Consider this.. for James (brief note).

about 1230 words

My thanks to James Barlett, the first of my correspondents to protest that I’d been “a bit quick” in the previous post, and (as James put it) “tossing out meaningless phrases like ‘star measures.’ “.

Re-reading the post from James’ point of view, I see his point, so  for James and other who like details, I add this short post.

Charts of the ‘rose-gridded’ type are not ‘mappamundi’ but navigational charts –  as Datini’s agent understood, and the person who described Cresques’ Atlas for the Bibliotheque nationale.

Such charts are a product of the surveyor’s arts, but when it comes to navigation, the ‘surveyor’ must survey not only his horizon, but what is above it.

 Sidereal navigation was not an art widely known in the medieval Mediterranean – at least not to the level it was practiced by Polynesians and, thanks not least to them, to some among the Arab mariners  in the eastern seas – or, as Majid sometimes calls them collectively, the ‘great sea’. 

‘Surveying the sky’ was an art which Majid and his fellows did know and he counted among those ‘fellows’ certain of the piratical mariners of the north African coast, the original ‘Barbary men’. This part of north Africa is of considerable interest to us since, as we’ve seen, it was there that Leonardo of Pisa first gained his basic knowledge of calculation using Hindu-Arabic numerals; one of our earliest of the rose-gridded cartes marine was also made in Tunis and pre-dates the earliest extant examples from Genoa or from Majorca, and in the same region Kabbalism was widespread.  

At one point, Majid compares himself (and the north African navigators) to the ordinary Mediterranean seamen,  whom he groups together as ‘Egyptians’, and says:

“they [the ‘Egyptians’] are not able to do these things nor can they understand what we can do, although we can understand what they do ..they have no qiyās measurements,* no science and no [navigation] books only the ‘compass’ and a number of “miles”, neither do they use “star fetterings”. We can easily travel in their ships and upon their sea …

They acknowledge that we have the better knowledge of the sea and its sciences and the wisdom of the stars in the high roads of the sea.” (p.121).

*qiyās. Pole altitude measurements. In the story of Marco Polo, we are told that the Arab mariners of the eastern seas had good charts and in the account of his sailing up the eastern coast of India, the height of the Pole Star above well-known ports is given.  As Tibbetts says, in recounting these things (p.6) “we can be quite certain that qiyās measurement was practiced by the navigators of the Arabian sea in his day”.  Determining the position of a port or other landmark by reference to the star which ‘stood’ over it is, of course another instance of corresponding star-and-place positions.  On land, a similar practice was well known to the desert Arabs and also informs the story of Jesus’ birth in the Christian gospels. This was a practice more ancient than astrology, and quite independent of it, though chiefly known to those who crossed the trackless wastes of sea and sand.

  • G.R. Tibbetts, Arab Navigation in the Indian Ocean before the Coming of the Portuguese: Being a Translation of “Kitab al-Farawa’id fi usul al-bahr wa’l-qawa’id of Ahmad b. Majid al-Najdi”.  Originally published with maps and charts in 1971, in London, by the Royal Asiatic Society. My copy included four charts: The Red Sea and Gulf of Aden; the Arabian Sea, including part of Somalia and of the Persian Gulf; India and the Bay of Bengal; a sheet containing two charts – the East African coat and the seas of South-east Asia. Compiled from the Arabs’ navigational texts.  


Qiyās is one of those ‘star measures’ I was thinking of. 

It’s not entirely true that Mediterranean mariners knew nothing of the navigational stars.  They used two other stars in Ursa Minor to determine the position of the Pole star if sight of it was obscured,  and to tell the hours of the night. And of course they knew Orion, whose setting nominally ended the Mediterranean sailing year, and the Pleiades and Bootes, by the aid of which Odysseus says he sailed home, eventually, from Troy.  But in medieval times they did indeed, as Majid says, have to rely on their wind-compass and measure the distance from one place to another in terms of the following wind which would – in theory – take a ship directly from the one place to the other.

Majid’s navigation was more like the surveyor’s art, and his tools were cousin to those used by the surveyor – a rod or ‘wood’ and a length of knotted cord.  These had been the land-surveyors’ tools from memory out of mind, and certainly from the time of dynastic Egypt.   The ‘rod or pole’ measure of the navigators was much shorter, of course, but it was also a standard measure. The same was true for the knotted cord.  

kamal Ifland

The measuring rod is depicted in a Mozarabic manuscript, where a correlation is made between the earthly and the heavenly vault, and the ‘angelic measures’ are tacitly equated with those who worship the deity on earth as in heaven.   While I don’t suppose the monk who made this image knew very much of navigation, but it should be recalled that Spain was not part of the Latin domains in earlier centuries. Before and even after the Muslim conquest, parts of Spain and north Africa remained part of the Byzantine empire, just as Muslim Spain remained initially closely connected with the Caliphate in Baghdad. Notice the form of these ‘star flowers and dots’ which are meant to represent the fields of stars. (cf. ‘Compostella’).

celestial measure rod Silos Apocalypse

Correlating celestial and terrestrial ‘rule’ by the measures of the pole,  or rod can be expressed in diverse ways.  

If I were to explain in detail why the term ‘kav’ relates so well to this mesh of ideas, I’d probably have to begin by explaining that many words in the shared vocabulary of medieval Mediterranean mariners did not originate with Latin or even with Greek but have been maintained from remote antiquity and some terms are clearly from ancient Egyptian, including terms as basic as ‘cabin’ and ‘governor’. 

Majid had his reasons for  saying that the majority of Mediterranean mariners were ‘Egyptian’.

But if you simply imagine that ‘rod or pole’ as a long, hollow reed, then you may better appreciate the underlying idea which those varied associations for the ‘kav’ carry in ordinary usage, and in kabbalah.

Here is evidence of the surveyor’s rod and knotted cord in antiquity: ‘measuring the fields’. 

surveying earth and heavens Pharaonic Egypt


Any reader wanting to go deeper into any of the points I’ve mentioned is welcome to email for the references. I won’t add them here; they’re not part of a Voynich research bibliography.



for Voynicheros still unconvinced by the detailed explanation offered earlier* about the ‘Voynich archer’ and his hat alluding to Spain, here’s another illustration from the 10thC Mozarabic manuscript, the Silos Beatus. (* through voynichimagery).

Michael Beatus Hell headwear hair scales

The curious position of Michael’s legs is not (as it would be if in a later, Latin, manuscript) a sign of heterodoxy but rather of an obduracy in the face of temptation.  The fallen angels were, after all, his natural brothers.  Here, as in the vocabulary of Byzantine art, wild hair signifies a wicked and untamed character.  

I’m not sure if this is enough to satisfy James that there was more to my mentioning star-measures than just tossing words about, but I hope it will do.

Consider this… Halts and stops.

about 3200 words. Farewell to 2021.

As any experienced researcher knows, there will be times when a promising line of investigation comes to an apparently impassable barrier. In some cases, this can be a permanent stop, but in others only a temporary halt and some insight will be offered months, years or sometimes even decades later.

As an example of ‘dead stop’, see my ‘Colorni’ note in the sidebar.*

*In an effort to see whether any of Colorni’s encryption methods might apply to the Voynich text, I first approached Cryptologia to find someone both able and willing to test the possibility and two cryptologists were kind enough to offer to work with me, and if things went well to produce together a paper for publication. However, then Nick Pelling also offered, and it seemed only fair to give him first shot at it. My reason for wanting to test this possibility is that Colorni’s book, Scotographia, was published in 1593 after he’d spent a decade in Rudolf’s Prague, so it seemed to me that had anyone still known at that time any key (if there is a key) to the written text, they might have approached Colorni, and he then included that method among the others gathered to make his book.

It was possibility, and  a new possibility (though Rene Zandbergen immediately tried to claim priority on the grounds that he thought he recalled having once mentioned Colorni’s name). Nick Pelling, for some inexplicable reason, imagined I’d “fallen over” Colorni, but in fact it was an endpoint to research into levels of adherence among Jews to the religious prohibition against creating false characters, including enciphered texts. An academic paper on the subject led to my wanting to test the ‘Colorni’ possibility.  However…

In the end, our ‘Colorni’ experiment went no-where.

It happens.

But on the other hand, it can take as little as one article to indicate one’s way forward, or even solve problems whose investigation earlier met a blank wall.

A single article referenced in an online journal recently allowed me to pick up again not one but two problems earlier laid aside as ‘halted, perhaps stopped’.

The first question had been – Why ‘Kabbalah’?

I felt it important to understand just what it had been about the manuscript that prompted Erwin Panofsky’s allusion to Kabbalah in 1932. Was it format, page layout, vellum finish, the images, or script or something else?

It has become usual to suppose the manuscript written by someone trained in the Italian Humanist hand (another of the many objections to the ‘central European’ theory), but I’ve often had doubts. Within the frame of a traditional Eurocentic ‘all-Latin’ theory-creation, the only other option seemed to be the Carolingian – for which Barbara Barrett is said to have argued in one or more articles published by The Fortean Times.

Yet while I accept a fifteenth century date for our present manuscript, I thought the script might as easily be compared with the general style of thirteenth-century Sephardic cursive. (Note the “might”; it was a palaeographic question – not a ‘theory’).

The examples which I cited, in my posts, were in a Bodleian exhibition entitled ‘Crossing Borders’ and for copyright reasons could only be linked, not shown, in my blogposts of that time. Today, the Bodleian appears to have replaced that page so I can only repeat some of my comments from those posts.

At the linked site, I’d like especially to point out among the Jewish manuscripts of the thirteenth and fourteenth centuries that of NAHMANIDES’, Torat ha-Adam, in the ‘oriental’ Sephardic cursive script (Catalonia, Spain, 1330) . And again on that site, a Manuscript of MOSES MAIMONIDES, also in Sephardic cursive, though with additional notes and emendation.

I was most struck by how reminiscent of the Voynich script was that in the copy of Nahmanides’ Torat ha-Adam. I’d make here, again, the point I made back then viz, “I’m speaking of the letters not made ‘sharp’ and the text giving equal visual weight to each of the letter’s elements. .”

