Category Archives: Voynich Nymphs

Medieval Fashion VMS Style

becomingly 7 July 2017         

As a follow-up to a previous blog, I have added tunic images to a map of the Holy Roman Empire as it was about 1400. They are not perfect matches to the tunics in the Voynich Manuscript, but they are close, and it gives a visual sense of how this kind of clothing was depicted in manuscripts and paintings, and where this style of dress may have been worn.

pics of Gemini male and Sagittarius tunic styles

Hunting for Hats

Locating tunics similar to those in the VMS was a challenge, and finding hats similar to the one on the crossbowman just as hard. Those with a rounded turban-like base with a portion that hangs to the back usually have tails made of fox fur or sheepskin or several tails or folds of fabric. Some are too short, others are squared off at the bottom.

pics of medieval chaperone-style hats

[Image credits: left BL 1231 f2r, middle Codex Sang 602, right Houghton Typ 127]

A long round tail like the one in the VMS is less common, but I was able to find one (below left). Note that the tunic is a little more fancy than the VMS, with much wider sleeves and a cape the covers the shoulders. There are a number of similar hats in Vatican Pal Lat 871 and the one shown right notably wears a simple tunic with a plain band at the collar and waist. Note also that it is enclosed in a circle of text:

pic of medieval "sock" hats in French and German manuscripts

[Image credits: left Morgan M.453, right Vatican Pal Lat 871]


pic of tunics in medieval book of law

These images [added July 11, 2017] are from a Swedish book of law. They illustrate tunics that are more elaborate than the VMS, with fancy collars and sleeves as were worn by the upper nobility. The tails on the hats are not as long as those of the VMS, but they are of interest because they are the correct general style, and resemble those in Pal Lat 871. [Image credit: Eriksson’s Landslag Cod. Ups. B.68]

I have only located one image so far that matches well to the VMS tunic that also shows a man with short legs and a similar hat, in Vatican Pal Lat 1806 (included at the bottom of the following map). The origin of this manuscript is thought to be Augsburg, Germany. It includes quite a few images of tunics similar to those in the VMS.

And now to the map (you can click on the image to see it larger):

Summary

In searching for these pleated tunics, I looked all over the world but was not able to find any that were closer than the ones illustrated above in the more distant countries. Not only were the clothing styles different, but the drawing styles, as well. I also rejected tunics that were a combination of vest and tunic as separate pieces of clothing and those with split sleeves.

We cannot know how accurate the VMS illustrator drew the clothing, but it’s noteworthy that the VMS Gemini twin shows the laces on the boots, a detail that is absent from most other drawings. The illustrator made an effort to record details despite the small size of the VMS, which is why it seemed worth the effort to look for costumes of a similar style.

                                                                                                                   J.K. Petersen 

© Copyright 2017 J.K. Petersen, All Rights Reserved  


Postscript April 21, 2018: I have added one more tunic to the map originally posted July 7, 2017.

Postscript Oct. 4, 2018: I have many more tunic images, but some of them are the same style, from the same areas as already marked on the map. However, I was able to squeeze in four additional tunics, so this is Version 1.2 (note that some of these tunics are from manuscripts that have numerous images of this style of tunic but only one example was chosen). Version 1.3 is a minor update (a date disappeared so I added it back in, and tapestry arrow was adjusted):

pic of Voynich Manuscript Tunic Styles on map of the Holy Roman Empire

Postscript 7 July 2019: After I wrote this blog, and posted the map (2017), I was kindly informed that the Victoria & Albert Museum has revised the date of the Devonshire hunting tapestries downward to 1425–1430 (see tunic top-left).

The Site of the Cross

26 June 2017

On December 14, 2016, Searcher, on the Voynich.ninja forum, suggested that the cross-shaped item in the hand of a nymph on folio 79v might be a cross-staff. This was an intriguing idea, especially considering the way in which the instrument is held and the fact that there is another nymph holding something that looks like calipers, so I looked up some of the history of cross-staffs to see if there might be support for the idea.

