Hildegard of Bingen

Hildegard of Bingen
enclosed together six years later.[10]
Hildegard of Bingen, O.S.B. (German: Hildegard
von Bingen; Latin: Hildegardis Bingensis) (1098 –
17 September 1179), also known as Saint Hildegard
and Sibyl of the Rhine, was a German Benedictine
abbess, writer, composer, philosopher, Christian mystic,
visionary, and polymath.[1]
In any case, Hildegard and Jutta were enclosed together
at the Disibodenberg, and formed the core of a growing
community of women attached to the male monastery.
Jutta was also a visionary and thus attracted many followers who came to visit her at the cloister. Hildegard tells
us that Jutta taught her to read and write, but that she was
unlearned and therefore incapable of teaching Hildegard
sound biblical interpretation.[11] The written record of the
Life of Jutta indicates that Hildegard probably assisted her
in reciting the psalms, working in the garden and other
handiwork, and tending to the sick.[12] This might have
been a time when Hildegard learned how to play the tenstringed psaltery. Volmar, a frequent visitor, may have
taught Hildegard simple psalm notation. The time she
studied music could have been the beginning of the compositions she would later create.[13]
Hildegard was elected magistra by her fellow nuns in
1136; she founded the monasteries of Rupertsberg in
1150 and Eibingen in 1165. One of her works as a composer, the Ordo Virtutum, is an early example of liturgical drama and arguably the oldest surviving morality
play.[2] She wrote theological, botanical, and medicinal
texts, as well as letters, liturgical songs, and poems, while
supervising miniature illuminations in the Rupertsberg
manuscript of her first work, Scivias.[3]
Although the history of her formal consideration is complicated, she has been recognized as a saint by branches
of the Roman Catholic Church for centuries. On 7 Octo- Upon Jutta’s death in 1136, Hildegard was unanimously
ber 2012, Pope Benedict XVI named her a Doctor of the elected as magistra of the community by her fellow
Church.
nuns.[14] Abbot Kuno of Disibodenberg asked Hildegard
to be Prioress, which would be under his authority. Hildegard, however, wanted more independence for herself
and her nuns, and asked Abbot Kuno to allow them to
1 Biography
move to Rupertsberg.[15] This was to be a move towards
poverty, from a stone complex that was well established
Hildegard’s exact date of birth is uncertain. She was to a temporary dwelling place. When the abbot deborn around the year 1098 to Mechtild of Merxheim- clined Hildegard’s proposition, Hildegard went over his
Nahet and Hildebert of Bermersheim, a family of the free head and received the approval of Archbishop Henry I
lower nobility in the service of the Count Meginhard of of Mainz. Abbot Kuno did not relent until Hildegard was
Sponheim.[4] Sickly from birth, Hildegard is traditionally stricken by an illness that kept her paralyzed and unable to
considered their youngest and tenth child, although there move from her bed, an event that she attributed to God’s
are records of seven older siblings.[5][6] In her Vita, Hilde- unhappiness at her not following his orders to move her
gard states that from a very young age she had experi- nuns to Rupertsberg. It was only when the Abbot himenced visions.[7]
self could not move Hildegard that he decided to grant the
nuns their own monastery.[16] Hildegard and about twenty
nuns thus moved to the St. Rupertsberg monastery in
1.1 Monastic life
1150, where Volmar served as provost, as well as Hildegard’s confessor and scribe. In 1165 Hildegard founded
Perhaps due to Hildegard’s visions, or as a method of po- a second monastery for her nuns at Eibingen.
litical positioning, Hildegard’s parents offered her as an
oblate to the Benedictine monastery at the Disibodenberg,
which had been recently reformed in the Palatinate For- 1.2 Visions
est. The date of Hildegard’s enclosure at the monastery
is the subject of debate. Her Vita says she was pro- Hildegard says that she first saw “The Shade of the Livfessed with an older woman, Jutta, the daughter of Count ing Light” at the age of three, and by the age of five she
Stephan II of Sponheim, at the age of eight.[8] However, began to understand that she was experiencing visions.[17]
Jutta’s date of enclosure is known to have been in 1112, She used the term 'visio' to this feature of her experience,
when Hildegard would have been fourteen.[9] Some schol- and recognized that it was a gift that she could not explain
ars speculate that Hildegard was placed in the care of to others. Hildegard explained that she saw all things
Jutta at the age of eight, and the two women were then in the light of God through the five senses: sight, hear1
2
2 WORKS
ing, taste, smell, and touch.[18] Hildegard was hesitant to
share her visions, confiding only to Jutta, who in turn
told Volmar, Hildegard’s tutor and, later, secretary.[19]
Throughout her life, she continued to have many visions,
and in 1141, at the age of 42, Hildegard received a vision she believed to be an instruction from God, to “write
down that which you see and hear.”[20] Still hesitant to
record her visions, Hildegard became physically ill. The
illustrations recorded in the book of Scivias were visions
that Hildegard experienced, causing her great suffering
and tribulations.[21] In her first theological text, Scivias
(“Know the Ways”), Hildegard describes her struggle
within:
But I, though I saw and heard these things,
refused to write for a long time through doubt
and bad opinion and the diversity of human
words, not with stubbornness but in the exercise of humility, until, laid low by the scourge
of God, I fell upon a bed of sickness; then,
compelled at last by many illnesses, and by the
witness of a certain noble maiden of good conduct [the nun Richardis von Stade] and of that
man whom I had secretly sought and found, as
mentioned above, I set my hand to the writing.
While I was doing it, I sensed, as I mentioned
before, the deep profundity of scriptural exposition; and, raising myself from illness by the
strength I received, I brought this work to a
close – though just barely – in ten years. (...)
And I spoke and wrote these things not by the
invention of my heart or that of any other person, but as by the secret mysteries of God I
heard and received them in the heavenly places.
And again I heard a voice from Heaven saying
to me, 'Cry out therefore, and write thus!'[22]
It was between November 1147 and February 1148 at
the synod in Trier that Pope Eugenius heard about Hildegard’s writings. It was from this that she received Papal
approval to document her visions as revelations from the
Holy Spirit giving her instant credence.
Before Hildegard’s death, a problem arose with the clergy
of Mainz. A man buried in Rupertsburg had died after excommunication from the Church. Therefore, the
clergy wanted to remove his body from the sacred ground.
Hildegard did not accept this idea, replying that it was a
sin and that the man had been reconciled to the church at
the time of his death.[23]
ter Hildegard’s death.[25] He included the hagiographical work Libellus or “Little Book” begun by Godfrey of
Disibodenberg.[26] Godfrey had died before he was able
to complete his work. Guibert of Gembloux was invited to finish the work; however, he had to return to
his monastery with the project unfinished.[27] Theoderic
utilized sources Guibert had left behind to complete the
Vita.
2 Works
Scivias I.6: The Choirs of Angels.
manuscript, fol. 38r.