The ‘Crossing Borders’ exhibition went to America, receiving there a review by Moshe Sokolow (Wednesday, December 19, 2012) of which I also quoted part in relation to the sort of informal manuscript described as ‘viliores’ – a  term I’d introduced in an earlier post:

… lacking the influence of centralized authorities and catering to more widespread literacy, [Jewish codices]  were produced by private copyists, many for their own personal use, and tended toward greater individualism.  …

  • M. Sokolow, review of ‘Crossing Borders..” exhibition. (Dec. 19th., 2012)

  • The term ‘viliores’ :  adopted after Francis Newton, ‘One Scriptorium, Two Scripts: Beneventan, Caroline, and the Problem of Marston MS 112′, The Yale University Library Gazette, Vol. 66, Supplement to Volume 66: BEINECKE STUDIES IN EARLY MANUSCRIPTS (1991), pp. 118-133. (JSTOR).

The point, as I’d said when introducing that term,* was that manuscripts of such a kind are very often free of diacritics and have the simplest type of ligatures.

* ‘Seeking the Voynich hand- continued’, voynichimagery, (May 27th., 2015)

The relevance of these various details, in connection to understanding why Panofsky mentioned Kabbalah and ‘Spain or somewhere southern’, was then (and is still) that ‘Spain and somewhere southern’ was where Kabbalism flourished during the thirteenth and fourteenth centuries. It was part of the region where, at the same time, the scripts known as Sephardic cursive and Sephardic semi-cursive were being employed. And of course the environment in which Abraham Cresques’ ‘Catalan Atlas’ was created.

In that same post introducing the term ‘viliores’ I’d quoted from a paper by Maria Segol, ( voynichimagery, May 27th., 2015) and that quoted paragraph deserves repeating here:

Unlike other kinds of Jewish books… or other sorts of illuminated manuscripts, kabbalistic books were not sent out to workshops for illustration….. In almost every case the diagram is drawn in the same ink and in the same hand as the text it accompanies. They are rarely colored and rarely graphically elaborate or impressive. And medieval and early modern kabbalistic manuscripts are seldom deliberately aesthetically pleasing. They are in some ways the ugly ducklings of medieval manuscripts. This shows that they were reproduced as home operation, for use by those who copied them or by their colleagues and students.

  • Marla Segol, Word and Image in Medieval Kabbalah, (p.7)

The idea of Kabbalah has been tossed about from time to time in Voynich studies, and in a purely theoretical vein has been incorporated into a couple of theories, most prominently in Tucker and Janick’s ‘New World/Nahuatl’ theory, but no evidence for it has been adduced from the manuscript’s palaeography, codicology, materials or from any formal analysis of its images.

Yet Panofsky’s opinions were always opinions offered by consideration of just those things, not created to serve a speculation as ‘theory’ – so something about the physical evidence and present in the primary document must have provoked that comment.

What was it?

He was clearly thinking of the work as Jewish, and thus of the original – not any Christianised – Kabbalah. He said plainly enough, ‘Jewish and Arabic influence’. Nor was it he who inserted the figure of Ramon Llull or redefined Kabbalah to mean only forms of Christianised ‘Cabala’.

It was a question that wouldn’t go away – what had he noticed?

When it came to the Voynich drawings, I could see some points of comparison with a couple of late fourteenth-century Jewish texts, and again with a few details in later Kabbalistic texts, but it proved very difficult indeed to find that critical key to imagery – the maker’s informing language, vocabulary and cultural context.

There were seemingly inexplicable gaps in the literature – no translations into English of the medieval Kabbalistic commentaries, for example, though some among the core-texts were translated. It had to be in English because that’s the only language in which I can assume all my readers are fairly comfortable.

And that was the point of impasse. Without identifying the informing word, I could not in conscience offer any analytical commentary. So that question had to be laid aside. Until I had that notice of an article in the Seriform blog.

There was another question illuminated by the same article, and again a question that no amount of digging had seemed able to resolve before I laid it aside almost ten years ago.

That second question had arisen while researching the ‘ladies’ folios, and initially asking why the stars in the month-folios should be formed as spiky-looking ‘flowers’. Why diverge from the simple drawing of a star? Why not employ a more typical flower-form, with rounded petals? Equivalence between a star and this flower-like form had to be a result of cultural – and most likely linguistic – habit, and so if that question could be resolved, it should offer a little more insight into the Voynich images’ antecedents.

It could have no connection to modern botanical designations, of course. The genus ‘Aster’ (Gk. ‘star’) wasn’t defined until 1706. There had to be some earlier link between the two ideas, and Greek was the most obvious possibility.

I found in one translation of the Georgics of Nicander of Colopon a phrase which spoke of the ‘aster’ and that passage I’ve included in an earlier post. The Gow and Scholfield edition, however, translates the same phrase as ‘shining blue daisy”. Once again, happily, an apparent contradiction was only ‘apparent’, and reference to the physical object shows these variants are in fact complementary and accord with the form(s) given the Voynich star-flowers, or flower-stars. The plant we now call the sea-aster, as you’ll see from the illustration below, can appear more, or less spiky-petalled; has varying number of points, and its colour shifts between white and blue. More, the centres change in colour between yellow and red as the flower ages. (cf. Quire 20).

So from this, together with various other details, I concluded that the month-diagrams (exclusive of their series of central emblems) had been first enunciated by a speaker of Greek.

In fact, I think the diagrams’ original form was probably Hellenistic, but their present form in Beinecke MS 408 displays in the anthropoform figures a cultural distaste for naturalistic representation which clearly opposes attitudes to the body in classical-, Hellenistic- and medieval western Christian (‘Latin’) tradition. On the other hand, the central emblems in the month-folios include some which don’t display similar avoidance, which that is part of the reason I ascribe their inclusion to a different environment, and a later period. The images in that fold-out show an evolution over time: from Hellenistic forms, through the phase of aniconic affect, to the Latin context which saw inclusion of those centres, addition of pigment and so on.

However, similar figures appear again in the bathy- section, and I see no reason to presume their purpose greatly different there, the problem was to understand how those in the bathy- section could relate to those in the month-folios, whose reference I’d found to be both astronomical and geographical loci.

Knowledge of Greek does not, of course, preclude knowledge of any other language, though an ‘either-or’ attitude is not an uncommon reflex among those forming Voynich narratives.

What created the impasse, in this case, was that I could find no linguistic key to explain why the ‘bathy-‘ section should include details showing what appear as pipes, channels, inlets or bays/basins. I could find no correspondence from Greek, nor Latin, nor any language – let alone in connection to ‘Spain and somewhere southern’ or Kabbalah.  I  admit that I did not consider Nahuatl, nor find any useful vocabulary from Jürchen.

I hunted out the few known drawings of plumbing systems in Europe before the fifteenth century, and also works counted as ‘anatomical’ but in neither case did such drawings display any points in common with those in the Voynich manuscript. Newbold’s ‘anatomical’ theory, like arguments about drawings in copies of the Balneis Puteolanis, I reject on iconological, historical and contextual grounds.*

Among these grounds are that illustrations for the Balneis are plainly meant to represent people, where the Voynich ‘ladies’ do not. The body-shapes, the type of head-dress, attitudes to the unclothed body, the representation of movement (so energetic in the Voynich ‘ladies’ and so leaden in the Latins’ Balneis imagery), like positioning of water in relation to the figures … and more… all set the Voynich ‘bathy’ images in quite a different category.

But – unable to get any linguistic clew for those ‘tubes’ – I could not in honesty publish an analytical study of the ‘bathy-‘ section.

It was yet another question which had to be laid aside – perhaps temporarily, perhaps permanently. In this case, it was only ‘temporarily’.

*…… ten years on …..*

A few weeks ago, regular notices from The Seriform Blog included:

And that article explained why I’d found such difficulty accessing English translations of the medieval Jewish commentaries on Kabbalah.

And that same article, in citing an example from such commentaries, directed me towards the solution of that other frustrating problem – the bathy- section’s ‘pipes’.

As one application for the term ‘KAV’, it gave the meaning ‘pipe’ … but then the author shows that in Kabbalah, the term ‘Kav’ has its philosophic and religious sense, which any person knowing it might apply, so as to express by that visual metaphor a wide range of ideas, including: line, ray, measure, bay or inlet.


Here’s the relevant paragraph:


KAV – as ““Line” or “Ray”… The kav possesses two dimensions, an outer dimension and an inner one. The outer dimension of the kav, referred to as kav hamidah (“the line of measurement,” “the measuring rod” or “ruler”) corresponds to its power of “measurement,” the power to define boundaries…The two letters in Hebrew which spell kav are in fact the two inner letters of the word makom, “space”.

Which is why, when I’d introduced to Voynich studies another image, preserved as the frontispiece to a Christianised ‘Introduction to Cabbala’, it had been in the context of that link to Majorcan Jewish cartography and gridding ‘by the Rose’.   Both items in the following illustration are Christian European works, but (as I argued in the original ‘Ring o’roses’ series in Voynich imagery), from Jewish precedents.

The rays emanating from a circuit of points, and by which both astronomical and geographic locus is determined.. that’s the prosaic, secular sense of such maps.

But as you see, there can be a correspondence with higher ways of seeing.


By identifying that ring of points with stars and/or angelic souls..  you have another sort of drawing altogether… the power to define boundaries.

“Line, ray, measure, bay or inlet… and ‘pipe

To speak of the Voynich manuscript in terms of the then-new cartes marine was a new idea, or insight, when I introduced it to Voynich studies, and still more when I was at last able to connect them both with the ideas, vocabulary and that southern Jewish environment where Sephardic cursive script was being employed by Jews of that region.

As each stage of the research was published, overt response from the ‘Voynich community’ was quite odd; overt expressions of disdain paralleled by covert methods of adoption and re-assignment of authorship, including the habit of immediately trying to invent ‘alternatives’ more compatible with a Voynich theory of all-Latin ‘possession’ of the manuscript and its origins. 

  For the charts, an alternative Latin story; for Kabbalah, a revival of the old ‘Ramon Lull’ suggestion – and again of Christianised ‘Cabala’.

Superficially, the ‘Voynich Theory War’ presents as a dispute about nationality: which section of western Christian Europe shall ‘own’ the text. 

