03-04-2017, 01:42 AM
Thank you all for your informative replies.
In terms of evidence that Poggio's hand was involved, I submit only seven items:
1. The sum of money (600 florins) he says he intends to ask of Piero instead of 500;
2. His incredible talent and acquaintance with the science (largely humanities) of the day;
3. His proximity to the epicenter of inventions in typography, including the semigothic "Rotunda" font;
4. His desire to go on at some length lauding the baths at Baden in a letter to his friend;
5. The fact that Piero Lamberteschi's only known work is entitled "I Cherubini del Rigagnolo," or "Cherubim of the Rivulet" (I have ordered the book), which could be very close in theme to about a third of the Voynich Manuscript;
6. The fact that he was from Northern Italy, which some believe could be the origin of the manuscript, and may have spent time in Hungary in 1422, while we know that the manuscript was probably produced within twenty years of that date either way, and we know pretty well that it ended up among the possessions of the King of Hungary;
7. The fact that he attended the Council of Constance in 1414–1418, and went book-hunting after the Council; simultaneously, consequences for heresy were delineated as a result of that council, and were harsh and could lead some to desire to encrypt their writings.
That said, I do not believe that the sum of the weights of these seven items compares with the simple fact, that has been mentioned, that Poggio was likely an expert stylist, and the Voynich manuscript has much that is amateurish about it. So it would in fact be bizarre to try and attribute its hand to him. I will continue to investigate Piero Lamberteschi to the extent that it is possible; but I expect to find, as René Zandbergen has already said, that it is likely the work of an unknown herbalist, possibly from Germany, about which nothing else can be known.
In terms of evidence that Poggio's hand was involved, I submit only seven items:
1. The sum of money (600 florins) he says he intends to ask of Piero instead of 500;
2. His incredible talent and acquaintance with the science (largely humanities) of the day;
3. His proximity to the epicenter of inventions in typography, including the semigothic "Rotunda" font;
4. His desire to go on at some length lauding the baths at Baden in a letter to his friend;
5. The fact that Piero Lamberteschi's only known work is entitled "I Cherubini del Rigagnolo," or "Cherubim of the Rivulet" (I have ordered the book), which could be very close in theme to about a third of the Voynich Manuscript;
6. The fact that he was from Northern Italy, which some believe could be the origin of the manuscript, and may have spent time in Hungary in 1422, while we know that the manuscript was probably produced within twenty years of that date either way, and we know pretty well that it ended up among the possessions of the King of Hungary;
7. The fact that he attended the Council of Constance in 1414–1418, and went book-hunting after the Council; simultaneously, consequences for heresy were delineated as a result of that council, and were harsh and could lead some to desire to encrypt their writings.
That said, I do not believe that the sum of the weights of these seven items compares with the simple fact, that has been mentioned, that Poggio was likely an expert stylist, and the Voynich manuscript has much that is amateurish about it. So it would in fact be bizarre to try and attribute its hand to him. I will continue to investigate Piero Lamberteschi to the extent that it is possible; but I expect to find, as René Zandbergen has already said, that it is likely the work of an unknown herbalist, possibly from Germany, about which nothing else can be known.
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