THE VOYNICH MANUSCRIPT. FOLIO 57v

Geometrics of the Voynich Celestial Disc as a guide to possible future transliteration of the Voynich Chapters: Astrology and Astronomy

PLATE 1

The original Voynich Celestial Disc illustration from the Voynich Manuscript.

INTRODUCTION

My interest, quite naturally, lies in the Astrology and Astronomy chapters of the Voynich Manuscript.
Anyone familiar with this 600 year old document will be aware of its past history and the fact that many of the world’s most emminent scholars over the past centuries have attempted a transliteration but to no avail.

World renowned, the Late Alan Turing OBE FRS (1912-1954) inventor of the amazing ‘ENIGMA’, WWII codebreaking machine found the Voynich Manuscript code - if it is a code- impossible to break.

Why is this so? Because no one knows when the manuscript was written or the language and script in which it is written. Nor do we know the Author(s) or from whence they came.

The Voynich Manuscript is a complete one off - there is no other manuscript in the world even vaguely like the Voynich; thus any hope of a parallel alphabet to aid transliteration of the script is out of the question. The epigrapher and cryptographer is left within a mire of speculation and confusion and, even if a translation is tentatively proffered, at the moment, there is absolutely no way any such proposal can be verified.

The ‘Voynich’ with its more than 200 pages of manuscript and hand painted illustrations is still after 600 hundred years, a massive conundrum.


DESCRIPTION

I make no claims of being an expert Epigrapher or Cryptographer so it was not possible to begin research from this very learned profession. However, I felt I had a slight advantage after spending many years studying and interpreting the human form from statuary and ground drawings like Nasca Lines in Peru to imagery from the frozen wastelands of the Antarctic Circle.

With my particular expertise, the only path available was the four human beings in the centre of the disc, prancing around, waving their arms in the air carrying lamps or orbs in a sort of ritualistic dance - so first thoughts - the disc was astrological with spiritual messages inscribed within the outer registers. Indeed, the whole Voynich Manuscript appears to be devoted to naturalistic remedies and spiritual well being - especially for the ladies.

The same centre core as Plate 1 but with the addition of the 10º spaced meridians.
Spots indicate meridians interfacing with body conformation of the human characters.

THE FOUR MAIN HUMAN CHARACTERS

At first glance, the four Humans seem to be quite crudely drawn, however, it was this aspect that fascinated me. Here I list the attibutes of each of the characters:

a) the four Characters are housed in separate quadrants of the core circle.
b) each bust ’sits’ firmly upon the circumference of the core circle.
c) heads are facing different directions: Fig. 1 full face looking skywards; Fig. 2 a
profile facing left; Fig. 3 semi-profile, glancing towards Fig. 2, and finally, Fig.4 a rear view aspect.
d) each character gesticulates using arm, wrist, hand or finger movements to draw attention to a particular legend within the core circle.
e) characters are of uncertain gender but, I suspect, female in view of the VM’s penchant towards ladies.
f) each character has long hair, two profiles have large noses typical of the ‘Big Nose Peoples’. (Iraq: Sumer, Babylonia, Ur. Circa 2400 BC)


g) Fig 4 has a series of signs (letters) enscribed within the hairline. (see PLATE 4).
h) Fig 2 character has a symbol on its shoulder, Fig 3 has a character on the forehead.



GEOMETRICS OF THE CENTRE CIRCLE

Interestingly, the focal point is not a conventional ‘polar’ circle but an ancient form of ‘bubble centre’ whereby a number of encircling radii are drawn into alignment to a centre point by the bubble’s indents.
The centre arena contains eight legends inscribed in ‘Voynichese’.

a) Fig 1 single raised arm, holding a lamp/orb, does not gesture towards a legend.
b) Fig 2 two arms raised, fingers indicate two legends one to left and one to right side. Left hand holds lamp or an orb.
c) Fig 3 single arm raised, finger touches legend emanating from the bubble centre.
d) Fig 4 two arms raised, fingers indicate two legends, one to the left and the other right side.
e) Three legends are in free space - two from the ‘polar’ centre and one between Figs 1 and 2.

