|No tents, camels, men riding camels, banners, or kings|
|No depictions of aboriginal people|
|No insignia, royal seal, or coat of arms|
|No monstrous humans from explorers' legends|
|No portraits of cartographers or other learned men|
|No angels and no Christ figure|
|No recognizable continents|
|No sea monsters|
|No meridians, degrees, or compass|
|No swords or gentlemen with swords|
|No armies, wars, or invasions|
Lace is hugely varied in its patterns, but often it begins on a lattice (left), which creates a sort of skeleton for the whole. While the Voynich map's rosettes (middle) differ from the lace sample on the right, it is structured on a grid of circles with connectors, as if on a lattice for lace-making, contrasting greatly with a typical renaissance map such as the one below.
In fact, if you wanted to make the coolest pinball machine ever, you'd design it according to the Voynich Rosette Map and have the ball follow the waterways and mountains and caves and bump away from castles and such. It looks nothing like a conventional map of its time. Here are some more examples.
And here again is the Voynich between a framework for and then some finished Vologda lace.
And here of course is some Finno-Baltic embroidery.
Associating the manuscript with women's craft opened me up to ridicule among researchers. However, I hold that its origins are still clear to those willing to see it.
The artists of the map and writers of the manuscript drew upon the knowledge base they'd had on hand for centuries. Cord braiding, embroidery, lace making, chant-singing, timing by the seasons, oddly textured rocks in their region, wind and current patterns, and the outside walls of castles, towns, and monasteries but not necessarily the inside. These were the people on the margin who were supposedly not to have made a trace. They did, anyway.
Wherever in Europe they were from, the authors of the Voynich Manuscript appear to be depicting the Marble Caves of Ruskeala north of Sortavala in the Republic of Karelia or some place very like it. There are, after all, lots of caves and underground passageways in this region.
|As you can see, the water is very green,|
as depicted in the Voynich manuscript.
The Sofporog-Sortavala connection
This is a map showing the distance between Sofporog and Sortavala: 713 km. Ruskeala is about midway between these two points.
The reason this is significant is because of the artifacts discovered at Sofporog in 2001:
A Finnish sacred cave Pirunkirkko ("Devils Church") replete with little rocky passageways is also in Karelia, NW Russia.
Some of the pothole clusters that can be found all over Finland:
Tervalampi hosts archaeological news for this area. Could the route between Sortavala and Sofporog hold more treasures of this kind and perhaps dating during the time of the Voynich manuscript? Has anyone done a dig at Pirunkirkko or at Ruskeala (Rääkkylä, Itä-Suomi) or any archaeological dive?
Below is a well made out of cyclopean stones at Ruskeala. How this well was made in solid stone remains a mystery.
The property on which the well is situated is owned by Julia of Ruskeala, who runs a resort of sorts. Here's Julia...I believe. To find her, go north from Sortavala. per the Voynich manuscript's map, and turn left at the MILK sign, which I don't think made it onto the map. She "indeed sells goat milk and also pork from 'happy organic pigs' that indeed spend their life enjoying the process and then get shot. The sign also invites to partake in cliff climbing and rafting, and advertises to the banya" (spa/bath/sauna). Go figure.