Indeed, whether she refers to the planet or the deity, the iconography will often overlap. The thing of the mirror's centre being left clear is also true. It's not immediately obvious since green from the verso side is shining through, but it is left completely blank.
Now that the connection with Aphrodite/Venus has been made, other elements can be explained as well. She is born from the sea, which is consistent with the hypothesis that the Voynich observes the convention of coloring salty water green, as was the custom on certain maps.
A common theme in Venus birth scenes is that she is wringing her wet hair. Note that the nymph's hair has a twist in it, and that it is blue, perhaps indicating wetness? Below an example from Coptic Egypt, which happens to show certain stylistic resemblances to VM nymphs in general, especially in the proportions of the body.
There is one final thing, a detail which might seem insignificant to some, but I'm pretty sure it isn't. Have a look at the following picture, with on the top row two classical Aphrodites, and on the bottom our nymph with another one for contrast. Who knows what I'm talking about?
Now that the connection with Aphrodite/Venus has been made, other elements can be explained as well. She is born from the sea, which is consistent with the hypothesis that the Voynich observes the convention of coloring salty water green, as was the custom on certain maps.
A common theme in Venus birth scenes is that she is wringing her wet hair. Note that the nymph's hair has a twist in it, and that it is blue, perhaps indicating wetness? Below an example from Coptic Egypt, which happens to show certain stylistic resemblances to VM nymphs in general, especially in the proportions of the body.
There is one final thing, a detail which might seem insignificant to some, but I'm pretty sure it isn't. Have a look at the following picture, with on the top row two classical Aphrodites, and on the bottom our nymph with another one for contrast. Who knows what I'm talking about?