In fact the true opposition is between that traditionalist medieval-European-Christian narrative, and any opposition to it. This includes not only an overt suppression of unsupportive information (by subverting and re-directing the original evidence) but an active hostility to those who bring such dissenting evidence to light. Picking ‘bits’ from others’ research and re-using them to suggest support for what that evidence was shown to oppose has become habitual for a certain section of the online ‘community’. Apparently from the ‘think-tank’ principle that when confronted with unwelcome information, the thing to do is to invent and disseminate another theory-patch.

  So today you may well find, incorporated into some other Voynich site,  later-invented and often appallingly bad efforts to create an ‘alternative’ context for the medieval charts, for images used to illustrate and prove some point (such as the plant identification for folio 13r) made against the usual Eurocentric narrative, and this sort of thing isn’t done only with matter published by the present author but has become endemic among a certain prominent sector of the ‘online community’.  The most aggressive of these plagiarists are not beyond pretending to themselves and others that such theft is a form of moral obligation – rather as schoolyard bullies  ‘properly punish’  some classmate for daring to have more lunch-money than they do. 

The property is ‘re-distributed’ in this way to persons they deem more worthy to have it, and  whom they feel it will not be beneath them to name in footnotes and citations.  That the invented ‘alternative’ uses may not serve the manuscript’s study seems not to occur to those in whom ambition and intellectual poverty have formed their always toxic mixture.

But to return to our subject:

One can see now how persons  acquainted with the language(s) of Hebrew and Greek in addition to any others, might quite naturally give such form to ideas of the ‘Aster’ as flower and as star, to the  ‘chord/chora/hora’ and to the Kav.

Star-measures, distances, spaces and …. places.  This complex of ideas is such that, when the astronomical aspect is considered alone, it can be compared to  what the Latins called the radii stellarum or to Majid’s bashi, yet which in terms of topography is just easily explained using terms still current in English.  

The varied facets of meaning for the term ‘KAV’ allow us a rational reconciliation of the ‘ladies’ presence in those two sections of the Voynich manuscript, namely the month-folios and the ‘bathy-‘ folios so called, and of those the ‘pipes’ and bays seen in in the latter section’s margins.

In the same way, the term provides a way to reconcile the fourteenth-century rose-gridded map made in Majorca or Genoa, with concepts of Kabbalah.  These are also an expression of perceived correlation of astronomical- with geographic loci. It does not imply that the written text will be all about Kabbalah, but does help explain Panofsky’s recognition that there might be ‘something of Kabbalah’ in it. That is to say – the combination of informal format, the script with its absence of vertical emphasis, aniconic affect evident in the marring of anthropoform figures and informing construction of the vegetable images etc.

Speaking of places –  Gerona lies across the strait from Majorca. With North Africa, and southern France, Gerona was the major centre of Jewish Kabbalism during the thirteenth and fourteenth centuries.  After the fourteenth-century expulsions, the places to which Sephardi Jews went from this region went included, among other places, northern Italy and Dalmatia.

Postscript – etymology for ‘aster’.

Proto-Indo-European root meaning “star.” Buck and others doubt the old suggestion that it is a borrowing from Akkadian istar “venus.” 

It forms all or part of: aster; asterisk; asterism; ..; …constellation; disaster; [etc.]

It is the hypothetical source of/evidence for its existence is provided by: Sanskrit star-; Hittite shittar, Greek aster “star,” with derivative astron; Latin stella, Breton sterenn, Welsh seren “star.”

The source of the common Balto-Slavic word for “star” (Lithuanian žvaigždė, Old Church Slavonic zvezda, Polish gwiazda, Russian zvezda) is not explained.

For its intrinsic interest – if you’re into scripts – here’s a webinar where palaeographers are chatting about their research into scripts of the Aegean Bronze age, including Linear A and B.

Minor typos and a couple of dropped phrases corrected – 24/12/2021

Glass and the pearl band

two prior:

FOR AN ARCHAEOLOGIST, or anyone specialising in a some specific field of technology or art, one’s first instinct when presented with a problematic artefact is to seek that point, within the axes of time and of geography, that it rightly belongs. In the present case, though, another preliminary step must intervene, because since 1912 Beineke MS 408 has been seen through an old and narrowly-defined Eurocentric lens.

That narrative is still substantially that which Wilfrid Voynich created, which was early adopted and maintained by William Romaine Newbold, and later fixed in the public imagination by its repetition in prestigious sources such as d’Imperio’s Elegant Enigma and the holding library’s catalogue entry.

Pressures of repetition, and earnest efforts to justify one or more aspects of Wilfrid’s narrative after the fact (while still altering it the better to support some variant) have fixed an impression among most people that among the few items we can say ‘we know’ is that the whole content of the manuscript should exhibit an exclusively western Latin Christian character.

Given the consistency with which those assumptions have been maintained despite (or perhaps because of) never being investigated with a critical eye, it is perfectly understandable that any suggestion about the content’s perhaps including unmediated foreign matter would cause disquiet.

So in this post, rather than risk being thought to have dispensed arbitrarily with a Eurocentric focus, I’ll do what I can to re-define what might be called the medieval ‘European horizon’.

In the map below, the darker coloured area had been, over the centuries, part of the Persian empire, then of Alexander’s empire, and next of the Median-Persian and Sasanian empire. It then became part of the Islamic empire until, during the thirteenth century AD, much of it fell to the Mongols, whose policy during the first wave of conquests was to wipe from the map any city offering active resistance.

Some sites named in that map (above) were household names in medieval Europe because they find mention in the Bible. Nineveh is mentioned repeatedly and not only in the Jewish religious books incorporated into the Christian bible but in the Christian testament itself (e.g. Luke 11:32).

Babylon was another proverbial name, so well known that when the western pope took his court to Avignon and it remained there almost seventy years (1309 to 1376), the period was commonly called its  ‘Babylonian captivity’.

Tabriz I’ve had reason to mention* as the city where Claudius’ Ptolemy’s astronomical co-ordinates were updated and that new data acquired  by the Byzantine scholar Gregory Chioniades between 1295-96. He called it the ‘Persian syntaxis’.

*see post of July 11th., 2021

Across the whole width of that territory and to as far as China, western Christian missionaries, diplomats and traders were already passing before the end of the thirteenth century.

By 1350 – about half a century before the Voynich manuscript was made – a census of Franciscan houses lists twenty-two on the route from Constantinople through the Black Sea and overland to as far as China, with four houses established by then in China itself – two in Peking at the terminus of the overland routes, and two in the southern, foreigners’ port known as ‘Zayton’ (Guangzhou) where the Genoese or Venetian Katarina Vilioni had died in 1342.

For a time, early in the seventh century, the Sasanian Empire had included the whole of present-day Iran and Iraq and also much of the eastern Mediterranean (including Anatolia and Egypt.

The Byzantines had reason to remember the Sassanians, whose army had alone succeeded in resisting Rome, and it was never forgotten that in c.260AD King Shapur had captured the Roman Emperor Valerian and him kept in captivity for the rest of his life.

(Those familiar with the Voynich manuscript may recognise in Shapur’s stepped-turreted crown a form similar to that given a female figure appearing twice in the Voynich calendar. In both cases (see diagrams for July and August); the figure holds a large 9-pointed ‘aster’ and is set on the innermost tier at 90 degrees right from the vertical. The inset in the picture (below) shows the example from July, where the crown and certain other details are evidently late additions to the original.

In 532 AD and following several major losses to the Persians, the Byzantine emperor Justinian I agreed to pay 440,000 gold pieces in return for an ‘eternal peace’.

Justinian evidently treated this final defeat as a triumph of diplomacy, and it is memorialised in a mosaic made for the basilica S.Vitali in Ravenna, the work begun in 526 and completed in 547.

Sassanian seal-ring set with a carnelian ‘sardion’.

The mosaic shows Justinian wearing as his ‘badge of honour’ a gem then called a ‘Sardion’ after the city of Sardis, stones of this type often used as a seal-stone by the Sasanians (see example at right).

Worn as Justinian’s badge of honour, the stone is shown surrounded by ‘ring of dots’ as pearls – another typically Sasanian-Persian motif in textiles, ceramics and glass but one equally characteristic of Byzantine art.

The bowl which Justinian carries is also patterned in Sasanian style, though the glass appears richly gilded.

(detail) Justinian I. 6thC mosaic, Ravenna. Basilica San Vitale.

Chan mentions that within each of the hexagons that form that bowl’s basic honeycomb pattern is set another and smaller one. In the upper left of the photograph (above) one of them can be seen fairly clearly – it appears as a ‘dot’.

However, the Sasanian emperor almost immediately broke that first ‘eternal peace’ and another mosaic portrait of Justinian, made for Sant’ Apollinare Nuovo in Ravenna, shows Justinian now without his ‘sard’ and wearing a different expression.

This mosaic is believed made in 561 AD or shortly before, when work on Sant’Apollinare Nuovo was completed. A second ‘eternal peace’ would finally be achieved in 562, after six hundred years’ war between the Romans and Sasanian Persia.

The point I want to make is that even if we ignore the probable significance for the Sasanians of that ‘circle of pearls/dots’ it was an established motif in Byzantine art, and for those who made glass, and fabric, and mosaics.

Tesserae of both stone and glass were employed for mosaics, and such motifs as the ‘pearl band’ remained as a constantly present model for the ‘finishing’ or ‘crowning’ touch, even when the subject was not a member of the Byzantine court.

Ravenna is a little more than a hundred miles down the Adriatic coast from Venice, and its magnificent basilicas remained a model of what could be achieved, if only one had the technical means and skilled artisans. Thus, we know (although not every Venetian site will say so) that when Venice decided to remodel the Basilica of S.Marco during the thirteenth century, it imported both eastern materials, and workers. A nicely condensed account of this basilica’s complicated history is offered by the author of a wiki article, who writes:

The earliest surviving [mosaic] work, in the main porch, perhaps dates to as early as 1070, and was probably by a workshop that had left Constantinople in the mid-11th century and worked at Torcello Cathedral.* They are in “a fairly pure Byzantine style” but in succeeding phases of work Byzantine influence … was reduced by stages, disappearing altogether by about the 1130s, after which the style was Italian in essentials, reflecting “a change from a colonial to a local art”. The main period of decoration was the 12th century, a period of deteriorating relations between Venice and Byzantium, but very little is known about the process .. The main work on the interior mosaics was apparently complete by the 1270s, with work on the atrium continuing into the 1290s.

*we have already noted, in the post previous to this, that at Torcello  the glass objects were made ” using cullet (glass refuse) or glass cakes imported from the eastern Mediterranean’.

The basic drawings may have been ‘local art’ but the artisans were apparently not from any local tradition of mosaic-making, for..

After [the 1279s-90s]the St Marks workshop seems to have been disbanded, so that when a fire in 1419 caused serious damage, the only Venetian capable of the work had just died and the Signoria of Florence had to be asked for help; they sent Paolo Uccello.

San Marco never made the transition to fresco wall paintings … probably partly due to Venetian conservatism and also to a wish to support the local Murano glass industry, which supplied the tesserae. The point is that from 1290 – 1419 (at least) no mosaics were added.

Who then is the ‘old master’ among the 13thC images of Venetian trades? His ‘Sasanian’ cap is enough to point us in the right direction, even without the visual pun of his ‘Mosaic’ beard.

It cannot be Master Aldrevandin, but is perhaps his teacher.

Work on S. Marco’s mosaics finished officially in the 1290s – during which time glassmakers were first confined to Muran and then prohibited from leaving the city. Master Aldrevandin, as we know, then made beakers which introduced the the long-traditional ‘pearl band’ of Sasanian and Byzantine work into the traditions of Muran. They served initially in western Europe as his own hallmark and then became a standard motif on Murano glass. Sasanian ‘crystal’ glass had been known to as far as China by the 3rdC AD.

Sasanian clear glass beaker
coins Sasanian headwear
photos: (above) two versions of Sasanian headwear.

Ge Hong (283-343), a well-known .. Daoist philosopher with an expertise in alchemy left an important information in his work ‘Baopuzi’ that ‘the crystal bowls made in foreign countries, are in fact prepared by compounding five sorts of (mineral) ashes. Today this method is being commonly practiced in Jiao and Guang (that is, Annan and Guangdong). Now if one tells this to ordinary people, they will certainly not believe it, saying that crystal is a natural product belonging to the class of rock crystal.’

  • Mei-Ling Chen, ‘The Importation of Byzantine and Sasanian Glass into China during the fourth to sixth centuries,” in Harris, Incipient Globalization?, 47-52 [pdf].

One of the curious details relayed to Nick Pelling by the curators of the Murano glass museum was the secret by which Angelo Barovier produced his hard, clear glass in 1450, was allegedly  “a special flux, made of a sort of alum obtained from eastern plants.” (Curse p.). 

Plant-ash sodas are not a form of alum, but that type of plant-ash alkali was regularly preferred in Muran, even when other Italian glassmakers used natron, and was known popularly as alluma catana, literally ‘basin alum’.  Of itself, however, it couldn’t harden or clarify glass and in theory the ashes from sola kali would not produce a different result, whether burned in Spain, in ‘the east’ or in Italy. The important question, of course, is “how could Barovier know?” If the seller told him the virtues of a new type of plant-ash, it was not Barovier’s invention. If not, where and how would a man restricted to his island and prohibited from discussing his craft, even think to look for and then to find and import the right sort of ‘plant-ash’? Is it more likely that some Venetian trader brought back both the material and an understanding of those ‘five mineral ashes’?

I suspect the ‘eastern plant ash’ was another of those memories passed down in Murano from the time of Master Aldrevandin, but Barovier’s method for clarifying and hardening glass is still not easy to discover.  The answer may lie in one of the following references. I’ve been unable to sight either during the past few months.

  • Cesare Moretti and Tullio Toninato (eds.) and David C. Watts and Cesare Moretti (ed. and trans.),Glass Recipes of the Renaissance: Transcription of an Anonymous Venetian Manuscript. (2011).
  • Antonio Neri, L’Arte vetraria = The Art of Glass, translated and annotated by Paul Engle, 3 vols., (2003–2007).

for those references, I am indebted to the author of

Ravenna mosaic three wise men and artefacts. Basilica of Sant'Apollinare Nuovo

(above) The three wise men from the east. Artefacts display characteristically Sasanian techniques in metalwork (and glass?). detail of a mosaic in Sant’Apollinare Nuovo, Ravenna.


POSTSCRIPT – regarding the figure who holds a nine-point ‘aster’ in the Voynich calendar’s months of July and August:

Persia’s star was ever Perseus ‘the destroyer’ envisaged as a horse mounted by a skeleton or phantom rider. The equation was known to Herodotus in the 5thC BC and still in the fifteenth century AD – at least to some. Herodotus therefore has Perseus as the progenitor of the Persian people. Ibn Majid, writing in the fifteenth century, names this horse (as the constellation was earlier envisaged) ‘Al Kumait’ – the unbridled. The image on the card below, showing the rider ‘backward-turned’ is the older and more authentic form.  See also Alamy image (WP338D) which I cannot include here.

The pictures in this set of 17 cards show a markedly different origin and intellectual level from all others known in Europe. Unlike most who comment on such game-cards, I’m of the opinion that these represent an original type and I’m quite prepared to believe such cards as these might have served as tutorial aids in fourteenth century France.

Perseus and Perseids





Sasanian head band

Sasanian hunt backward turning

If that ‘aster’-holding figure is meant for the Persians’ star, it is most likely to refer to Algol, properly named Al-ghul in the Arabic, though I don’t know the old Persian term for it.  The star was envisaged as a blaze, or trophy (see above, and below) on the horse’s hip, though at other times represented as a trophy-head -or even as a wine or water-skin.  (see further below).

Sasanian hunt with trophy.

…as a wine-skin or water-skin. 

Sasanian hunt as stellar triumph oveer zodiac

Due to precession, Perseus’ ‘rain of arrows’ (the Perseid meteor showers) now  peaks in August.  For more on this see: here. The floating scarves parallel the wisps of the Milky Way.

On retention of pre-Islamic elements in later Iranian art, including the ‘flying gallop’ and the scarves, see ‘ART IN IRAN xii. Iranian pre-Islamic Elements in Islamic Art’, Encyclopaedia Iranica. (online).

image courtesy Encyclopaedia Iranica.

In the Greek astronomy, Perseus is a human figure and the ‘ghul’ the trophy as Medusa’s head.

PPS – apologies to readers for the numerous ‘updates’ – mainly typos, grammatical errors and other small annoyances. Just had my second inoculation and the brain isn’t working properly.

Dec. 29th., 2021.

Happening to re-read this today, I see I should have been more specific AND should have included the ‘petal’ held by the figures. ‘Nine-petals’ is probably more accurate. Here are the details I mean. My one reservation is that Perseus’ temporary victory into the North occurs now, yet these figures appear at ninety degrees to the vertical. The distinction, I expect, is more apparent that real. More – this example again seems to me to indicate that the inner circuit refers to the polar and circumpolar stars and the outer to those on or near the horizon. I admit to having devoted less time to this question than it deserves. Here are the details I mean. from July and August in the Voynich calendar.

Potions and lotions – the ‘pharmaceutical’ section. Perfect antiquity and a Voynich legend.

Two posts previous:

Header image – from the Iliad Ambrosiana.

Medieval Europe did not share the modern preference for new ideas and the latest information, but believed that the more ancient a text was, the more trustworthy and less degraded by the vicissitudes of time and inaccurate repetition.

It shouldn’t come as a surprise if some images in Beinecke MS 408 reveal evidence of Hellenistic* or Roman character.

*The Hellenistic period in the Mediterranean is usually said to begin with Alexander and end with the Battle of Actium in 31 BC. In fact, in the eastern region of Alexander’s empire and colonies, Hellenistic culture survived for almost three centuries more and the influence of Greek and Roman art persists still longer in some regions east of the Bosporus.

We are used to thinking of human history in terms of an ongoing ascent, but the medieval west saw it rather as a process of descent from an imagined pristine origin.

To some extent the recovered classical and ancient texts appeared to support that view.

There was no doubt that Virgil and Cato spoke better Latin; that Ptolemy had access to better information about astronomy and geography, than did fifteenth-century Latins. I do not think they imagined what they were doing as a ‘renaissance’ so much as a re-discovery and recovery of what had been a greater glory.

That is why European elites of the fifteenth century devoted so much time, effort and money to having agents find and bring copies of ancient and classical works to Europe and then have them copied and, where necessary, translated.

Such things cost money, and it is no co-incidence that the Church, the merchant classes, and the artisans whom they employed were what drove the first, Italian, phase of that great recovery we call the Renaissance. Texts which they wanted and copied include everything from legal orations to epic poetry, botany, history, geography and other matters of the natural world.

Nor were even the most ancient of those works necessarily ‘dead texts’.

The most strongly Greek-speaking areas of the Byzantine empire (or what was left of it by then), long used the poems of Homer as the basis of education, in much the way the book of Psalms was used in the west. By the fifteenth century, the text of Psalms was as much as three thousand years old; that of Homer’s Iliad and Odyssey about 2,200 years old. Neither was a ‘dead text’ but very much alive.

In those two cases – that is of the Psalms and of Homer – the custom was to have students first commit the verses to memory, each verse then used as both a springboard for, and a memory-cue to, more developed commentary spoken by the teacher.

It was an entirely practical system in a time when books were rare and most education conducted by words, word-pictures or actual figures from the natural world or public imagery (vide depiction of the constellation-emblems and their labours of the months in churches and on the exterior of a cathedral in the west).

To take one example, to show how Homer’s work could remain relevant, here’s one passage. You can see that the passage naturally opens a path to commentary about astronomy and geography, but all being framed by an adventure-story in beautifully turned Greek and sure to grip the interest of any young lad.

Gladly then did goodly Odysseus spread his sail to the breeze; and he sat and guided his raft skilfully with the steering-oar, nor did sleep fall upon his eyelids, as he watched the Pleiads, and late-setting Bootes, and the Bear, which men also call the Wain, which ever circles where it is and watches Orion, and alone has no part in the baths of Ocean. …. For seventeen days then he sailed over the sea, and on the eighteenth appeared the shadowy mountains of the land of the Phaeacians, where it lay nearest to him; and it shewed like unto a shield in the misty deep.(Bk.V ll.269-280)

Any well-educated person in the Byzantine sphere could have recited this by heart, and over the centuries, a myriad of metaphors and proverbs in daily life referred back to Homer much as in western Christendom they often derive from biblical ideas and tropes. 

