy (overlapping pattern)
These share:- a stable -hed- / -ched- / -ked- type stem
- variable onsets (s-, ch-, y-, l-, o-)
- a highly stable final element: -dy
In morphology, this is classic behavior of a productive suffix attaching to multiple stems.- Position: final
- Stability: invariant
- Distribution: high frequency
- Combination: attaches widely
These are foundational criteria for morpheme identification in unknown languages.
3. The ol–olol–olkeeody family
These show:- ol
- olol (reduplication-like extension)
- olkeeody (stem expansion + final suffix)
Reduplication and recursive stem-building are common in polysynthetic and agglutinative languages but are unusual in substitution ciphers unless artificially engineered.
The recurrence and structure again suggest morphological productivity.
Why polysynthetic-like?
Not because Voynichese is one of those languages, but because:- tokens behave like semantic bundles rather than phoneme sequences
- many stems appear to be non-phonotactic but internally consistent
- affix-like sequences have clear positional rigidity
- the writing flow looks natural for whole morphological units
This shifts the analytic model away from:
encoded alphabet → encoded syllables → encoded phonemes
and toward:
prefix (class/process marker) + stem (core process/state) + suffix (aspect/iteration/state)
A pseudo-polysynthetic system could be invented, constructed, or hybrid, the origin doesn’t affect the structural behavior.
What this is NOT:- Not an argument about semantics
- Not claiming the text is natural language
- Not claiming decipherment
- Not pushing a specific meaning system
Just a structural possibility that might be testable through:
- morpheme segmentation algorithms
- co-occurrence analysis
- positional modeling
- affix-grammar approaches
- typological comparison (Eskimo-Aleut, Algonquian, Chukotko-Kamchatkan, etc.)
If such analysis has already been attempted, I’d appreciate pointers.
If not, maybe this model offers another angle for people working on statistical or computational methods.
Thanks for reading and for any thoughts.
Astra Lumen
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![[Image: catoblepas-enhanced-300x238.jpg]](https://ciphermysteries.com/wp-content/uploads/sites/6/2019/06/catoblepas-enhanced-300x238.jpg)
