The Voynich Manuscript: Imagery Decoded: Foldout 85v-86r

In this post, I will attempt to demonstrate that I have decoded the largest foldout in the Voynich Manuscript.

I will demonstrate what it is referring to, and how I came to that conclusion, using the imagery of the foldout.

I am not going to express much of my analysis of the whole manuscript.   I just wanted to document, and share more widely, some thoughts I shared online previously.

I’ve made these posts for the scholars of the manuscript, and those who wish to decode its hidden language known as: Voynichese.



The Manuscript is named after Wilfrid Voynich, a rare book collector who purchased it in 1912. He was the first to bring it to the attention of scholars, cryptographers, medievalists, and more.

It is a codex, or book, of over 230 pages, filled with complex and ornately painted images of plant life, astronomy, astrology, and many non-erotically drawn images of naked women doing mysterious things with, in, and, around, water.


Astrology? Aries?


It has cryptic text written in script throughout the book, representing 1000’s of words.  Their decryption has continued to confound those trying to break its code, and has for hundreds of years.  Those who have tried, include some of the greatest minds of the 20th century and today, as well as, their computers.


Much of the early history of the book is unknown.  The, seemingly, most accepted story is; it was sold to Rudolf II, during his reign as Holy Roman Emperor, around 1582, for 600 golden ducats.  It then passed to his Court Pharmacist, who, one would assume, had an interest in the book, because of the many pages full of imagery that evokes the ideas of pharmacology, herbal remedies, and other healing arts.

What appear to be recipes, using a variety of roots.

It then passed from, owner to owner, until reaching Mr. Voynich.  Many previous owners falling prey to its mystery, and all seem to imbibe it with great value and importance.  Wilfrid Voynich, included.

I am not going to take the time to tell the full history here.  It is available in many forms elsewhere.  A short article I would recommend is; The expertly written, and concise article: Secret Knowledge or Hoax? by Eamon Duffy, for the New York Review of books, from the, 20th of April 2017, edition; announcing the book; The Voynich Manuscript, edited by Raymond Clemens, with an introduction by Deborah Harkness. Beinecke Library/ Yale University Press.

How I Arrived Here

To better express how I came to my theories, I will attempt to explain how I read the imagery in a painting or illustration, that is of sufficient complexity in its nature, and possesses communication intended to be read.  The foldout I will be discussing is more than sufficient, and it was, designed to be read and revealed.

The methods, and systems used and described, are of my own creation, from my self-educated mind.  They work for me.  I have no idea what methods are taught in schools and universities, or if I could explain them beyond the rudimentary form I present here.

There are usually three levels of communication in imagery of this nature, each giving a deeper understanding of the overall communication.

  • Level 1 – This is the orienting level. What are the most rudimentary things being communicated?  And, what does that reveal?
  • Level 2 – This level is the main communication. It reveals to you, what you need to know, to understand the imagery, and its main story.
  • Level 3 – This is esoteric knowledge, that varies, depending on subject matter. It is for the initiated, and those with certain knowledge, gifts, and/or skill sets.

I will only be discussing, essentially, levels 1 and 2, of this imagery.

Level 1
Beinecke Manuscript 408, foldout 85v-86r

The first thing you notice, are the circular objects, which I will refer to as: Rosettes.  One on each of the four corners, one on each of the four sides, and another, in the center.  The eight “outer” ones are all connected with dramatic imagery, but the center “inner” one is only connected to the side rosettes, and in a much more subtle manner.

I started with the corner rosettes, and their connecting imagery.

The left side has an abstract image of an eye, in the bottom rosette, and a mouth in the top rosette.  Which leads to a small pattern, leading to a working hypothesis of; the four corner “rosettes” representing four of our senses, and/or the organs we experience them through: The Eye (sight), The Mouth (tasting), The Ear (hearing), and The Nose (smelling).


As I said, it is very easy to see the somewhat abstract representation of an eye in the lower left rosette, and, the next rosette incorporates the same image communication, with an abstract, but recognizable, representation of a mouth, teeth included.

Scary “Capturing” Teeth

The top right corner is where a significant change takes place in the manner in which the concept communicated is evoked!  Now, there is no obvious graphical representation of a body part, instead; it uses imagery of the place or places, you would experience it.

An ear, is replaced with an image of; large crashing waves whose volume and repetition echo off the great walls, of great castles, and swirl into your ears with the roar of a whirlpool.  Still an ear; but with more complexity, and further communication.


Although, it could be argued there is an abstract shape of an ear.  The large white wave being the lobe, and the circular white star field and swirling words, constituting the rest of the ear.

