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The Voynich manuscript is a mysterious book thought to have been written in the 15th or 16th century and comprising about 240 vellum pages of handwritten text, of which the majority have illustrations. The text of the manuscript has never been deciphered, and the author, script, and language remain unknown.
Since 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 decrypt any portion of the text. 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. Currently the Voynich manuscript is stored in the Beinecke Rare Book and Manuscript Library of Yale University as item “MS 408”. The first facsimile edition was published in 2005.
By current estimates, the book originally had 272 pages in 17 quires of 16 pages each. 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 when 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. There is strong evidence that at one point in time, the pages of the book were arranged in a different order.
The text was clearly written from left to right, with a slightly ragged right margin. Longer sections are broken into paragraphs, sometimes with “bullets” in the left margin. There is no obvious punctuation. The ductus flows smoothly, suggesting that the scribe understood the words as he wrote. The manuscript therefore gives the impression that the symbols were not enciphered, otherwise the individual characters would have had to be calculated before being written. However, it is possible to write somewhat fluently in other codes.
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.
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, and some may be doubled but others may not.
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 be the name of the plant.
On the other hand, the Voynich manuscript’s “language” is quite unlike European languages in several aspects. Firstly, 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 only occur 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 (the exception being the Greek letter Sigma).
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 only by one letter also repeat with unusual frequency.
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 that 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 later.
A detail from the “biological” section of the manuscript
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:
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 (below). None of the plants depicted are unambiguously identifiable.
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 zodiacal constellations (two fish for Pisces, a bull for Taurus, a hunter with crossbow for Sagittarius, etc.). Each of these has 30 women 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.
A dense continuous text interspersed with figures, mostly showing small naked 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 foldouts; one of them spans six pages and contains a map or diagram, with nine “islands” connected by “causeways”, castles, and what may be 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.
Many short paragraphs, each marked with a flower- or star-like “bullet”.
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. Only a couple of plants (including a wild pansy and the maidenhair fern) can be identified with some 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.
This three-page foldout from the manuscript includes a chart that appears astronomical.
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 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 (such as eagle, toad, man in tomb, couple in bed) or standard textual symbols (such as circle with cross); and none of these could be convincingly identified in the Voynich manuscript.
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).
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.
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. In 2009 the material used to write the manuscript was carbon-dated to between 1404 and 1438.
The earliest confirmed owner of the Voynich manuscript was 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 (Ethiopic) dictionary and “deciphered” the Egyptian hieroglyphs, Baresch 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 a few years later sent the book to Kircher, his longtime friend and correspondent. Marci’s cover letter (1665 or 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’ Ghislieri College.
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 and daughter of famous mathematician George Boole). 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. Marci’s 1665 cover letter to Kircher says that, according to his late friend Raphael Mnishovsky, the book had once been bought by Rudolf II, Holy Roman Emperor and King of Bohemia (1552-1612), for 600 ducats- 66.42 troy ounce actual gold weight, around US$ 30,800 as of 2005. According to the letter, Rudolf believed the author to be the Franciscan friar and polymath Roger Bacon (1214-1294).
Even though Marci said that he was “suspending his judgment” about this claim, it was taken quite seriously by Voynich, who did his best to confirm it. His conviction strongly influenced most deciphering attempts for the next 80 years. Mnishovsky died in 1644, and the deal must have occurred before Rudolf’s abdication in 1611-at least 55 years before Marci’s letter.
The assumption that Roger Bacon was the author led Voynich to conclude that the person who sold the 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. This theory is also conveyed by Voynich manuscript scholar Gordon Rugg. 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. If the Voynich manuscript author is not Bacon, the connection to Dee may just disappear. It is possible that 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, a 19th century picture based on an earlier engraving
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 that 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 shewstone 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 had later written a book about what he saw there. Several people (see below) have suggested that, just as Kelley may have 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).
