It is noteworthy that both Davis and Koen refer to critical reviews of Lisa Fagin Davis’s work without engaging with, or even acknowledging, specific counterarguments. In light of this, I wish to highlight some points of critique.
In her initial paper from 2020, Davis emphasizes the advantages of the Archetype software system. However, to this day she has not made public the Archetype project that formed the foundation of her study. As a result, we are left solely with Davis’s assertion that the unpublished project supports her thesis, without the possibility of independent verification. Given the lack of transparency regarding research details, it is not possible to validate—or even adequately assess—the results she presents.
The available screenshots of the Archetype software suggest that only a limited subset of the manuscript—44 out of 225 pages—was included in the analysis. Yet, Davis’s 2020 paper neither mentions this restriction nor explains which 44 pages were selected for detailed examination. Only in her 2022 Malta Conference keynote does Davis clarify that she employed “a representative sample of leaves written by scribes 1 and 2" at least for the herbal section. In my view, it would be of considerable importance to know precisely which 44 pages constituted the representative sample for the whole Voynich manuscript. For instance, Davis associates all Currier A pages except one with scribe 1 (Herbal A as well as Pharma A), whereas Currier himself attributed only the Herbal A section to this scribe. It would therefore be important to know whether any pages from the Pharma section were included in the sample used in Davis’s analysis.
According to Davis, Scribes 1, 3, and 5 rendered the k-glyph with a single stroke, whereas Scribes 2 and 4 employed two strokes. A closer examination of the manuscript, however, suggests otherwise. The execution of the k-glyph appears strikingly consistent throughout: it is typically composed of two vertical strokes, each frequently terminating in a small tick or foot. These ticks result from the upward motion of the pen during the final uplift and thus mark the conclusion of individual strokes. The presence of two such ticks provides strong evidence that the k-glyphs attributed to Scribes 1, 3, and 5 were likewise produced with two strokes, rather than one, as Davis proposes. Moreover, on nearly every page there are instances of the k-glyph in which the first vertical stroke and the crossbar are visibly separated—further supporting the conclusion that the glyph was consistently executed with at least two distinct strokes. Taken together, these observations directly contradict Davis’s argument that the distinction between single-stroke and two-stroke execution of the k-glyph can serve as a reliable criterion for differentiating scribal hands.
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For more counterarguments see the full review "You are not allowed to view links.
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