What magic? Where magic – 4.2 Whose magic? Byzantium – Spain. (July 11, 2021).
What magic? Where magic? – 4. Whose magic? (July 5, 2021).
Header image: (left) artificial ruby from the Cheapside hoard; (right) detail from Oxford, Bodleian MS Holkham misc. 48 p.54.
Jorge Stolfi here uses ‘byzantine’ in the metaphorical sense (I think) when writing to the first mailing list:
“I am aware that many quite reasonable people … find a non-European origin so unlikely (a priori) that they would rather believe in impractically complicated codes, Byzantine decoys, and secretive communities of herbal conspirators, just to avoid it. ”Jorge Stolfi (2002). read the conversation
We owe the “all-European-Christian-Voynich” doctrine less to any one person than to the persistence of nineteenth century attitudes in the popular culture of England, northern Europe and America through the first half of last century.
No-one offered a formal argument that the manuscript’s content was an expression of European culture. Before Stolfi, it seems never to have occurred to anyone to think otherwise, despite the most eminent specialists’ finding both the written- and the pictorial text unreadable in those terms.
Newbold frankly admits, in 1921, that his description of the manuscript’s divisions (which are now applied as if ‘Voynich doctrines’ too) are no more than his personal impressions of the pictures, and he never claimed to have found any supporting material in works produced from western Christian (‘Latin’) Europe. In fact, he plainly says the opposite in speaking of the diagrams he describes as ‘astronomical or astrological’. See Newbold’s lecture, April 1921 p.461-2. For the online link see ‘Constant references’ in Cumulative Bibliography – top bar).
Certainly the fifteenth-century artefact’s quires are bound in European-and-Armenian style. McCrone’s analysis found nothing inconsistent with western custom in a few samples taken of some few among its pigments. There is a high probability that the scribes and perhaps the inventor of any Voynichese cipher was either European or resident in Europe – the ‘humanist hand’ (if that’s what it is) would suggest northern Italy, and the month-names as well as the late-stratum images (such as the month-diagrams’ centres and the diagram containing the ‘preacher of the East’ with its figure in Mongol dress) may imply a resident in medieval Italy, in a Papal city such as Viterbo, in Spain, or in an area of Anglo-French influence including Sicily- but all these provide an argument about the object’s manufacture, not about the cultural origin of its written- or the majority of its pictorial text, and that distinction is important (as Buck was neither first nor last to point out) because it may help to direct researchers towards the written text’s original language. Or, of course, this being the Voynich manuscript – it might not.
A possible ‘foreign’ origin for the content was never rejected by earlier writers; it never entered their horizon, and when Stolfi spoke to it in the early 2000s, unpleasantness resulted.
It is an astonishing thing to realise, but a great many people even in the twenty-first century take it for granted that ‘normal’ means ‘European-style’. And so though the manuscript constantly refuses to fit that ‘norm’, the effort has been as constant as unavailing to argue that its content is, or should be, or is trying to be, or was meant to be ‘normal’ in that sense. It doesn’t contain a zodiac, but is deemed to contain a zodiac. The same section includes ‘doubled’ months – that doubling is habitually treated as non-existent or is rationalised by implying or asserting it a mistake… And so on.
Here again Stuart Buck’s comment resonates: “You can’t just wave it away because you don’t understand it.”
So ingrained was the general habit of assuming that ‘normal’ meant western Christian (‘Latin’) that it spilled over to the earliest discussions of the manuscript, those involved being quite oblivious of that blind spot in contemporary American and European habits of mind. ‘European’ had became a tacit default and so, without conscious thought, their “medieval” world contained nothing but the ‘medieval European’.
This blind spot affects even the exceptionally clear-minded and clear-sighted John Tiltman. When, at last, on the brink of suggesting some other-than-Latin origin, he says of the Voynich plant pictures:
“To the best of my knowledge no one has been able to find any point of connection with any other [European] medieval manuscript or early printed book. This is all the stranger because the range of [European] writing and illustration on the subject of the plant world from the early Middle Ages right through into the sixteenth and even seventeenth centuries is very limited indeed.” (Elegant Enigma p.13)
He did not continue the thought to its conclusion – at least, not in words.
More than thirty years’ failure by NSA cryptographers to ‘break the text’, seems to have almost allowed d’Imperio to break past that assumption, and to allow the possibility of ‘foreignness’ to arise but she immediately pulls back, resorting to what became the usual rationalisation – some imagined ‘author’ invested with imagined faults. d’Imperio was a team player.
Nevertheless, given her orderly mind and pride in rationality, her sequence (below) implies a scale of increasing personal distaste:
“The impression made upon the modern viewer.. is one of extreme oddity, quaintness, and foreignness – one might also say unearthliness…
In the end, as her ‘Table of Contents’ shows she preferred to opt for a European ‘unearthly’ occult over the ‘foreign’.