Fabrication by Voynich
Some suspected Voynich of having fabricated the 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, many consider the expert internal dating of the manuscript and the recent discovery of Baresch’s letter to Kircher as having eliminated that possibility. Still, internal dating is often highly speculative and depends on many assumptions that may themselves be lacking in hard factual support. There has also been debate over the results of the internal dating, with some scholars suggesting a more modern date. Further, Baresch’s letter (and Marci’s as well) only establish the existence of a manuscript, not that the Voynich manuscript is the same one spoken of there. In other words, these letters could have been the motivation for Voynich to fabricate the manuscript (assuming he was aware of them), rather than as proofs authenticating it.
But if Voynich fabricated the manuscript, the question arises as to why neither he nor his widow ever attempted to sell it. Fame rather than fortune might be speculated as a motive, but that would not explain why Voynich’s widow never attempted to sell the manuscript after his death. All things considered, most who have studied the history of the manuscript do not believe that Voynich fabricated the document.
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 Horčický of Tepenec, who was also known by his Latin name: Jacobus Sinapius (1575-1622). 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 Mnishovsky’s story. Others have suggested that Jacobus himself could be the author.
The manuscript continues to excite theories
However, that writing does not match Jacobus’s signature, as found in a document located by Jan Hurych in 2003. It is 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 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. 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 that 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 test subject. After Kircher published his book on Coptic, Mnishovsky (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.
Leonell C. Strong, a cancer research scientist and amateur cryptographer, believed 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 A Little Herbal, the main argument against this theory is that it is unknown where Ascham would have obtained such literary and cryptographic knowledge.
In his book, Nick Pelling proposed that the Voynich manuscript was written by Antonio Averlino (also known as “Filarete”), an Italian renaissance architect. According to Pelling’s theory, Averlino tried to reach Constantinople around 1465 and enciphered in the Voynich manuscript some of his own works about various engineering topics to be able to export his knowledge to the Ottoman Turks past Venetian border guards. The theory is based mainly on circumstantial evidence. Pelling conjectures that the manuscript is enciphered with an extremely convoluted cascade of methods, designed to render the resulting cipher text similar to a medieval document in an unknown language, complete with apparent consonant-vowel pairing of letters and fake page references. He also claims most of the marginalia were part of the original document, but have ended up corrupt because later owners tried to emend the faded text, when they incorrectly guessed the original meaning.
There is some tenuous speculation that a young Leonardo da Vinci may have authored the Voynich manuscript.
Prescott Currier, a US Navy cryptographer who worked with the manuscript in the 1970s, observed that the pages of the “herbal” section could be separated into two sets, A and B, with distinctive statistical properties and apparently different handwritings. He concluded that the Voynich manuscript was the work of two or more authors who used different dialects or spelling conventions, but who shared the same script. However, recent studies have questioned this conclusion. A handwriting expert who examined the book saw only one hand in the whole manuscript. Also, when all sections are examined, one sees a more gradual transition, with herbal A and herbal B at opposite ends. Thus, Currier’s observations could simply be the result of the herbal sections being written by one author over a long period of time.
A plant illustration from the manuscript
The bizarre features of the Voynich manuscript text (such as the doubled and tripled words), the suspicious contents of its illustrations (such as the chimeric plants) and its lack of historical reference support the idea that the manuscript is a hoax. In other words, if no one is able to extract meaning from the book, perhaps this is because the document contains no meaningful content in the first place.
The argument for authenticity, on the other hand, is that the manuscript appears too sophisticated to be a hoax. While hoaxes of the period tended to be quite crude, the Voynich manuscript exhibits many subtle characteristics which only show up after careful statistical analysis. These fine touches require much more work than would have been necessary for a simple forgery, and some of the complexities are only visible with modern tools. The question then arises: why would the author employ such a complex and laborious forging algorithm in the creation of a simplistic hoax, if no one in the expected audience (that is, the creator’s contemporaries) could tell the difference?
