Medieval charms are like puzzles\u2014ancient traditions, archaic names, corrupted words, blended languages, and numerous abbreviations. To decompose or interpret them, one has to learn about historic religious practices, both eastern and western, and to study hundreds of charms so that the general patterns become more evident.<\/p><\/blockquote>\n\n\n\n
I’ve posted several blogs on charms, talismans, and amulets. It was the word oladabas<\/em> on the second line and the repetition of six, morix, marix <\/em>on the third line of VMS 116v that started me on this journey. These patterns reminded me of magic words (like Abracadabra<\/em>) and patterns of sound-repetition that have long been associated with ancient magical rites.<\/p>\n\n\n\n The earlier blogs are here:<\/p>\n\n\n\n When I looked into this subject in more depth, I discovered that various versions of Aladabra, Abraca, Abracula, Abracadabra, ala drabra, <\/em>et al, are closely related, and shortenings of the name in a repetitive line or diagram are not just to save space but to “reduce” the power of illness or malign spirits. Sometimes these are intended to be chanted aloud. Other times they are written on small squares or strips and worn on various parts of the body, or buried in the ground.<\/p>\n\n\n\n Abracadabra is possibly of Semitic origin and is mentioned in Serenus Sammonicus’s Liber Medicinalis as an incantation for fever as “chartae quod dicitur abracadabra”.<\/em><\/p><\/blockquote>\n\n\n\n The charm words were not always written within shields or triangles, often they are within circles or pentagrams. Sometimes they are written in more prosaic style… let’s look again at an example I posted in 2016\u2014a charm for fever:<\/p>\n\n\n\n The primary sequence begins with the word Abrachlam<\/em> and is broken down in two sections Abrach + lam<\/strong> (you can think of this as alpha and omega, the beginning and end of the word). The beginning is reduced as follows:<\/p>\n\n\n\n Abrach, Abrach, Abrach, Abrach, Abrar, Abra, Abr, ab, A, B<\/strong><\/p>\n\n\n\n And is interspersed with the shorter sequence from the end: <\/p>\n\n\n\n lam la l<\/strong><\/p>\n\n\n\n Note how this differs from the shield charms (and from many of the more prosaic charms). This intertwining of the beginning and end is not common. Usually the ending is simply dropped to gradually reduce the word down to one or two characters, but the way the parts are interspersed in this example might be relevant to the VMS, as will be discussed farther down.<\/p>\n\n\n\n But first, a little more background. To fully appreciate charms, it helps to know a few abbreviations…<\/p>\n\n\n\n If you saw “aaa” in a manuscript or engraved on a talisman, you might scratch your head, but the history of charms reveals the meaning of this cryptic abbreviation.<\/p>\n\n\n\n When I came across the incantation “Agios Agios Agios” in a medieval manuscript, I recognized it because it is commonly written on Greek icons with images of saints, Jesus, and God (like the Arabs, the Greeks frequently exploited the calligraphic characteristics of letter shapes and intertwined them like monograms). On the right is a typical icon labeled O Agios<\/em>. Agios<\/em> means “otherly” and is often translated as reverend, holy, or sacred. It is written and abbreviated in numerous ways.<\/p>\n\n\n\n Agios was also Latinized in the Middle Ages. There are several examples in the Lindisfarne Gospels<\/em>. I include one here:<\/p>\n\n\n\n Another example of Agios<\/em>, in the context of charms, is in an Old English manuscript from the 11th century. The reader is instructed to sing Agios Agios Agios<\/em> to the cattle each evening (<\/em>\u00e6lce <\/em>\u00e6fen<\/em>) as a form of protection and aid (him to helpe)<\/em>:<\/p>\n\n\n\n Agios<\/em> is sometimes abbreviated as Ai<\/em>, and the abbreviation aaa<\/em> is also a shortened version of Agios, Agios, Agios<\/em>. But Agios, Agios, Agios<\/em> (used in priestly invocations) is itself an abbreviation. It comes from an old hymn in Greek:<\/p>\n\n\n\n \u00c1gios \u00f3 the\u00f2s, ‘\u00e1gios \u00ecskhur\u00f2s, ‘\u00c1gios \u00e0th\u00e1natos \u00e8l\u00e9eson \u00e8m\u00e2s<\/em>…<\/p>\n\n\n\n This hymn is known as the Trisagion<\/em> (thrice Agion<\/em>) and is sung in liturgies and processions. If a person is familiar with the hymn, then they would recognize Agios, Agios, Agios<\/em> in the context of a charm without having to see the full text of the hymn. It seems likely that it is a direct reference to the hymn because the cattle charm instructs the user to sing<\/em> the charm words.