It is much to the point, too, that from 1912 until long after Wilfrid’s death, the manuscript had to be supposed an expression of European culture to arouse interest, let alone to attract Wilfrid’s high price. The buying public would not have thought any medieval manuscript of much value unless it were associated with an important European or be (as d’Imperio insisted we must believe) “of importance for Europe’s intellectual history”. Otherwise, even European medieval manuscripts were perceived by the public as being little more than curios or objets d’art. Nearly twenty years after Wilfrid began trying to sell his ‘Bacon ciphertext’ the author of a rather good article about medieval manuscripts could still write, without a blush:
Everything is “quaint” about the medieval book. In libraries, every custodian of such manuscripts is familiar with the sighs of surprise which they elicit on the part of the unspoiled visitor. What to wonder at first: at the heavy parchment leaves, the black mass of the writing, or the queer little pictures dressed up with gold?
- Zoltán Haraszti, ‘Medieval Manuscripts’, The Catholic Historical Review , Vol. 14, No. 2 (Jul., 1928), pp. 237-247.
Today, a medieval laundry-list might be greeted with keen scholarly and general interest, but in the first half of the twentieth century, ‘history’ was still the story of important men doing important things. Even if Wilfrid hadn’t presented the manuscript as the ultimate purchase for the socially ambitious, importance at that time would still have demanded some important person as ‘author’ and/or important previous owners. Satisfying an ‘important author’ expectation meant, in turn, supposing everything in Wilfrid’s manuscript an original composition and not a copy or a collection of extracts from older texts, as most medieval manuscripts are.
Even Erwin Panofsky initially presumed an ‘author’ for the manuscript and, thus, that the first enunciation of its written- and pictorial texts were contemporary with each other and with the present manuscript’s making. At first. On reflection he realised that “it could be a copy of a considerably older document.” This had no discernible effect on Voynich writers and as recently as 2011, my saying the manuscript was obviously derived from more than one exemplar met howls of derision in one Voynich arena and demands that I name the informing texts. Today, the hunt for an ‘author’ is less pronounced an aspect of the study, but the Eurocentric default remains.
As counterweight for such reflexive assumptions, you might care to remember, when next you are looking at a pretty, fifteenth century French Psalter, that as much as 2,600 years and as many miles separates first enunciation of the Psalms from that copy you hold and, further, that its pictures are equally divorced in both form and imagining from what could have been in the first singer’s mind, or pictures which might have been made by those who first translated the Psalms into Greek or into Latin.
Conversely, an opposite relationship can exist between written and pictorial text, and it is unwise to take as a first premise that a medieval manuscript’s written and pictorial texts were first created by the same person/s at the same time, or that the images are merely ‘illustrations’. Such things need to be established, or at the very least treated as something to be resolved.
For his ‘ugly duckling’ manuscript, though, Wilfrid created a marvellous history – its text must be the brain-child of a remarkable scientist; had then been fostered by a family of the English nobility, then carried by a wise magician, advisor to a queen, to the ultimate rung of the social ladder – greeted by an Emperor who (according to a barely credible bit of hearsay) had handed over a staggering price.. I almost said ‘dowry’ .. to the carrier. All the characters save the manuscript are, of course, superior types and western European Christian males.
Had anyone persuaded Friedman that the manuscript was less touched by glory, and persuaded him that – for example – it was a Jewish work of science, or was foreign, or was a collection of tradesman’s secrets or that the academic board was right in thinking it contained “only trivia”, I doubt that he’d have been so eager to engage with it. We might never have had the NSA involved, nor Currier’s paper of 1976 and then d’Imperio’s Elegant Enigma, the last rather sobering if you see it as a summary of the NSA’s failed efforts, over more than three decades, to break an assumed ‘ciphertext’.
Nor does d’Imperio’s Table of Contents or Bibliography offer evidence that the teams had sought vocabularies of artisanal techne, but only those of scholarly theoria.
It was another major blind spot, this time a reflection of contemporary attitudes to ‘ordinary’ people.
BOOKS OF [technical] SECRETS
Before the end of the fifteenth century, what was contained in the Latin European’s ‘Book of Secrets’ was most often professional and artisanal ‘tricks of the trade’ – recipes for inks and dyes obtained from plants or minerals, methods by which jewellers made and coloured imitation gems and so on. Scholarly interest in this topic has moved way in recent years from Europe’s medieval centuries to its later Renaissance – the sixteenth and seventeenth centuries when chemical processes became of interest to the more highly educated sort of alchemist – so although some of the references for European studies listed below are not recent, they are still standard.
James R. Johnson, ‘Stained Glass and Imitation Gems’, The Art Bulletin, Vol. 39, No. 3 (Sep., 1957), pp. 221-224.