From the Rupertsberg
Hildegard’s works include three great volumes of visionary theology;[28] a variety of musical compositions for use
in liturgy, as well as the musical morality play Ordo Virtutum; one of the largest bodies of letters (nearly 400)
to survive from the Middle Ages, addressed to correspondents ranging from Popes to Emperors to abbots
and abbesses, and including records of many of the sermons she preached in the 1160s and 1170s;[29] two volumes of material on natural medicine and cures;[30][31]
an invented language called the Lingua ignota (“unknown
language”);[32] and various minor works, including a
gospel commentary and two works of hagiography.[33]
On 17 September 1179, when Hildegard died, her sisters
claimed they saw two streams of light appear in the skies Several manuscripts of her works were produced during her lifetime, including the illustrated Rupertsberg
and cross over the room where she was dying.[24]
manuscript of her first major work, Scivias (lost since
1945); the Dendermonde manuscript, which contains one
version of her musical works; and the Ghent manuscript,
1.3 Vita Sanctae Hildegardis
which was the first fair-copy made for editing of her final
Hildegard’s hagiography, Vita Sanctae Hildegardis, was theological work, the Liber Divinorum Operum. At the
compiled by the monk Theoderic of Echternach af- end of her life, and probably under her initial guidance,
2.1
Visionary theology
3
all of her works were edited and gathered into the single “egg”), the relationship between body and soul, God’s reRiesenkodex manuscript.[34]
lationship to his people through the Synagogue, and the
choirs of angels. The second part (seven visions) describes the order of redemption: the coming of Christ
2.1 Visionary theology
the Redeemer, the Trinity, the Church as the Bride of
Christ and the Mother of the Faithful in baptism and
Hildegard’s most significant works were her three vol- confirmation, the orders of the Church, Christ’s sacrifice
umes of visionary theology: Scivias (“Know the Ways”, on the Cross and the Eucharist, and the fight against the
composed 1142-1151), Liber Vitae Meritorum (“Book of devil. Finally, the third part (thirteen visions) recapituLife’s Merits” or “Book of the Rewards of Life”, com- lates the history of salvation told in the first two parts,
posed 1158-1163); and Liber Divinorum Operum (“Book symbolized as a building adorned with various allegoriof Divine Works”, also known as De operatione Dei, “On cal figures and virtues. It concludes with the Symphony
God’s Activity”, composed 1163/4-1172 or 1174). In of Heaven, an early version of Hildegard’s musical comthese volumes, the last of which was completed when she positions.
was well into her seventies, Hildegard first describes each
vision, whose details are often strange and enigmatic; and Portions of the uncompleted work were read aloud to
afthen interprets their theological contents in the words of Pope Eugenius III at the Synod of Trier in 1148, [36]
ter
which
he
sent
Hildegard
a
letter
with
his
blessing.
the “voice of the Living Light.”
This blessing was later construed as papal approval for
all of Hildegard’s wide-ranging theological activities.[37]
Towards the end of her life, Hildegard commissioned a
2.1.1 Scivias
richly decorated manuscript of Scivias (the Rupertsberg
Codex); although the original has been lost since its evacuation to Dresden for safekeeping in 1945, its images are
preserved in a hand-painted facsimile from the 1920s.[3]
2.1.2
Liber Vitae Meritorum
In her second volume of visionary theology, composed
between 1158 and 1163, after she had moved her community of nuns into independence at the Rupertsberg
in Bingen, Hildegard tackled the moral life in the form
of dramatic confrontations between the virtues and the
vices. She had already explored this area in her musical morality play, Ordo Virtutum, and the “Book of
the Rewards of Life” takes up that play’s characteristic themes. Each vice, although ultimately depicted as
ugly and grotesque, nevertheless offers alluring, seductive speeches that attempt to entice the unwary soul into
their clutches. Standing in our defense, however, are the
sober voices of the Virtues, powerfully confronting every
vicious deception.[38]
Amongst the work’s innovations is one of the earliest
descriptions of purgatory as the place where each soul
would have to work off its debts after death before enThe Church, the Bride of Christ and Mother of the Faithful in tering heaven.[39] Hildegard’s descriptions of the possiBaptism. Illustration to Scivias II.3, fol. 51r from the 20th- ble punishments there are often gruesome and grotesque,
century facsimile of the Rupertsberg manuscript, c. 1165-1180
which emphasize the work’s moral and pastoral purpose
as a practical guide to the life of true penance and proper
The composition of the first work, Scivias, was triggered virtue.[40]
by the insistence of her visionary experiences in about
1142, when she was already forty-three years old. Perceiving a divine command to “write down what you see 2.1.3 Liber Divinorum Operum
and hear”,[35] Hildegard began to record her visionary experiences. Scivias is structured into three parts of unequal Hildegard’s last and grandest visionary work had its genelength. The first part (six visions) chronicles the order of sis in one of the few times she experienced something like
God’s creation: the Creation and Fall of Adam and Eve, an ecstatic loss of consciousness. As she described it in an
the structure of the universe (famously described as an autobiographical passage included in her Vita, sometime
4
2 WORKS
course of salvation history.[42]
2.2 Music
Attention in recent decades to women of the medieval
Church has led to a great deal of popular interest in Hildegard’s music. In addition to the Ordo Virtutum, sixtynine musical compositions, each with its own original poetic text, survive, and at least four other texts are known,
though their musical notation has been lost.[43] This is one
of the largest repertoires among medieval composers.
One of her better known works, Ordo Virtutum (Play of
the Virtues), is a morality play. It is uncertain when some
of Hildegard’s compositions were composed, though the
Ordo Virtutum is thought to have been composed as early
as 1151.[44] The morality play consists of monophonic
melodies for the Anima (human soul) and 16 Virtues.
There is also one speaking part for the Devil. Scholars
assert that the role of the Devil would have been played
by Volmar, while Hildegard’s nuns would have played the
parts of Anima and the Virtues.[45]
“Universal Man” illumination from Hildegard’s Liber Divinorum
Operum, I.2. Lucca, MS 1942, early 13th century copy.
in about 1163, she received “an extraordinary mystical vision” in which was revealed the “sprinkling drops of sweet
rain” that John the Evangelist experienced when he wrote,
“In the beginning was the Word...” (John 1:1). Hildegard perceived that this Word was the key to the “Work
of God”, of which humankind is the pinnacle. The “Book
of Divine Works”, therefore, became in many ways an extended explication of the Prologue to John’s Gospel.[41]
The ten visions of this work’s three parts are cosmic in
scale, often populated by the grand allegorical female
figures representing Divine Love (Caritas) or Wisdom
(Sapientia). The first of these opens the work with a salvo
of poetic and visionary images, swirling about to characterize the dynamic activity of God within the scope of his
salvation-historical work. The remaining three visions of
the first part introduce the famous image of a human being standing astride the spheres that make up the universe,
and detail the intricate relationships between the human
as microcosm and the universe as macrocosm. This culminates in the final chapters of Part One, Vision Four
with Hildegard’s direct rumination on the meaning of “In
the beginning was the Word...” (John 1:1). The single vision that comprises the whole of Part Two stretches that
rumination back to the opening of Genesis, and forms an
extended meditation on the six days of the creation of
the world. Finally, the five visions of the third part take
up again the building imagery of Scivias to describe the
In addition to the Ordo Virtutum Hildegard composed
many liturgical songs that were collected into a cycle
called the Symphonia armoniae celestium revelationum.