With no translations available for the gestures and legends I returned to a simple but obvious strategy - geometry and mathematics. Lines were drawn from the centre core through each gesture extremity, eg, a finger, to their base circle. Each radial bisection is marked with a small black spot (see Plate 2).

Furthermore, it occurred to me that the crude (irregular) body shape might hide (disguise) other radii. The additional black spots clearly demonstrate where other hidden radii were located (See PLATE 3) and which when measured against those already recorded, were also found to have accurate 10 degrees spacing.

Moreover, so cleverly were the human characters proportioned it was possible to measure the total span of each character: Fig 1 measured 50º span; Fig 2, 80º ; Fig 3. 60º and Fig 4, 100º. (See PLATE 3)

Mathematically speaking, in total we have 290º, or 29 increments of 10º, plus 70º of ‘empty space’ or 7 increments of 10º; this nets a total of 36 x 10º increments equal to a 360º circle. By the way, a 10º division between meridians was the norm on many ancient maps - the 240 BC, World Map by the Greek, Eratosthenes, for example.







EXTENSION OF THE CENTRE CORE COMPLEX

The four human figures besporting themselves around the centre core of the Voynich Celestial Disc and demonstrating how the human frame was used to interface with astronomical and calendric phenomena. (See TABLE 1 below).
Green dots at the end of radials on the outer periphery of the disc confirm that azimuthals were identified and verified to be accurate from a master calendric planisphere.

Still lacking any form of translation, research had to continue according to the geometrics and mathematics devised from the central core radials, therefore, the inner core 10º radials were extended across the disc to the outer periphery. Not surprisingly, the 360º circumference divided accurately into 36 divisions of 10 degrees, or 12 (zodiacal) divisions of 30º each.

The prime reason for creating such an array was to test the outer circumferential legends for any sign of cohesion between the projected meridians (longitudes) and any sets of legends or individual symbols (numbers?) which might be an aid to future transliteration. There was no obvious preplanned divisions of sequences with legends, neither individual symbols.

Having just completed a project involving Stereographic Projection I was struck by the similarity of the configuration - each radial (meridian of longitude) was spaced at exact 10º intervals over a 360º circumference; this particular global map also included the correct number of parallels of latitude, 0º to 90º.

A scaled transparency of the ’SP’ placed over the modified Voynich plan matched meridians exactly, but with the parallels (latitudes) only one (coincidentally?) matched any of the circles (registers) on the Voynich Plan; this mismatch was initially acceptable because, likely, the rings were only intended as registers for the legends and individual symbols - at least that was my impression at the time.

However, that said, if one looks carefully at Plate 2; the penultimate register clearly displays four quadrants each containing the same sequence of characters (letters or numbers?) running around the register.

I will discuss the implications of this register in the upcoming Part 2 (see conclusion).




THE QUESTION OF THE OFF - SET LEGEND

Before leaving the subject of circumferential meridians I tested the reason why a particular legend was off-set from the main disc. (see PLATE 3, at Taurus).

The first objective was to locate a starting point whereby I could measure the off-set with respect to the circumference of the Voynich plan. Noticing how the character’s gesticulations closely interfaced with certain meridians (azimuthals) it was a simple question of spinning a transparent protractor about the bubble centre until I had a complete sequence of solar, lunar, equinoctial and zenith calendric values that I had met many hundreds of times before during my various research projects. (see PLATE 3 and PLATE 7, Table 1)

One particular pair of values stood out very clearly, 115º/295º; the solstitial colure for the Winter Solstice Sunrise and, in opposition, the June Solstice Sunset. Simple mathematics: 360º minus 295º, gave the circumferential location of the the Prime Meridian (360/0º) coincidentally located just a few degrees west of the off-set - which I later I refer to as the sun’s default position.