Cyril Stanley Smith and John G. Hawthorne, ‘Mappae Clavicula: A Little Key to the World of Medieval Techniques, Transactions of the American Philosophical Society, Vol. 64, No. 4 (1974), pp. 1-128. (Highly recommended)
William Eamon, ‘Books of Secrets in Medieval and Early Modern Science’, Sudhoffs Archiv, Bd. 69, H. 1 (1985), pp. 26-49.
_______________, ‘Science and Popular Culture in Sixteenth Century Italy: The “Professors of Secrets” and Their Books’, The Sixteenth Century Journal, Vol. 16, No. 4 (Winter, 1985), pp. 471-485.
Erik Anton Heinrichs, ‘The Plague Cures of Caspar Kegler: Print, Alchemy, and Medical Marketing in Sixteenth-Century Germany’, The Sixteenth Century Journal Vol. 43, No. 2 (Summer 2012), pp. 417-440
Sven Dupré, ‘The value of glass and the translation of artisanal knowledge in early modern Antwerp’, Nederlands Kunsthistorisch Jaarboek (NKJ) / Netherlands Yearbook for History of Art , 2014, Vol. 64, Trading Values in Early Modern Antwerp. pp. 138-161.
Newbold quotes Dante, (Inf., xxix, 118) in the Italian. One where one of the damned confesses,
Ma nell’ ultima bolgia delle diece
Me per Alchimia che nel mondo usai,
Dannò Minos, a cui fallir non lece.
“And thou shalt see I am Capocchio’s shade, / Who metals falsified by alchemy;/ Thou must remember, if I well descry thee,/ How I a skilful ape of nature was.” – Longfellow’s translation.
adding that “Dante mentions several persons who had recently been burned, either as alchemists or as would-be counterfeiters by alchemical means.”( Newbold’s lecture .. p.455 n.27). That counterfeit gem, illustrated above, if sold as the real thing would have brought the maker several thousands of pounds, at a time when an English pound was worth a pound of gold.
The practical nature of matter in ‘Books of secrets’ has long been recognised. Thorndike referred to the type in his ‘Voynich’ letter of 1921. Members of Jim Reeds’ Voynich mailing list were aware of it in the late 1990s. Nick Pelling says the same in his Curse of the Voynich (2006) but such was the glamour on the manuscript, and so eagerly was Wilfrid’s social-climbing narrative embraced that I can find no evidence that anyone has ever – in a century – looked into that quite reasonable possibility in connection with the Voynich text.
Not one researcher, though artisans made use of plants and painters, woodworkers, weavers, jewellers, makers of mosaics and embroiderers all formed non-literal images of plants and less-than-literal images for the heavens.
As ever, the revisionist is compelled to wonder: ‘Why?” – Why did no-one ask? Why did no-one check?
It may be that I find no evidence of such a study only because so few Voynicheros now think mention of precedent studies ‘necessary’ so if .you happen to know of someone who did look into that question, I’d be delighted to hear which extant examples and texts they considered.
Even for the constant presumption that Voynich plant-pictures must fit within the Latins’ medicinal ‘herbal’ tradition there is no good reason and still no real evidence (pace Clemens). If one were inclined to invent theoretical Voynich narratives, it would be easy enough to argue everything in Beinecke MS 408 an artisan’s handbook or notebook.
Practical skill = practical value.
Such information could even be imagined recorded in cipher. The huge importance of weavers, dyers, glass makers and painters, within and without medieval Europe, for a town’s economic and social survival meant that trade secrets mattered everywhere. More – and as I’ll show (in Part c for this topic) – books of alchemy and of magic didn’t disdain such information as that about plant-derived pigments. Here’s a nice short video about an exhibition of alchemical texts and paintings, entitled – a little loosely – ‘Books of Secrets’
Access to secrets – relocation.
Trade secrets passed over generations, in some cases millennia, only from father to son, and from master to apprentice, because those ‘family secrets’ were the key to survival for the family, the community and in some cases for an entire clan. Disturbance or removal of craftsmen could see a complete loss of some technical know-how. So, we are told by Clavijo, at about the time the Voynich manuscript was made, that when Timur (Tamerlane) descended on a city to destroy it, he spared few but the useful artisans, whom he forcibly relocated to his new capital in Samarkand. It was the most efficient way to acquire that knowledge.
image – The rape of Damascus.
“From Damascus he brought weavers of silk, and men who made bows, glass and earthenware… From Turkey he brought archers, masons, and silversmiths.” From Azerbaijan, Isfahan and Delhi and from Shiraz the mosaic-workers all in such numbers that “the city was not large enough to hold them.” (Clavijo’s round trip from Spain to Samarkand took three years.
- Guy Le Strange, Clavijo. Embassy to Tamerlane 1403-1406 (New York and London: Harper, 1928).