The songs from the Symphonia are set to Hildegard’s own
text and range from antiphons, hymns, and sequences, to
responsories.[46] Her music is described as monophonic,
that is, consisting of exactly one melodic line.[47] Its style
is characterized by soaring melodies that can push the
boundaries of the more staid ranges of traditional Gregorian chant. Though Hildegard’s music is often thought to
stand outside the normal practices of monophonic monastic chant,[48] current researchers are also exploring ways
in which it may be viewed in comparison with her contemporaries, such as Hermannus Contractus.[49] Another
feature of Hildegard’s music that both reflects twelfthcentury evolutions of chant and pushes those evolutions
further is that it is highly melismatic, often with recurrent
melodic units. Scholars such as Margot Fassler, Marianne
Richert Pfau, and Beverly Lomer also note the intimate
relationship between music and text in Hildegard’s compositions, whose rhetorical features are often more distinct than is common in twelfth-century chant.[50] As with
all medieval chant notation, Hildegard’s music lacks any
indication of tempo or rhythm; the surviving manuscripts
employ late German style notation, which uses very ornamental neumes.[51] The reverence for the Virgin Mary
reflected in music shows how deeply influenced and inspired Hildegard of Bingen and her community were by
the Virgin Mary and the saints.[52]
The definition of viriditas or ‘greenness’ is an earthly expression of the heavenly in an integrity that overcomes
dualisms. This ‘greenness’ or power of life appears frequently in Hildegard’s works.[53]
Despite Hildegard’s self-professed view that her compositions have as object the praise of God, one scholar
2.3
Scientific and medicinal writings
has asserted that Hildegard made a close association
between music and the female body in her musical
compositions.[48] According to him, the poetry and music
of Hildegard’s Symphonia would therefore be concerned
with the anatomy of female desire thus described as Sapphonic, or pertaining to Sappho, connecting her to a history of female rhetoricians.[54]
2.3
Scientific and medicinal writings
Hildegard’s medicinal and scientific writings, though thematically complementary to her ideas about nature expressed in her visionary works, are different in focus
and scope. Neither claim to be rooted in her visionary experience and its divine authority. Rather, they
spring from her experience helping in and then leading
the monastery’s herbal garden and infirmary, as well as
the theoretical information she likely gained through her
wide-ranging reading in the monastery’s library.[31] As
she gained practical skills in diagnosis, prognosis, and
treatment, she combined physical treatment of physical diseases with holistic methods centered on “spiritual
healing.”[55] She became well known for her healing powers involving practical application of tinctures, herbs, and
precious stones.[56] She combined these elements with a
theological notion ultimately derived from Genesis: all
things put on earth are for the use of humans.[57]
Hildegard catalogued both her practical expertise and its
theoretical basis in two works: Physica, whose nine books
focus on the scientific and medicinal properties of various
plants, stones, fish, reptiles, and animals; and Causae et
Curae, an exploration of the human body, its connections
to the rest of the natural world, and the causes and cures
of various diseases.[58] These works document a variety
of medical practices, and Hildegard may have used them
to teach another nun at the monastery to be her assistant.
Moreover, they serve as a valuable witness to areas of medieval medicine that were often not as well documented
because their practitioners (mainly women) did not often
write in Latin. Among the practices that Hildegard discusses in Causae et Curae is the use of bleeding and home
remedies for many common ailments. She also focuses
many of her remedies on common agricultural injuries
such as burns, fractures, dislocations, and cuts.[55]
In addition to its wealth of practical evidence, Causae et
Curae is also noteworthy for its organizational scheme.
Its first part sets the work within the context of the creation of the cosmos and then humanity as its summit, and
the constant interplay of the human person as microcosm
both physically and spiritually with the macrocosm of
the universe informs all of Hildegard’s approach.[31] Her
hallmark is to emphasize the vital connection between
the “green” health of the natural world and the holistic
health of the human person. Thus, when she approached
medicine as a type of gardening, it was not just as an analogy. Rather, Hildegard understood the plants and elements of the garden as direct counterparts to the humors
5
and elements within the human body, whose imbalance
led to illness and disease.[55]
Thus, the nearly three hundred chapters of the second
book of Causae et Curae “explore the etiology, or causes,
of disease as well as human sexuality, psychology, and
physiology.”[31] In this section, she give specific instructions for bleeding based on various factors, including gender, the phase of the moon (bleeding is best done when
moon is waning), the place of disease (use veins near
diseased organ of body part) or prevention (big veins in
arms), and how much blood to take (described in imprecise measurements, like “the amount that a thirsty person can swallow in one gulp”). She even includes bleeding instructions for animals to keep them healthy. In the
third and fourth sections, Hildegard turns her attention
to treatments for malignant and minor problems and diseases according to the humoral theory, again including
information on animal health. The fifth section is about
diagnosis and prognosis, which includes instructions to
check the patient’s blood, pulse, urine and stool.[55] Finally, the sixth section documents a lunar horoscope to
provide an additional means of prognosis for both disease
and other medical conditions, such as conception and the
outcome of pregnancy.[31] For example, she indicates that
a waxing moon is good for conception (for humans) and is
also good for sowing seeds for plants (sowing seeds is the
plant equivalent of conception).[55] Elsewhere, Hildegard
is even said to have stressed the value of boiling drinking
water in an attempt to prevent infection.[59]
As Hildegard elaborates the medical and scientific relationship between the human microcosm and the macrocosm of the universe, she often focuses on interrelated
patterns of four: “the four elements (fire, air, water,
and earth), the four seasons, the four humors, the four
zones of the earth, and the four major winds.”[31] Although she inherited the basic framework of humoral theory from ancient medicine, however, Hildegard’s conception of the hierarchical interbalance of the four humors (blood, phlegm, black bile, and yellow bile) was
unique, based on their correspondence to “superior” and
“inferior” elements—blood and phlegm corresponding to
the “celestial” elements of fire and air, and the two biles
corresponding to the “terrestrial” elements of water and
earth. Hildegard understood the disease-causing imbalance of these humors to result from the improper dominance of the subordinate humors. This disharmony reflects that introduced by Adam and Eve in the Fall, which
for Hildegard marked the indelible entrance of disease
and humoral imbalance into humankind.[31] As she writes
in Causae et Curae c. 42:
It happens that certain men suffer diverse
illnesses. This comes from the phlegm which
is superabundant within them. For if man had
remained in paradise, he would not have had
the flegmata within his body, from which many
evils proceed, but his flesh would been whole
6
3
and without dark humor [livor]. However, because he consented to evil and relinquished
good, he was made into a likeness of the earth,
which produces good and useful herbs, as well
as bad and useless ones, and which has in itself both good and evil moistures. From tasting
evil, the blood of the sons of Adam was turned
into the poison of semen, out of which the sons
of man are begotten. And therefore their flesh
is ulcerated and permeable [to disease]. These
sores and openings create a certain storm and
smoky moisture in men, from which the flegmata arise and coagulate, which then introduce diverse infirmities to the human body. All
this arose from the first evil, which man began at the start, because if Adam had remained
in paradise, he would have had the sweetest
health, and the best dwelling-place, just as the
strongest balsam emits the best odor; but on the
contrary, man now has within himself poison
and phlegm and diverse illnesses.[60]
2.4
SIGNIFICANCE
with the outside world, both spiritual and social, transcended the cloister as a space of spiritual confinement
and served to document Hildegard’s grand style and strict
formatting of medieval letter writing.[64][65]
Contributing to Christian European rhetorical traditions,
Hildegard “authorized herself as a theologian” through
alternative rhetorical arts.[64] Hildegard was creative in
her interpretation of theology. She believed that her
monastery should exclude novices who were not from the
nobility because she did not want her community to be
divided on the basis of social status.[66] She also stated
that “woman may be made from man, but no man can be
made without a woman.”[24]
Lingua Ignota and invented alphabet
Alphabet by Hildegard von Bingen, Litterae ignotae, which she
used for her language Lingua Ignota
Hildegard also invented an alternative alphabet. The text
of her writing and compositions reveals Hildegard’s use
of this form of modified medieval Latin, encompassing many invented, conflated and abridged words.[7] Due
to her inventions of words for her lyrics and use of a
constructed script, many conlangers look upon her as a
medieval precursor.[61] Scholars believe that Hildegard
used her Lingua Ignota to increase solidarity among her
nuns.[62]
Hildegard’s preaching tours
Due to church limitation on public, discursive rhetoric,
the medieval rhetorical arts included preaching, letter
writing, poetry, and the encyclopedic tradition.[67] Hildegard’s participation in these arts speaks to her significance
as a female rhetorician, transcending bans on women’s
social participation and interpretation of scripture. The
acceptance of public preaching by a woman, even a wellconnected abbess and acknowledged prophet, does not fit
3 Significance
the stereotype of this time. Her preaching was not limited to the monasteries; she preached publicly in 1160 in
Germany. (New York: Routledge, 2001, 9). She con3.1 During her lifetime
ducted four preaching tours throughout Germany, speakMaddocks claims that it is likely Hildegard learned sim- ing to both clergy and laity in chapter houses and in pubdenouncing clerical corruption and calling for
ple Latin and the tenets of the Christian faith but was lic, mainly
[68]
reform.
