# The Voynich Manuscript/Content

The manuscript is a parchment codex in octavo, measuring 23.5 by 16.2 by 5 centimeters (9.3 by 6.4 by 2.0 in), made of hundreds of vellum pages collected into eighteen quires. It has a limp vellum cover, added at a later date (probably the 17th century), without any indication of its origin (year, title or author). Some annotations on the inside cover have been made by later owners.
The manuscript has approximately 240 pages in total, depending on how some of its unusual fold-out multi-part pages are counted. The top right-hand corner of each recto (right-hand) page has been numbered from 1 to 116, probably by one of the manuscript's later owners. From the various numbering gaps, it seems likely that in the past the manuscript had at least 272 pages, some of which were already missing when Wilfrid Voynich acquired the manuscript in 1912. There is strong evidence that many of the book's bifolios were reordered at various points in its history, and that the original page order may well have been quite different from what we see today.
The manuscript is written in an elegant, but otherwise unknown script and almost all its pages contain illustrations of unknown plants, constellations or systems of tubes transporting liquids and populated by tiny, pudgy 'nymphs'. Based on modern analysis, it has been determined that a quill pen and iron gall ink were used for the text and figure outlines.
Colored paint was applied (somewhat crudely) to the figures, possibly at a later date. While most of them represent common motifs, the illustrations appear also to be unique to this manuscript.

### Text

The text was clearly written from left to right, with a slightly ragged right margin. Longer sections are broken into paragraphs, sometimes with star- or flower-like "bullets" in the left margin. There is no obvious punctuation, and no indications of any errors or corrections made at any place in the document. The ductus flows smoothly, giving the impression that the symbols were not enciphered, as there is no delay between characters as would normally be expected in written encoded text. Whoever the scribe was, he or she was practiced in writing the script. However, such writing fluency could also be achieved by copying prepared coded text from some other source, such as a wax tablet or separate manuscript.
The text consists of over 170,000 discrete glyphs, usually separated from each other by narrow 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 rarer characters that occur only once or twice each. Various transcription alphabets have been created, to equate the Voynich glyphs with Latin characters in order to help with cryptanalysis, such as the European Voynich Alphabet. The first major one was created by cryptographer William F. Friedman in the 1940s, where each line of the manuscript was transcribed to an IBM punched card to make it machine-readable.
Wider gaps divide the text into about 35,000 "words" of varying length. These seem to follow phonological or orthography laws of some sort, e.g., certain characters must appear in each word (like English vowels), some characters never follow others, some may be doubled or tripled but others may not, etc.
Statistical analysis of the text reveals patterns similar to those of natural languages. For instance, 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 possibly be the name of the plant.
On the other hand, the Voynich manuscript's "language" is quite unlike European languages in several aspects. There are practically no words comprising more than ten glyphs, yet there are also few one- or two-letter words. The distribution of letters within words is also rather peculiar: some characters occur only at the beginning of a word, some only at the end, and some always in the middle section. While semitic alphabets have many letters that are written differently depending on whether they occur at the beginning, in the middle or at the end of a word, letters of the Latin, Cyrillic, and Greek alphabets are generally written the same way regardless of their position within a word (with the Greek letter sigma and the obsolete long s being notable exceptions).
The text seems to be more repetitive than typical European languages; there are instances where the same common word appears up to three times in a row. Words that differ by only one letter also repeat with unusual frequency, causing single-substitution alphabet decipherings to yield babble-like text. Elizebeth Friedman in 1962 described such attempts as "doomed to utter frustration".
There are only a few words in the manuscript written in a seemingly Latin script. On the last page, there are four lines of writing written in rather distorted Latin letters, except for two words in the main script. The lettering resembles European alphabets of the late 14th and 15th centuries, 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, northwest Italy or the Iberian Peninsula. However, it is not known whether these bits of Latin script were part of the original text or were added later.

### Illustrations

The illustrations of the manuscript shed little light on the precise nature of its text 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. Following are the sections and their conventional names:

#### Herbal

    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. None of the plants depicted are unambiguously identifiable.