The cross-staff is an ancient instrument which may trace back as far as the Chaldeans, who are also connected to early forms of astrology. In the Renaissance, it was used in navigation, but its original purpose was to study and measure distances related to the sun and stars. The staff provided a way to guide the eye and was the forerunner to instruments such as the quadrant and sextant.

Basics

In its simplest form, the cross-staff consists of a rod with a smaller crossbar mounted at 90 degrees to the longer bar. The smaller bar is known as a “vane” or “transom”.

A cross-staff was held to the eye so the person using it could site along a line to the sun and compare this with the distance to the horizon. The vane was adjusted back and forth until both could be brought into view at the same time. Refinements included various means to move the crossbar, and markings on the instrument, in degrees and minutes, to help determine distance. Sometimes multiple vanes were added, but the basic instrument needed only one.

The cross-staff was sometimes known as Jacob’s staff. This may be based on the ladder Jacob envisioned stretching in a line from Earth to heaven. It has also been suggested that the name comes from one of the medieval names for the constellation we know as Orion, which has a short “belt” of stars resembling the vane on a cross-staff.

In French, it was called arbalete, rayon astronomique, and baton de Jacob, or arbalestrille for the marine version (the fore-staff). In Portguese, balestilha. In Latin, radius astronomicus, and in German, Jacobs-Stab or Stab und Kreuz, or just Kreuz.

Three modes for using the cross-staff for siting and measuring are illustrated in Gemmae Frisii de radio astronomico et geometrico liber (Frisius, et al, Cavellat, 1557).

The earliest reference to the cross-staff, so far identified, is from 11th-century China. In Europe, the earliest references to modern use of the instrument are from Provençe in the 14th century. Of particular interest is a reference by Gersonides, a Jewish scholar who believed in astrology, who describes the instrument and attributes its uses not only to measuring distances between celestial bodies, but also their diameters.

In this image, Moslem astronomers discuss the use of the astrolabe (upper right) and another uses a double sighting rod (left) while an early form of quadrant sits next to him on the table. The Q’uran (written in the 7th century) includes a passage about Allah/God having set out the stars to help navigation at night, thus inspiring an interest in the practical application of astronomy. [Image courtesy of the University of North Florida]

By the 19th century, a modified cross-staff with a round or square head, and sometimes a quadrant of slits, was used in surveying, in combination with a rod or chain and a number of staves. It was useful for measuring fields, platting lands, and certain forms of cartography.

The Cross-Staff for Navigation

Yemeni Astrolabe, 1291 [Courtesy of the Metropolitan Museum of Art: Edward C. Moore Collection]

Of particular interest to Voynich researchers is the history of the cross-staff for navigation on water. In marine navigation, it was known as a fore-staff, so-called because the person using it faced the direction being observed, in contrast with the back-staff which was used with one’s back turned. Adjustments had to be made for how high the person was above the water.

It may seem surprising, but historians claim that the cross-staff was not used for marine navigation until fairly late in the middle ages.

In the Mariner’s Museum, they have this to say about the history of the cross-staff:

“…sailors did not use it until the early 1500s; the first recorded date was 1514. As with other early navigation instruments, the first use for the http://vintagegoodness.com/category/featured-collectibles/ Cross-Staff was in astrology, in measuring the altitude of stars to help forecast the future.”

William Wales notes, in 1744, that John Werner, of Nuremburg, recommended the use of the cross-staff as a marine instrument for determining longitude, by observing the distance between the moon and stars, in a book printed in 1514 (W. Wales, 1777), which is likely the same reference noted by the Mariner’s Museum.

In Motorboating (July, 1947), there is a practical description of the difficulties of using an instrument like a cross-staff on the sea:

“The pitching, rolling deck of a ship prevented general adaptation of the astrolabe. The cross-staff required the observer not only to sight directly on the blazing sun but also to look at two things simultaneously: the sun and the horizon. In the middle and high latitudes this latter job was not too difficult. In the low latitudes traversed by so many ships of the early days, it was nearly a physical impossibility to sight on a noon-day sun nearly overhead and a horizon dead ahead. These disadvantages led John Davis to invent, in 1590, his Back-Staff or Sea-Quadrant.”