not instructed in the Seven Liberal Arts, which formed
the basis of all education for the learned classes in the Many abbots and abbesses asked her for prayers and opinMiddle Ages: the Trivium of grammar, dialectic, and ions on various matters.[1] She traveled widely during her
rhetoric plus the Quadrivium of arithmetic, geometry, four preaching tours.[69] She had several fanatical folastronomy, and music.[63] The correspondence she kept lowers, including Guibert of Gembloux, who wrote to
3.3
Modern interest
7
her frequently and became her secretary after Volmar’s
death in 1173. Hildegard also influenced several monastic women, exchanging letters with Elisabeth of Schönau,
a nearby visionary.[70]
Hildegard corresponded with popes such as Eugene III
and Anastasius IV, statesmen such as Abbot Suger, German emperors such as Frederick I Barbarossa, and other
notable figures such as Saint Bernard of Clairvaux, who
advanced her work, at the behest of her abbot, Kuno, at
the Synod of Trier in 1147 and 1148. Hildegard of Bingen’s correspondence is an important component of her
literary output.[71]
3.2
Beatification, canonization and recognition as a Doctor of the Church
Hildegard was one of the first persons for whom the Roman canonization process was officially applied, but the
process took so long that four attempts at canonization
were not completed and she remained at the level of her
beatification. Her name was nonetheless taken up in the
Roman Martyrology at the end of the 16th century. Her
feast day is 17 September. Numerous popes have referred
to Hildegard as a saint, including Pope John Paul II[72] and
Pope Benedict XVI.[73]
On 10 May 2012, Pope Benedict XVI extended
the liturgical cult of St.
Hildegard to the entire
Catholic Church[74] in a process known as “equivalent
canonization,”[75] thus laying the groundwork for naming
her a Doctor of the Church.[76] On 7 October 2012, the
feast of the Holy Rosary, the Pope named her a Doctor of
the Church, the fourth woman of 35 saints given that title
by the Roman Catholic Church.[77] He called her “perennially relevant” and “an authentic teacher of theology and
a profound scholar of natural science and music.”[78]
Hildegard of Bingen also appears in the calendar of
saints of various Anglican churches, such as that of the
Church of England, in which she is commemorated on
17 September.
Hildegard’s parish and pilgrimage church in Eibingen
near Rüdesheim houses her relics.
3.3
Modern interest
In recent years, Hildegard has become of particular interest to feminist scholars.[79] They note her reference to
herself as a member of the “weaker sex” and her rather
constant belittling of women. Hildegard frequently referred to herself as an unlearned woman, completely incapable of Biblical exegesis.[80] Such a statement on her
part, however, worked to her advantage because it made
her statements that all of her writings and music came
from visions of the Divine more believable, therefore giving Hildegard the authority to speak in a time and place
where few women were permitted a voice.[81] Hildegard
German 10 DM commemorative coin issued by the Federal Republic of Germany (1998) designed by Carl Vezerfi-Clemm on
the 900th anniversary of Hildegard of Bingen’s birth
used her voice to amplify the Church’s condemnation of
institutional corruption, in particular simony.
Hildegard has also become a figure of reverence within
the contemporary New Age movement, mostly due to
her holistic and natural view of healing, as well as her
status as a mystic. Though her medical writings were
long neglected, and then studied without reference to
their context,[82] she was the inspiration for Dr. Gottfried
Hertzka’s “Hildegard-Medicine”, and is the namesake
for June Boyce-Tillman’s Hildegard Network, a healing center that focuses on a holistic approach to wellness and brings together people interested in exploring
the links between spirituality, the arts, and healing.[83]
Her reputation as a medicinal writer and healer was
also used by early feminists to argue for women’s rights
to attend medical schools.[82] Hildegard’s reincarnation
has been debated since 1924 when Austrian mystic
Rudolf Steiner lectured that a nun of her description
was the past life of Russian poet philosopher Vladimir
Soloviev,[84] whose Sophianic visions are often compared
to Hildegard’s.[85] Sophiologist Robert Powell writes that
hermetic astrology proves the match,[86] while mystical
communities in Hildegard’s lineage include that of artist
Carl Schroeder[87] as studied by Columbia sociologist
Courtney Bender[88] and supported by reincarnation researchers Walter Semkiw and Kevin Ryerson.[89]
Recordings and performances of Hildegard’s music have
gained critical praise and popularity since 1979. See
Discography listed below.
The following modern musical works are directly linked
to Hildegard and her music or texts:
• Sofia Gubaidulina: Aus den Visionen der Hildegard
von Bingen, for contra alto solo, after a text of Hilde-
8
6 NOTES
gard of Bingen, 1994.
• Peter Janssens: Hildegard von Bingen, a musical in
10 pictures, text: Jutta Richter, 1997.
• Tilo Medek: Monatsbilder (nach Hildegard von Bingen), twelve songs for mezzo soprano, clarinett and
piano, 1997.
• David Lynch with Jocelyn Montgomery: Lux Vivens
(Living Light): The Music of Hildegard Von Bingen,
1998.
• Alois Albrecht: Hildegard von Bingen, a liturgical
play with texts and music by Hildegard of Bingen,
1998.
• Christopher Theofanidis: Rainbow Body, for orchestra (2000)[90]
• Ludger Stühlmeyer: O splendidissima gemma, for
alto solo and organ, text by Hildegard of Bingen,
2011.
• Wolfgang Sauseng: De visione secunda for double
choir and percussion, 2011.
• Devendra Banhart: Für Hildegard von Bingen, single
from the 2013 album Mala .[91]
• Gordon Hamilton: The Trillion Souls quotes Hildegard’s O Ignee Spiritus [92]
The artwork The Dinner Party features a place setting for
Hildegard.[93]
In space, the minor planet 898 Hildegard is named for
her.[94]
In film, Hildegard has been portrayed by Patricia Routledge in a BBC documentary called Hildegard of Bingen
(1994),[95] by Ángela Molina in Barbarossa (2009)[96]
and by Barbara Sukowa in the film Vision, directed by
Margarethe von Trotta.[97]
Hildegard was the subject of a 2012 fictionalized biographic novel "Illuminations" by Mary Sharratt.[98]
The plant genus Hildegardia is named after her due to her
contributions to herbal medicine.[99]
A feature documentary film, “The Unruly Mystic: Saint
Hildegard,” was released by American director Michael
M. Conti in 2014.[100][101]
4
Bibliography
Main article: Bibliography of Hildegard of Bingen
6 Notes
[1] Bennett, Judith M. and Hollister, Warren C. Medieval Europe: A Short History (New York: McGraw-Hill, 2001),
p. 317.
