The Voynich Manuscript has been dubbed "The Most Mysterious Manuscript in the World". It is named after its discoverer,the American antique book dealer and collector, Wilfrid M. Voynich, who discovered it in 1912, amongst a collection of ancient manuscripts kept in villa Mondragone in Frascati, near Rome, which had been by then turned into a Jesuit College (closed in 1953).
No one knows the origins of the manuscript. Experts believe it is European based on the drawings. They believe it was written in between the 15th and 17th centuries. The manuscript is small, seven by ten inches, but thick, nearly 235 pages.
Mystery Book Gives Up a Secret Live Science - February 14, 2011
One of the most mysterious books in the world has given up one of its secrets: its age. Researchers at the University of Arizona have finally dated the book to the early 15th century. The mystery book, called the Voynich manuscript, is written in a language that no one can read and hasn't been found anywhere else. It is also full of drawings of objects resembling plants, ancient lab equipment and cosmological signs - there are even illustrations of women in baths. None of the plants are clearly identifiable, and many seem to be odd compilations of different root and leaf systems.
Article from Discovery News - February 11, 2011
The dating process announced February 11, 2011, makes the book a century older than scholars had previously thought and quashes some theories about its origin. Taking its name from the rare book dealer Wilfrid Voynich, who discovered it in 1912 in the Villa Mondragone near Rome, the manuscript, which is about 250 pages long, makes "The Da Vinci Code" pale by comparison.
Working at the NSF-Arizona Accelerator Mass Spectrometry, Hodgins was able to solve one of the many mysteries about the book, nailing down the time when the manuscript's pages were made. In order to carbon-14 date the book, which is currently kept at the Beinecke Rare Book and Manuscript Library of Yale University and accessible online, Hodgins used four one-sixteenth of an inch by one inch samples from four different pages.
"The four pages were explicitly selected from different sections to try to determine if the book was written over many decades," Hodgins told Discovery News. Hodgins' team was able to determine that the samples were made between 1404 and 1438 -- quite a narrow range for a radiocarbon measurement. "Nature worked in our favor. During the early 15th century, radiocarbon levels were changing quite rapidly, so that allowed us to narrow the time frame. Sometimes atmospheric radiocarbon levels remain constant for many decades, even centuries. And in those periods, radiocarbon dating is much less precise," Hodgins said.
According to the researchers, the dating is reliable, since it was repeated four times with independent leaves of parchment. "It is important to realize that we date when the animal lived, not when the book was made. One can not say how much time elapsed between the death of the animal and when the writer put pen to page. The book was clearly a lot of work and must have taken several years to complete," Hodgins said. The dating might help in ruling out some hypotheses.
Ever since Wilfrid Voynich made the manuscript public in the hope of having it translated, theories flourished about the book's author and content.
Voynich, which claimed the book had belonged to the 16th-century Habsburg emperor Rudolf II, believed it was authored by Roger Bacon, a 13th-century English friar and scientist -- a theory which carbon dating has put to rest. Other speculations ranged from the manuscript being the secret work of a religious sect, the only remaining document from a forgotten language, an unbreakable secret code, and the recipe for the "elixir of life."
Several experts also proposed that it was a deliberate hoax, possibly forged by John Dee, an English mathematician and astrologer at Rudolph's court.
"Though I'm not yet 100 percent convinced by the precision of the dating, it's probably reasonably close;" Nick Pelling, the author of "the Curse of the Voynich," told Discovery News. "By the mid-1920s, it was already apparent to some historians that some of the writing in the manuscript's margins had almost certainly been added in the 15th century, which means that the manuscript could not sensibly have been made after 1500. It's a shame that so many people have got stuck on 16th- or even 17th-century theories, particularly the 'hoax' theories, as these have helped deter mainstream historians from getting involved," Pelling said.
The book's estimated 250,000 characters are totally alien. Arranged in groups like words and sentences, some resemble Latin letters and Roman numerals; others are unlike any known language. Moreover, the puzzling handwriting is surrounded by intricately drawn illustrations: plants that can't be identified, astrological symbols, elaborate networks of pipework, and naked ladies dancing or bathing in a strange green liquid.