Various hoax theories have been proposed over time:
In 2003, computer scientist Gordon Rugg showed that text with characteristics similar to the Voynich manuscript could have been produced using a table of word prefixes, stems, and suffixes, which would have been selected and combined by means of a perforated paper overlay. The latter device, known as a Cardan grille, was invented around 1550 as an encryption tool, slightly after the estimated creation date of the Voynich manuscript. Some maintain that the similarity between the pseudo-texts generated in Gordon Rugg’s experiments and the Voynich manuscript is superficial, and the grille method could be used to emulate any language to a certain degree.
In April 2007, a study by Austrian researcher Andreas Schinner published in Cryptologia supported the hoax hypothesis. Schinner showed that the statistical properties of the manuscript’s text were more consistent with meaningless gibberish produced using a quasi-stochastic method such as the one described by Rugg, than with Latin and medieval German texts. However, this comparison is valid only for plain text in European languages, or text enciphered with a simple substitution cipher, while analysis suggests a much more complex enciphering method and/or non-European origin of the underlying text of the Voynich manuscript (see Letter-based cipher and Exotic natural language below).
In late 2007, Claude Martin claimed that the Voynich manuscript is a hoax based on a convoluted anagramming algorithm for numbers. For example, the sequence 345678 would be retranscribed into 643875. While such a method would produce text somewhat similar to that of the Voynich manuscript, it’s hard to explain why such a difficult and time-consuming procedure would be used for a hoax. In Martin’s own words: “…the ciphering method that we have just analyzed does not seem in accordance with those used in the Middle Ages, at the time of Trithème, Vigenère, Cardan or Roger Bacon.”
Researchers at the University of Arizona performed C14 dating on the manuscript and showed that the parchment on which the manuscript was written was made between 1404 and 1438, according to Walter Koehler. In addition, the McCrone Research Institute in Chicago found evidence that the ink was added to the parchment around the same time as the creation of the parchment itself, suggesting that it is an authentic ancient document.
There are many theories about the Voynich manuscript’s “language”. Here are some:
The Voynich manuscript is written in an unknown script.
According to the “letter-based cipher” theory, the Voynich manuscript contains a meaningful text in some European language, that was intentionally rendered obscure by mapping it to the Voynich manuscript “alphabet” through a cipher of some sort-an algorithm that operated on individual letters.
This has been the working hypothesis for most deciphering attempts in the twentieth century, including an informal team of NSA cryptographers led by William F. Friedman in the early 1950s. Simple monoalphabetic ciphers can be excluded, because they are very easy to crack; so deciphering efforts have generally focused on polyalphabetic ciphers, invented by Alberti in the 1460s. This class includes the popular Vigenère cipher, which could have been strengthened by the use of nulls and/or equivalent symbols, letter rearrangement, false word breaks and so on. Some people assumed that vowels had been deleted before encryption. There have been several claims of deciphering along these lines, but none has been widely accepted-chiefly because the proposed deciphering algorithms depended on so many guesses by the user that they could extract a meaningful text from any random string of symbols.
The main argument for this theory is that the use of a strange alphabet by a European author can hardly be explained except as an attempt to hide information. Indeed, Roger Bacon knew about ciphers, and the estimated date for the manuscript roughly coincides with the birth of cryptography as a systematic discipline. Against this theory is the observation that a polyalphabetic cipher would normally destroy the “natural” statistical features that are seen in the Voynich manuscript. Also, although polyalphabetic ciphers were invented about 1467, variants only became popular in the 16th century, somewhat too late for the estimated date of the Voynich manuscript.
According to the “codebook cipher” theory, the Voynich manuscript “words” would actually be codes to be looked up in a “dictionary” or codebook. The main evidence for this theory is that the internal structure and length distribution of those words are similar to those of Roman numerals-which, at the time, would be a natural choice for the codes. However, book-based ciphers are viable only for short messages, because they are very cumbersome to write and to read.