[2] Some writers have speculated a distant origin for opera in
this piece, though without any evidence. See: ; alt Opera,
see Florentine Camerata in the province of Milan, Italy.
and
[3] Caviness, Madeline. “Artist: 'To See, Hear, and Know All
at Once'", in Voice of the Living Light: Hildegard of Bingen
and Her World, ed. Barbara Newman (Berkeley: University of California Press, 1998), pp. 110-124; Nathaniel M.
Campbell, “Imago expandit splendorem suum: Hildegard
of Bingen’s Visio-Theological Designs in the Rupertsberg
Scivias Manuscript,” Eikón / Imago 4 (2013, Vol. 2, No.
2), pp. 1-68, accessible online here.
[4] Jutta & Hildegard: The Biographical Sources, trans. Anna
Silvas (Pennsylvania State University Press, 1999), 40;
Maddocks, Fiona. Hildegard of Bingen: The Woman of
Her Age (New York: Doubleday, 2001), p. 9.
[5] Jutta & Hildegard: The Biographical Sources, trans. Anna
Silvas (Pennsylvania State University Press, 1999), pp.
278-279.
[6] Fiona Bowie, Oliver Davies. Hildegard of Bingen: An Anthology. SPCK 1990. Some sources note younger siblings, specifically Bruno.
[7] Jutta & Hildegard: The Biographical Sources, trans. Anna
Silvas (Pennsylvania State University Press, 1999), p.
138; Ruether, Rosemary Radford. Visionary Women
(Minneapolis: Augsburg Fotress, 2002), p. 7.
[8] Jutta & Hildegard: The Biographical Sources, trans. Anna
Silvas (Pennsylvania State University Press, 1999), p. 139.
[9] Jutta & Hildegard: The Biographical Sources, trans. Anna
Silvas (Pennsylvania State University Press, 1999), pp.
52-55 and 69; and John Van Engen, “Abbess: 'Mother
and Teacher', in Barbara Newman, ed., Voice of the Living
Light (California: University of California Press, 1998),
pp. 30-51, at pp. 32-33.
[10] Michael McGrade, “Hildegard von Bingen”, in Die Musik
in Geschichte und Gegenwart: allgemeine Enzyklopaldie
der Musik, 2nd edition, T.2, Vol. 8, ed. Ludwig Fischer
(Kassel and New York: Bahrenreiter, 1994).
[11] Ruether, Rosemary Radford. Visionary Women (Minneapolis: Augsburg Fotress, 2002), p. 6.
[12] Jutta & Hildegard: The Biographical Sources, trans. Anna
Silvas (Pennsylvania State University Press, 1999), pp.
70-73; Reed-Jones, Carol. Hildegard of Bingen: Women
of Vision (Washington: Paper Crane Press, 2004), p. 8.
[13] Reed-Jones, Carol. Hildegard of Bingen: Women of Vision (Washington: Paper Crane Press, 2004), p. 6.
5
See also
• Discography of Hildegard of Bingen
[14] Furlong, Monica. Visions and Longings: Medieval Women
Mystics (Massachusetts: Shambhala Publications, 1996),
p. 84.
9
[15] Furlong, Monica. Visions and Longings: Medieval Women
Mystics (Massachusetts: Shambhala Publications, 1996),
p. 85.
[16] McGrade, “Hildegard”, MGG.
[17] Underhill, Evelyn. Mystics of the Church (Pennsylvania:
Morehouse Publishing, 1925), p. 77.
[18] Schipperges, Heinrich. Hildegard of Bingen: Healing and
the Nature of the Cosmos (New Jersey: Markus Wiener
Publishers, 1997), p. 10.
[19] Maddocks, Fiona. Hildegard of Bingen: The Woman of
Her Age (New York: Doubleday, 2001), p. 55.
[20] Ruether, Rosemary Radford. Visionary Women (Minneapolis: Augsburg Fotress, 2002), p. 8.
[21] Underhill, Evelyn. Mystics of the Church (Pennsylvania:
Morehouse Publishing, 1925), pp. 78–79.
[22] Hildegard von Bingen, Scivias, trans. by Columba Hart
and Jane Bishop with an Introduction by Barbara J. Newman, and Preface by Caroline Walker Bynum (New York:
Paulist Press, 1990), pp. 60–61.
[23] Flanagan, Sabina. Hildegard of Bingen, 1098–1179: a visionary life (London: Routledge, 1989), p. 11.
[24] Madigan, Shawn. Mystics, Visionaries and Prophets:
A Historical Anthology of Women’s Spiritual Writings
(Minnesota: Augsburg Fortress, 1998), p. 96.
[25] Silvas, Anna (1998). Jutta and Hildegard: The Biographical Sources. University Park, PA: The Pennsylvania State
University Press. p. 120. ISBN 0-271-01954-9. Retrieved 28 October 2014.
[26] Silvas, Anna (1998). Jutta and Hildegard: The Biographical Sources. University Park, PA: The Pennsylvania State
University Press. p. 122. ISBN 0-271-01954-9. Retrieved 28 October 2014.
[27] Coakley, John (August 2012). “A Shared Endeavor?
Guibert of Gembloux on Hildegard of Bingen”. Women,
Men, and Spiritual Power : Female Saints and Their Male
Collaborators. New York: Columbia University Press.
pp. 45–67. ISBN 9780231134002.
[28] Critical editions of all three of Hildegard’s major works
have appeared in the Corpus Christianorum: Continuatio
Medievalis: Scivias in vols. 43-43A, Liber vitae meritorum
in vol. 90, and Liber divinorum operum in vol. 92.
[29] Ferrante, Joan. “Correspondent: 'Blessed Is the Speech
of Your Mouth'", in Voice of the Living Light: Hildegard
of Bingen and Her World, ed. Barbara Newman (Berkeley: University of California Press, 1998), pp. 91-109.
The modern critical edition (vols. 91-91b in the Corpus
Christianorum: Continuatio Medievalis) by L. Van Acker
and M. Klaes-Hachmöller lists 390 canonical letters along
with 13 letters that appear in different forms in secondary
manuscripts. The letters have been translated into English in three volumes: The Letters of Hildegard of Bingen, trans. Joseph L. Baird and Radd K. Ehrman (Oxford
University Press, 1994, 1998, and 2004).
[30] Hildegard von Bingen, Causae et Curae (Holistic Healing), trans. by Manfred Pawlik and Patrick Madigan, ed.
by Mary Palmquist and John Kulas (Collegeville, MN:
Liturgical Press, Inc., 1994); Hildegard von Bingen, Physica, trans. Priscilla Throop (Rochester, Vermont: Healing
Arts Press, 1998)
[31] Florence Eliza Glaze, “Medical Writer: ‘Behold the Human Creature,’” in Voice of the Living Light: Hildegard of
Bingen and Her World, ed. Barbara Newman (Berkeley,
Los Angeles, and London: University of California Press,
1998), pp. 125–148.
[32] Higley, Sarah L. Hildegard of Bingen’s Unknown Language: An Edition, Translation, and Discussion (New
York: Palgrave Macmillan, 2007).
[33] Hildegard of Bingen. Homilies on the Gospels. Trans.