<\/p>\n\n\n\n Thus, extreme abbreviation to single letters or double letters was not uncommon.<\/p>\n\n\n\n In previous blogs, I posted examples of Abracula\/Abgracula<\/em> (right), a word gradually reduced to a talismanic shape (sometimes as a shield diagram), and frequently combined with crosses. Since posting this in 2013, I have also seen the word shortened to \u201cAbrac\u201d and \u201cArac\u201d in textual charms. <\/p>\n\n\n\n In addition to shortened words, medieval charms often include repetitious sounds, in addition to Hebrew and Latin,”power syllables”, names of angels, and other components.<\/p>\n\n\n\n The following shield charm begins with \u201cab\u201d in the upper left, followed by what appear to be mostly abbreviations in the outer band. The inner band also begins with \u201cab\u201d if you flip it around, followed by numbers and a mixture of Greek and Latin letters. I was wondering why shield charms were common in Latin manuscripts and I’m not sure of the specific reason, but in Hebrew and Arabic exemplars, triangles are very common, so perhaps this is an adaptation of the triangle: <\/p>\n\n\n\n I noticed \u201cab\u201d was frequently at the beginning of charm words and thought it might trace back to the biblical Abraham, but there\u2019s another possibility… perhaps \u201cab-\u201d is popular in charm words because it roughly represents the first two letters of the alphabet (Greek, Hebrew, Arabic, Latin).<\/p>\n\n\n\n Below is another example from the same manuscript. In the top right are the names of the evangelists within quandrants, with a crossed circle in the center. On the third line are the names iasp[er]<\/em> (a reference to Casper<\/em>) melthior<\/em> and bathazar<\/em> (probably Balthazar<\/em>), the three wise men, followed by invocations to archangels, followed by crosses and more names, including the following interesting passage: + elizabeth peperit Ioh[ann]em + Anna peperit Maria[m] + bra\u2019 maria virgo peperit ihu\u2019 (Jesus) Salvatore\u2019 mu[n]di… The names of women and their offspring are included in a number of childbearing charms and, if you scan down to the last line, you will see + a + g + l + a + amen<\/strong>, which is a clue that \u201cagla\u201d like \u201caaa\u201d (Trisagion) is probably an acronym. <\/p>\n\n\n\n And so it is. It comes from the Hebrew \u05d0\u05d2\u05dc\u05d0 for \u201cAttah Gibbor Le\u2019olam Adonai\u201d. Adonai is one of the names of God, frequently included in charms with Eloyim and Sabaoth. This invocation acknowledges his might and power.<\/p>\n\n\n\n The following charm, added at the end of Arau MS Wett 4<\/em>, also includes Adonai, Sabaoth, Grege, elyon, and tetragamaton (which also has Hebrew origins). At the end, are Baltasar and Melchior, as in the previous example and, as is common, several crosses (which in some cases indicates a genuflection): Near the end of the sixth line is the now-familiar agla<\/strong>.<\/p>\n\n\n\n Here’s a pestilence charm with a similar format and a brief partial-substitution cipher that I posted in June 2018:<\/p>\n\n\n\n Names of angels are also very common in charms and general books of magic. Here is an example with names of angels (and other sacred personages).:<\/p>\n\n\n\n Specific angels were said to be associated with each hour of the day or night, with the archangel Michael presiding over the first hour of the day (the time when many rites were instructed to begin). I mentioned Agios as a repeated invocation, but there are also many vaguely Hebrew or Latin-sounding phrases that don\u2019t appear to mean anything or which are simply repeats of names. Often the cluster of syllables is identical or self-similar.