The first Latin translation of Homer – both his Iliad and his Odyssey – was produced by the Calabrian scholar, Leontius_Pilatus, who also translated Euripides (c. 480 – c. 406 BC) and  Aristotle (384-322 BC).  

Thus, to find matter in a manuscript made in the early fifteenth century, and probably in Italy or the western Mediterranean, in which there are images reflective of the pre-Christian world, should not greatly surprise us.

Another ancient author whose writings were found, brought, translated and then eagerly copied was Theophrastus (c. 371-c. 287 BC) among whose many subjects were plants, meteorology and winds.

Because his work on Plants appears not been noticed by Voynich writers (the present author having met what might be described as ‘expressions of surprise’ on introducing his name some years ago), I’ll add a longer than usual list of first-stage references further below.

The century-long focus on the Dioscoridan tradition and its herbals, in Voynich studies, has not led to any clear understanding either of the plant-pictures or of the ‘leaf and root’ folios, which latter section is now habitually described as forming a “pharmaceutical” section – an idea based on nothing but speculation and never since proven true, but which has hardened over time to become yet another of those Voynich doctrines well deserving revisionists’ attention.

A copy of Theophrastus’  ‘Historia Plantarum’ now in the Vatican library is dated to the tenth or eleventh century. It is in Greek. (Vatican City, Urbinas graecus 61; eleventh (?) century).  Some of Theophrastus’ work was preserved, with his name, in Pliny, and in the works of Jerome (see here) but otherwise his works were scarcely known to the west until a Latin translation was made of what is more properly known as the Historia Plantis, that translation made by Theodore of Gaza at the request of Pope Nicholas V.  The Theodore of Gazatranslation is said to have been completed in 1454. It would be published in Treviso, in 1483. During the three decades which intervened, the text both in Latin translation and in the Greek were evidently being passed around in manuscript, and copied eagerly.  In a sense it was considered a replacement for the better known text of Dioscorides, but even today the problems of matching plants to the terms used by Theophrastus – or indeed by Dioscorides – is no trivial problem.  From whence Theodore had his copy we do not know, but in speaking of Leontis Pilatus, Holton placed  emphasis on the fact that the fourteenth-century scholar had “spent several years in Crete” around 1350 and from Byzantine sources too, we get a glimpse of a ‘Recovery’ in Crete before that in Italy.

  • Holton David  Literature and society in Renaissance Crete. p. 3. (1991).

  • Benedict Einarson, ‘The Manuscripts of Theophrastus’ Historia Plantarum’, Classical Philology, Vol. 71, No. 1 (Jan., 1976), pp. 67-76.

Perhaps it was during the three decades between its translation into Latin and its publication in print, that the copy of Theophrastus’ Historia Plantarum was made, in Greek, which is now included in a compilation of copies from Greek texts dating from the fifteenth century ( The other texts  bound with it offer a window into contemporary interests, and its being devoid of  separation between secular and the religious interest.  The copied authorities relate to astronomy and to theology, to pre-Christian philosophy, astrology and botany.

Some helpful references.

  • Alain Touwaide, ‘Botany’ in A. Classen (ed.), Handbook of Medieval Studies. The section can be downloaded through
  • Moshe Negbi, ‘Male and Female in Theophrastus’s Botanical Works’, Journal of the History of Biology, Vol. 28, No. 2 (Summer, 1995), pp. 317-332.
  • John Scarborough, ‘Theophrastus on Herbals and Herbal Remedies’, Journal of the History of Biology,  Vol. 11, No. 2, (Autumn, 1978) pp. 353-385. JSTOR
  • ___________________, ‘Drugs and Drug Lore in the time of Theophastus: folklore, magic, botany, philosophy and the rootcutters’, Acta Classica, Vol. 49 (2006), pp. 1-29. 
  • Charles B. Schmitt, ‘Theophrastus in the Middle Ages’, Viator, II, 1971, pp. 257-70.
  • R. W. Sharples, ‘Some Medieval and Renaissance Citations of Theophrastus’ Journal of the Warburg and Courtauld Institutes, Vol. 47 (1984), pp. 186-190. Very technical; interesting chiefly for its connecting Theophrastus to passages in the work of Albertus of Lauingen [called ‘magnus’], and for mention of a known Syriac copy of Theophrastus’ meteorological works (n.35).
  • Peter Lautner, ‘Theophrastus in Bessarion’, The Journal of Hellenic Studies, Vol. 115 (1995), pp. 155-160.
  • Chicago Botanic Garden, Lenhardt Library ‘Theophrastus and the beginnings of modern botany in the Renaissance’, (December 2012)
  • Michael L. Satlow, ‘Theophrastus’s Jewish Philosophers’, Journal of jewish studies, vol. lix, no. 1, spring 2008. (at
  • Dr. Efraim Lev, ‘Drugs held and sold by pharmacists of the Jewish community of medieval (11th -14th centuries) Cairo according to lists of materia medica found at the Taylor-Schechter Genizah collection, Cambridge’.  A first draft has been posted at, with the author’s caution that it is only a draft that has been accepted for publication.

Theophrastus’ work on winds begins, 

“We have earlier considered [in his ‘Meteorologica’] the nature of winds: of what they consist, in what way they come to be, and by what they are caused. We must now try to explain that each wind is systematically accompanied by effects and in general by phenomena whereby the winds are differentiated from each other” – Theophrastus, de Ventis.

For more on this see last see,

  • V. Coûtant and V. Eichenlaub, ‘the De Ventis of Theophrastus: its contributions to the theory of winds’, Bulletin of the American Meteorological Society, Vol. 55, No. 12. (December 1974), pp. 1454-1462.

For any reader who feels an especially strong interest in Theophrastus, most of the information in the references listed above are embraced by Brill’s series of authoritative editions and commentaries.

Beyond the learned halls.

In the elite and carefully-monitored, interconnected circle of western literati during the early Renaissance, ancient and classical texts were studied, but beyond that environment, the erudite selection of worthy material and decisions about translation no longer apply.

What the new and slowly emerging commercial class wanted was practical information that was both rare enough and ‘new’ enough to be of financial advantage over others enagaged in similar business.

Some of the ‘new’ techniques that Europe habitually ascribes to some particular Latin’s invention (as gunpower was earlier claimed to be Roger Bacon’s “invention”), were not.

In the next post, I’ll consider one of those legends – one maintained to this present day and which attributes to a Venetian named Angelo Barovier the invention of clear glass – quite two decades centuries after it appears in the eastern Mediterranean, and a couple of decades at least after the Voynich manuscript’s vellum has been dated.

There was advantage to be gained by pretending some technical secret an invention rather than an importation – a rival was deterred from attempting to find another source for that information. But avoiding acknowledgement of any debt by Europe in general, to a foreign source, to any ‘foreigners’ or even to European Jews has been a long-standing and pervasive problem in the way Europe has written its history.

Scholars had begun to open their eyes by the 1960s but it is evident they had no immediate influence in general attitudes. Apparently none at all on d’Imperio, even as late as 1978 when her own initial impression that the Voynich images suggested ‘foreignness’ was one she quickly suppressed – as we’ve seen.

In was in 1960 that Lynn White had written:

IN I499 when Polydore Vergil published the first history of technology that amplified the Greco-Roman tradition, it did not occur to him that, save for silk and cotton, Europe might owe anything in these matters to Central, Southern, and Eastern Asia: his horizon in that direction was the “Magi, qui Persica lingua Sapientes appellantur.” It was not until the seventeenth century that Jesuit missionaries to the Orient persuaded Europeans to believe that several of the fundamental inventions which are alleged to have made the modern world modern were of Chinese origin: notably gunpowder,* the compass, paper, and printing. The process of scholarly erosion then began, and our view today is moderately changed. What has emerged is a sense of the remarkable complexity of the interplay between the Occident and East Asia from Roman and Han times onward. This involved a two-way traffic, in many items, along many routes, and of varying density in different periods…

*as we’ve seen, this particular Eurocentric myth was maintained by the general population in Europe and in America well into the twentieth century.  

  • Lynn White, Jr., ‘Tibet, India, and Malaya as Sources of Western Medieval Technology’, The American Historical Review, Vol. 65, No. 3 (Apr., 1960), pp. 515-526.

  • Lynn White Jnr., ‘Natural Science and Naturalistic Art in the Middle Ages’, The American Historical Review, Vol. 52, No. 3 (Apr., 1947), pp. 421-435.


A three-hundred year gap between knowledge of some debt owed by European learning to ‘foreigners’ and the general recognition of that fact within the west, is the sort of thing which causes a scholar to feel irritation and frustration.  We’ve seen this sort of irritation in Lynn Thorndike’s letter to Scientific American in 1921 and here again – fourteen years later than the earlier paper – Lynn White now writes with an understandable exasperation: 

Except for the folklorists, medievalists are not habituated to thinking about the borrowing of cultural items from alien peoples in distant parts, and seem curiously resistant to the idea. When one talks about diffusion, for example of the spinning wheel or of the magnetic compass .. some skeptic is sure to assert his faith that our crafty medieval ancestors were as capable of inventing such devices for themselves…. One can only reply that each case must be examined in the context of all that we know: there are indeed a few clear instances of separate invention.  When, however, we find Indian buffaloes in medieval Europe, we may be confident that the buffalo was not invented twice.

  • Lynn White, Jr., ‘Indic Elements in the Iconography of Petrarch’s Trionfo della Morte’, Speculum, Vol. 49, No. 2 (Apr., 1974), pp. 201-221.

Indic buffalo Pisanello from Lynn White 'Indic Elements..'Two years after that paper was written, Mary d’Imperio’s Elegant Enigma was in process. 

Published in 1978 it never for a moment looks beyond medieval European culture, assumes that Jews had literature exclusively religious or ‘superstitious’, presumes that any version of such material can be relevant only in forms mediated by western Christian ‘translation’ and in one place clearly expresses her personal aversion, in general, to the ‘foreign’.  

What Lynn White knew to be true of western medievalists half a century ago is less true of those scholars now, but the same attitudes had been pervasive in the general culture of Europe and America, thus influencing the first generations of Voynich writers and thanks not least to d’Imperio’s record of the Friedmans’ efforts, informs the lineage of current-day Voynich traditionalists.