Its pages are filled with hand-written text and crudely drawn illustrations.
The illustrations depict plants, astrological diagrams, and naked women.
The women could represent creation and rebirth of consciousness.
These illustrations are strange, but much stranger is the text itself,
because the manuscript is written entirely in a mysterious,
unknown alphabet that has defied all attempts at translation.
It is an alphabetic script, but of an alphabet variously reckoned to have from nineteen to twenty-eight letters, none of which bear any relationship to any English or European letter system. The text has no apparent corrections. There is evidence for two different "languages" (investigated by Currier and D'Imperio) and more than one scribe, probably indicating an ambiguous coding scheme.
Apparently, Voynich wanted to have the mysterious manuscript deciphered and provided photographic copies to a number of experts. However, despite the efforts of many well known cryptologists and scholars, the book remains unread. There are some claims of decipherment, but to date, none of these can be substantiated with a complete translation. The book was bought by H. P. Kraus (a New York book antiquarian) in 1961 for the sum of $24,500. He later valued it at $160,000 but was unable to find a buyer. Finally he donated it to Yale University in 1969, where it remains to date at the Beinecke Rare Book Library with catalogue number MS 408. It is known (from a letter of Johannes Marcus Marci to Athanasius Kircher dated 1666) that the manuscript was bought by Emperor Rudolph II of Bohemia (1552-1612).
Historically, it first appears in 1586 at the court of Rudolph II of Bohemia, who was one of the most eccentric European monarchs of that or any other period. Rudolph collected dwarfs and had a regiment of giants in his army. He was surrounded by astrologers, and he was fascinated by games and codes and music. He was typical of the occult-oriented, Protestant noblemen of this period and epitomized the liberated northern European prince. he was a patron of alchemy and supported the printing of alchemical literature.
The Rosicrucian conspiracy was being quietly fomented during this same period. To Rudolph's court came an unknown person who sold this manuscript to the king for three hundred gold ducats, which, translated into modern monetary units, is about fourteen thousand dollars. This is an astonishing amount of money to have paid for a manuscript at that time, which indicated that the Emperor must have been highly impressed by it.
Accompanying the manuscript was a letter that stated that it was the work of the Englishman Roger Bacon, who flourished in the thirteenth century and who was a noted pre-Copernican astronomer. Only two years before the appearance of the Voynich Manuscript, John Dee, the great English navigator, astrologer, magician, intelligence agent, and occultist had lectured in Prague on Bacon.
The manuscript somehow passed to Jacobus de Tepenecz, the director of Rudolph's botanical gardens (his signature is present in folio 1r) and it is speculated that this must have happened after 1608, when Jacobus Horcicki received his title 'de Tepenecz'. Thus 1608 is the earliest definite date for the Manuscript.
Codes from the early sixteenth century onward in Europe were all derived from The Stenographica of Johannes Trethemius, Bishop of Sponheim, an alchemist who wrote on the encripherment of secret messages. He had a limited number of methods, and no military, alchemical, religious, or political code was composed by any other means throughout a period that lasted well into the seventeenth century. Yet the Voynich Manuscript does not appear to have any relationship to the codes derivative of Johannes Trethemius, Bishop of Sponheim.
In 1622 and the manuscript passed to the possession of an unidentified individual that left the book in his/her will to Marci. Marci must have known about this manuscript before 1644, as the information concerning the price that the Emperor paid came from Dr. Raphael Missowski (1580-1644) (as mentioned in his letter).
Marci sent the manuscript immediately with the letter to Athanasius Kircher (a Jesuit priest and scholar in Rome) in 1666 who apparently also knew of it and had exchanged letters and transcribed portions with the previous unidentified owner.
Between that time and 1912 (when Voynich discovered it) it is speculated that the manuscript may have been stored or forgotten in some library and finally moved to the Jesuit College at the Villa Mondragone. Marci's letter to Kircher was still attached to the manuscript when Voynich bought it.
In that letter, Marci mentioned the name of Roger Bacon (1214-1292) as a possible author, although no conclusive evidence of authorship is available. A possible link between Rudolph and Bacon is John Dee (an English mathematician and astrologer, collector of Bacon's work) who visited Rudolph's court in 1582-86.