This change in manner of communication continues with the bottom right corner rosette, and completes a bi-section of the foldout.

One side communicates in one style, and the other side communicates in another; while still maintaining the unifying theme of these senses.

The bottom right rosette, is the only one I am going to rotate to orient the image, to impose a certain point of view.


I am claiming this represents the nose, and the sense of smell.  The manuscript creators do this through the commonly used imagery of the Spice Bazaars, of the Middle East.

If you are still debating if they really are referring, in some way, to those organs.  There happens to be an interesting, and validating, further communication in the secondary imagery of these rosettes.  There is; the connecting of each of these senses, with their complementary sense.  The imagery is abstract and conceptual, but does point to connecting the senses in which we understand, and perceive, to be connected.

The eye rosette, is connected to the, ear rosette.  Our most dominate senses used to perceive the world around us, and they truly complement each other, in many ways.


In this imagery, the ears (c) are sending and the eyes (a) are receiving.  The receiving represented in a “BANG” and a horn, directed at the eye rosette.

The mouth rosette (b), is connected and sending to (4d) the Smell rosette.  What we think of as taste, is the combination of flavor (b) and smell (d).  These two are therefore, truly connected, in obvious ways, both in our mind, and this communication.


At this point of the reading of the communication, one discovers, what in my limited experience, is a rare event!  There is further important information being communicated in the connecting imagery, between, the outer rosettes.  This, is to continue orienting the viewer, as to what they are looking at, and represents a level 1.5 of communication.  This imagery communicates how the four senses referenced have other connections to each other, or a lack thereof, and how that reveals the next level communication.

Level 1.5

This communication is achieved through the use of imagery of, real and tangible things, connecting certain “senses” and, ethereal non-corporeal things, to show that there is no connection established between others.

Once again, starting with rosette #1, The Eye.  It is connected, to the rosette on its right, and the one above it.  This is shown by representations of what I am calling, walkways.  I have highlighted the passable walkways in white.


Swallowtail battlements line the walkway to the bottom side rosette…


and a wider path with lookouts, facing right and left, leads to the left side rosette.


The side rosettes can be passed through as long as there is a walkway, on the other side; which the left side one, does have.  An especially, large and winding one, actually.  Which means the eye, and the mouth, are connected.


Is the Eye connected with the Nose, on the other side of the bottom side rosette?  No.  There is no walkway, just airy clouds, that cannot be walked upon.  I’ve highlighted the non-passable clouds in grey.


Moving to the Mouth rosette.  We already know it is connected to the eye, is it also connected with the ear?


As, you can see, the mouth rosette, has wide, and especially charming, walkways coming out of it, and passing through the Top Rosette, with the most elaborate and secure walkways displayed in the imagery, and clearly connects it with the Ear.  This connection is being communicated to be an important connection.

The Ear Rosette, is connected with the Mouth through the great walkways.  What about its connection to the Nose rosette?


It too, has dreamy clouds blocking the path.  It is closed off from the Nose, just like the eye was earlier.


This is referencing; Verbal communication.  The eyes, the mouth, and the ears, are used in verbal communication, the nose, is not.  The nose is separate.

This level 1.5 communication alerts the viewers, who possess the necessary knowledge; what this is, what is being referenced, and how to read further.

All of those aspects will be concerning to many.

In fact, I think I need to take a minute to express some thoughts about what I am going to share.

I believe this book was a fraud, constructed by a charlatan.  Therefore, the information contained is fraudulent and powerless.  The specificity of what I am going to share, can become concerning to some, but it had to be there, to be able to pull off the fraudulent sale of this book.

That being said, I am still taking the precaution of not revealing the meaning and necessity of many aspects of the imagery discussed.  It takes us to places thought of as evil, to most.  I, again, do not believe this is real evil knowledge, but it has the power to waste time and lives chasing nonsense that just pulls you away from the only real power.

Please, DO NOT waste your time chasing inferior knowledge and power. 

I am giving one last warning for those of you who do not wish to have any knowledge of possible satanic origin…turn back now.

Voynich Post #2

Now, What or who, is going to engage in verbal communication?  The Scryer (a medium who claims to have the ability to commune with spirits), will be communicating with the summoned spirit, or demon, as most knew them to be.

astrologer, gettin help by a demon.jpg
An astrologer looking at the sky with a demon inside a circle (London, British Library, MS Royal 6 E VI, f. 396v, London, c. 1360-1375)

This practice was undertaken for the purpose of acquiring; Secret Knowledge.  This had become a great topic of discussion amongst the Noble Families of Europe ever since Albertus Magnus, Thomas Aquinas, and others began separating; good and Godly knowledge from, dark and demonic knowledge.