#### Astronomical

    Contains circular diagrams, some of them with suns, moons, and stars, suggestive of astronomy or astrology. One series of 12 diagrams depicts conventional symbols for the zodical constellations (two fish for Pisces, a bull for Taurus, a hunter with crossbow for Sagittarius, etc.). Each of these has 30 female figures arranged in two or more concentric bands. Most of the females are at least partly naked, and each holds what appears to be a labeled star or is shown with the star attached by what could be a tether or cord of some kind to either arm. The last two pages of this section (Aquarius and Capricornus, roughly January and February) were lost, while Aries and Taurus are split into four paired diagrams with 15 women and 15 stars each. Some of these diagrams are on fold-out pages.

#### Biological

    A dense continuous text interspersed with figures, mostly showing small naked women, some wearing crowns, bathing in pools or tubs connected by an elaborate network of pipes, some of them strongly reminiscent of body organs.

#### Cosmological

    More circular diagrams, but of an obscure nature. This section also has foldouts; one of them spans six pages and contains a map or diagram, with nine "islands" or "rosettes" connected by "causeways" and containing castles, as well as what may possibly be a volcano.

#### Pharmaceutical

    Many labeled drawings of isolated plant parts (roots, leaves, etc.); objects resembling apothecary jars, ranging in style from the mundane to the fantastical; and a few text paragraphs.

#### Recipes

    Many short paragraphs, each marked with a flower- or star-like "bullet".

### Purpose

The overall impression given by the surviving leaves of the manuscript is 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.
The first section of the book is almost certainly herbal, but attempts to identify the plants, either with actual specimens or with the stylized drawings of contemporary herbals, have largely failed. Few of the plant drawings (such as a wild pansy and the maidenhair fern) can be identified with reasonable certainty. Those herbal pictures that match pharmacological sketches appear to be clean copies of these, except that missing parts were completed with improbable-looking details. In fact, many of the plant drawings in the herbal section seem to be composite: the roots of one species have been fastened to the leaves of another, with flowers from a third.
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.
The basins and tubes in the "biological" section are sometimes interpreted as implying a connection to alchemy, yet bear little obvious resemblance to the alchemical equipment of the period.
Astrological considerations frequently played a prominent role in herb gathering, bloodletting and other medical procedures common during the likeliest dates of the manuscript. However, apart from the obvious W: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).
A circular drawing in the "astronomical" section depicts an irregularly shaped object with four curved arms, which, in 1928, antiquarian William Romaine Newbold interpreted as a picture of a galaxy, which could only be obtained with a telescope. Similarly, he interpreted other drawings as cells seen through a microscope. However, Newbold's analysis has since been dismissed as overly speculative.

## References

* ↑ Pelling, Nicholas John. "The Curse of the Voynich: The Secret History of the World's Most Mysterious Manuscript". Compelling Press, 2006. ISBN 0-9553160-0-6
* 1 2 Barabe, Joseph G. (McCrone Associates (April 1, 2009). "Materials analysis of the Voynich Manuscript" (pdf). Beinecke Library.
* ↑ Reeds, Jim (September 7, 1994). "William F. Friedman's Transcription of the Voynich Manuscript" (PDF). AT&T Bell Laboratories. Retrieved November 2, 2011. {{cite journal}}: Cite journal requires |journal= (help)
* ↑ Landini, Gabriel (2001). "Evidence of linguistic structure in the Voynich manuscript using spectral analysis". Cryptologia. 25 (4): 275–295. doi:10.1080/0161-110191889932. Retrieved 2006-11-06. {{cite journal}}: Unknown parameter |month= ignored (help)
* ↑ Friedman, Elizebeth. 1962. "The Most Mysterious MS. - Still an Enigma". Washington D.C. Post, 5 August, E1, E5. Quoted in Mary D'Imperio's "Elegant Enigma", p.27 (section 4.4)
* ↑ "Palmer, Sean B. (2004). "Notes on f116v's Michitonese"". Inamidst.com. Retrieved 2011-11-17.
* ↑ "Palmer, Sean B. (2004). "Voynich Manuscript: Months"". Inamidst.com. 2004. Retrieved 2011-11-17.
* ↑ "University of Pennsylvania archives". Archives.upenn.edu. 1926-09-06. Retrieved 2011-11-17.