Striking a perpendicular equinoctial from the bubble centre through the solstice colure, towards the off-set legend - amazingly, the “equinoctial” interfaced with the leading edge of the legend within a fraction of a degree. (see PLATE 3 at ’Taurus’).

A Zodiacal Protractor -aligned along the solsticial colure and the equinoctial colure- gave a quite incredible and unexpected result: the constellation Taurus the Bull lnterfaced exactly with the same leading edge.


Harking back to Babylonian times, in 3000 BC, it seems a 12 fold - Zodiac was known but only as singular elements not as a Zodiac circle. Taurus the Bull was called the “Bull of Heaven”, “Renewer of Spring” because the Spring Equinox occurred in that constellation for just over 2000 years between 4006 - 2006 BC. Furthermore, it seems the Babylonians were well aware, at that particular time, the “Pole of the Ecliptic pierced the heart of Taurus the Bull”. (After Plunkett)

‘Obliquity of the Ecliptic’ tables for the era 4000 BC give a value of 23.92º, say +24º. At +24º the ‘Pole of the Ecliptic’ interfaced exactly with the leading edge of the off-set legend - as we shall see later - the sun at Vernal Equinox first entered the constellation at this point - between the horns of Taurus the Bull.

Plate 3 is marked with the position of the four colures at 4000 B.C: Taurus and Scorpio in opposition as Spring and Autumn Equinoxes; Leo and Aquarius as the respective Summer and Winter solstices. Incidentally, the four “Bearers of the Heavens” on the 4000 BC Ancient Egyptian Dendera Zodiac represent the self-same constellations and all four Bearers… are Ladies! (see Hancock)

The right hand of Figure 4 not only points to a specific legend but clearly rests on the ‘Pole of the Ecliptic’ , thus stressing the importance of this alignment. (see PLATE 3).

After 2006 BC precession caused Taurus to give way to Aries the Ram. From that point in time all things changed politically and constellation ‘Aries’ became the permanent ‘house’ for the equinoctial sun to signal the first day of Spring and religious Eastertime.



PRECESSION AND THE VOYNICH CELESTIAL DISC

Precession of the Equinoxes is a very slow astronomical cycle,1º per every 72 years; a cycle which shifts the position of all the stars and ruling Houses” that lay behind the default sun position at the dawning of the Spring Equinox.

Constellations viewed from the Earth proceed in a clockwise motion around the ‘Pole of the Ecliptic’ (Honton, 1541 AD Map) Conversely, constellations observed from above the earth are portrayed as from a rear view and thus proceed Anti-Clockwise around the ecliptic, in the classical fashion. (Durer 1515 AD Star Chart (after Whitfield).

Thus having established a “House” by means of only a single constellation,Taurus the Bull, we have a dilema with the Voynich Celestial Disc - how to resolve a view charted from the heavens above, or a view from the earth below. Considerations:

a) the entry point into Taurus.
b) the projected era of the cosmology. (4006 - 2006 BC)
c) the elementary style of drawing the human characters.
d) the similarity between the gesticulative cartography of the Vienna and the Voynich maps.
e)Zodiacal signs of the Vienna and the Voynich are printed on individual ‘leaflets’ .
f) the four “Pillars of the Earth” are common to the era 4000 BC.(Voynich, Dendera,Vienna and Babylonia)
g) no evidence of a Zodiacal ring on maps.

The first printed globes did not appear to at least AD 1533 (Jonann Schoner, Nuremberg) long after the predicted age of the Voynich Celestial plan. In my humble opinion, therefore, we can hypothesise with a degree of certainty that the Voynich Celestial Disc was created ‘viewed from the Earth’ with the constellations proceeding in a clock-wise direction.

As already stated, precession moved the solar, lunar, stars and zenith colures into a new sequence of constellations. For example, in 4000 BC the four ‘Pillars of the Heavens’ were Taurus and Scorpio, Leo and Aquarius. The ‘default ‘ position now (2000 AD) until 2700 AD is in constellation Pisces; the four ‘Pillars’ being Pisces, Gemini, Virgo and Sagittarius.