And, no matter what you believe about the placement of the demarcation line between good and evil…This type of magic has always been on the left! (which is the evil side, in the medieval maps of, the separating of these types of knowledge.)

Level Two

This Foldout communicates a number of concepts about; the process leading up to the communing with the spirit, what to expect during the session, and how to help yourself if you get “lost”.

necromancer inside a circle.jpg
Necromancer setting up his circle.  (venecia_biblioteca_marciana, MS lat. VI 245)

“You are going to be speaking with a demon,” says the mouth.  (Verbal communication, using eyes, mouth, and ears.  Level one, just told you so.)

“He is going to Lie and Deceive.  He will confuse your Ears…


…And he will confuse your Eyes!”


Both of those rosettes communicate a confused straining mind, trying to remain in control of its faculties, as its senses are being assaulted and confused.  These are defining what is to come… Once you conjure the spirit.  Reminding the scryer, this is a contest of powers, a battle of wills.  Either, It will control the scryer, and pull him away… or, the scryer will have been properly prepared, and will control the demon, giving him the power to pull out its secrets at will!

The uninitiated may ask, how do you battle when your Eyes and Ears are being influenced by an otherworldly power?  And, how could you possibly find your way back if, it pulls you into its realm? You rely on the one sense it can’t fully confuse, or eliminate, it can only attempt to dominate: and that sense is, Smell.

Nose with side rosette.png
The corner Nose Rosette with Side Rosette.

The Side Rosettes communicate how to setup the space.  The side connected to the Nose Rosette, with walkways, is where the Scryer would place an incense burner on a mirror.


Before the contest would begin, the scryer would fumigate the room with specific incense and perfumes.  The smoke was thought to purify both the space, and the participant.  But, God forbid, perhaps the more important aspect will be its ability to be his anchor to reality, and his way back home!

I again, do not wish to reveal too much about these things, but will include a little more about the side rosettes.

Top side Rosette, a Candle is placed.
Left side Rosette is where a candle is placed on a mirror.
The “Candles” as they are, and oriented up.

There are many tasks, and events that must take place during this initial battle of wills… but, if the scryer has done all his “works” truly and faithfully, he will be victorious, and will have subdued the Ancient Maw.

The center, separated rosette, represents the logical mind of the scryer after the battle has been won.  He has conquered the demon, and has the mouth controlled.  He has regained his senses, and controls its deceitful chaotic speech.  He will be able to read the communication from the demon, in his mind, like the stars in his, diviners bowl, that now fills and controls the demons mouth!

subdued tounge
Controlled Mouth of the Demon, giving up its Secrets.

Was anyone ever able to use this book to conquer the mouth of a demon?  I don’t think so.  I think this chart, is just more amazing specificity, that could be shown to the many patrons/victims.  Some may have even paid to see this book, with its enchanting promise of a powerful mystery on the verge of being revealed and subdued.

Rudolf paid a grand sum to possess it.   And, many have paid the high price of lost time, loosing themselves, in its mysterious pages.


I hope I have helped the cryptographers out there, by giving them many specific words to hunt for, in very specific places.  Good luck!

Because, I really want to know what these women are up to!


I have only begun researching this manuscript, and have only revealed a fraction of my perceived understanding.  I think, I have demonstrated I have the ability to read these types of images, so I am not trying to boast when I say, I gained this level of understanding of the foldout in a very short time.

Because I am so new to researching this manuscript, and do not have access to certain research materials, or personnel, it will most likely be awhile before I can acquire enough evidence to justify presenting anymore of my theory.

If you would like to see more posts about this… and you are someone who can legitimately assist me in my research, or can highly motivate someone who is… contact me.  I have more information about the Voynich manuscript, and it is as detailed, and specific, as this information was.

The recent announcements of the language being a version of Hebrew, is what my theory predicts.

The two posts that are the rough drafts of this one.

Voynich Manuscript: Early Thoughts on the Imagery in the Largest Foldout

Voynich Manuscript: Foldout Level Two: Speaking with Demons

I have not, seen, heard, or know of, these concepts, in the context of this foldout, (except the eye and mouth, of course.) being communicated anywhere else, and were the complete product of my own brain and understanding of the world.  And, family and friends, I have never studied any dark arts, just history!  Mutemandeafcat 2018

Copyright © Mutemandeafcat 2016-2023

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