An brief overview of the Voynich/New Atlantis theory:

As I began to study the details of Francis Bacon's seminal science fiction work The New Atlantis, I became intrigued by the really startling parallels between it and the mysterious Voynich manuscript. Both books contain unidentifiable, grafted plants. Both contain unidentifiable animals. Both contain a unique language or cipher of some kind. Both relate to astronomy and astrology in some way. Both include nudes in communal baths, and the Voynich may also include healing baths, as the New Atlantis does. Some of the clothing described in New Atlantis, such as a green turban, and an azure robe, are in the Voynich. The New Atlantis describes a vellum book, high towers, deep caves, lofty heights. The Voynich is a vellum text, with images of towers, at least one cave, and heights.
I do not believe any known text matches the Voynich on so many points as Bacon’s New Atlantis does. It is true there are hundreds of similar looking “herbals”, and “pharmas”, but in these, most of the plants are identifiable, and not usually shown grafted.  There are baths, zodiacs, ciphers, nudes and animals, in various manuscripts, but never all at once, as they are in the Voynich and New Atlantis. But if we go further and accept the possibility that certain of the “jars” in the Voynich are microscopes, as I do in my Voynich\Drebbel Theory, we have another simile. Because as I stated, the story of New Atlantis also includes microscopes.
Further, the “rosettes page” of the Voynich, which has often been seen as a map, has a medieval type T/O map in the upper right. These maps show what was the known world as a circle, with a “T” dividing the continents of Asia, Europe and Africa. So if the artist’s intent was to draw a map here, it was a map of a place outside the known world. And Francis Bacon’s Bensalem (the island referred to as “New Atlantis”, as Bacon felt the Americas were the actual Atlantis) was an island outside of the known world. It is on this page that we see the castle towers, the caves and heights. And in the very center is some sort of pillared structure, just where the House of Solomon is described as being in Bensalem. It is “at the eye”, according to the narrator from The New Atlantis.
All of these facts and similes have led me to theorize that the Voynich may have been created by someone, possibly Drebbel, as a token artifact to accompany, represent or illustrate the Bacon story in some way. If this is the case,  it would probably have been made to look older than it was, because it would have been meant to look as though it were from the ancient civilization of Bensalem. And the Voynich, while reminiscent of an older, medieval work, somehow gives many viewers a sense of having been created in the early seventeenth century. This, even by some of those who strongly profess it must be older.

There was a circle of men, which included Bacon, Drebbel, Ben Johnson, Shakespeare, Simon Forman, and many other great minds and imaginative souls of the time, who frequented the halls of Gray’s Inn, the theaters and meeting places of the London and it’s outskirts, from the turn of the 17th century, and some through the years after Bacon’s downfall of 1621. Ben Johnson wrote of Drebbel in a play, and some believe Shakespeare partially based Prospero of the Tempest on him (along with Dee). Bacon wrote of Drebbel, and included his inventions his The New Atlantis.
These people included the architype of the ancient, hermetic, cipher tome in much of thier work. Prospero had his magic books, the Rosicrucians had their "Book M", the New Atlantis had it's Book of Solomon. All these (described) books have some similarity to the Voynich. The "aura of the ancient tome" was a part of their personal mytique, and/or the literature and art they produced. If the Voynich was produced during the period of about 1610 to 1620, it should not come as much of a surprise to any scholar of Jacobean literature, art, science and society.

This theory would explain many of the problems confronting past and current investigations of the Voynich. Most of these attempts have looked for real places, people, cultures, languages, and objects to compare to it’s elusive contents. All of these, so far, have failed in whole or in part. Perhaps this is because it does not reflect any real place, people, culture, language or objects of the time, or any time... because if the Voynich was based on Bacon’s science fiction, it would explain why it’s contents do not exactly match anything real, and yet match New Atlantis, and it's people and time, so very well. H.R. SantaColoma

For images, more details, and more links: