Simile Ergo Sum

There’s a strange existentialism about Voynicheros’ attitude to imagery. “It looks like, therefore it is” seems to sum it up.

Which makes me wonder why I have so many keen readers, since this whole blog is about methods and results from analysing imagery in ms Beinecke 408 – and explaining the inferences with some historical and technical detail – the last being matter which takes time to acquire, I agree.

What is even more curious is that while I can certainly find references to my research and its results online, I have never once found my name attached to any – not even word for word copies. I’m not a ‘name’ in Voynich studies.

So to see efforts to imitate the results of my work is sometimes amusing: how another might  explain their including the Kudzu vine (for example) in a “European herbal” I can’t think.

Among related internet rumours at present is one severally times repeated to me privately:  that all the online results, especially those relating to  f.86v and links to Trebizond and the Mediterranean portolan traditions and so on are to be ‘reworked’ and published without credits.

Such practice is not unknown, but on balance I think this is unlikely.

First, because as far as I know, every other Voynichero is interested in everything *but* the imagery’s formal analysis, the conclusions which I drew from it,  and the brief historical and technical notes given here.

Secondly, because for people having the relevant qualifications and experience – dare I say it – the world of medieval manuscripts contains a great many subjects that are more beautiful, and even more interesting than this one.

For mine, I have to say, this research is done for pleasure. Which is why my research diaries and bibliography – all duly logged of course – outweigh what you see here by a factor of roughly ten or twelve to one.

Perhaps its less a “Curse” than a disease, this interest in ms Beinecke 408? “Contagion through the eyes” they might have called it in medieval times.

fn: The Curse of the Voynich was the title of Nick Pelling’s first book on the subject.

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