Transcription problem - f68v3 and Rosettes foldout

[Mark Knowles]

The first letter in the rosettes T-O looks to me like a half-bench-P (cp or op squished together), or a unique glyph. In contrast, the one in the second T-O looks like op. Most of the time there is a clear separation between the o and the p. I don't think we should assume they are the same just because they are similar. There are many half-benches in the VMS and a number of uncommon combinations that look deliberate, not accidental.

I am not sure whether the best place to start is by looking at other examples of Voynichese glyphs. It seems to me the best place to start is by doing one’s best to analyse the visual data that one has from the existing scan. Questions like how many distinct penstrokes we can count, What those penstrokes are, In which direction those penstrokes were drawn, In which order those penstrokes were drawn. It is true that seeing how the author has drawn other glyphs on other pages can give an indication i.e. how does the author normally draw an EVA-o and how an EVA-P

When drawing an EVA-o where does the author normally start and end? And likewise for EVA-P.
I think one has to ask if we have an EVA-oP then how did they end up being drawn so close together? What were the sequence of events as this then was clearly a small mistake and not deliberate?
Obviously I am being so focussed on this as it could have very important implications.

For example there are a variety of possible narratives. First the author was writing in a relatively small space for text, so that might have been a factor. One would assume the author drew the EVA-o first and the EVA-P afterwards, unless the author forgot to write the EVA-o and added it later. If the EVA-P was drawn 2nd then sure the author must have started at the top and drawn around and down mistakenly into the EVA-o. It could be that the author forgot to write the EVA-P and added it later.