That the study remains in that state is chiefly due to the determined and defensive-aggressive posture of some core-traditionalists and others adhering to the same ‘history’ for the manuscript.

How such attitudes and responses deter researchers and hinder any new approaches can be attested by many, among whom one might again mention Jorge Stolfi who simply reported the results of his computer-analysis of the written text.  Whether his results were right or wrong is yet to be known; but it was a fair contribution to the study and one whose rejection was achieved by means other than civil scholarly discourse.

 The faithfulness with which certain core traditionalist adhere to the Wilfrid-Friedman-d’Imperio line is the main reason that ‘Voynich studies’ today conveys something faintly musty and quaint as exercises in historiography.  A constant emphasis on nationalism is so typically nineteenth-century, and today recognised as being inappropriate for the medieval world; the notion that any image found in a region must in some (ill-defined) way the unique expression of a local ‘cultural character’ –  within medieval Europe – is embarrassing when we know that a manuscript may be found, by research, to have been made  not in Spain but in Sicily, or not England but in France with the only discernible difference the saint’s name is listed in a calendar. 

The same excuses which White assigned to ‘some skeptic’ have really been offered by Voynich theorists when informed that some aspect of the manuscript’s codicology, or imagery, presents irrefutable opposition to their theory.  ‘Our chaps could have done that too’ is not an uncommon response and for some ultra-traditionalists ‘could have done’ means ‘certainly did – pure Wilfrid style.

And so to the next ‘Voynich doctrine’, by which folios 99r-102v are deemed the ‘pharmaceutical section’.

Voynich bit leaf-and-root fols

Folios 99r-102v. ‘Pharma’

About this section, again, close inspection shows its ‘Voynich doctrine’ to be an elaboration without foundation. The ‘pharmacy’ idea was built on nothing but air – or at least, airy notions.

In the next post, its roots are traced. The following post starts asking specific questions.

Next post – the legend.

What magic? Where magic? 5c folio 67v (cont.) Seeing as others saw.

Header image: (left) Isidore of Seville, from the Aberdeen bestiary; (right, upper register) detail from Brit.Lib. MS Add. 17808 f.89r (lower register) left: detail from Yale, Beinecke MS 408 f.67v; right: (detail) tapestry from the formerly Hellenistic region of Bactria.

Two posts prior:

Note – (July 25th). These posts are being written ten days to two weeks before they are published, so there may be a delay in noting responses.


Part A treats of the ‘bearded sun’; of a ‘sun of night’ in eleventh-century Burgos; and of the regular passage of persons, goods and information back and forth across the Mediterranean during the medieval centuries. It is far from inconceivable that the material now in Beinecke MS 408 might have been collected in ‘eastern parts’ including medieval Egypt and contain (as Baresch also said) pictures of plants not native to Europe.

Part B considers earlier Latin attitudes to the stars, and another eleventh century manuscript – one made in northern France. It is the first known Latin copy of the astrological work, Liber Alchandri.  In the margin of one folio two very large green stars were placed, apparently by the copyists’ overseer. 

This is another post that includes enough material for three or four. I regret being unable to make editorial comment optional, collapsed text. 


A diagram on folio 67v has at its centre the face of a woman or of a young man that is provided with artificial hair and beard, and with eyes unfocused, surrounded by stars apparently disposed in seventeen unequal sectors. (see previous post)

(detail) Yale, Beinecke MS 408 f.67v. The image is clearly not classical Egyptian but accords with Hellenistic forms. Sekhmet’s leonine character was not so popular in Ptolemaic Egypt as formerly she had been.
amulet – Egypt. bearded, feline, Sekhmet daughter of Re’. wife of Ptah, guardian of boundaries. Regularly portrayed with sun-disk and uraeus in older Egyptian art.

Comparable forms for an artificially-bearded sun are attested from the eastern side of the Mediterranean – first in artefacts from pre-Christian Egypt, Syria and Mesopotamia. The oldest show a leonine female (Sekhmet) termed ‘daughter of the sun’ who was typically shown with the sun-disk and serpentine uraeus. The word for sun takes male gender in the Egyptian language as it does in Greek and Latin, the image on folio 67v nicely ambivalent creating a ‘universal’ form. Its having a human face points to origins in a Hellenistic- rather than a Pharaonic environment, I should think.

As to the sun’s gender, that varies with language. Some languages have it female, and among those, some – including Hebrew – allow its description as male or as female, though as not both at once. The image on folio 67v is not alchemy’s rebis.

We have some reason* to believe that matter now in the Voynich manuscript may have been copied from materials collected in “eastern parts” though the Voynich manuscript itself was made in the earlier part of the fifteenth century and is reasonably thought to have been made in Europe.

*Letter of Georg Baresch to Athanasius Kircher (1639)

Sekhmet as mistress of mariners. A statue now in Genoa.

Since the sun-face on folio 67v with its artificial mane and serpentine sidelocks is plainly no Christian helios but does shows this sun-face surrounded by stars, one must ask how the fifteenth-century copyist, or the person for whom the manuscript was being copied, might have understood this motif and the diagram’s purpose.


First – is any other sun-of-night attested in medieval western Europe and if so, when and where? The answer is ‘yes’ – but rarely and in the earlier medieval period – that is, before the twelfth century. It was not envisaged by the Latins as female.

Sun of Night’ in medieval Spain.

Among several examples noticed and translated by Carey, one comes from an eleventh-century manuscript produced in  Silos abbey of Burgos. It uses the instructional mode:

Tell me: does the sun shine at night, or not?It does.

Tell me: in what way? – For three hours in the abyss, for three hours in the sea, for three hours in the city of Nataleon, and for three hours in the city of Jerusalem. Then it returns to the east [i.e. the point of sunrise on the western viewer’s horizon] in the first hour of the day, and shines for the twelve hours of the day, and returns into the west.

  • John Carey, ‘The Sun’s Night Journey: A Pharaonic Image in Medieval Ireland’, Journal of the Warburg and Courtauld Institutes, Vol. 57 (1994), pp. 14-34. Carey does not provide full details of the manuscript. It may be the Silos Apocalypse but I’ve not been able to verify.

Carey does not mention it, but the four stages may be equated with the four elements – abyss (air); sea (water); nataleon (fire – by association with the lion); Jersualem (earth as foundation). 

Transmission and exchange across the Mediterranean.

Given that our clearest extant example of the artificially-bearded sun is in an ivory attributed to Phoenicians and some Phoenician cities in the western Mediterranean were as much as seven hundred years old before the rise of Rome, so we do not necessarily have to pass very far from Burgos to find the source of ideas and images akin to those in folio 67v.

  • Gerard Gertoux, Dating the Foundation of Carthage’ (paper at

 On the other hand, Baresh’s letter seems to demand that we do, so I include the  following broad-brush overview as editorial, not least to serve as counterweight for the now traditionally-Eurocentric narratives created for the Voynich manuscript, almost all being derived from that which Wilfrid Voynich forged from no more than a signature in the manuscript and a rag of unsubstantiated, third-hand hearsay.  Though rarely questioned, the Mnishovsky rumour is certainly questionable historical evidence. Assertions such as that the manuscript is ‘known’ to have been in Rudolf’s library, or that Rudolf ‘bequeathed’ it to anyone are due to more recent writers’  historical imagination.

In the following editorial comment, I mean to emphasise that by present standards, the old assumptions of a western Europe unaffected by any unsolicited ‘foreign’ matter can no longer be maintained.  In the nineteenth and earlier twentieth centuries which were the formative years for those first involved with the manuscript, it was imagined that no non-Latin matter entered the western Christian (‘Latin’ European) intellectual horizons except it were deliberately chosen and  – as it were – passed  the rigors of  ‘customs inspection’,  monitored transition, ideological cleansing and subsequent naturalisation. The stories of Leonard of Pisa (Fibonacci), Gerard of Cremona etc. serve as paradigm for that idea of a ‘white-walled’ Europe. 

