New multispectral analysis of Voynich manuscript reveals hidden details

By: ARS Techica - Science Posted On: September 09, 2024 View: 3

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side by side images of a folio from the voynich manuscript with its multispectral counterpart on the right — Enlarge / Medieval scholar Lisa Fagin Davis examined multispectral images of 10 pages from the Voynich manuscript.
Lisa Fagin Davis

About 10 years ago, several folios of the mysterious Voynich manuscript were scanned using multispectral imaging. Lisa Fagin Davis, executive director of the Medieval Academy of America, has analyzed those scans and just posted the results, along with a downloadable set of images, to her blog, Manuscript Road Trip. Among the chief findings: Three columns of lettering have been added to the opening folio that could be an early attempt to decode the script. And while questions have long swirled about whether the manuscript is authentic or a clever forgery, Fagin Davis concluded that it's unlikely to be a forgery and is a genuine medieval document.

As we've previously reported, the Voynich manuscript is a 15th century medieval handwritten text dated between 1404 and 1438, purchased in 1912 by a Polish book dealer and antiquarian named Wilfrid Voynich (hence its moniker). Along with the strange handwriting in an unknown language or code, the book is heavily illustrated with bizarre pictures of alien plants, naked women, strange objects, and zodiac symbols. It's currently kept at Yale University's Beinecke Library of rare books and manuscripts. Possible authors include Roger Bacon, Elizabethan astrologer/alchemist John Dee, or even Voynich himself, possibly as a hoax.

There are so many competing theories about what the Voynich manuscript is—most likely a compendium of herbal remedies and astrological readings, based on the bits reliably decoded thus far—and so many claims to have deciphered the text, that it's practically its own subfield of medieval studies. Both professional and amateur cryptographers (including codebreakers in both World Wars) have pored over the text, hoping to crack the puzzle.

Among the most dubious is a 2017 claim by a history researcher and television writer named Nicholas Gibbs, who published a long article in the Times Literary Supplement about how he had cracked the code. Gibbs claimed that he had figured out that the Voynich Manuscript was a women's health manual whose odd script was actually just a bunch of Latin abbreviations describing medicinal recipes. He provided two lines of translation from the text to "prove" his point. Unfortunately, said the experts, his analysis was a mix of stuff we already knew and stuff he couldn't possibly prove.

Fagin Davis was among Gibbs' most vocal critics. She also did not mince words when critiquing the 2019 claims of Gerard Cheshire, an honorary research associate at the University of Bristol, when he announced his own solution. Cheshire claimed the mysterious writing was a "calligraphic proto-Romance" language, and he thought the manuscript was put together by a Dominican nun as a reference source on behalf of Maria of Castile, queen of Aragon. "Sorry, folks, 'proto-Romance language' is not a thing," Fagin Davis tweeted at the time. "This is just more aspirational, circular, self-fulfilling nonsense." Two days after the initial announcement of Cheshire's "breakthrough," the University of Bristol released a statement retracting its original press release.

Multispectral secrets revealed

Enlarge / The three columns of lettering discovered on the Voynich manuscript.
Lisa Fagin Davis

Per Fagin Davis, in 2014, the Beinecke Library granted permission to the imaging team from The Lazarus Project to take multispectral images of ten pages from the Voynich manuscript with the intent of making them publicly available online. For various reasons, the images weren't posted. A few weeks ago, Fagin Davis emailed Lazarus Project member Roger Easton of the Rochester Institute of Technology asking if she could examine the images, and he agreed.

Multispectral imaging is useful for analyzing things like delicate medieval manuscripts because it can reveal faded or overwritten text, among other insights. Different substances reflect and absorb specific frequencies of light differently. For instance, medieval inks had a lot of iron in them, so the ink would penetrate the parchment surface more deeply. So even when the ink was scraped away or faded over time, its molecular bonds remained, and those traces fluoresce under UV light. The imaging technique has already been used to examine the Archimedes Palimpsest, among other artifacts.

When the manuscript first came into Wilfrid Voynich's hands in 1912, he noted that the first page had an effaced inscription in the lower margin, applying a chemical reagent to the page around 1914 to make it more visible. He thought he could make out a signature: "Jacobi à Tepenecz," aka an alchemist in Prague named Jacobus Sinapius, who probably owned the manuscript in the late 16th or early 17th century.

Fagin Davis's analysis confirmed Voynich's discovery. She also noted that there was no evidence that the Voynich manuscript is a palimpsest, i.e., parchment that had been reused and thus showed evidence of underwriting. That would have helped refine the manuscript's date of origin. Carbon-14 testing puts the date as around 1425, which Fagin Davis thinks is likely since the illustrations are consistent with that period, but some scholars disagree. Nor is the manuscript likely to be a modern forgery. Per Fagin Davis:

Imagine you are an early 20th-century forger trying to create an authentic-looking manuscript to dupe unsuspecting buyers (or so the argument goes). You find some unused medieval parchment, mix up some ink and pigments using medieval recipes, and get to work. You might even think to add an early-modern signature and annotations to the margins to add to the air of authenticity. But would you then fade those annotations (how would you manage that, anyway?), pour chemicals over them, and then hope that someday imaging technologies would develop that would allow future researchers to read them? Of course not. That line of reasoning defies both logic and practicality. It is much more likely that the manuscript is exactly what most believe it to be: an authentic early fifteenth-century book with traces of its history left behind by past owners and readers.

More recently, Voynich scholars had noted what seems to be a Roman alphabet written in the right-hand margin of that first page. Multispectral imaging clearly reveals the letters a, b, c, d, and e, according to Fagin Davis. In fact, there are actually three columns of lettering, not just one: the Roman alphabet, a series of Voynich characters, and another Roman alphabet, this time offset by one letter. Fagin Davis did her own preliminary transcription of those alphabets and concluded that this is mostly likely an early attempt to decode the manuscript. But who had made the attempt?

Enlarge / Comparison of letterforms: Marcus Marci vs. revealed alphabet.
Lisa Fagin Davis

To find out, Fagin Davis combed through several letters written in the so-called "humanistic bookhand' commonly used by Petrarch and Boccaccio in 14th-century Italy, since the two Roman alphabet columns in the Voynich manuscript were also written in that style. She compared those handwriting samples with the columns in the Voynich manuscript.

One was a very close match: a September 12, 1640 letter to Athanasius Kircher written by Johannes Marcus Marci, a doctor in Prague who inherited the manuscript from his friend Georg Baresch when the alchemist died in 1662. Marci sent the manuscript to Kircher in Rome in 1665, hoping that the Jesuit scholar and polymath would be able to decipher it.

Fagin Davis identified several "strong markers" between the two handwriting samples that she thinks identify Marci as the would-be decoder. For instance, at this time in the 17th century, many people used prominent loops on the letters b, d, f, h, p, q, s, and y, but Marci did not. Not did the person who wrote the two Roman alphabet columns on that page of the Voynich manuscript. Marci also sometimes used an "open bowl" g, an m with a taller first stroke than the last, and a distinctive shape to his z's—all of which are consistent with the handwriting sample in the Voynich manuscript.

That said, anyone hoping this multispectral analysis of the scans will finally solve the mystery of the Voynich manuscript once and for all is bound to be disappointed, although any new textual evidence is significant for scholars.

"These alphabets will likely not help us actually decipher the manuscript," Fagin Davis wrote on her blog. "This is because linguists... and other researchers have established that the manuscript is almost certainly not encrypted using a simple substitution cipher, and the substitutions in these columns result in nonsense anyway. Even so, they do add an interesting and new chapter to the early history of the manuscript. I look forward to hearing from other researchers about this new evidence, especially from experts in cryptography who may have ideas about why Marci or any other early-modern decrypter would need three columns of alphabets to do their work."

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