The Voynich manuscript is a mysterious illustrated book with incomprehensible contents. It is thought to have been written approximately 400 years ago by an unknown author in an unidentified script and unintelligible language.
Over its recorded existence, the Voynich manuscript has been the object of intense study by many professional and amateur cryptographers, including some top American and British codebreakers of World War II fame (all of whom failed to decipher a single word). This string of failures has turned the Voynich manuscript into a famous subject of historical cryptology, but it has also given weight to the theory that the book is simply an elaborate hoax - a meaningless sequence of arbitrary symbols.
The book is named after the Polish-American book dealer Wilfrid M. Voynich, who acquired it in 1912.
As of 2005, the Voynich manuscript is item MS 408 in the Beinecke Rare Book Library of Yale University. The first facsimile edition was published in 2005
Description - By current estimates, the book originally had 272 pages in 17 quires of 16 pages each. Only about 240 vellum pages remain today, and gaps in the page numbering (which seems to be later than the text) indicate that several pages were already missing by the time that Voynich acquired it. A quill pen was used for the text and figure outlines, and colored paint was applied (somewhat crudely) to the figures, possibly at a later date.
The illustrations of the manuscript shed little light on its contents, but imply that the book consists of six "sections", with different styles and subject matter. Except for the last section, which contains only text, almost every page contains at least one illustration. The sections, and their conventional names, are:
The "herbal" section of the manuscript contains illustrations of plants. Each page displays one plant (sometimes two), and a few paragraphs of text - a format typical of European herbals of the time. Some parts of these drawings are larger and cleaner copies of sketches seen in the pharmaceutical section.
Biological: a dense continuous text interspersed with figures, mostly showing small nude women bathing in pools or tubs connected by an elaborate network of pipes, some of them clearly shaped like body organs. Some of the women wear crowns.
Cosmological: more circular diagrams, but of an obscure nature. This section also has fold-outs; one of them spans six pages and contains some sort of map or diagram, with nine "islands" connected by "causeways", castles, and possibly a volcano.
Pharmaceutical: many labeled drawings of isolated plant parts (roots, leaves, etc.); objects resembling apothecary jars drawn along the margins; and a few text paragraphs.Recipes: many short paragraphs, each marked with a flower-like (or star-like) "bullet".
The text was clearly written from left to right, with a slightly ragged right margin. Longer sections are broken into paragraphs, sometimes with "bullets" on the left margin. There is no obvious punctuation. The ductus (the speed, care, and cursiveness with which the letters are written) flows smoothly, as if the scribe understood what he was writing when it was written; the manuscript does not give the impression that each character had to be calculated before being put on the page.
The text consists of over 170,000 discrete glyphs, usually separated from each other by thin gaps. Most of the glyphs are written with one or two simple pen strokes. While there is some dispute as to whether certain glyphs are distinct or not, an alphabet with 20-30 glyphs would account for virtually all of the text; the exceptions are a few dozen "weird" characters that occur only once or twice each.
Wider gaps divide the text into about 35,000 "words" of varying length. These seem to follow phonetic or orthographic laws of some sort; e.g. certain characters must appear in each word (like the vowels in English), some characters never follow others, some may be doubled but others may not.
Statistical analysis of the text reveals patterns similar to natural languages. For instance, the word frequencies follow Zipf's law, and the word entropy (about 10 bits per word) is similar to that of English or Latin texts. Some words occur only in certain sections, or in only a few pages; others occur throughout the manuscript. There are very few repetitions among the thousand or so "labels" attached to the illustrations. In the herbal section, the first word on each page occurs only on that page, and may be the name of the plant.
On the other hand, the Voynich manuscript's "language" is quite unlike European languages in several aspects. For example, there are practically no words with more than ten "letters", yet there are also few one or two-letter words.
The distribution of letters within the word is also rather peculiar: some characters only occur at the beginning of a word, some only at the end, and some always in the middle section - an arrangement found in Arabic, but not in the Roman, Greek or Cyrillic alphabets. (It should be noted, though, that the Greek letter Sigma does have a different form when it appears at the end of words; similarly, even in English capitalized letters, which usually appear only at the beginning of words, may vary dramatically from its lowercase version.)
