why the voynich ist celtic

[Stefan Wirtz_2]

But there are many more, noted by people who deal with medieval manuscripts in a professional capacity. Not just tiny details in the drawings.
[..]

Ok, let's see some of this first:

where are these "many more" influences, noted by those "capacities"?

- the plants: nothing anyhow Italic/Germanic-related in the plants' drawings.
- the roundels f 67 to f 70r: nothing anyhow Italic/Germanic-related in these drawings.
- the bathing scenes: nothing anyhow Italic/Germanic-related in these drawings.
- the "herbs", roots, "containers" etc.: nothing anyhow Italic/Germanic-related in these drawings.
- the plain text pages: ....

Just remaining: the "zodiacs", the map, some single sheets, the notorious f116 and some scribbles.

The plants are and cannot be related to any alpine vegetation until today; even though some interpretations of some VMS flowers gained much publicity and very little evidence at the same time.
None of the roundels of 67-70 come closer to anything but a "european-based" content; there is not any reliable connection to the region between Munich and Milano at all.
The bathing nymphs can hardly be recognized other than "european" appearances; but this results from a very steady colorization of nearly all visible hair as yellow/blonde or reddish -- but this hair colour used to be and is still very common in an area from Karelia south to Don river. Nothing exclusively Bavarian or North-Italian with this.
Also nothing Alpine with those roots, turnips and exotic bottles or whatever,
and it is no use to talk about the plain texts and Munich/Milano, or is it...?
"Italian influences" are only appearing in the "Map" by some swallow-tail walls, aren't they? And this type of walls existed during the VMS era also at least in Karystos, Trapezunt and some or all Genuese harbours of Crimea -- not-so-Bavarian-Italian locations.

The month's names in "zodiacs": added (much) later in completely deviating scribe, characters, language and quill tip. As well as the remarks of f 116.

A high percentage of discussions are about accuracy of details in VMS or better, the lack of it. Everybody who sees a special "detail" of his preference, must face the simple truth that the VMS artists may just did not mean this or did not care for a correct drawing or did not care at all and combined or left out the important things (aka the things they saw as important --which we just don't know today).
With such an idea of "influences" to the VMS from the core catholic center of Europe: why are there nearly none clear-christian symbols in the manuscript? There is just one cross drawn (and another one "added" by the "retracer"). Many other manuscripts are crowded with crosses, halos, finger symbols, holy abbreviations, signs, angels etc. VMS: nothing.

So, if you are able to provide some undoubtful, clearly recognizable, solid evidence for North&South-of-Alps influences, proven by medieval's experts, just name some here.

As far as I see it, many people wasted much time upon popular theories which based on wrong conclusions, speculations, imaginations, wishful thinking and bad guesswork.

What are those most obvious hints with Munich-Milano origins? Remind me of just a few of them.