To speak of textiles – how to dye cloth was known for millennia before the first revelation, to the European public, of those secrets which were issued in Venice, in print, in 1429. In his introduction, the anonymous master dyer says he had the information published because he had no-one to whom he could pass on his knowledge. One suspects that the dyers’ guild was less than pleased.
[Anonymous author, Venice] Mariegola dell’ arte de tentori.
for additional vocabularies:
Violetta Thurston, The Use of Vegetable Dyes (Dryad Press). A small, modest, excellent work. First published in 1975 it achieved its fourteenth, hardback, edition by 1985. I recommend its use in tandem with
Mrs. M. Grieve, A Modern Herbal The Medicinal, Culinary, Cosmetic and Economic Properties, Cultivation and Folk-Lore of Herbs, Grasses, Fungi, Shrubs & Trees with their Modern Scientific Uses. (first published in 1931).
A version of Grieve’s Modern Herbal is available online through botanical.com but I’d advise consulting the full, printed text.
Secrets of such a kind were also transferred in less direct ways before the sixteenth century- through the private channels of commerce and, one suspects, sometimes through coercion or an individual’s violence. A miniature painted in Bruges, in c.1375 shows a group of Latins – some dressed in damascene cloth – around a dyer’s vat while a wooden-faced or shocked Syrian or Jew stands behind them. Two more figures, similarly portrayed are in the street, looking on with consternation. One has his fist clenched; the other holds his hand to his face – a sign for lamentation.
Again, in Italy during the 1300s, Guelf dyers had been obliged to flee Lucca.
They took refuge in Venice, bringing about a massive boost to that city’s economy, and supplementing its earlier acquisition of silk-weaving techniques, including the different design of loom. (silk cannot bear the weight of the ordinary loom’s downward pressing beater). At about the same time, what was then called ‘brazilwood’ or ‘sappan wood’ (usually but not only from Caesalpinia sappan) was gained from India and southern Asia [called in Europe the ‘east Indies’] and is attested in England as early as 1321, though to use it one also had to know how to prepare the dye, and what mordants to use, and in the region that is now Indonesia, this had been a special skill of women.
Grieve has ‘sappan’ as one of the synonyms for Red Saunders (Pterocarpus santalinus) op.cit.. p.171.
The cloth trade was soon to become England’s leading industry and it is said that by the close of the middle ages, as many as one in seven of the country’s workforce was probably making cloth, and one household of every four involved in spinning.
Similarly, Germany began cultivating woad, whose traditional method of preparation is not anything one might guess. Individual people had to bring those secrets. A good article about ‘brazilwood’ pigments:
- Medieval Indonesia (blog), ‘Brazilwood in the Fifteenth Century: Italy and Sunda’. (Feb 19, 2020).
As ever, mystery was not far from ‘occult’.
Bringing this matter of colours and pigments to our study, we take the example of a curious use of green pigment in folio 67v. Relevant to our understanding of thie diagram’s astronomical reference, this anomaly obliges us to consider too, the cultural significance of colour for the manuscript’s fifteenth-century scribe or painter.
The research question is framed as:
Q: When modern science asserts there are no truly ‘green’ stars visible to the naked eye, why should a few stars in one Voynich diagram be made green?
Note – the current Beinecke scans are more bleached out than the earlier ones were. Today, on the Beinecke website, these stars look blue-grey.
.. Continued in the next post.
2 thoughts on “What magic, where magic? 5a: ‘occulted’ blind spots and artisans.”
I had forgotten for the moment that Nick Pelling’s ‘Curse of the Voynich’ (2006) is no longer in print and that many readers may not know that, in parallel with his analytical discussions of the manuscript, Pelling offered an hypothetical narrative about an Italian architect named Averlino, who (as Pelling imagined it) had made the manuscript as Averlino’s own ‘book of secrets’. Pelling offered no corroborating or comparative evidence from extant manuscripts of the genre. From what little evidence remains, it appears that Averlino’s style in drawing was what one would expect from an Italian trained in the early Renaissance – nice straight lines and a pride in drawing to suggest depth through perspective.
A reader complains that in suggesting that Stolfi was the first to suggest a non-European origin for the manuscript’s content that I have ignored earlier discussion of the Kabbalistic possibility, and the Jews. I should make clear that I term ‘European’ any person whose formative years were spent in Europe and whose first language was a European language. European Jews were not ‘foreign’, but Europeans. who were not ‘Latins’. In the same way, we may describe long-term residents whose faith was the Orthodox or Syrian Orthodox Christian, or who were followers of the Prophet of Islam. Spanish Muslims, whose families had lived in Spain for hundreds of years I also term ‘Europeans’ but not ‘Latins’.
I admit that my definitions are not necessarily those applied by medieval latins, nor indeed by Friedman or by d’Imperio – but their habits of mind can’t be retrospectively corrected..