The ‘default’ indicator is also important because it marks the point of return of the Sun’s annual path around the Earth - a solar year - equinox to equinox.

It is debatable, without a Zodiacal ring, how the author(s) of the Voynich Celestial Disc kept pace with the Precession of the Equinoxes. According to historical notes, Babylon, Iraq, (latitude 32.4º), kept a 12 fold index of separate leaves per constellation. Interestingly, the Voynich Manuscript also depicts respective constellations and their intimate star groups on individual leaflets - latitude unknown.


DETERMINING THE DIRECTION OF PRECESSION OF THE EQUINOXES

Having already established the precise ’default’ position interfacing with the horns of constellation, Taurus the Bull, it is a relatively easy matter to determine the direction of the Precession of the Equinoxes in respect of planet Earth. Anti-clockwise rotation; then the the view is from above the earth. (Durer Star Charts, AD 1515) (after Whitfield).

Conversely, viewed from the Earth precession proceeds in a clock-wise direction. (Hontor Star Chart, AD 1541). (after Whitfield)

This is the perfect scenario for the Voynich Celestial Disc. Commencing at the Taurus default extreme we need to rotate (precess) in a direction whereby the constellation Aries occupies the next, and correct ‘house’. Following on we need Pisces to occupy the next domain. Cross-checking that the clock-wise precession is correct, currently (AD 2000) we get Pisces (spring equinox ), Gemini (summer solstice), Virgo (autumn equinox) and Sagittarius the Winter solstice, thus, clock-wise rotation is correct.


DATING THE VOYNICH CELESTIAL DISC

Hypothetically speaking, the Voynich Celestial Disc has a provenance circa 4006 BC - 2006 BC unless, of course, the author(s) had access to earlier maps and astronomical knowledge from which they were able to create the manuscript in the 15th century AD - when tested the vellum, upon which the Manuscript is written, was confirmed to be 15th century AD.

That raises two questions: Why is there only ONE known Voynich Manuscript - elaborate fraud or genuine article? Or, did something catastrophic happen during the period 4006 - 2006 BC which decimated an unknown, literate, ’civilisation’ who had created their own form of ‘writing’ and had sophisticated knowledge of the Heavens. In that case where is the latent evidence that such a’ civilisation’ actually existed?

On this self- same subject: the Vienna Manuscript of AD 1440 is the earliest surviving star map of the Northern Heavens. The origin of this map is unknown but it became the pattern for all future star charts. (after Whitfield).

What is quite remarkable in each case; the Voynich and the Vienna both employ body configurations and gestures to direct the observers attention to specific astronomical targets. Does this artistic compatibility suggest the Voynich and the Vienna are from the same stable of map-makers. And, if so, which map is actually the forerunner - my guess is the very refined Vienna Map is a later creation. After carrying out a cross-check astronomically, there is no doubt in my mind that the date of the Vienna is a quite realistic, AD 1440.



THE ANOMALY OF THE ‘MESSAGE IN THE HAIR’


The legend hidden in Figure 4 character’s untidy hairline.
The symbol on the neck of Figure 2. Arabic/Turkish symbols from the Museum de Arte, Istanbul, Turkey.


To add to the conundrum, Figure 4 has a series of ancient symbols (letters ?) interwoven (disguised) within its unkempt hairline. The symbols do not appear to be ‘Voynichese’ but seem to be similar to a more Middle Eastern genre. If so. why would the ‘Big Nose People’, who likely created the human busts, deliberately and secretly hide the presence of authorship?