An idea that nothing could arrive in Europe but what been ‘passed’ does apply, to an extent, to the Latins’  ‘bookish’ tradition, but the Voynich manuscript offers much in its internal evidence, and of course Baresch’s letter to Athanasius Kircher adds more, which should have led more researchers than John Tiltman or Erwin Panofsky to doubt the story created by Wilfrid with William Romaine Newbold. 
Europe’s Christianity was scarcely well rooted before the time of Columbanus and his fellows, but Irish monasticism in turn had its source and model in earlier Egyptian monasticism, and with it their liturgical calendar and computus, their tradition of copying older manuscripts and, tellingly, their dissemination and use of that extraordinary work, The Marriage of Mercury and Philology in which- by the way –  the ‘number of the sun’ is explicable only by reference to the old Boharic Egyptian-Coptic dialect.
  • Leslie S. B. MacCoull, ‘Coptica in Martianus Capella De Nuptiis 2.193’, Classical Philology , Oct., 1995, Vol. 90, No. 4 (Oct., 1995), pp. 361-366.
In northern Italy, the monastery of Bobbio (in whose library Gerbert of Aurillac would later say he found a copy of Manilius’ Astronomica) was founded and its library first furnished by the Irish Columbanus. Similarly  St.Gallen was founded one of Columbanus’ fellows and it  oldest manuscripts too were copied by Irish peripatetic scribes.
Egyptian life and traditions did not vanish at the moment when Caesar first set foot on Egyptian soil, nor when the last Pharaoh died, though some Voynich writers have supposed it so, dismissing Baresch’s comments from that erroneous belief.   Not until the third century AD were Egyptian temples closed by Roman edict, and many still stood in the 7thC AD.  The role of liturgical Coptic in assisting our understanding of the older Egyptian language and script is now well known, and as Baresch’s letter to Kircher shows, it was in response to Kircher’s appeal for material to help decipher hieroglyphics that Baresch sent the copied sections.  Regardless of indications in the imagery, however, results of numerous statistical studies of Voynichese have not suggested derivation from any Egyptian dialect, or any other language as it was spoken and/or written in Egypt.  The matter in the manuscript may have been gained ‘in the east’ but that is not reason enough to presume the same is true for the present manuscript’s written text.
  • Alan K. Bowman, Egypt after the Pharaohs 332BC-AD642. (1986).
Throughout the medieval centuries, however, Egypt continued to be a major entrepot though which  Mediterranean traders and pilgrims passed constantly during the sailing year from the beginning of Spring until October-November and, occasionally locally, December. 
In twelfth-century  Exeter, for example, evidence of direct free contact is offered by some of the misericords’ carvings.  Those are not ‘official’ carvings, but a space which the workers might ornament ad.lib. That shown (below) accurately represents a pair of Egyptian ‘ba’ birds, both in their form and still more strikingly, with their original significance.  For these two ‘souls’ he almost got the forms perfect. (I regret not being able to show here a facing pair from Karnak).  The most interesting point is that so late as the mid-thirteenth century someone – some guide, presumably – had still been able to rightly explain the sense of the originals. Exeter06.3 ba birds
Though the ‘ba’ bird usually stood on bird-feet, where these are provided hands, it is an understandable mis-reading if (as I suspect) he’d seen high above him and foreshortened, the pair at Karnak.  He certainly meant to make the  faces European, and one must wonder whether these ‘soul-mates’ are the woodcarver and his wife.
Europeans in medieval ports and markets had little difficulty with language.  As one mid-fourteenth century traveller describes: 
If you ask how I could converse with the interpreter .. the interpreter is of Jewish descent and came to Misr [Egypt/old Cairo] to return to Judaism, because he is a Spaniard.. He knows seven languages – Hebrew, Italian, Turkish, Greek, Arabic, German and French.   .. In Misr there are many fondaks … a thousand and more warehouses in each fondak..
extract from a Florentine ms. translated in 
    • Elkan Nathan Adler, Jewish Travellers (801-1755), London: Routedge (1930) pp.156-208
Venice and Genoa had more than one fondak  assigned exclusively for their use at various times, though free access to Egypt fluctuated with changing political tides. Practical reasons for travel included the chance to buy cheaply in the east what might be sold at greater price in the west – such things as Indian gems, Chinese silk and plant-products whose ultimate source was India and south-east Asia.  
Studies of the Latin, Greek and Arabic antidotaries tell us, for example, that a trade in eastern plants was maintained – not directly, but via Cairo or some other eastern centre –  from southeast Asia to as far as England before the twelfth century. One of the first to engage with that topic was John Riddle. Today there is a great body of scholarship available for study of medieval pharmacy, antidotaries and related trades, but in 1965 Riddle could speak of,
a manual for traders, composed possibly in the 11th century or even earlier, lists ambergris along with camphor, musk, aloes, pepper, cinnamon, and ginger.
and e.g. that
The word cafora, coming from the Arabic kâfôur, is found in the same manuscript as ambergris and also in an antidotary written in Lombardie script in the 9th or 10th centuries. As a product of the plant cinnamomum camphora nees, cafora or camphor is found only in the orient.
    • John M. Riddle, ‘The Introduction and Use of Eastern Drugs in the Early Middle Ages’, Sudhoffs Archiv für Geschichte der Medizin und der Naturwissenschaften, Bd. 49,H. 2 (JUNI 1965), pp. 185-198.
Note – I have tried as far as possible throughout all these posts to cite articles accessible through libraries and online outlets such as researchgate, JSTOR and  I’ve selected them not only for the article’s content, but the value of an author’s sources and bibliography to assist in further research. In some cases this was simply not possible and I’ve had to cite the works used i my own research, some of which I know only the keenest researcher would care to hunt out, but the necessary information is nowhere else.  

Altogether, it is now clear that ideas prevalent in the nineteenth century and which Friedman, or d’Imperio took as ‘givens’ into the post-WWII period, were badly skewed.   Medieval Europe lived in no cultural ‘bubble’. The monks and secular scholars who made Europe’s ‘bookish’ history and textual traditions did, it is true, become increasingly skittish over time about having ideas they thought contrary to western Christian doctrine brought west by foreign residents and by such groups as the Italian humanists. The less able the authorities were to ignore  or to control such  information, the more savage their efforts became to ensure it was not disseminated through the western Christian populace without being provided a western Christian commentary and interpretation.  But these efforts were long limited to the more highly educated class, no effort made during the earlier medieval period to monitor the activities of traders, incoming travellers, or minority non-Christian communities. If a text was neither in Latin nor (later) widely circulated in the vernacular, it could be ignored.

The practice of just ignoring ‘foreign’ material saw some sad losses to European learning, and it is surprising to see how much valuable information was ignored.  As one example, we may refer to Idrisi’s radically new astronomical-geography completed after all most two decades’ work, in Sicily, in 1154, at least one copy having been prepared in a Latin translation, but we find no interest in it ever shown by Latin Europe for almost five hundred years – not until a copy of the Arabic text was published in Rome in 1592 by the Medici Press

 Idrisi did not simply copy or update  Ptolemy’s data, Over nineteen years, Idrisi had permission to interview any of the myriad travellers, traders and pilgrims who, perforce, called in at Sicily during their east-west journeys.
The result was a new astronomy as well as a new geography and,  using both in tandem, it described the world from China to Britain, region by region. Some of Michael Scot’s work is thought to have depended on Idrisi’s astronomical information. 
Perhaps the Latins (i.e. western European Christians) rejected it because they disapproved of Roger’s multi-cultural ‘international’ court. Perhaps it was one of those times when Roger was under ban of excommunication. Perhaps it was because Idrisi used south (the direction of the Latins’ Hell) as his primary direction.  Perhaps because the real world didn’t display a neat tripartite division reflecting the Biblical assignment to one part to each of Noah’s sons.  Who knows?  Here’s a reconstruction of Idrisi’s south-oriented world-map. 
For a  ‘north-up’ view, see here
Idirisi world map
The people who brought ‘caphora’ to Cairo, or to north Africa, or to Lombardy didn’t need a map of this sort, nor a handbook of geography to do it.
*Frances Carney Gies, ‘Al-Idrisi And Roger’s Book’, Saudi Aramco World, Volume 28, Number 4 (July/August 1977) pp.14-19. online.

To further illustrate the range over which the  ‘Sun of night’ had been accepted in the older near east, I’ll mention the Babylonian version, too and Europe does acknowledge a passive debt to Babylonia in mathematical astronomy.

  • Wolfgang Heimpel, ‘The Sun at Night and the Doors of Heaven in Babylonian Texts’, Journal of Cuneiform Studies, Vol. 38, No. 2 (Autumn, 1986), pp. 127-151.


Having found mention of a ‘sun of night’ in eleventh-century Burgos (see above), we may now  consider another manuscript of that period, this one made in northern France (Brit.Lib. MS 17808).  To understand how its material was viewed at that time, we must better appreciate how Latins thought about the stars in those days, and how they regarded mathematical calculations.  

By the eleventh century, the two greatest voices in Latin Christianity were those of the north African, Augustine, and that of Isidore of Seville.

Augustine (354 – 430 AD) had been of Phoenician parentage, had a passion for studying the stars (in a combined astronomy-and-astrology), then became attracted to the original form of Manichaeism, at that time  one of the major world religions and which by the tenth century was established to as far as the borders of China. Along those eastern roads, it was a major provider of centres for traders and travellers –  groups largely associated with the spread of that religion.  In north Africa, however, Augustine had eventually abandoned his early interests, converted to Latin Christianity and through his writings become one of western Christianity’s earliest and most revered theologians.

With regard to astronomical learning, and the seeking of  wisdom from Egypt, I might also mention Gregory the Great (540 – 604 AD), author of the ‘Commentary on Job’, but Isidore, his contemporary, had much broader and more lasting influence.

Isidore of Seville lived from 560-636 AD.  His huge work,  Etymologiae, remained the standard reference  for information about  .. well, almost everything…  from the time of its composition to as late as the sixteenth century.  Today there survive more than a thousand manuscripts in which the work is found copied in part, entire, or as a compilation of excerpts. According to one anonymous modern author, the full text of the Etymologies was printed in ten separate editions between 1470 and 1530, that is, at the height of the Renaissance. 

We can safely suppose, therefore, that what Isidore says about the stars would have been known to the monks of Burgos, as to the scribes in northern France who made Brit.Lib. MS Add. 17808 in that same century.  Of this second manuscript, more below.   Here are some of Isidore’s dicta: 

Astronomy distinguished from astrology.

The difference between astronomy and astrology

There is some difference between astronomy and astrology. Astronomy concerns itself with the turning of the heavens, the rising, setting, and motion of the stars, and where the constellations get their names. But astrology is partly natural, and partly superstitious.

It is natural as long as it investigates the courses of the sun and the moon, or the specific positions of the stars according to the seasons; but it is a superstitious belief that the astrologers (mathematicus) follow when they practice augury by the stars, or when they associate the twelve signs of the zodiac with specific parts of the soul or body, or when they attempt to predict the nativities and characters of people by the motion of the stars.

Bk2 xxvii.

Despite that last sentence, his Etymologiae was still copied, and then published to a willing public, long after the ‘zodiac body’ became a commonplace in medical texts.

Proper purpose for stars – including those of the zodiac.

Constellations (sidus) are so named because sailors ‘take bearings on’ (considerare) them when they set their course, lest they be led elsewhere by deceptive waves and winds. And for that reason some stars are called signs (signum), because sailors observe them in steering their rowing, taking note of their keenness and brightness, qualities by which the future state of the sky is shown. 
But everyone pays attention to them for predicting the qualities of the air in the summer, winter, and spring seasons, for by their rising or setting in specific places they indicate the condition of the weather.

Bk.III, lxx.4

That is why so many medieval breviaries and calendars can include emblems for the 12 constellations. It is not evidence for, nor indication of, astrological reference, but that has proven difficult for some Voynicheros to absorb, since today many regard any zodiac as if astrological by definition, and regard the constellation emblems as no more than ‘birth signs’.

Mathematics and improperly ‘calculating’ the stars.

For Isidore – and thus for most medieval Europeans – the evil uses were those employed by a calculating mind.