<\/p>\n\n\n\n For example Hatim, Hatim, Hatim<\/em> (also written hatyn<\/em>, and probably representing a name), kadosh, kadosh, kadosh<\/em> (the Hebrew word for sacred) and eye, eye, eye<\/em> can be found in medieval conjurations for Thursday (as described in the Heptameron and by Lauron de Lawrence, 1915) . The odd-looking eye, eye, eye <\/em>found in BSB Clm 809,<\/em> is an abbreviation for eschereie, eschereie, eschereie<\/em>.<\/p>\n\n\n\n What might be even more interesting to Voynich researchers is sequences that are self-similar…<\/p>\n\n\n\n In a childbirth charm in MS Sloane 3160<\/em>, the text following christus regnat is erex + arex + rymex<\/strong>. Looking more closely, if the wordplay is based on \u201cregnat\u201d or \u201crex\u201d then eREX aREX RymEX<\/strong> might be the basis for the pattern.<\/p>\n\n\n\n Sometimes the short Latin-like words refer to longer statements, just as aaa<\/em> refers to agios<\/em> in its longer form as agios + agios + agios<\/em> or as a hymn. For example, the following statement:<\/p>\n\n\n\n In nomine patris max, in nomine filii max, in nomine spiritus sancti prax.<\/em><\/p>\n\n\n\n will sometimes be abbreviated in charms as max + max + prax<\/strong>.<\/p>\n\n\n\n Another sound sequence found in charms is habay + habar + hebar<\/strong>, with habar<\/em> being the Hebrew word for incantation. Note how each word varies by only one letter.<\/p>\n\n\n\n In VMS 116v, on line three, we see siX + mariX + moriX + viX +<\/strong> so IX is common to all four and this being the VMS, I can\u2019t help wondering if \u201cix\u201d was chosen because it also doubles as the number 9. There are some oddities of spacing… the ix in each case appears to be written in the same handwriting and the “a” is the same as others on the page, but the backleaning i character (resembling EVA-i) in “vix” is quite perplexing. Was it intentional? Or a slip into thinking in Voynichese? Or is it a later addition in another hand?<\/p>\n\n\n\n Spelling was quite variable in the Middle Ages, so I looked up “morax” as a substitute for “morix” and discovered that morax<\/em> or more commonly marax<\/em> is a demon, one of the fallen angels\u2014a spirit that could be summoned by Solomon, appearing as a bull. Marax governs astronomy, herbs, and precious stones. He can be invoked at any time except twilight.<\/p>\n\n\n\n This information comes from De Laurence’s 1916 Lesser Key of Solomon,<\/em> which is translated from manuscripts in the British Museum. BNF Italian 1524<\/em> is another version that includes this diagram with AGLA in the top left, and a magic square in the bottom right together with other talismanic symbols:<\/p>\n\n\n\n An earlier manuscript said to have inspired this is the Livre des Esperitz<\/em> (Book of Spirits, Trinity O.8.29<\/em>), a French grimoire with influences dating back at least to the 13th century (Boudet, M\u00e9di\u00e9vales). The French version calls this demon “Machin”. Other variations include Mathim or Bathym. Ancient sources mention Tamiel or Temel for a demon with the same characteristics.<\/p>\n\n\n\n These fallen angels were said by some to be fallen stars. Others saw them as personifications of human failings.<\/p>\n\n\n\n Some of John Dee’s writings are referenced in an 18th-century hand-written version of the Book of Spirits that is now in the Penn State Library (Ars Artium, Ms Codex 1677).<\/em> The book includes a reference to the papers of Alchemist Richard Napier and a statement on a flyleaf that “I” (the scribe) copied the book from an old manuscript written upon parchment (British Royal Commission).<\/p> The Royal Commission also mentions a book on Kabbalah “bought at Naples from the Jesuits” Colledge, &c.” and a book on alchemy that “the Government seized upon the Convent and sold their Library.” Another writer, possibly C. Rainsford, further mentions that Sepher Rasiel came into his hands from the Naples Jesuits (1874), which provides some interesting connections between the Jesuits and occult books.<\/p><\/blockquote>\n\n\n\n But to get back to our demon…it appears that the name morax\/marax<\/em>, when associated with fallen angels, originated sometime in the late middle ages or Renaissance, and we cannot be sure that marix<\/em> or morix<\/em> in the VMS is a spelling variation, but the similarity is provocative.