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By reading scholarly work in the art history field, I've found consistent use of a very similar shape to the "Thunder Symbol" in a series of manuscripts produced by a Barcelona atelier (artist's workshop) led by an unknown artist called "The Master of St. Mark." The shape is used within the border of most of the illustrated pages of this manuscript, Yates Thompson 31. It does not appear to be used to represent thunder, but rather a consistent decorative portion of the borders of many of the illustrations. This manuscript is catalogued as dated to the late 14th century, but I was unable to verify exactly where that date came from sources available online.
Note that this particular manuscript is interesting in it is a Catalan prose version of Le Breviari d'Amor, written by Matfre Ermengaud an "encyclopedic" work in Occtain that had been originally written in octosyllabic rhyming couplets. It also includes both Catalan and Hebrew text, linking an intriguing Jewish aspect to this particular manuscript. There are lots of the typical Medieval symbols (zodiac-type imagery, etc) in this manuscript, and, as is typical, some parallel the Voynich, and some do not.
But the main point is that, in the 1940s, an art historian used this star shape (in part, there was much other evidence provided) to attribute not only other manuscripts, but also altar pieces and other art work to this same "Master of St. Mark" workshop. His paper is
Italian Style in Catalonia and a Fourteenth Century Catalan Workshop
Millard Meiss
The Journal of the Walters Art Gallery
Vol. 4 (1941), pp. 45-87
which is available for free on the JSTOR website.
In this paper, Meiss stated that the dating of all the various works was difficult with what they had then and discussed mid-fourteenth century, and certainly one of the most famous artists attributed to the atelier, Ferrer Bassa, lived from 1285-1348.
Among the manuscripts that Meiss discussed that have this shape are Decretum Gratiani (Add MS 15274-5) located at the British Library (see figures 34 (architectural detail, slightly different) and 36 (border, very much the same)); Llibre Verd located at the Barcelona, Achivo Historico (see figure 30, very much the same); and Missal (Ms. 112) located at the Archive de la Corona (figure 37, slightly different). I was unable to find online these additional manuscripts (note I am quite new to trying to track these things down so they could be there), but the black and white photos of the article do include the shapes.
Thus, I think it is reasonable to say this particular shape is considered reflective of this particular Barcelona workshop.
Please note that this particular manuscript was found previously by Darren Worley (in 2016) and discussed with Marco in this thread on Stephen Bax's website for its unusual use of human figures holding stars. The particular page discussed is what I linked at the opening of this post.
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You need to scroll way down in the comments to get to the part where Darren and Marco discuss this manuscript. A definitely interesting detail.
Because of the earlier dating of the use of this symbol, it seems more likely that it was present in a manuscript that the Voynich author/draftsperson saw and used, rather than it being an indication that they were somehow directly related to the Master of St. Mark atelier but further research would be needed to determine if this atelier could be considered to have still been functioning at the carbon dating of the Voynich. In my opinion, the Voynich would certainly be a much coarser, less polished work of art than any of the other manuscripts attributed to this workshop, a further argument that the symbol was taken from a source, rather than it being indicative of an association with this group of artists with the Voynich.