10-08-2026, 06:35 PM
I confess that for someone like me—a lover of clarity and orderly thinking—the jumble of the recent posts makes me uncomfortable. Let’s take things one by one:
The diagram on folio f68v3 of the Voynich manuscript bears a striking resemblance to Oresme's well-known cosmological map. What distinguishes the Voynich diagram is the presence of spiral arms that serve to simulate the motion of the cosmos while simultaneously representing its interconnection with the Earth. Citing the Bible to discuss the "waters above" makes no sense in either work, given that Aristotle's Meteorology was already common knowledge among the educated. Oresme believed the cosmos functioned like a clockwork mechanism, with no angels left to push the spheres. And, of course, rainwater was something sublunary.
What both diagrams have in common is that circle of protrusions representing the boundary of the medieval universe. And if we look at pages from Quire 13, such as You are not allowed to view links. Register or Login to view. and f75v, we see that those same protrusions form part of the tent-like canopy—itself a metaphor for the limit of the medieval cosmos.
To claim that the Rosettes represent a map of parts of Italy or Greece, or that they depict volcanoes and islands, is merely an illusion. I will not dwell on this, as I have discussed it several times before; I simply appeal for consistency. If the Voynich manuscript contains cosmological and astrological sections, it stands to reason that the Rosettes are of the same nature.
To claim that the authors of the Voynich manuscript copied images from other books is to deny the enormous originality of this codex.
The title of my thread, "visual code," refers to the script rather than the images. To me, the glyphs are astronomical symbols or icons. The gallows represent the sun in various positions; the c-shaped glyphs are the symbol for the moon; and the round, o-shaped ones represent stars, also in various positions. The images in the codex contain an astrological message that is consistent with the script.
The diagram on folio f68v3 of the Voynich manuscript bears a striking resemblance to Oresme's well-known cosmological map. What distinguishes the Voynich diagram is the presence of spiral arms that serve to simulate the motion of the cosmos while simultaneously representing its interconnection with the Earth. Citing the Bible to discuss the "waters above" makes no sense in either work, given that Aristotle's Meteorology was already common knowledge among the educated. Oresme believed the cosmos functioned like a clockwork mechanism, with no angels left to push the spheres. And, of course, rainwater was something sublunary.
What both diagrams have in common is that circle of protrusions representing the boundary of the medieval universe. And if we look at pages from Quire 13, such as You are not allowed to view links. Register or Login to view. and f75v, we see that those same protrusions form part of the tent-like canopy—itself a metaphor for the limit of the medieval cosmos.
To claim that the Rosettes represent a map of parts of Italy or Greece, or that they depict volcanoes and islands, is merely an illusion. I will not dwell on this, as I have discussed it several times before; I simply appeal for consistency. If the Voynich manuscript contains cosmological and astrological sections, it stands to reason that the Rosettes are of the same nature.
To claim that the authors of the Voynich manuscript copied images from other books is to deny the enormous originality of this codex.
The title of my thread, "visual code," refers to the script rather than the images. To me, the glyphs are astronomical symbols or icons. The gallows represent the sun in various positions; the c-shaped glyphs are the symbol for the moon; and the round, o-shaped ones represent stars, also in various positions. The images in the codex contain an astrological message that is consistent with the script.