General Style & Other, which I feel suggests Drebbel may be the author of the Voynich. Click here for the main site of the New Atlantis theory:

Voynich Manuscript
Cornelius Drebbel

These stars are found throughout the Voynich.

These stars are from an engraved frontispiece by Drebbel. Although the Voynich stars are penned, and these have been engraved, there is a close similarity to the syle of both. They are also all six-pointed.

The hands in the Voynich... simply represented by a few strokes.

Cornelius Drebbel treated hands and arms in much the same way.

These women are from the Voynich. I've mirrored the image to align the face in the same direction of Drebbel's woman to the right.

Here is a face of a woman scanned from my copy of Drebbel's 1597 map of Alkmaar. Unfortunately the dotted structure of the printing process shows. But it is clear there is a look and style to the woman's face which appears quite similar to many of the woman's faces in the Voynich.

Here are some additional Voynich woman with various braided hairstyles and "caps".

These Drebbel women have braided hair. the one in the left clearly with a "snood", or hair wrap of some kind, with braids on the shoulder. The woman on the right is from my 1604 engraving, "The Judgement of Solomon". She has the hair up in a braid, which would give a ridged hairline if seen from the front.

Compare the colors in the above images. The two outer selections are from the Voynich, the two inner from Drebbel's 1597 map of Alkmaar. Look at the hues and tones of blue, green, tan, red, orange, brown. The tube has very similar two-tone red/orange, which is found on the rooftops, and the dress of the couple. The blue of the tunic of the man has a similar blue, with similar application, to the Voynich flowers. There is no proof here, only the suggestion that anyone capable and equipped to create one, would certainly have the ability to create the other. Click on the above image for a large version.
"On the Nature of the Elements"

Cornelis Drebbel wrote On the Nature of the Elements and how They Bring About Wind, Rain, Lightening, Thunder and why they are Useful  in 1604. It was reprinted in 1608, 1621 in Latin, German, and reprinted in Dutch. The first part is an overview of the four basic elements, water, air, fire and earth. Whoever wrote the Voynich, I always felt that f86r, from which are clipped the images above, was representing the elements. You have a bird in air, and a bird and plant in earth. The water is decending like rain, and the fire is rising. And if it is fire, then a man is shown "throwing it", which could be interpreted as creating it, or starting it (Drebbel was known for his firework displays in Rudolf's court, too).

When I found the image of the two engraved birds, left, above, I thought how much they looked like the birds from f86r. And look at the placement of them in their original context... they are up on a mound of earth, much like the sitting bird of f86r is on it's mound.
But it gets more interesting, beyond these comparisons. First of all, the engraving is by Michael Maier. He was Drebbel's editor and publisher, and spent some of the same time in Prague and London as Drebbel. But combined with that is the fact that Maier is using the flying and sitting birds to illustrate the elements air and earth, in just the way the birds of the Voynich are arguably being used. From Adam McLean's excellent site:

Some of Drebbel's more original observations in The Nature of the Elements (published by Michael Maier, see above) are concerning the relative expansion of air and water, and various results from heating and cooling. He used these principles in many of his devices: The perpetual clock, the drainage pumps, his fountains, and his chicken incubator thermostat, among others. Although many of the VMs tubes look organic to me, look at the above tube from 77r. It clearly shows various "substances", in different forms, issuing from the tubes. Drebbel wrote, " So winds draw together again that were forced out by warmth, as may be clearly seen if we hang an empty glass retort with it's mouth in a vessel of water and the convex side towards a hot fire... winds come bubbling out of the mouth of the retort... this will continue as long as the air continues to grow warmer. But when you withdraw the retort from the fire, and the air begins to cool, then the air comes back into the retort and gets coarse and dense, so that in consequence a great part of the glass becomes filled with water...", and, "For as much as water is coarser and heavier than air, by so much does it expand more and grow larger when heated. Yes, many thousand times more." And, "...if we seal an iron pot and introduce a drop of water into it through the hole, the water will immediately be expanded and will issue forth from the hole with much noise as a rapid current of air". Think of these observations of Drebbel's, and then look at the tubes of 77r, above. They may also represent, again, the elements, as from left to right they look like air, water, fire and earth. The middle one? Empty for some reason.


Above is the only sample of Drebbel's handwriting I have been able to come across so far. Other samples of his are engravings, which are much more formal and "stiffer". To my lay eye, I see many similarities and many differences to the VMS sample below. For one thing, his proclivity to large loop flourishes is similar, such as his upper case "F", "C" and "L". But he seemed to treat his tails differently, for the most part, than the VMS author. Then again, his "a's" and "o's" are written similarly to the comparable "letters" in the VMS. For another similarity, I've highlighted the "c" in Drebbel's "ich", and the "c" like symbols in the VMS below. They appear to have been formed with the same stroke.

Above is a VMS sample, of course.

The stroke and pen angle of the "a's" are virtual identical.

Drebbel frequently used the unusual "c", which has a straight top bar connecting to the next letter.

The "o's" are also formed with the same strokes in both the Voynich and by Drebbel.

Drebbel's Signature from the letter.

Drebbel's formal engraved writing, and fancy signature, unless an assistant added this writing to his engraving. From "Judgement Of Solomon", circa 1604.