 But whatever the type of superstition with which they have been named by men, the stars are nevertheless things that God created at the beginning of the world, and he set them in order that they might define the seasons by their particular motions. Therefore, observations of the stars, or horoscopes, or other superstitions that attach themselves to the study of the stars, that is, for the sake of knowing the fates – these are undoubtedly contrary to our faith…

But some people, enticed by the beauty and clarity of the constellations, have rushed headlong into error with respect to the stars, their minds blinded, so that they attempt to be able to foretell the results of things by means of harmful computations, which is called ‘astrology’ (mathesis) .


and again:

24. These are commonly called astrologers (mathematicus); the Romans call this kind of superstition ‘constellations’ (constellatio), that is, observation of the stars – how they relate to each other when each person is born.

The first interpreters of the stars were called Magi (magus), as we read of those who made known the birth of Christ in the Gospels; afterwards they only had the name mathematicus.

Knowledge of this skill was permitted only up until the time of the Gospel, so that once Christ was born no one thereafter would interpret the birth of anyone from the heavens. 

Bk. VIII.ix.24-25

A scholastic miscellany made in France between 1309 and 1316, Brit.Lib.Burney MS 275 includes matter from Boethius, Aristotle, Euclid, Adelard of Bath, and Ptolemy and its tables (e.g. on f. 398) are written in Hindu-Arabic numerals.

Nonetheless, the margin of f.336r includes a visual ‘warning off’ about these numerals as founded on matter ‘of the devil’.

In depictions of the liberal arts, the teacher is normally an allegorical figure, but here she is made alive, a woman looking upon these innocent students and with wide, bold eyes (i.e. in an ‘unwomanly-wicked’ way). Even so late in European history, there was plainly some residual suspicion of Arabic numerals, introduced to Europe as they had been in association with the Arabs’ ‘mathesis’.

Understanding these ideas, it is easier to appreciate what implications might be carried by two large green stars set in the margin of a page in Brit Lib. MS Add 17808, whose incipit (first phrase) reads:

 ‘Mathematica Alhandrei – summi astrologi..’

Mathesis and astrology and from a foreign author and he not Christian.

Very worrying stuff for an eleventh-century monastic scribe, concerned for his immortal soul, yet bound by a vow of obedience even as Isidore’s words came to mind, “harmful computations, which is called ‘astrology’ (mathesis)”.. “undoubtedly contrary to our faith”.

Green stars.

green stars faith hours BritLib Add MS 1708 header
green stars alone from Brit Lib Add 17808
detail folio 108r

These marks are so unusual that the cataloguer describes them as “stars(?)”.

They are not formed like the asterisks which, in Latin manuscripts, mean that a passage ‘a‘ links to passage ‘b‘. Nor are these like Quire 20’s flower-stars.

The Latins’ textual asterisk was formed as an ‘X’ with a dot in each quarter – as Isidore says:

In the eleventh-century manuscript (Brit.Lib. Add. MS 17808) the first of those two ‘green stars’ is set beside an area left blank.

We would usually suppose that the space had been left for the pictor to add some image, and since the other ‘starred’ paragraph names the 12 constellations of the zodiac, we might expect that image to be a depiction of the 12 constellations or their emblems, and further suppose that the pictor just never got around to it. This is not the only example of such blank spaces in medieval manuscripts.

However, those easy assumptions are not so easy in this case, because the character of this text is unorthodox for that time and someone – presumably the same overseer who put those green stars in the margin – has instructed the scribe to go back and insert into what had been a paragraph space, immediately after the names of the twelve constellations, the text of biblical passage and to write it all in capital letters.

The passage is from the book of Genesis. Its quotation, in this context, conveys a caution – even a warning – to scribes and subsequent readers. Given the nature of the text and Isidore’s proscriptions, the addition of the sentence: ‘God disposed them as signs for the hours of the night’ reminds a reader that the purpose in copying this material is to assist with correct observations of the night offices and the calendar, so as to remain in step with the divinely ordered heavens.

For that, no anthropomorphic images of ‘pagan’ gods were necessary; the constellations (constellatio) need not be drawn. The hours’ stars could be pointed out in the sky and calculation limited to that needed for computus, to establish the date of easter.

An entire side of folio 100 is also left blank.

That manuscript is very well known today and despite any effort to keep its use on the right side of a theological line, the Liber Alchandi came to be associated chiefly with ancient mysteries and near-magic. Not everyone felt so averse to picturing the pagan constellations, of course.

Thorndike refers to this manuscript when noting that Peter  of Abano, in his  Lucidator astronomiae (1310) “mentions Alchandrus…

“ a successor of Hermes Trismegistus in the science of astronomy but as flourishing before the time of Nebuchadnezzar.”

Thorndike comments

Al chandrus was  scarcely as ancient as that, but the treatise ascribed to him also exists in Latin in a manuscript of the tenth century.. it is full of Arabic and Hebrew words, and professes to cite the opinions of Egyptians, Ishmaelites, and Chaldeans in general as well as those of Ascalu the Ishmaelite and Arfarfan or Argafalan or Argafalaus  the Chaldean in particular.”

Lynn Thorndike, History of Magic and Experimental Science, Vol.1 p.711 ff  

Additional references:

The holding library recommends this paper which I’ve not yet seen:

  • Charles Burnett, ‘King Ptolemy and Alchandreus the Philosopher: The Earliest Texts on the Astrolabe and Arabic Astrology at Fleury, Micy and Chartres’, Annals of Science, 55.4 (1998), 329-68 (pp. 334, n. 28, 335, 339, n. 55, 341, 343, 368).

Marco Zuccato’s paper is well researched and documented. It’s available at JSTOR.

  • Marco Zuccato, ‘Gerbert of Aurillac and a Tenth-Century Jewish Channel for the Transmission of Arabic Science to the West’, Speculum , Jul., 2005, Vol. 80, No. 3 (Jul., 2005), pp. 742-763

In sum: Editorial ‘green pencil’?

All of which, together, leads me to think that the ‘green stars’ in that French manuscript are more like marks from an editor’s blue pencil – Someone had to instruct the scribe to add the biblical passage, and perhaps instructed the pictor that his work would not be needed for some parts of the copying.

Might the green stars on folio 67v of Beinecke MS 408 be another case of an overseer’s corrections, rather than indication of the three stars’ having some special significance?

I’ll take a closer look at that in the next post and touch on the fascinating topic of colour and its associations in pre-Renaissance period.

More ideas from Isidore about the stars.

Isidore was a man of his own time, not ours and also believed the following:

lxi. The light of stars (De lumine stellarum). Stars are said not to possess their own light, but to be illuminated by the sun, as the moon is.

lxii. The location of the stars (De stellarum situ) Stars are unmoving and, being fixed, are carried with the heavens in perpetual motion. They do not set during the day, but they are obscured by the brightness of the sun.

lxiii. The course of the stars (De stellarum cursu) Stars are either carried or move. The ones that are fixed in the sky and turn with the sky are carried. But some [like] planets, that is, ‘wanderers,’ move. However, they carry out their roaming courses within a defined boundary. 

  • Stephen A. Barney, W. J. Lewis, J. A. Beach, Oliver Berghof, The Etymologies of Isidore of Seville, CUP (2006)

Addendum to Part A. extracted from a much longer post first published in Findings (May 15th., 2010). I add it for those interested in the traditions which came to inform western medieval ideas and art, but not to assert or imply that the makers of our fifteenth-century manuscript were so deeply informed.

The ‘bearded sun’ wasn’t the first intimation that the manuscript’s pictorial text’s themes and forms  do not originate in medieval European culture, but it was an important detail, and the idea of a bearded sun was not unfamiliar, but chimes rather well with what Georg Baresh believed about how the material for the manuscript had been gathered.

Carthage between the horns and wine-dark sea as city of god

 I began explaining the diagram and its implications quite early, sharinngthat information, initially, in a post of April of 2010,  and adding more in subsequent posts to clarify e.g. a link to Carthage, to the ‘grape-pressing’ motif seen in early Latin representations of (St.) Barbara and explaining that character’s ancient origin in North Africa, where the ‘grape-crushing’ is partly an allusion to suffering, but also to the “wine-dark sea” as Homer knew. 
Barbara tanit Phoenician stele
As late as the fifteenth century, Ibn Majid confirmed that the mariner-pirates of the north African shore had the same skills and star-lore as his own, and that the two were therefore brethren by that an inheritance which predates the 7thC Ad.  Here’s a little of what I posted on  May 15th., 2010, including the two previous illustrations above and those below. (Notice also the wreathed face at the apex of that Punic tombstone).
In Vezelay, the carver knew, pretty well, what he was about. He knew this figure, the spirit of the wine, was ‘la femme de le barbe’ – or ‘la femme a barbe’ though today the commentary is likely to argue the figure a saintly ‘master’ rather than celestial mistress of the wine. The carver has even known to place the figure’s foot on the highest leaf of the vine
In the classical period, North Africa had a very considerable industry in wine and grapes. It was remembered by the maker of the Atlas Catala, Abraham Creques, who wrote that after the Flood, Noah came to rest in North Africa, and first planted the vine there on the shores between the sea and Monte Clara.
Bedu woman with traditional tattoos. The Bedus traditional star lore relates to wayfinding and maintains proverbs of astonishing antiquity, remembering when Canopus (the ‘lucifer’) fell from a higher place and when the northern pole star was one in Draco, which astronomers inform us was the case from 3942 BC, until 1793 BC when alpha Draconis held that place
The Berber and Bedu tribes of North Africa had been largely instrumental in finding the way for the Muslim armies to successfully enter Spain. At that time they spoke of themselves as the “men of the ribat” – the military tower. The same term is used in that region for the sequence of lunar asterisms which the Arabs call the moon’s resting-places, or manzil al kamar. That sequence described as of 27 or of 28 asterisms is a convenient way to make finer divisions of the year’s circle, and thus to reckon such things as direction time and tide.
The name ‘Barbara’ sounds innocuous enough, but it seems it anciently named the star-[worshipping] people who considered stars to be small, distant lights: “grandchildren of the sun” [bar-bar-ra].
Hourani reports of the eastern tribe of the Azd, formerly of Arabia, that when were these Arab mariners [of the eastern sea] found themselves deep in a trough between mountainous waves, a chant was started which ran: “Barbara and Jafuna: look to your waves. Jafuna and Barbara: your waves are wild [lit: mad]. Jaffna is still the name of a Tamil area in Sri Lanka; the Barbara belonged to both the eastern and western horns of Africa. The greeks employed a similar term to mean ‘barbarians’ as persons who did not speak Greek.