Beverly Mayne Kienzle (Cistercian Publications, 2011);
and Hildegard of Bingen. Two Hagiographies: Vita Sancti
Rupperti Confessoris and Vita Sancti Dysibodi Episcopi,
ed. C.P. Evans, trans. Hugh Feiss (Louvain and Paris:
Peeters, 2010).
[34] Albert Derolez, “The Manuscript Transmission of Hildegard of Bingen’s Writings,” in Hildegard of Bingen: The
Context of her Thought and Art, ed. Charles Burnett and
Peter Dronke (London: The Warburg Institute, 1998), pp.
22-3; and Michael Embach, Die Schriften Hildegards von
Bingen: Studien zu ihrer Überlieferung und Rezeption im
Mittelalter und in der Frühen Neuzeit (Berlin: Akademie
Verlag, 2003), p. 36.
[35] “Protestificatio” (“Declaration”) to Hildegard of Bingen,
Scivias, trans. Mother Columba Hart and Jane Bishop
(Paulist Press, 1990), pp. 59-61.
[36] Letter 4 in The Letters of Hildegard of Bingen, trans.
Joseph L. Baird and Radd K. Ehrman (Oxford University
Press, 1994), pp. 34-35.
[37] Van Engen, John. “Letters and the Public Persona of
Hildegard,” in Hildegard von Bingen in ihrem historischen
Umfeld, ed. Alfred Haverkamp (Mainz: Trierer Historische Forschungen, 2000), pp. 375-418; and Kathryn
Kerby-Fulton, “Hildegard of Bingen”, in Medieval Holy
Women in the Christian Tradition, c. 1100-c. 1500, ed.
Alastair Minnis and Rosalynn Voaden (Turnhout: Brepols, 2010), pp. 343-369, at pp. 350-352.
[38] Hildegard of Bingen. The Book of the Rewards of Life.
Trans. Bruce W. Hozeski (Oxford University Press),
1994.
[39] Newman, Barbara. “Hildegard of Bingen and the 'Birth
of Purgatory',” Mystics Quarterly 19 (1993): 90-97.
[40] Newman, Barbara. "'Sibyl of the Rhine': Hildegard’s Life
and Times,” in Voice of the Living Light: Hildegard of Bingen and Her World, ed. Barbara Newman (Berkeley: University of California Press, 1998), pp. 1-29, at pp. 17-19.
[41] “The Life of Hildegard”, II.16, in Jutta & Hildegard:
The Biographical Sources, trans. Anna Silvas (Pennsylvania State University Press, 1999), 179; Dronke, Peter.
Women Writers of the Middle Ages (Cambridge University
Press, 1984), pp. 162–163.
10
[42] See Peter Dronke, “Introduction” to Hildegardis Bingensis, Liber Divinorum Operum, ed. A. Derolez and P.
Dronke, Corpus Christianorum: Continuatio Medievalis
92 (Turnhout: Brepols, 1996), pp. xxxv-lxxxiv.
[43] Hildegard of Bingen. Symphonia, ed. Barbara Newman
(2nd Ed.; Ithaca, NY: Cornell University Press, 1988,
1998).
[44] Flanagan, Sabina. Hildegard of Bingen, 1098–1179: A
Visionary Life (London: Routledge, 1989), p. 102.
[45] Audrey Ekdahl Davidson. “Music and Performance:
Hildegard of Bingen’s Ordo Virtutum.” The Ordo Virtutum of Hildegard of Bingen: Critical Studies, (Kalamazoo,
MI: Western Michigan University, 1992), pp. 1–29.
[46] Maddocks, Fiona. Hildegard of Bingen: The Woman of
Her Age (New York: Doubleday, 2001), p. 194.
[47] Newman, Barbara. Voice of the Living Light (California:
University of California Press, 1998), p. 150.
[48] Holsinger, Bruce. “The Flesh of the Voice: Embodiment
and the Homoerotics of Devotion in the Music of Hildegard of Bingen (1098–1179),”Signs: Journal of Women
in Culture and Society 19 (Autumn, 1993): pp. 92–125.
[49] See Jennifer Bain, “Hildegard, Hermannus and Late
Chant Style,” Journal of Music Theory, 2008, vol 52.
[50] Margot Fassler. “Composer and Dramatist: ‘Melodious Singing and the Freshness of Remorse,’” Voice of
the Living Light: Hildegard of Bingen and Her World,
ed. Barbara Newman (Berkeley: University of California Press, 1998), 149–175; Marianna Richert-Pfau,
“Mode and Melody Types in Hildegard von Bingen’s Symphonia,” Sonus 11 (1990): 53–71; Beverly Lomer, Music, Rhetoric and the Sacred Feminine (Saarbrücken, Germany: Verlag Dr. Müller, 2009) and eadem, “Hildegard
of Bingen: Music, Rhetoric and the Divine Feminine,” in
Journal of the International Alliance of Women and Music,
vol. 18, No. 2, 2012. See also Lomer’s discussion of “The
Theory and Rhetoric of Hildegard’s Music,” in the International Society for Hildegard von Bingen Studies’ online
edition of Hildegard’s Symphonia.
[51] See the facsimile of her music now freely available on
IMSLP.
[52] Butcher, Carmen Acevedo. Hildegard of Bingen: A Spiritual Reader (Massachusetts: Paraclete Press, 2007), p.
27; see also Beverly Lomer, “Hildegard of Bingen: Music, Rhetoric and the Divine Feminine,” in Journal of the
International Alliance of Women and Music, vol. 18, No.
2, 2012.
6 NOTES
[56] Maddocks, Fiona. Hildegard of Bingen: The Woman of
Her Age (New York: Doubleday, 2001), p. 155.
[57] Hozeski, Bruce W. Hildegard’s Healing Plants: From Her
Medieval Classic Physica (Massachusetts: Beacon Press,
2001), pp. xi–xii
[58] Hildegard von Bingen, Causae et Curae (Holistic Healing), trans. by Manfred Pawlik and Patrick Madigan, ed.
by Mary Palmquist and John Kulas (Collegeville, MN:
Liturgical Press, Inc., 1994); Hildegard von Bingen, Physica, trans. Priscilla Throop (Rochester, Vermont: Healing
Arts Press, 1998).
[59] “Hildegard of Bingen.” Encyclopedia of World Biography. 2004.
[60] Quoted in Glaze, “Medical Writer: ‘Behold the Human
Creature,’” p. 136.
[61] Hildegard of Bingen’s Unknown Language: An Edition,
Translation, and Discussion, ed. Sarah Higley (2007)
[62] Barbara J. Newman, “Introduction” to Hildegard, Scivias,
p. 13.
[63] Maddocks, Fiona. Hildegard of Bingen: The Woman of
Her Age. New York: Doubleday, 2001. p. 40.
[64] Dietrich, Julia. “The Visionary Rhetoric of Hildegard of
Bingen.” Listening to their Voices: The Rhetorical Activities
of Historic Women, Molly Meijer Wertheimer, ed. (University of South Carolina Press, 1997), pp. 202–214.
[65] For cloister as confinement see “Female” section of
“Cloister” in Catholic Encyclopedia.
[66] See Hildegard’s correspondence with Tengswich of Andernach, in Letters 52 and 52r, in The Letters of Hildegard
of Bingen, Vol. 1, trans.Baird and Ehrman (Oxford University Press, 1994), 127-130; and discussion in Alfred
Haverkamp, “Tenxwind von Andernach und Hildegard
von Bingen: Zwei »Weltanschauungen« in der Mitte des
12. Jahrhunderts,“ in Institutionen, Kultur und Gesellschaft
im Mittelalter: Feschrift für Josef Fleckenstein, ed. Lutz
Fenske, Werner Rösener, and Thomas Zotz (Jan Thorbecke Verlag: Sigmaringen, 1984), 515-548; and Peter
Dronke, Women Writers of the Middle Ages (Cambridge
University Press, 1984), pp. 165-167.
