No text, but a visual code

[HermesRevived]

As you say, Alfonso's Lapidary is the greatest parallel we have to illuminate our knowledge of Voynich. It is not only its 30-degree zodiac wheels occupied by figures that represent stars or constellations of stars, it is also the fact that it presents a large number of stones linked to the influences of those stars.
 
In Voynich they are not stones but plants, and everything indicates that they are also linked to zodiacal stars. There is thus a correspondence between Alfonso's Lapidary and the VM in the sense that both share the same astrological philosophy.

I am sure you are on the right path Antonio. The work seems to be an account of botany in relation to paranatellonta, the individual degrees of the zodiac (and, specifically, I would add, the solstices and equinoxes and astrological cusps.) But the 'text' is not a linguistic account about this astrology, rather it is made from this astrology, a system of astrological notation. 

In my most recent post I compare it to chess notation:

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While the Lapidary of Alfonso provides the model, I think the impetus for the Voynich was Ptolemy, specifically the Brescia Canones (Handy Tables, then in Brescia.) Someone has used that work to do to the plant realm what the Lapidary does to the mineral realm. 

We are left with the situation, though, where the Lapidary of Alfonso is one of the great treasures among medieval manuscripts, a work of the highest quality, whereas the Voynich is, as Mr Voynich himself remarked, an "ugly duckling." If the project set out to create some sort of parallel or companion to the Lapidary, what went wrong? Clearly, Team Voynich were not of the same calibre as Alfonso's team of scholars and illustrators.