<\/p>\n\n\n\n Now let’s look at another way to generate charm words…<\/p>\n\n\n\n When I see self-similar patterns, I wonder if there is some formulaic way in which they are generated, other than simply having a couple of letters in common, as might be the case with palindromic magic squares. I saw one pattern that included the phrase ARAPS IASPER SCRIPT, which immediately reminded me of the famous SATOR\/ROTAS square.<\/p>\n\n\n\n Many people are familiar with this square. It comes from ancient times and is frequently in books of magic, as with the Trinity example above.<\/p>\n\n\n\n Sometimes the square is omitted to show just the letters, as in the following incantation to influence friends in The Clavicle of Solomon<\/em>, MS Sloane 3847<\/em>. Note also the names of the three wise men, which were in MS Wett 4 <\/em>pictured earlier, a variety of biblical names, and the four evangelists:<\/p>\n\n\n\n S. Sator, arepo, tenet, opera, rotas<\/strong>, Ioth, heth, he, vau, y. hac, Ia, Ia, Ia, papes, Ioazar, anarenet\u00f5 nomina sancta ad implete votum Amen. Baltazar, Iapher, Melchior<\/strong>, Abraham, Isaac, et Jacob, Sydrac, Misaac et Obednego, Marcus, Matheus, Lucas, Johannes,<\/strong> Ioron, Sizon, Tiris anfraton, adestote omnes in adiutorium ut a quacunque creatura voluere possim graciam impetrare.<\/p><\/blockquote>\n\n\n\n Have you ever played with the letters in the SATOR\/ROTAS square to create other words? For example, I noticed that PATER NOSTER (Our Father) can be constructed, and Pater Noster is also common in charms.<\/p>\n\n\n\n This made me wonder if charm sequences similar to ARAPS IASPER SCRIPT (ones whose origins are harder to identify) were loosely based on the SATOR idea. For example, something like this (I created this in a couple of minutes, so it\u2019s not elegant, but it\u2019s good enough to get the idea across). Letters in this palindromic square can be picked out to generate the words ARAPS IASPER SCRIPT. To the medieval mind, perhaps they carry some of the \u201cpower\u201d that comes from a palindromic square. Sound-similarity occurs almost by default when the character set is small.<\/p>\n\n\n\n Thus, I became suspicious that magic squares might have been used to generate a subset of charm words that are harder to fathom, and then I found this… <\/p>\n\n\n\n Abracula<\/em> appears abbreviated as Abrac<\/em> in Abrac Abeor Abere<\/em> in Peter of Abano’s Heptameron<\/em>. And it is apparently also the basis of “Ara”, an abbreviation used in a magic square with the following components:<\/p>\n\n\n\n Note the similarity of Ara and Ora to “aror” on folio 116v of the VMS. The preponderance of “a” and “o” (and the proximity of an “r” shape) is also a characteristic of the VMS main text.<\/p>\n\n\n\n If a string of something that looks like nonsense syllables were derived from other words in the same charm, then self-similarity across several lines would be significant. Even though the sequence SIX MARIX MORIX VIX isn\u2019t sound-similar to the rest of 116v, it is similar to words in charms.<\/p>\n\n\n\n The following example incorporates sacred names and abbreviations (typically Agla, Amara, Tanta, and others) within a circular frame surrounded by boxed crosses:<\/p>\n\n\n\n If it is included, the name of God is often written first. Sometimes it is written several different ways. Other times the name of God is expressly omitted or only partially written, as certain cultures have prohibitions about writing the name of God.<\/p>\n\n\n\n AGLA is not specifically a name of God, but like max + max + prax<\/strong> represents a shortened phrase that includes the name Adonay<\/em>, a reference to God that is very often in charms. Other common names in charms are Eloym<\/em> and Sabaoth<\/em>.<\/p>\n\n\n\n If you see C + M + B<\/strong> or G + M + B<\/strong>, there is a good chance it stands for Caspar Melchior Balthasar. M + G + E<\/strong> would be Michael, Emanual, Raphael and M + M + L + I <\/strong>is Mathew, Mark, Luke and Iohn (John). Names are sometimes written out in full or partly abbreviated. If there is limited space, the archangels are often chosen over other angel names. Sometimes many angel names are included.<\/p>\n\n\n\n Variations on words for friendship or love were also common in charms to win someone’s affections (or to get a girl to lift up her skirts).<\/p>\n\n\n\n As mentioned above, this shield-shaped charm symbol has numerous abbreviations and, as examples have shown, it was very common for charms and remedies to include Greek and Hebrew letters.<\/p>\n\n\n\n Unfortunately, when words or phrases are distilled down to one or two letters, it becomes harder to interpret them unless you can find a similar charm with the words written out. In this case, it’s possible the “ab” on the top-left is abracula<\/em> or abracadabra<\/em> as these words appear often in charms (especially shield charms):<\/p>\n\n\n\n Western charms have much in common with ancient Mediterranean, Arabic, and Indic charms, many of which have been transmitted through manuscripts created by Jewish and Greek scribes. Invocations to God from the Qur’an are sometimes included in divinatory diagrams.<\/p>\n\n\n\n Pentagrams, circles, shields, triangles, stars of David, and other geometric shapes are commonly found in both eastern and western manuscripts. Also common to eastern manuscripts is a double rectangle, with the second rectangle offset, with eight loops at the point, a symbol for Earth. Western manuscripts also include these shapes, but tend to favor circles, shields, stars, and rectangles. Sometimes the strange shapes that accompany divinatory frames are corruptions of Arabic letters and western-Arabic numerals.<\/p>\n\n\n\n Figures composed of spidery lines ending in circles are common in books of Kabbalah, and often the names of angels are expressed this way, as well. Some of the western alchemy and astrology symbols have these characteristics, as well. Shapes that resemble EVA-t are natural variations of these kinds of patterns.<\/p>\n\n\n\n In medieval books of magic, drawing a circle in the dirt with a sword or stick is a frequent instruction, and incantations may be chanted from the edge or inner portion of the circle, depending on the specific kind of charm. The user is frequently directed to face east. If animals are used in the ceremony, they are usually sacrificed (and sometimes buried in a specific spot) or let free with the understanding that bad spirits will depart with the animal. The unfortunate Hoopoe, a beautiful bird that is fast declining, was a favorite sacrificial victim.<\/p>\n\n\n\n Often a young virgin boy was used to read the signs in water, oil, or other somewhat reflective surfaces. It was assumed that someone with enough youth and innocence would tell the truth. Often the boy was asked to reveal who had perpetrated a crime and people were gullible enough to accept the boy’s interpretation and to punish the “guilty”.<\/p>\n\n\n\n This may seem irrational and superstitious, but even respected 16th-century scholars like John Dee believed it was possible to “channel” information from other realms via a scrying mirror and a medium (in this case, Edward Kelley, who was neither young nor virginal).<\/p>\n\n\n\n This example from a 15th-century manuscript (Clm 849<\/em>) is circular, with a central star, five divisions, and a sword at the apex representing east (east was commonly shown as “up” in medieval maps and many magical diagrams). This is the general form of diagrams that were inscribed on the ground, sometimes with a real sword.<\/p>\n\n\n\n It was rare for books with diagrams like this to survive as they were actively sought out and destroyed by authorities. Sometimes just owning one of these books could get you imprisoned:<\/p>\n\n\n\n Instead of a figure, sometimes the words or letters for alpha<\/em> and omega<\/em> are written in the inner circle. In BL Sloane 3648<\/em>, the central circle includes pentagrams with ADONAI written in each outer triangle and alpha<\/em> and omega<\/em> split across them on either side:<\/p>\n\n\n\n As mentioned earlier, charm words are often in groups of three with sound similarity. Sometimes the words are identical, as in Amen, Amen, Amen<\/em>, or Fiat, Fiat, Fiat<\/em>.