Andrew MacKay, in 1793, sheds further light on why the cross-staff was not the instrument of choice for determining distance on water in the early days:

“The method of reckoning the latitude in degrees and minutes being introduced, instruments for observing altitudes were divided accordingly.– The Astrolabe, (a circular ring, having a moveable index and fights,) was applied to observe altitudes at sea. It was, however, supplanted by the Cross Staff, and that again by the Quadrants of Davis and Hadley, in succession.”

Thus, he suggests that use of the astrolabe preceded the cross-staff for marine purposes, with the quadrant eventually succeeding it.

On the left is a sighting rod (without crossbar), to the right, an astrolabe, constructed of overlapping, rotating rings—an instrument commonly used in navigation. Note the cloud band and the pattern in the background. [British Library, Bodley Digby 46, late 1300s]

Interpretation

If the object in the hand of the nymph on folio 79v is a cross-staff, then it’s unlikely that it’s intended as a marine navigation instrument—the astrolabe and other means were more commonly used for this purpose before the 16th century. In the early 15th century, the cross-staff was primarily used for land navigation, architectural measurement, and astrology.

Unfortunately, the other images on the page, below the cross-wielding nymph, add little to our understanding of the cross-shaped object unless, perhaps, the Jacob’s Ladder story is being used in a metaphorical way and the presence of a nebuly-like “umbrella” over the nymph and her crow’s-next viewpoint are pointing to a path to heaven, a concept particularly prevalent in Christian iconography, but common to many cultures.

Or perhaps it’s the astrological significance of the cross-staff that is alluded to in the Voynich manuscript. If the various nymphs are personifications of constellations, as suggested by Koen Gheuens, it would not be out of place to find a cross-staff aimed at the stars or a possible connection with Jacob’s rod, which was traditionally associated with Orion’s belt.

 

J.K. Petersen

Copyright © 2017, All Rights Reserved

The Cardinal’s Nymphs

I had hoped to write a whole series on this one specific topic (the Villa d’Este). I have thousands of images and copious notes, but I simply cannot find the time to sort and credit all the images and grammatize my notes. The material has been languishing in my files for nine years, so at the risk of never posting it at all, I have decided to upload it in skeletal form…

Of Water and Worts

In 2008, as I was familiarizing myself with the VMS plant drawings, and looking at the pool pages, I spent several months looking up all the botanical gardens that were in existence prior to 1520 and, while doing so, also investigated the culinary/medical gardens that were present in most large estates, including castles, universities, monasteries, and medical schools. Some of the ones I found were later than my cutoff date of 1520 but I hoped they might provide clues to earlier structures that inspired them.

What motivated me to look into botanical and courtly gardens was the VMS emphasis on plants and water, and several “map” rosettes that looked like they might be related to gardens, as well (particularly the “aerial” view on rosette 9, which resembles a garden design with water flows).

The Farnese Gardens were created on the Capotilline hill in Rome, in the mid 16th century. This shows an aerial view of the garden layout with each section arranged with different geometric shapes. Culinary, medical, and decorative gardens were an integral part of court and institutional life, and gardens with waterworks were particularly popular in the 16th and 17th centuries.

Other parts of the VMS “map” could be interpreted as fountains and pipes. The little decorative element between rosette 6 and 7 (right) might be a fountain and there are obvious parallels to water and streams in rosettes 3 and 7. Other parts look like water spraying and it’s possible that rosette 2 represents a water source with gargoyle spouts around a central column, as were found in many pubic squares.