The text seems to be more repetitious than typical European languages; there are instances where the same common word appears up to three times in a row. Words that differ only by one letter also repeat with unusual frequency.
There are only a few words in the manuscript written in a seemingly Latin script. In the last page there are four lines of writing which are written in (rather distorted) Latin letters, except for two words in the main script. The lettering resembles European alphabets of the 15th century, but the words do not seem to make sense in any language.
Also, a series of diagrams in the "astronomical" section has the names of ten of the months (from March to December) written in Latin script, with spelling suggestive of the medieval languages of France or the Iberian Peninsula. However, it is not known whether these bits of Latin script were part of the original text, or were added at a later time.
The history of the manuscript is still full of gaps, especially in its earliest part. Since the manuscript's alphabet does not resemble any known script, and the text is still undeciphered, the only useful evidence as to the book's age and origin are the illustrations - especially the dress and hairstyles of the human figures, and a couple of castles that are seen in the diagrams. They are all characteristically European, and based on that evidence most experts assign the book to dates between 1450 and 1520. This estimate is supported by other secondary clues.
The earliest confirmed owner of the manuscript was a certain Georg Baresch, an obscure alchemist who lived in Prague in the early 17th century. Baresch apparently was just as puzzled as we are today about this "Sphynx" that had been "taking up space uselessly in his library" for many years.
On learning that Athanasius Kircher, a Jesuit scholar from the Collegio Romano, had published a Coptic (Ethiopian) dictionary and "deciphered" the Egyptian hieroglyphs, he sent a sample copy of the script to Kircher in Rome (twice), asking for clues.
His 1639 letter to Kircher, which was recently located by Rene Zandbergen, is the earliest mention of the manuscript that has been found so far.
It is not known whether Kircher answered the request, but apparently he was interested enough to try to acquire the book, which Baresch apparently refused to yield.
Upon Baresch's death the manuscript passed to his friend Jan Marek Marci (Johannes Marcus Marci), then rector of Charles University in Prague; who promptly sent the book to Kircher, his longtime friend and correspondent. Marci's cover letter (1666) is still attached to the manuscript.
There are no records of the book for the next 200 years, but in all likelihood it was kept, with the rest of Kircher's correspondence, in the library of the Collegio Romano (now the Pontifical Gregorian University). It probably remained there until the troops of Victor Emmanuel II of Italy captured the city in 1870 and annexed the Papal States.
The new Italian government decided to confiscate many properties of the Church, including the library of the Collegio. According to investigations by Xavier Ceccaldi and others, just before this happened many books of the University's library were hastily transferred to the personal libraries of its faculty, which were exempt from confiscation.
Kircher's correspondence was among those books and so apparently was the Voynich manuscript, as it still bears the ex libris of Petrus Beckx, head of the Jesuit order and the University's Rector at the time.
Beckx's "private" library was moved to the Villa Mondragone, Frascati, a large country palace near Rome that had been bought by the Society of Jesus in 1866 and housed the headquarters of the Jesuits' Collegio Ghisleri.
Around 1912 the Collegio Romano was apparently short of money and decided to sell (very discreetly) some of its holdings.
Wilfrid Voynich acquired 30 manuscripts, among them the manuscript that now bears his name. In 1930, after his death, the manuscript was inherited by his widow Ethel Lilian Voynich (known as the author of the novel The Gadfly).
She died in 1960 and left the manuscript to her close friend, Miss Anne Nill. In 1961, Anne Nill sold the book to another antique book dealer Hans P. Kraus. Unable to find a buyer, Kraus donated the manuscript to Yale University in 1969.
Many names have been proposed as possible authors of the Voynich manuscript. Here are only the most popular ones linked to alchemists.
Even though Marci said that he was "suspending his judgement" about this claim, it was taken quite seriously by Voynich, who did his best to confirm it. His conviction strongly influenced most decipherment attempts for the next 80 years. However, scholars who have looked at the Voynich manuscript and are familiar with Bacon's works have flatly denied that possibility. One should note also that Raphael died in 1644, and the deal must have occurred before Rudolf's abdication in 1611 - at least 55 years before Marci's letter.