[67] Herrick, James A., The History of Rhetoric: An Introduction, 4th ed. (Boston: Allyn Bacon, 2005), pp. ??.
[68] Ruether, Rosemary Radford. Visionary Women. Minneapolis: Augsburg Fortress, 2002. pp. 28–29.
[53] Madigan, Shawn. Mystics, Visionaries and Prophets: A
Historical Anthology of Women’s Spiritual Writings (Minnesota: Augsburg Fortress, 1998), p. 95.
[69] Furlong, Monica. Visions and Longings: Medieval Women
Mystics (Massachusetts: Shambhala Publications, 1996),
85–86.
[54] Holsinger, Bruce W. Music, Body, and Desire in Medieval
Culture. Stanford: Stanford University Press, 2001. pp.
123–135.
[70] Hildegard von Bingen, The Letters of Hildegard of Bingen, trans. by Joseph L. Baird and Radd K. Ehrman (NY:
Oxford University Press, 1994/1998), p. 180.
[55] Sweet, V. (1999). “Hildegard of Bingen and the greening
of medieval medicine.” Bulletin of the History of Medicine,
73(3), pp. 381-403
[71] Schipperges, Heinrich. Hildegard of Bingen: Healing and
the Nature of the Cosmos (New Jersey: Markus Wiener
Publishers, 1997), p. 16.
11
[72] “Lettera per l’800° anniversario della morte di Santa Ildegarda”. Vatican.va. Retrieved 2011-12-25.
[93] Place Settings. Brooklyn Museum. Retrieved on 201508-06.
[73] “Meeting with the members of the Roman Clergy”. Vatican.va. Retrieved 2011-12-25.
[94] Minor Planet Center: Lists and Plots: Minor Planets, accessed 8 October 2012
[74] Catholic News Service
[95] Hildegard of Bingen at the Internet Movie Database
[75] Vatican newspaper explains 'equivalent canonization' of St
Hildegard of Bingen
[96] Rai Uno Barbarossa
[76] http://www.catholicculture.org/commentary/otc.cfm?
id=1015
[97] Vision at the Internet Movie Database
[77] “Pope Benedict creates two new doctors of the church”.
Catholic News Agency. October 7, 2012.
[98] Sharatt, Mary (2012). Illuminations: A Novel of Hildegard von Bingen. New York: Houghton Mifflin Harcourt.
ISBN 9780547567846.
[78] “Pope Benedict’s Regina Caeli Address for the Soleminity
of Pentecost, 27 May 2012”.
[99] Schott, H. W., Endlicher, S. F. L. Meletemata Botanica.
(Vienna: Carolus Gerold, 1832)
[79] See e.g. Marilyn R. Mumford, “A Feminist Prole- [100] http://www.imdb.com/title/tt4087154/?ref_=fn_al_tt_1
gomenon for the Study of Hildegard of Bingen,” in Gender, Culture, and the Arts: Women, Culture, and Society, [101]
eds. R. Dotterer and S. Bowers (Selinsgrove: Susquehanna University Press, 1993), pp. 44-53.
[80] Ruether, Rosemary Radford. Visionary Women (Minneapolis: Augsburg Fotress, 2002), pp. 10–11.
[81] Barbara Newman, “Hildegard of Bingen: Visions and Validation,” Church History 54 (1985): pp. 163–175; Barbara Newman, Sister of Wisdom: St. Hildegard’s Theology
of the Feminine, (Berkeley and Los Angeles: University of
California Press, 1987).
[82] Sweet, V. (1999). “Hildegard of Bingen and the greening
of medieval medicine.” Bulletin of the history of Medicine,
73(3), p. 386.
[83] June Boyce-Tillman, “Hildegard of Bingen at 900: The
Eye of a Woman,” The Musical Times 139, no. 1865
(Winter, 1998): p. 35.
[84] Steiner, Rudolf. Karmic Relationships, Vol. 4 (1924)
[85] Powell, Robert. The Sophia Teachings: The Emergence
of the Divine Feminine in Our Time (Lindisfarne Books,
2007), p. 70.
[86] Powell, Robert. Hermetic Astrology (Sophia Foundation
Press, 2006)
[87] “Return of Hildegard”. Return of Hildegard. Retrieved
2011-12-25.
[88] Bender, Courtney. The New Metaphysicals: Spirituality
and the American Religious Imagination (University Of
Chicago Press, 2010), p. 62.
[89] “The Reincarnation Case of Carl Schroeder”.
Semkiw IISIS. Retrieved 2011-12-25.
Water
7 References
•
This article incorporates text from a publication
now in the public domain: Chisholm, Hugh, ed.
(1911). Encyclopædia Britannica (11th ed.). Cambridge University Press.
Primary Sources (in translation): Hildegard of Bingen.
• ________. Book of Divine Works of Hildegard of
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• ________. The Book of the Rewards of Life. Trans.
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• ________. Causae et Curae (Holistic Healing).
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• ________. Homilies on the Gospels. Trans. by Beverly Mayne Kienzle. Trappist, Ky: Cistercian Publications, 2011.
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• ________. Physica. Trans. Priscilla Throop.
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[90] “Program notes for Christopher Theofanidis’ Rainbow
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12
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• ________. Solutions to Thirty-Eight Questions.
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• ________. “‘Sibyl of the Rhine’: Hildegard’s Life
and Times.” Voice of the Living Light: Hildegard of
Bingen and Her World. Edited by Barbara Newman.
Berkeley, Los Angeles, and London: University of
California Press, 1998.
• ________. Sister of Wisdom: St. Hildegard’s Theology of the Feminine. Berkeley and Los Angeles:
University of California Press, 1987.
• Richert-Pfau, Marianne. “Mode and Melody Types
in Hildegard von Bingen’s Symphonia.” Sonus 11
(1990): 53–71.
• Richert-Pfau, Marianne and Stefan Morent. Hildegard von Bingen: Klang des Himmels. Koeln:
Boehlau Verlag, 2005.
• Schipperges, Heinrich. Hildegard of Bingen: healing and the nature of the cosmos. New Jersey:
Markus Wiener Publishers, 1997.
• Stühlmeyer, Barbara. Die Kompositionen der Hildegard von Bingen. Ein Forschungsbericht. In:
Beiträge zur Gregorianik. 22. ConBrio Verlagsgesellschaft, Regensburg 1996, ISBN 3-930079-23-2,
S. 74–85.
• ________. Die Gesänge der Hildegard von Bingen. Eine musikologische, theologische und kulturhistorische Untersuchung. Olms, Hildesheim
2003, ISBN 3-487-11845-9.
8 Further reading
General commentary
• Burnett, Charles and Peter Dronke, eds. Hildegard
of Bingen: The Context of Her Thought and Art.
The Warburg Colloquia. London: The University
of London, 1998.
• Cherewatuk, Karen and Ulrike Wiethaus, eds. Dear
Sister: Medieval Women and the Epistolary Genre.
Middle Ages Series. Philadelphia: University of
Pennsylvania Press, 1993.