In my search for medieval gardens that might have a strong connection to water, especially piped water, I explored the Vatican gardens, the Garzoni Gardens, the Versailles gardens, the Dresden fountains, the Salerno, Padua (which were framed by a circular wall), and Verona gardens, St. Petersburg gardens, English gardens (especially ones near Roman baths), the Villa d’Este, in Tivoli, Italy, and many others. I also looked into spa areas in Bohemia, Germany, Switzerland, Italy, and some of the Grecian islands. Information on similar themes in Spain was sparse. They may exist, but in 2008 there was almost no information on the Web about them.

Viva Villa d’Este

The d’Este estate particularly interested me because it had piped water and many Pagan artworks and architectural structures strongly connected to water, nymphs, and plants—reminiscent of VMS plant-and-water imagery in general and to the rosettes page, in particular. One could describe the d’Este estate as “unapologetically” Pagan for reasons I’ll discuss below.

A diagram of the extensive gardens, fountains, and waterworks of the Villa d’Este. Water was also a prominent geographical feature on the lands surrounding the main estate, with many waterfalls and pools, some of which are a bright green.

A Brief Background

The d’Este family was wealthy, influential, and strongly interested in the arts. The Villa d’Este, in a scenic mountainous area near Rome, was commissioned by Ippolito II d’Este (1509–1572) and even though he was connected to the Roman Catholic church and became a cardinal, he was apparently more interested in Roman history and beliefs than in contemporary Christian customs. As such, the artworks on the estate include Greco-Roman gods, the Ephesian Diana, and round arched Pagan temple pools with nymphs sheltered under archways. Throughout the estate are fountains, cascades, gargoyles, and pools.

Thus, there are many parallels between the d’Este estate and the VMS and rather than blog about each one, as I originally hoped, I’m simply going to list them

The dangling teats/testicles under the nymph on folio 77v is reminiscent of the acorns/testicles/breasts depicted on many ancient sculptures of Diana. It’s difficult to know what the breast-like shapes signify in the VMS. At first I thought it might refer to the she-wolf that suckled Romulus and Remus. Then I thought the figure might represent the Sabine who stopped the fight between the Romans and the native hill people. K. Gheuens has pointed out that it might represent a constellation, in which case Cassiopaea would be a good candidate. On the left, the Ephesian Diana is framed by an arched grotto, as are several of the VMS nymphs, as water streams around her and from the breast-like forms on her chest. Note also that the crown-veil shape framing the head of one of the VMS nymphs could be based on crown-veil shape imagery related to an ancient goddess. [Image courtesy of Yair Haklai, Wikimedia Commons.]

A number of the canopies and arches over the nymphs in the VMS look like the grotto structures surrounding goddesses and Greco-Roman gods on the d’Este grounds. Water was an intrinsic aspect of Pagan religion, and nymphs were believed to live in water or were created in (or from) water. There are also ancient caves nearby, carved into the cliffsides, and an ancient goddess temple by the road on a hilltop—the whole area is steeped in ancient traditions.

Legendary Greco-Roman figures are framed by archways and numerous fountain works. Trees and water were sacred and intrinsic to Pagan religion, as water was believed to be the birth and dwelling place of goddess nymphs. [Image courtesy of Google Maps Street-view].

One of the more breathtaking corners of the estate is an oval pond, in the Pagan style, which includes a semi-circle of archways with sculptures under the arches, and a richly textured grotto-like waterwall behind the stone balcony.

The Della Ovata pond and archways are evocative of Pagan goddess-temple styles. The VMS central rosette, which features a circular structure with stars and decorative “columns” could be an iconic representation of ancient goddess temple architecture. The Falda grotto-style fountain pool (below), built on a similar concept, shows what the rockwork around the Della Ovata may have looked like before the more recent low-wall was added.

Waterfalls and Green Pools

In the middle ages, the Villa d’Este was surrounded by natural wonders: mountains, cliffs, crooked roads, and many rivulets and waterfalls. The VMS is full of “waterfall”, pool, and bathing imagery that bears similarities to this topography. The VMS rosettes page includes many escarpments, and there is a shape between rosettes 4 and 6 that could be interpreted as a fountain. There is also a crooked mountain road connecting rosettes 1 and 4 leading from what might be an eye-shaped mountain or volcano. A similar road leads to the Villa d’Este. Notice the pipes coming out of the VMS volcano-like “mountain” (water was piped down to feed the estate’s cistern and extensive waterworks).

