An unverified postulate about a strange rhythm between Universe and Earth well rendered by an almost uncertain alchemical source: the Voynich manuscript.
I didn’t put this article in Alchemy & Nature category because I didn’t trust it as sound and reliable. But ……..if true, this ancient oral tradition might explain some missing ring in the alchemical chain. Some hermetic pictures put on display a kind of “back to the Sun” recurrence, an intimate communication between Earth and Sun.
We have already seen the first part of this transmission, from Universe to the Earth, in my article on the Pythagorean dry river. But now we are before an extra theory of all astronomical beings (or objects) within Universe being joined together by a reverse mechanism, which might seem as a kind of rhythmical breathing.
The concept of “there and back” is also considered by divers ancient alchemical treatises, among them Nuisement’s “Poème Philosophique de la Verité de la Phisique Minerale” (1), but no one does provide a verified origin for this knowledge, being from the uncertain world of oral traditions. And we have to take it as it is.
The image in Voynich manuscript we are examining epitomizes this rhythm concept, and availing itself of the universal evocative power of images can carry more meanings than a written page. As mentioned above there are other hermetic images to represent the same subject, but in a way in which Macrocosm and Microcosm, that’s to say vessels and human Souls, seem rather involved and give to our astronomical system just an evocative role, as we can see below in the Compass der Weisen, Symbola Aureae Mensae engravings and an Albrecht Dürer’s pen drawing portraying Apollo holding his inverted name.
The Voynich image is unquestionably astronomy rooted, and indeed we can use it to introduce a postulate which seems rather incredible, and goes above and beyond the above mentioned naive ancient hermetic idea of a planet Earth engaged in an intimate rhythm with the Sun and Universe. I said naive because this theory so often fails of explaining how this Earth-Sun rhythm could work. To help us another unverified legend somewhat unveils the unknown part of the rhythm. The following can instead be hardly found in any alchemical treatise. But I have to warn you there are no historical written references to support this theory and, what’s more, no scientific evidences. Additionally, it is against our present scientific sense. As sometimes uncertain oral traditions are.
The Voynich manuscript is composed by 204 pages, several images, and an absolutely indecipherable writing part. The manuscript was purchased in 1586 by emperor Rudolf the second for some exaggerated 600 gold ducats. The mindless expended amount of money and the writing part clearly not showing signs of a logical system of communication, since the beginning made think of a fraud. Nevertheless, if the written part is unreliable, the same cannot be said of the images, often more generous than most of contemporary and more trusted hermetic collections.
The manuscript happened to be in Athanasius Kircher hold, to finally end up in a Jesuit monastery in Frascati, near Rome (being Kircher a Jesuit in Rome this should not surprise us). It was there that a russian antics dealer, Voynich indeed, discovered and purchased it in 1912. But let’s have a look at the picture now.
What at a first sight might easily seem as our astronomical Sun could instead be an ecliptic rendition. In fact the ring around the central face generally does represent the Sun path around our Earth. Of course here we are in an uncomfortable, for us moderns, Ptolemaic or geocentric environment (2).
This extravagant solar system representation was the unique possible back at the end of the sixteenth century, but in no way it should represent an obstacle to our comprehension. I try to explain myself better: whether or not the central face, and so the main actor, is the Earth, nothing changes in the last grand total. It is just a cultural reference frame. What’s important to us is the belief that even Sun, as well as Universe, can periodically black out to allow what we think to be “dead” matter to send back in its turn. I have already warned you to take this as an archaic postulate. Of course it is very unlikely that the “matter” to be sent back be something owing to light range spectrum. Could we think of our Sun releasing light waves in a blinking way? If yes, our eyes could not perceive it, but a continuous sequence.
Pierluigi Ighina, a Guglielmo Marconi’s (3) disciple and helper, illustrated this extravagant, and very ancient though, idea with the help of optical illusions. He said: ”A sudden flash of light can blind us, but also the projection of a film blinds us, from the moment that it makes us to see a continuous and coherent movement on the screen, what in reality is continually interrupted from shades that are inserted among the single frames. In fact, in the moment in which the shutter cuts the bright bundle of the projector, it hides to the sight, the interval that separates every single frame from what follows it, offering us so a continuity of vision entirely false in itself. That instants of shades not warned, but that representing also a substantial part of the film to which we assist, from the moment that it have a duration almost equal to that in which we perceive the bright images.”
Ighina went beyond affirming: “ We see only a part of the reality, from the moment that also the light of the Sun is rhythmic and pulsating, since it reabsorbs in itself as shades unnoticed by human senses, the reflections of its light, that it not only receives from the Planets, but also from the Universe“. I don’t know if Alchemy does involve light range spectrum so deeply. As a matter of fact Alchemy does work better in a deprived light environment. And we have to be very careful to identify Secret Fire as light (in fact it would rather appear as having flowing attributes). As well as trying to force our Art to involve polarity.
But it is a fact that we, from time to time, read on ancient treatises of the necessity to “extract a shadow from its ray” (4). Since the rule of three provides at least three different meanings for the same symbol, we are allowed to add something else to the standard signification of return to a black phase after a white luminous one. Thus is the alternation of light and dark in our Universe a physical reality? Is our blinking Sun just an idealistic idea? We do not know. Nevertheless that’s could be the only way to admit this kind of rhythmic “Love” between Earth and Universe. Or perhaps Ighina doesn’t take into consideration the possibility that the direct solar light may instead be an environment to be shielded, instead, as we will see in the article on Albrecht Dürer’s Apollo (5), in fact to “extract a shadow from its ray”, may indicate an environment all but under our astronomical sun. But let’s see now how the Voynich ecliptic image can help us with.
We can see red beams disposed around the inner circle. Supposing they are solar beams, we can easily guess the blue ones as owing to the Earth or Moon, beside them white beams teeming with stars seem to return to the Sun. In a more probable geocentric system, the central Earth is receiving from Sun ( blue ones) and from Universe (starry ones). I have mentioned above how the Voynich writing part doesn’t show signs of a logical system of communication. So we cannot avail ourselves of it.
- See also San Miniato Sun Path or the Sky as Seem From the Earth ;
- Gugliemo Marconi was the first to develop shortwave transmission over long distances ;
- See also Aiòn, Light & Spirals of Immortality ;
- See also Thesaurus Hermeticum & the Dry Pythagorean River , Two Stars in Venetian Geocentric Sky and The Pythagorean Thigh in the Northern Sky ;
- See Albrecht Dürer and the Backwards Apollo .