John Dee - The assumption that Roger Bacon was the author led Voynich to conclude that the person who sold the Voynich manuscript to Rudolf could only be John Dee, a mathematician and astrologer at the court of Queen Elizabeth I, known to have owned a large collection of Bacon's manuscripts. Dee and his scrier (mediumic assistant) Edward Kelley lived in Bohemia for several years where they had hoped to sell their services to the Emperor. However, Dee's meticulously kept diaries do not mention that sale, and make it seem quite unlikely. Anyway, if the Voynich manuscript author is not Bacon, the connection to Dee may just disappear. On the other hand, Dee himself may have written it and spread the rumour that it was originally a work of Bacon's in the hopes of later selling it.
Edward Kelley - Dee's companion in Prague, Edward Kelley, was a self-styled alchemist who claimed to be able to turn copper into gold by means of a secret powder which he had dug out of a Bishop's tomb in Wales. As Dee's scrier, he claimed to be able to invoke angels through a crystal ball, and had long conversations with them - which Dee dutifully noted down. The angel's language was called Enochian, after Enoch, the Biblical father of Methuselah; according to legend, he had been taken on a tour of Heaven by angels, and later written a book about what he saw there. Several people have suggested that, just as Kelley invented Enochian to dupe Dee, he could have fabricated the Voynich manuscript to swindle the Emperor (who was already paying Kelley for his supposed alchemical expertise). However, if Roger Bacon is not the author of the Voynich manuscript, Kelley's connection to the manuscript is just as vacuous as Dee's.
Wilfrid Voynich was often suspected of having fabricated the Voynich manuscript himself. As an antique book dealer, he probably had the necessary knowledge and means; and a "lost book" by Roger Bacon would have been worth a fortune. However, by expert dating of the manuscript, and the recent discovery of Baresch's letter to Kircher, that possibility has been eliminated.
Jacobus Sinapius - A photostatic reproduction of the first page of the Voynich manuscript, taken by Voynich sometime before 1921, showed some faint writing that had been erased. With the help of chemicals, the text could be read as the name 'Jacobj `a Tepenece'. This is taken to be Jakub Horcicky of Tepenec, who was also known by his Latin name: Jacobus Sinapius. He was a specialist in herbal medicine, Rudolph II's personal physician, and curator of his botanical gardens. Voynich, and many other people after him, concluded from this "signature" that Jacobus owned the Voynich manuscript before Baresch, and saw in that a confirmation of Raphael's story. Others have suggested that Jacobus himself could be the author.
However, that writing does not match Jacobus's signature, as found in a document recently located by Jan Hurich. So it is still possible that the writing on page f1r was added by a later owner or librarian, and is only this person's guess as to the book's author. (In the Jesuit history books that were available to Kircher, Jesuit-educated Jacobus is the only alchemist or doctor from Rudolf's court who deserves a full-page entry, while, for example, Tycho Brahe is barely mentioned.) Moreover, the chemicals applied by Voynich have so degraded the vellum that hardly a trace of the signature can be seen today; thus there is also the suspicion that the signature was fabricated by Voynich in order to strengthen the Roger Bacon theory.
Jan Marci met Kircher when he led a delegation from Charles University to Rome in 1638; and over the next 27 years, the two scholars exchanged many letters on a variety of scientific subjects. Marci's trip was part of a continuing struggle by the secularist side of the University to maintain their independence from the Jesuits, who ran the rival Clementinum college in Prague. In spite of those efforts, the two universities were merged in 1654, under Jesuit control. It has therefore been speculated that political animosity against the Jesuits led Marci to fabricate Baresch's letters, and later the Voynich manuscript, in an attempt to expose and discredit their "star" Kircher.