The Cascadia is a scenic landmark in Tivoli, by the Villa d’Este. Notice the green pools and the rivulet connecting the pools, very similar to how green pools are arranged in folios 78r and 81r. The Cascadia lower river has terraced pools, some of which have been shaped with nearby rocks to make them more comfortable for bathing.

This image, from the 1930s, shows the topography of the d’Este estate in Tivoli, Italy, with its many waterfalls and green-water bathing pools. In the 16th century, the gardens were much more extensive.

The pool imagery on folio 78r might represent natural waterholes that have been rocked in for bathing, so it’s difficult to know whether the VMS “pipes” that appear to be feeding the pools represent natural water, or aquaducts and pools constructed to create bathing holes.

Natural water holes existed in the landscape in countless regions, including the Alps, Bohemia, Pozzuoli, and the town of Tivoli, Italy, and there may also have been bathing holes in the Villa d’Este grounds, which were larger in the 16th century than they are now, which makes it very difficult to know if these pool pages are generalized, allegorical, or meant to represent a specific location.

The Villa d’Este had a large culinary/medical garden, similar to those at monasteries. It’s possible that rosette 9 is an aerial view of gardens common to castles, monasteries, and universities.

The VMS map is full of pipe shapes. They come out of the mountain, they surround the central rosette, and they spray between rosettes 2, 4, 6, and 8. No one has been able to convincingly explain the meaning of the pipes or their relation to the rest of the imagery, and they may be allegorical, but if they are intended to be real pipes, here is one thought…

The Villa d’Este was built with some incredible piping systems and waterworks, centuries ahead of their time. They form a lattice underneath the grounds and are not just there to provide water to people and plants, but also to feed elaborate fountains and whimsical waterworks, throughout the estate, some of which were triggered by people walking nearby, so they would be showered unexpectedly as a form of entertainment. The estate was a marvel of hydraulic engineering and is now a UNESCO World Heritage Site.

A popular theme in medieval imagery is the courtly garden party, which is often shown as a ringed area with a central fountain. You might notice in the second picture below that the fountain embellishment resembles not only the containers in the VMS small-plants section, but also the VMS “architectural columns with feet” that look like large containers in the central rosette.

I didn’t want to constrain my research to Europe, I always search as far afield as possible, but information on medieval spa sites and gardens east of Constantinople or south of the Mediterranean is scarce and was especially scarce nine years ago, but I did find some information on gardens in the Levant, including the area around Jerusalem. The idea of Jerusalem intrigued me because I thought the “mountain” in rosette 1, with its almond-shaped “eye” (similar to an olive pit) might be the Mount of Olives.

The Garden of Gethsemane (image from 1893) is in an arid region, where it’s harder to grow things, but still bears some similarities to more northerly gardens, with a circular design and a fountain-like centerpiece, but I wasn’t able to reconcile many features of the VMS map with this part of the world.

Summary

I hate to stop in the middle of a topic, I have much more information but so little time, so I’ll end by saying I wasn’t able to convince myself that the rosette map was the Villa d’Este or any of the similar gardens that preceded it (many of which no longer exist except in verbal descriptions). The reason I’m not sure is because I couldn’t reconcile what looks like compass points (the two suns and the T-O map) with the layout of the d’Este estate. It’s close… the “mountain”, the water, the escarpments, and some of the other features could be related to real physical features, but it takes a bit of wrangling, and there is some imagery that doesn’t quite seem to fit this location.

Villa d’Este was one of many ideas, and I’m keeping it on the table, but it post-dates the VMS by more than a century, and information on its predecessors is scanty. Also, I subsequently found a location that MIGHT explain the rosettes page better than Villa d’Este, a location that better fits the compass points. It doesn’t have extensive waterworks, but it did have piped water and nearby natural waters, and some of the other features on the rosettes. Unfortunately, I can’t spare time to describe it today. It will have to wait for another blog.

