07-11-2026, 08:46 PM
I went two months without writing, and I have returned to it now that I have come across something I consider relevant. I hope to explain it clearly, but first, it is necessary to read my previous post and examine the Voynich glyphs based on their shape; what I intend to demonstrate is that the glyphs resembling an archaic '4' and an '8' are precisely that—and nothing more.
On folio f57v, as we all know, there is a ring in which the same sequence of glyphs repeats four times. It is not significant that there are 17 glyphs in each instance—in fact, some glyphs never appear at all. What is relevant is that it divides the sphere into four quadrants, which is exactly the same arrangement found in the central diagram with its four figures.
The sequence begins with the glyph ‘o’, the number 4, and the number 8. Let us set the others aside for the moment—though some of them are significant. The glyph ‘o’ defies all the frameworks that have been proposed for the script (it breaks Zattera’s slots). I believe it represents a degree within the 360-degree sphere that frames the quadrants. And the numbers 4 and 8, placed at the beginning, mark the maximum arc of daylight during the summer solstice. This is where a parallel can be drawn with the astronomical clock in Prague, where, on the summer solstice, the arc of daylight lasts for 16 hours and a few minutes—a span framed by dawn (4 a.m., represented by the Roman numeral IV) and dusk (8 p.m., VIII).
This does not necessarily mean that the Voynich manuscript was created in Prague, although it would not be particularly surprising, given that the earliest information we have about it originates from there. In reality, it could have been produced in many parts of Switzerland, Germany, Austria, or even northern Italy—regions where, around the summer solstice, there are approximately 16 hours of daylight. In fact, the astronomical clock in Bern uses the same design as the one in Prague.
The figures in the diagram expressively delineate the full arc of light. Three of the figures join their arms, while one—representing the night—remains isolated. The prominent appearance of the numbers 4 and 8 within the recurring sequence of glyphs indicates that this arc of light corresponds to the summer solstice. Do not forget that this is an astrological book concerning medicinal or magical herbs, and the summer solstice was the prime moment.
On folio f57v, as we all know, there is a ring in which the same sequence of glyphs repeats four times. It is not significant that there are 17 glyphs in each instance—in fact, some glyphs never appear at all. What is relevant is that it divides the sphere into four quadrants, which is exactly the same arrangement found in the central diagram with its four figures.
The sequence begins with the glyph ‘o’, the number 4, and the number 8. Let us set the others aside for the moment—though some of them are significant. The glyph ‘o’ defies all the frameworks that have been proposed for the script (it breaks Zattera’s slots). I believe it represents a degree within the 360-degree sphere that frames the quadrants. And the numbers 4 and 8, placed at the beginning, mark the maximum arc of daylight during the summer solstice. This is where a parallel can be drawn with the astronomical clock in Prague, where, on the summer solstice, the arc of daylight lasts for 16 hours and a few minutes—a span framed by dawn (4 a.m., represented by the Roman numeral IV) and dusk (8 p.m., VIII).
This does not necessarily mean that the Voynich manuscript was created in Prague, although it would not be particularly surprising, given that the earliest information we have about it originates from there. In reality, it could have been produced in many parts of Switzerland, Germany, Austria, or even northern Italy—regions where, around the summer solstice, there are approximately 16 hours of daylight. In fact, the astronomical clock in Bern uses the same design as the one in Prague.
The figures in the diagram expressively delineate the full arc of light. Three of the figures join their arms, while one—representing the night—remains isolated. The prominent appearance of the numbers 4 and 8 within the recurring sequence of glyphs indicates that this arc of light corresponds to the summer solstice. Do not forget that this is an astrological book concerning medicinal or magical herbs, and the summer solstice was the prime moment.