<\/p>\n\n\n\n Sometimes they vary only slightly. Frequently the second and third words are only one or two letters different from the one that came before, as in Adra Adrata Adratta<\/em>, or Adra Adrata Adracta<\/em>, or one I see quite frequently, Hel, Hely Heloy<\/em> (sometimes written Hely, Heloy, Heloe, Heloen<\/em> or Helion, Heloi, Hel<\/em>), or the variant shown here as Ely Eloy Elyon<\/em>:<\/p>\n\n\n\n I want to emphasize this because self-similar patterns are quite frequent in the main text of the Voynich Manuscript and I don’t think auto-copying is the only possible explanation. Before I post examples, I want to cover one more thing in folio 116v…<\/p>\n\n\n\n In classical charms, a reference or invocation to Pagan heroes or gods was common. After Christianity became prevalent, the format remained essentially the same, but Hebrew and Christian names for God, angels, and the virgin Mary were often substituted, or shared space with older names whose origins were no longer known.<\/p>\n\n\n\n The second line of 116v has a word that might be “cere” which might be a Pagan reference to Ceres the goddess of crops and fertility, but there’s not enough information to know.<\/p>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/02\/Abracadabra.png\")
<\/figure><\/div>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2019\/12\/AbraculaF11r.jpg\")
<\/figure>\n\n\n\nWhat is “aaa”?<\/h4>\n\n\n\n
![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2019\/12\/AgiosAbbrev.png\")
![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2019\/12\/AgiosLindisfarne.png\")
![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2019\/12\/CattleCharmCotVitExviii-1024x459.png\")
Other Mystery Abbreviations<\/h4>\n\n\n\n
![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2013\/07\/MoravskaCodeBreakdown.jpg\")
<\/figure><\/div>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/01\/ShieldCharmAb.png\")
<\/figure><\/div>\n\n\n\n
<\/p>\n\n\n\n
<\/p><\/blockquote>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/01\/CharmMiscAlchemXII-1024x597.png\")
<\/figure><\/div>\n\n\n\n
<\/p>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/01\/CharmWett4Detail.png\")
<\/figcaption><\/figure><\/div>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/02\/PestilenceCharm-1-1024x551.png\")
![\"Names](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/02\/AngelsLat1300.png\")
<\/p>\n\n\n\nSound Repetitions<\/h4>\n\n\n\n
![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/01\/SixMarix.png\")
<\/figure><\/div>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/02\/BNFItal1524.png\")
<\/figure><\/div>\n\n\n\nMagic Squares<\/h4>\n\n\n\n
![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/01\/SatorRotas.png\")
<\/p>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/01\/STERsquare-2.png\")
<\/figure><\/div>\n\n\n\n![\"ARA](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/01\/AraIra.png\")
<\/figure><\/div>\n\n\n\nPractical Magic<\/h4>\n\n\n\n
![\"CLM](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2019\/12\/Angelsclm849.png\")
![\"Talismanic](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2019\/12\/ShieldMiscAlchemXII.png\")
![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2019\/12\/ArabicTriangle.png\")
Sword and Soil<\/h4>\n\n\n\n
![\"Example](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2019\/12\/SwordCircleCLM849.png\")
<\/figure><\/div>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/01\/MagcirclSloane3648.png\")
<\/figure>\n\n\n\n![\"Example](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/02\/RepetitionCLM13002-1024x333.png\")
![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2019\/12\/HelyHeloyCLM849.png\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2019\/12\/HelyHeloyCLM849b.png\")
Names in Charms<\/h4>\n\n\n\n
![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2019\/12\/116vMaria.png\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2019\/12\/79vRepeat3.png\")
<\/figure><\/div>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2019\/12\/TripleRepeat79r.png\")
<\/figure><\/div>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2019\/12\/TripleRepeat79v.png\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/02\/QotedySequence.png\")
<\/figure><\/div>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/02\/VMS-arard.png\")
<\/figure><\/div>\n\n\n\n![\"\"](\"https:\/\/voynichportal.com\/wp-content\/uploads\/2020\/02\/VMSReduction.png\")
<\/figure><\/div>\n\n\n\n