                                                                                                                                   J.K. Petersen

© Copyright 2017 J.K. Petersen, All Rights Reserved

Of Wolves and Women

I held off writing this blog for about two years because I simply couldn’t decide which one of two legends fits better and I was hoping to find something definite that would lead me to one or the other (or to a third interpretation if the first two weren’t correct). Unfortunately, almost nothing about the Voynich is definite except its enigmatic nature, so if I wait for a revelation, this might never get posted.

So here we go, I’ll post both alternatives and let the reader decide if one or the other (or neither) has any validity. Here’s the central part of the image (folio 77v):

Maidenf77vThere are some pipe-like biological structures connecting various figures and the maiden is standing in some kind of “pool” (perhaps bodily fluids?) with three pendant shapes below her. At a glance, the image could be interpreted as a womb in the center with ovaries to either side, but could it mean something else, or have a dual meaning?

Diana or Sabine?

KircherDianaWhen I first saw this VMS page, it reminded me of two things. The first was the Ephesian Diana. I have a multitude of pictures of Diana and the evolution of her image from the early days of fancy necklaces to symbols of plenitude (acorns and possibly bull’s testicles) to the inevitable depiction of Diana with a multitude of breasts rather than testicles, ready to feed the world. The version of Diana at the Via d’Este displays a chest full of breasts. The image on the right, from one of Athanasius Kircher’s books, is not as clear, but might be testicles. The appendages under the central figure in the VMS could be interpreted as either testicles or breasts.

But… I wasn’t sure this was a metaphor for Diana, and the ejaculating phallus in the left-hand margin seemed to suggest something other than goddess worship (which was a sacred rather than a carnal adoration to many of the ancients). It’s possible this page is about procreation and insemination, fertility and abundance, as befits Diana, but maybe there’s another explanation…

A More Primal Interpretation

SheWolfBronzeThe second idea that came to mind at almost the same moment as the first was this… Could those pendant shapes represent animal teats and thus be a reference to Rome? They reminded me of the she-wolf suckling Romulus and Remus, the twins who had a disagreement over where to place their new city, an altercation that led to Romulus killing his brother Remus so he could have his way.

If the pendant shapes weren’t breasts or testicles as would be associated with the goddess Diana, could they be the teats of the she-wolf that fed Romulus and Remus? Is this a reference to the founding of Rome or to the capture of Rome in the 8th century BCE?

If so, then perhaps the VMS is allegorical imagery of the abduction of the Sabine women. I searched for a picture that might express the same ideas as the VMS, but in a more literal way and found this 18th-century painting by Jacques-Louis David:

SabineWomenPaintingNote how the posture of the maiden trying to intervene in a battle somewhat echoes the arms-wide pose of the nymph in the VMS:

SabineWomenDetailThis might fit the VMS imagery more closely than the story of Diana. It could also explain the ejaculating phallus in the margin. Technically, the legend of the Sabines is about the abduction of the Sabine women, not the rape of the Sabines, but how often in history have warriors abducted women without an expectation of having sex with them, especially when they were kidnapping them expressly to take them as wives? Note also that two of the nymphs at the top are wearing veils. There are other places in the VMS where veils are associated with marriage-related imagery, but I’m not sure of their intended meaning here.

Voyf77vThumbThe story of the she-wolf and the founding of Rome might account for the dangly bits below the nymph’s feet (rather than being on her chest as might be expected if she were Diana) and the nymph with chin up and arms spread might represent the Sabine women who cast themselves between opposing forces, willing to die rather than to subject themselves to impious relationships with their kidnappers, an action that supposedly ended the battle and forged a truce between the Sabines and the new colonists.

Either way, it’s another example of a page where biological imagery and mythical imagery might both be intended. If so, they are expressed in an obtuse but rather original way.

J.K. Petersen

© Copyright 2016 J.K. Petersen, All Rights Reserved