Following its 1912 rediscovery, one of the earliest efforts to unlock the book’s secrets (and the first of many premature claims of decipherment) was made in 1921 by William Newbold of the University of Pennsylvania. His singular hypothesis held that the visible text is meaningless itself, but that each apparent “letter” is in fact constructed of a series of tiny markings only discernible under magnification. These markings were supposed to be based on ancient Greek shorthand, forming a second level of script that held the real content of the writing. Newbold claimed to have used this knowledge to work out entire paragraphs proving the authorship of Bacon and recording his use of a compound microscope four hundred years before Leeuwenhoek. However, John Manly of the University of Chicago pointed out serious flaws in this theory. Each shorthand character was assumed to have multiple interpretations, with no reliable way to determine which was intended for any given case. Newbold’s method also required rearranging letters at will until intelligible Latin was produced. These factors alone ensure the system enough flexibility that nearly anything at all could be discerned from the microscopic markings. Although evidence of micrography using the Hebrew language can be traced as far back as the ninth century, it is nowhere near as compact or complex as the shapes Newbold made out. Close study of the manuscript revealed the markings to be artifacts caused by the way ink cracks as it dries on rough vellum. Perceiving significance in these artifacts can be attributed to pareidolia. Thanks to Manly’s thorough refutation, the micrography theory is now generally disregarded.
The text defies interpretation
This theory holds that the text of the Voynich manuscript is mostly meaningless, but contains meaningful information hidden in inconspicuous details-e.g. the second letter of every word, or the number of letters in each line. This technique, called steganography, is very old, and was described by Johannes Trithemius in 1499. It has been suggested that the plain text was to be extracted by a Cardan grille of some sort. This theory is hard to prove or disprove, since stegotexts can be arbitrarily hard to crack. An argument against it is that using a cipher-looking cover text defeats the main purpose of steganography, which is to hide the very existence of the secret message.
It has been suggested that the meaningful text could be encoded in the length or shape of certain pen strokes. There are indeed examples of steganography from about that time that use letter shape (italic vs. upright) to hide information. However, when examined at high magnification, the Voynich manuscript pen strokes seem quite natural, and substantially affected by the uneven surface of the vellum.
Exotic natural language
The linguist Jacques Guy once suggested that the Voynich manuscript text could be some exotic natural language, written in the plain with an invented alphabet. The word structure is indeed similar to that of many language families of East and Central Asia, mainly Sino-Tibetan (Chinese, Tibetan, and Burmese), Austroasiatic (Vietnamese, Khmer, etc.) and possibly Tai (Thai, Lao, etc.). In many of these languages, the “words” have only one syllable; and syllables have a rather rich structure, including tonal patterns.
This theory has some historical plausibility. While those languages generally had native scripts, these were notoriously difficult for Western visitors. This difficulty motivated the invention of several phonetic scripts, mostly with Latin letters but sometimes with invented alphabets. Although the known examples are much later than the Voynich manuscript, history records hundreds of explorers and missionaries who could have done it-even before Marco Polo’s thirteenth century voyage, but especially after Vasco da Gama sailed the sea route to the Orient in 1499. The Voynich manuscript author could also be a native of East Asia who lived in Europe, or who was educated at a European mission.
The main argument for this theory is that it is consistent with all statistical properties of the Voynich manuscript text which have been tested so far, including doubled and tripled words (which have been found to occur in Chinese and Vietnamese texts at roughly the same frequency as in the Voynich manuscript). It also explains the apparent lack of numerals and Western syntactic features (such as articles and copulas), and the general inscrutability of the illustrations. Another possible hint is two large red symbols on the first page, which have been compared to a Chinese-style book title, inverted and badly copied. Also, the apparent division of the year into 360 degrees (rather than 365 days), in groups of 15 and starting with Pisces, are features of the Chinese agricultural calendar (jie qi). The main argument against the theory is the fact that no one (including scholars at the Chinese Academy of Sciences in Beijing) could find any clear examples of Asian symbolism or Asian science in the illustrations.
In late 2003, Zbigniew Banasik of Poland proposed that the manuscript is plaintext written in the Manchu language and gave a proposed incomplete translation of the first page of the manuscript,.
Jim Child, a linguist of Indo-European languages, has proposed that the manuscript is written in an early German language.
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