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The examination of the Voyniches letters by linguists revealed that they were written on antiquated techniques, indicating that the book was created at least 500 years ago. It was the only book in the world from this era that was still around. No one could figure out how the book should be read; there was no indication of typeface usage or bookselling procedures, and the pages were not numbered.

It was partly because of this inconsistency that the manuscript was chosen as the object for this case study and in particular, because of the inscription on the front of the frontispiece. The phrase could mean either, “dear lady”, ‘the Lady of Shalott’ (from Tennyson’s poem) or ‘the Lady of Shalott’ (an alteration of the title).

The frontispiece is also of a special type of paper. The typeface is a mixture of Roman letters and others, some in italic, some in bold, and some in both. The word(s) ‘Shakespeare’ is placed above the scene in a different typeface. Shakespeare? The Voynich Manuscript? This excited the family enough to seek it out. Of course they found a collector who had purchased it in 1933. The word “Shakespeare” is plainly printed, showing that the writer of the slipcase was unfamiliar with plays by William Shakespeare.

The copy of the book in the New York Seth Low Library was examined in detail, and the handwriting on the slipcase was compared with the handwriting on the Yale poem (as shown in the screnshot above). Both handwritings are regarded to be similar. The handwriting on the Yale poem and on the Yale book so closely match that it is certainly attributed to the same author. As noted, the inner slipcase is especially interesting, especially with the inscription. The two printers who worked on the Harvard Codex (which was the first ever to be discovered) are known for ‘typographic experiments’, including double lettering, and there is some evidence that typographic experiments were made to be bolded on the Harvard Codex (see the right side of the screnshot).