Hello! I’m Vladimir Aristippus Robespierre from Moscow, Russia. Last year, I published a report in which I explained the meaning of some drawings from the Voynich Manuscript. Since then, I have come to understand additional details and identified a historical context that closely aligns with my reading of the drawings: the author of the Voynich Manuscript held views highly consistent with Neoplatonism, a perspective that featured prominently in late medieval natural philosophy. This report details those new observations and updates a few points from my previous analysis based on further findings.
By examining the illustrations not in isolation, but within the context of the entire manuscript, I trace recurring visual motifs and color codes, which I refer to as “Voynich lore”. This holistic approach allows me to identify structural parallels and clarify the meaning behind many of these elements.
This report is also a natural continuation of my Reddit post ‘The word “tolor” means “fertilization”’, which became “Top Post All Time” on the Voynich subreddit just two days after publication. Here, I show that every single piece of parchment containing the character sequence “tolor”, which appears only three times in the entire manuscript, describes the exact same process: how the soul comes into this world after a man has fertilized a woman. Though each series of illustrations features different imagery, such as plants, nymphs, and stars, they employ a shared set of visual codes.
The largest fold-out diagram fRos serves as the conceptual core of the manuscript. It maps the interaction between the human soul, the sensory apparatus of the body, and the sensible world, a composition resonant with Neoplatonic concepts. The layout consists of a central rosette representing the brain, peripheral rosettes corresponding to the five senses and speech, along with reproduction and the sensible world. The grouping of the five Aristotelian senses and speech together follows the model of Ramon Llull, an influential medieval philosopher whose widely circulated works the creator of the diagram was very likely familiar with.
The present study demonstrates that the Voynich Manuscript is not a collection of scattered illustrations but a holistic system united by the Neoplatonic philosophical tradition. The key result of this work is the revelation of the internal logic of the manuscript. If the pages are considered in isolation, one can put forward a multitude of different hypotheses, but when the drawings come together into a coherent whole, their mutual consistency becomes so complete that the probability of an erroneous interpretation yielding such systemic coherence approaches zero.
Knowledge of the actual meaning of the illustrations immediately eliminates dead-end research directions. Once it becomes clear that the plants are stylized diagrams, the stars denote souls, and the nymphs are not bathing women, there is no longer any need to search for real herbs, astronomical constellations, or balneological recipes. Grasping the theme of the pages narrows the space of interpretations and directs research in a productive course.
You can download my new report here:
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Hello, thanks to @Pierre Dumont Himself, i was made aware of a few extremely interesting manuscripts from King Alfonso X's Scriptorium with regards to the zodiac. I wish to understand exactly what was being depicted in these and how it may relate to the VMS.
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All 3 of these manuscripts contain a section, seemingly about the constellations, including -but not limited to- the zodiac. In this section each constellation/zodiac sign is placed in the middle of a set of concentric circles, surrounded by the degrees associated with the constellation. This seems incredibly relevant to the VMS, and to date is the only work I've seen that comes close to the VMS style in any respect.
But seperately, I came across a You are not allowed to view links. Register or Login to view. from ReneZ in the zodiac 101 thread, linking these to Cod. Pal. germ. 832. This manuscript contains a work that until now I didn't quite understand: each zodiac sign followed by many squares, each containing a depiction of something.
Including cpg832, I have come across 3 sources containing this work:
You are not allowed to view links. Register or Login to view. (and other prints like in You are not allowed to view links. Register or Login to view.) - Venice, Italy
You are not allowed to view links. Register or Login to view. (1491-1501AD, Regensburg, Germany S)
You are not allowed to view links. Register or Login to view. (~1500AD, Torgau / Wittenberg, Germany E)
Interestingly, the origin of this work is linked to You are not allowed to view links. Register or Login to view. in Venice, who was a printer from augsburg, but was first active as a printer in Venice (1476-1486) and then later returned to Augsburg. This work clearly migrated north to southern germany and was copied, and then further north to be copied in eastern germany by the turn of the 16th century.
Now, the works from Alfonso's Scriptorium were apparently copied from aramaic and arabic works, with Lapidario (h-I-15) apparently being sourced from an arabic book owned by a jew in Toledo. This was translated into spanish -and had extra content added to it- over a undetermined amount of time (years?, decades?).
The question is this: do these works have a common origin in some way? Are they representing the same content about the degrees of each sign, or were these concepts developed entirely seperately?
If there are more examples of either of these works (including text only!), perhaps it will become possible to link certain aspects of them the VMS annotations.
P.S What should I name this category of work for the spreadsheet? "Zodiac Degrees"?
On f10v, I found one word that seems quite interesting to me.
Takahashi has this ShcTHey. But for some reason, it seems to me that interpreting the word here is more difficult. It could be sheTchy, sheTHHy, or sheTeey.
Given the possible relationship between the symbols e and c, as well as ee and ch, I would suggest that cTh (like other gallows on the pedestal) is simply a stylistic embellishment of the spelling ete, with the addition of a line crossing the gallows.
Interesting cases of spelling e and hangings can be found on f67r1:
In two cases, ep stands before a. If a = ei, then a good combination of epe would result.
I think there could be some writing or something like that under blue paint in one part of You are not allowed to view links. Register or Login to view. folio.
I altered the picture with graphic editor changing stuff like hue, contrast etc. :
For me it seems a bit like letters " k o ń r "
"Koń" is "horse" in Polish but I wouldn't go that far
Do you see something too or is it just some random noise for you?
[attachment=17097][attachment=17098][attachment=17099]
I compared first vs last words in each line - and cloned the Voynich with a 15th century paper machine. Hi all,
Long-time lurker. I had a simple idea that I haven't seen visualized this way before:
What if we take only the first word of every line and only the last word of every line from the same page and compare them? If it's a natural language, they should have the same statistics. If it's mechanically generated, they won't.
I did it on f1r-f8v using the Takahashi transcription.
Results:
First words: avg 5.8 chars, 68% start with gallows qok- / qot- / p- / f- / t-, heavy suffixes like -aiin, -ain, -chor
Last words: avg 4.2 chars, 63% have NO prefix at all, 71% end in just -y / -dy / -ol / -ey
First words NEVER end with bare y alone in my sample, last words do it 13 times out of 35.
This is not a linguistic pattern. This is a layout pattern. The scribe needed a long impressive word at the start of the line and a short filler at the end where he ran out of space near the drawing.
Step 2: Reconstruct the scribe's table
I segmented the first words:
qok + aiin, qot + aiin, p + che + ol etc.
It breaks down to 3 columns:
Col 1 (Start): qok, qot, qo, p, f, t, k, ch, sh
Col 2 (Middle): k, ch, ai, ee, o
Col 3 (End): aiin, ain, chor, eey, edy, y, dy, ol, or, chey
First words = Col1 + Col3 (long)
Last words = Col3 only (short)
Exactly as Gordon Rugg proposed in 2004, and Timm & Schinner in 2016. I just re-discovered it via the first/last trick.
Step 3: Clone it
I built a generator from that table and generated some completely new botanical pages. No AI language model, just paper grille logic.
The result is - 10 pages of plants that never existed, with text that is statistically identical to the original.
[Here are the 3 analysis charts I made - first/last length and prefix distribution + reconstructed table]
(attach voynich_analysis.png and voynich_table.png)
Conclusion:
I didn't decipher it. I think we proved the opposite - that there may be nothing to decipher. If we can generate infinite new pages that pass the statistical tests with a 15th century paper machine, the original is probably the same trick. A medieval chatbot to sell as a magic book.
Happy to share the code/table. Curious what you think - is the first/last analysis convincing enough as a visual proof for newcomers?
This one is a single leaf found among the volumes of Cod. Sang. 1396, a series of fragments from the library of St. Gall. I have not scored it comprehensively using Koen and Marco's rubric, but it is very good:
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Hello everyone,
i am new to this voynich manuscript , i have been studying it for about 1 week, i found very close patterns that this is the exact way of writing magic in the book that teaches magic in Arabic its called
شمس المعارف الكبرى
also you can download it from here You are not allowed to view links. Register or Login to view.
NOTE:
1- DO NOT USE THE ENGLISH TRANSLATED LANGUAGE
2- DO NOT USE OCR
3- DO NOT USE AI TRANSLATIONS
they are all going to give you WRONG results
try to find Arabic Originally speaker with *(FUSHA)
شخص يتقن اللغة العربية الفصحى
then you will see amazing results including
Tables -> magic words creation ((my theory: those texts are not language they are a decode each letter equals a word that is translated))
i dont have enough resource or time to complete it fast but i am on the journy
i anderstand from the Turkish decoder claimer video that was recorded from the voynich ninja that this is not prefered to just add a note and ask everyone to participate or it could be only related to the theory writer alone that he is the only one who could decode it
but i feel the importance of sharing this at this stage
for example in this photo Screenshot 2026-08-08 at 5.35.28 PM attached has been recreated using open ai image generation
the ai generated photo is in ChatGPT Image Aug 8, 2026, 05_49_02 PM.png which is absolutely wrong words for most for example in the middle its written
ترشد
but in the translated ai generated trial is
سعيد
and many others are wrong
also in page 237 there is a way to use the *(DARK LETTERS) as correctly translated
you can see it clearly in the image attached named Screenshot 2026-08-08 at 5.42.26 PM
so this is more a hint of why this voynich manuscript has 2 diffrent patterns *(Maybe)
why many arabs muslims wont participate? because magic in islam even reading it is forbeddin and can take you out of Islam as you belive that there is another power beside God power
so if you want to find a person who have time to read the original 550+ pages of the Shamis Al Maa'rif Al Kubra book and try to help in decoding it might be a very hard task you need probably none muslim Arabic Fusha reader freelancer / free timer who can help in this decoding process and how to write using those numebrs
step 2 could be changing those numbers letters to similar numbers and try to find the correct translations
PS: most of the arabic names in the arabic manuscript are Gin names and very hard even to pronounce for arabic speakers the translation should respect the correct way of writing them and pronouncing them to rearch or accurate results in the trial
anyway i will try to allocate some time to help in the decrypting process if i have some time to keep reading and trying
NOTE: this is not a claim of fully decrypting or a real solution this is just a pattern that i saw and wanted to share
A diagram from a prayer book. I can’t read it because I don’t know the required language.
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What is this, and how might it be related to f57v?
The symbol z looks like a small version of k and appears very rarely in the manuscript. I counted it 3 times; only 2 are present in the transcription by Tahakasi.
It appears once in Botany (f17r), f58r–f58v, and on the diagram f67v1, and it is repeated twice in the word.
And this is definitely not k, since the scribe of Astrology has no problem writing this gallows. This is also not a distorted ch à la Ih, because there is a loop there.
However, this sign does not appear on f57v, where x is featured.
Of course, ch doesn’t appear there either, but still…
I suggest that this letter is similar to i/n or r, because in all cases (except for f17r) it comes after a.
What do you think about this letter? What can it tell us about the manuscript’s cipher?