Marci's personality and knowledge appear to have been adequate for this task; and Kircher, a "Dr. Know-It-All" who is today remembered more by his egregious mistakes than by his genuine accomplishments, was an easy target. Indeed, Baresch's letter bears some resemblance to a hoax that orientalist Andreas Mueller once played on Kircher. Mueller concocted an unintelligible manuscript and sent it to Kircher with a note explaining that it had come from Egypt. He asked Kircher for a translation, and Kircher, reportedly, produced one at once.
It is worth noting that the only proofs of Georg Baresch's existence are three letters sent to Kircher: one by Baresch (1639), and two by Marci (about a year later). It is also curious that the correspondence between Marci and Kircher ends in 1665, precisely with the Voynich manuscript "cover letter". However, Marci's secret grudge against the Jesuits is pure conjecture: a faithful Catholic, he himself had studied to become a Jesuit, and shortly before his death in 1667 he was granted honorary membership in their Order.
Raphael Mnishovsky, the friend of Marci who was the reputed source of Bacon's story, was himself a cryptographer (among many other things), and apparently invented a cipher which he claimed was uncrackable (ca. 1618). This has led to the theory that he produced the Voynich manuscript as a practical demonstration of his cipher - and made poor Baresch his unwitting "guinea pig". After Kircher published his book on Coptic, Raphael (so the theory goes) may have thought that stumping him would be a much better trophy than stumping Baresch, and convinced the alchemist to ask the Jesuit's help. He would have invented the Roger Bacon story to motivate Baresch. Indeed, the disclaimer in the Voynich manuscript cover letter could mean that Marci suspected a lie. However, there is no definite evidence for this theory.
Anthony Ascham - Dr. Leonell Strong, a cancer research scientist and amateur cryptographer, tried to decipher the Voynich manuscript. Strong said that the solution to the Voynich manuscript was a "peculiar double system of arithmetical progressions of a multiple alphabet". Strong claimed that the plaintext revealed the Voynich manuscript to be written by the 16th century English author Anthony Ascham, whose works include A Little Herbal, published in 1550. Although the Voynich manuscript does contain sections resembling an herbal, the main argument against this theory is that it is unknown where Anthony would have obtained such literary and cryptographic knowledge.
The overall impression given by the surviving leaves of the manuscript suggests that it was meant to serve as a pharmacopoeia or to address topics in medieval or early modern medicine. However, the puzzling details of illustrations have fueled many theories about the book's origins, the contents of its text, and the purpose for which it was intended. Here are only a few of them:
Sunflowers - Brumbaugh believed that one illustration depicted a New World sunflower, which would help date the manuscript and open up intriguing possibilities for its origin. However, the resemblance is slight, especially when compared to the original wild species; and, since the scale of the drawing is not known, the plant could be many other members of the same family - which includes the common daisy, chamomile, and many other species from all over the world.
Alchemy - The basins and tubes in the "biological" section may seem to indicate a connection to alchemy, which would also be relevant if the book contained instructions on the preparation of medical compounds. However, alchemical books of the period share a common pictorial language, where processes and materials are represented by specific images (eagle, toad, man in tomb, couple in bed, etc.) or standard textual symbols (circle with cross, etc.); and none of these could be convincingly identified in the Voynich manuscript.
Astrological herbal - Astrological considerations frequently played a prominent role in herb gathering, blood-letting and other medical procedures common during the likeliest dates of the manuscript (see, for instance, Nicholas Culpeper's books). However, apart from the obvious Zodiac symbols, and one diagram possibly showing the classical planets, no one has been able to interpret the illustrations within known astrological traditions (European or otherwise).
Microscopes and telescopes - A circular drawing in the "astronomical" section depicts an irregularly shaped object with four curved arms, which some have interpreted as a picture of a galaxy that could only be obtained with a telescope. Other drawings were interpreted as cells seen through a microscope. This would suggest an early modern, rather than a medieval, date for the manuscript's origin. However, the resemblance is rather questionable: on close inspection, the central part of the "galaxy" looks rather like a pool of water.
SACRED PLACES AND TEACHINGS INDEX
ANCIENT CIVILIZATIONS INDEX
ALPHABETICAL INDEX OF ALL FILES
CRYSTALINKS HOME PAGE
PSYCHIC READING WITH ELLIE
2012 THE ALCHEMY OF TIME