Since writing this Paper, I uncovered two pieces of Arabic/Turkish (?) script held in the Museum de Arte, Istanbul, Turkey. PLATE 4 identifies those symbols which also appear on the Voynich Celestial Disc. Another clue, perhaps, to the Voynich’s provenance? (see Bibliography)



THE VOYNICH DISC AS A CALENDAR

Reverting back to the four characters in the core arena, read in conjunction with PLATE 3, there is no doubt the gesticulations from each character were deliberately posed to take the observers eye in the direction of specific horizon targets (azimuthals) by means of body language. (see TABLE 1, PLATE 5).

Nevertheless, to prove that the Voynich Celestial Disc was created as a celestial calendar, we need to determine the actual time frame over which the disc operated because, one has to bear in mind that “when the mechanism of the Heavens shifts - everything shifts” (after Hancock).

As demonstrated in PLATE 3 the Voynich Celestial Disc should operate perfectly well as a seasonal calendar. From the chapter content of the Voynich Manuscript, I believe the ‘planisphere’ may have been created as an adjunct to serve all of the manuscripts topics: astronomy, astrology, horticultural, medicinal, health… with special emphasise on water birthing.

Whilst the Zodiac and its ring of twelve constellations is a familiar feature in many magazines today, there are no such pictorials circulating around the Voynich ‘planisphere’; the author(s) treating each constellation as a separate entity. Many constellation names are the same as today - Leo. Virgo, Libra, Sagittarius, for example. See Voynich Manuscript 70v, Pages 128 - 214 through to 73v. Pages 135 of 214).

But that is not the end of the story. After hiding its astronomy secrets for more than 600 years; the Voynich Celestial Disc finally conceded defeat when, quite inadvertently, I placed the Zodiacal master transparency over the four blue Regalia marked on PLATE 3. Taurus, Leo, Scorpio and Aquarius aligned precisely; this final flourish confirming that I had decoded the Voynich Celestial Disc correctly and that the creators had hidden within its seemingly simplistic structure not only the secrets of the Universe but a way of informing a Star Watcher about the cyclic existence of the Precession of the Equinoxes.



CONCLUSION

PART 1 is concluded at this stage in the hope that interested epigraphers and cryptographers will attempt a transliteration based upon the proposed solutions to the Voynich Celestial Disc, hopefully, mutual feedback will move the whole Voynich Manuscript transliteration into a positive direction.

Meantime PART 2, to be published later in the year, develops and expands on the following questions:

a) Division of the disc’s centre core in terms of degrees/days per seasonal length.
b) Determine planetary and first magnitude star activity .
c) Plot 29 lunar phases - apart from the currently mapped major/minor standstills.
d) Rework the S.P. parallels of latitude for Iraq, 31º - 35º.
e) Reduce the 10º ‘meridians’ to 5º increments and test against individual registers.
f) Voynich Celestial Disc: a static planisphere or rotational tracking device.
g) Translation of the ‘writing’ around the head of Figure 4. and if genuine who put it there and why?
h) Extrapolate a common latitudinal factor from the azimuthals in Table 1.


TABLE 1. To avoid errors translating please take care to ensure legends relate exactly to the legend indicated by the human gesture, or, by another azimuthal.
Secondly, please bear in mind that the azimuthals extrapolated from the Vienna Map are only for comparison with those quoted for the Voynich Celestial Disc. In neither case do we know the true latitude.

BIBLIOGRAPHY

Aveni, A.F. Tables for Astro-Archaeological Studies. Colgate Uni. USA. 1971

Hancock G ‘Heaven’s Mirror.’ Penguin Books Ltd, UK. 1999

Hapgood, C. ‘Maps of the Ancient Sea Kings’ Souvenir Press Ltd, UK . 2001

Heatherington, W ‘Astronomy and Culture’. Greenwood Press, USA. 2009

Jones, A. ‘A Portable Cosmos’ Oxford University Press, 2017

Plunkett, E. ‘Calendars and Constellations.’ Random House, UK . 1997

Akurral, Mango, ‘Los Tesoros de Turquia’. Albert Skira, Barcelona. 1966
Ellinghausen

PLATE 6
Original Voynich Celestial Disc, page 57V



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