• Davidson, Audrey Ekdahl. The Ordo Virtutum of
Hildegard of Bingen: Critical Studies. Kalamazoo,
MI: Medieval Institute Publications, 1992. ISBN 1879288-17-6
• Dronke, Peter. Women Writers of the Middle Ages:
A Critical Study of Texts from Perpetua to Marguerite
Porete. 1984. Cambridge: Cambridge University
Press, 2001.
• Flanagan, Sabina. Hildegard of Bingen: A Visionary Life. London: Routledge, 1998. ISBN 0-76071361-8
• Gosselin, Carole & Micheline Latour. Hildegarde
von Bingen, une musicienne du XIIe siècle. Montréal:
Université du Québec à Montréal, Département de
musique, 1990.
• King-Lenzmeier, Anne H. Hildegard of Bingen:
An Integrated Vision. Collegeville, MN: Liturgical
Press, 2001.
• Newman, Barbara. Sister of Wisdom: St. Hildegard’s Theology of the Feminine. Berkeley: University of California Press, 1987.
• ________. Tugenden und Laster. Wegweisung im
Dialog mit Hildegard von Bingen. Beuroner Kunstverlag, Beuron 2012, ISBN 978-3-87071-287-7.
• Newman, Barbara, ed. Voice of the Living Light:
Hildegard of Bingen and Her World. Berkeley: University of California, 1998.
• ________. Wege in sein Licht. Eine spirituelle Biografie über Hildegard von Bingen. Beuroner Kunstverlag, Beuron 2013, ISBN 978-3-87071-293-8.
• Pernoud, Régine. Hildegard of Bingen: Inspired
Conscience of the Twelfth Century. Translated by
Paul Duggan. NY: Marlowe & Co., 1998.
• ________. Hildegard von Bingen. Leben – Werk –
Verehrung. Topos plus Verlagsgemeinschaft, Kevelaer 2014, ISBN 978-3-8367-0868-5.
• Schipperges, Heinrich. The World of Hildegard of
Bingen: Her Life, Times, and Visions. Trans. John
Cumming. Collegeville, MN: The Liturgical Press,
1999.
• The Life and Works of Hildegard von Bingen. Internet. Available from http://www.fordham.edu/
halsall/med/hildegarde.html; accessed 14 November 2009.
• Tillman, June-Boyce. “Hildegard of Bingen at 900:
The Eye of a Woman”. The Musical Times 139, no.
1865 (Winter, 1998): 31–36.
• Underhill, Evelyn. Mystics of the Church. Pennsylvania: Morehouse Publishing, 1925.
• Wilson, Katharina. Medieval Women Writers.
Athens, GA: University of Georgia Press, 1984.
On Hildegard’s illuminations
• Baillet, Louis. “Les miniatures du »Scivias« de
Sainte Hildegarde.” Monuments et mémoires publiés
par l'Académie des inscriptions et belles-lettres 19
(1911): 49-149.
14
• Campbell, Nathaniel M. “Imago expandit splendorem suum:
Hildegard of Bingen’s VisioTheological Designs in the Rupertsberg Scivias
Manuscript.” Eikón / Imago 4 (2013, Vol. 2, No.
2), pp. 1-68; accessible online here.
• Caviness, Madeline. “Gender Symbolism and
Text Image Relationships: Hildegard of Bingen’s
Scivias.” In Translation Theory and Practice in the
Middle Ages, ed. Jeanette Beer, pp. 71–111. Studies in Medieval Culture 38. Kalamazoo: Medieval
Institute Publications, 1997.
• Eadem. “Hildegard of Bingen: German Author, Illustrator, and Musical Composer, 1098-1179.” In
Dictionary of Women Artists, ed. Delia Gaze, pp.
685–687. London: Fitzroy Dearborn Publishers,
1997.
• Eadem. “Artist: ‘To See, Hear, and Know All at
Once’.” In Voice of the Living Light: Hildegard of
Bingen and Her World, ed. Barbara Newman, pp.
110-124. Berkeley: University of California Press,
1998.
• Eadem. “Hildegard as Designer of the Illustrations
to Her Works.” In Hildegard of Bingen: The Context
of Her Thought and Art, ed. Charles Burnett and Peter Dronke, pp. 29–62. London: Warburg Institute,
1998.
• Harris, Anne Sutherland and Linda Nochlin,
Women Artists: 1550–1950, Los Angeles County
Museum of Art, Knopf, New York, 1976. ISBN
0-394-73326-6
• Führkötter, Adelgundis. The Miniatures from the
Book Scivias: Know the Ways - of St Hildegard of
Bingen from the Illuminated Rupertsberg Codex. Vol.
1. Armaria patristica et mediaevalia. Turnhout:
Brepols, 1977.
8 FURTHER READING
Edeltraud Forster, 340-358. Freiburg im Breisgau:
Verlag Herder, 1997.
• Otto, Rita. “Zu einigen Miniaturen einer »Scivias«Handschrift des 12.
Jahrhunderts.” Mainzer
Zeitschrift. Mittelrheinishces Jahrbuch für Archäologie, Kunst und Geschichte 67/68 (1972): 128-137.
• Saurma-Jeltsch, Lieselotte. “Die Rupertsberger
»Scivias«-Handschrift: Überlegungen zu ihrer
Entstehung.” In Hildegard von Bingen. Prophetin
durch die Zeiten, ed. Äbtissin Edeltraud Forster,
pp. 340-358. Freiburg im Breisgau: Verlag Herder,
1997.
• Eadem. Die Miniaturen im “Liber Scivias” der Hildegard von Bingen: die Wucht der Vision und die Ordnung der Bilder. Wiesbaden: Reichert, 1998.
• Schomer, Josef. Die Illustrationen zu den Visionen der hl. Hildegard als künstlerische Neuschöpfung (das Verhältnis der Illustrationen zueinander
und zum Texte). Bonn: Stodieck, 1937.
• Suzuki, Keiko. “Zum Strukturproblem in den
Visionsdarstellungen der Rupertsberger «Scivias»
Handschrift .” Sacris Erudiri 35 (1995): 221-291.
• Eadem. Bildgewordene Visionen oder Visionserzählungen: Vergleichende Studie über die Visionsdarstellungen in der Rupertsberger Scivias-Handschrift und
im Luccheser Liber divinorum operum-Codex der
Hildegard von Bingen. Neue Berner Schriften zur
Kunst, 5. Bern, Switzerland: Peter Lang, 1998.
Background reading
• Boyce-Tillman, June. The Creative Spirit: Harmonious Living with Hildegard of Bingen, Harrisburg,
PA: Morehouse Publishing, 2000. ISBN 0-81921882-0
• Keller, Hiltgart L. Mittelrheinische Buchmalereien in
Handschriften aus dem Kreise der Hiltgart von Bingen. Stuttgart: Surkamp, 1933.
• Butcher, Carmen Acevedo. Man of Blessing: A Life
of St. Benedict. Brewster, MA: Paraclete Press,
2012. ISBN 978-1612611624
• Kessler, Clemencia Hand. “A Problematic Illumination of the Heidelberg “Liber Scivias”.” Marsyas
8 (1957): 7-21.
• Bynum, Caroline Walker. Holy Feast and Holy
Fast: the Religious Significance of Food to Medieval
Women. Berkeley: University of California Press,
1987.
• Meier, Christel. “Zum Verhältnis von Text und
Illustration im überlieferten Werk Hildegards von
Bingen.” In Hildegard von Bingen, 1179-1979.
Festschrift zum 800. Todestag der Heiligen, ed.
Anton Ph.
Brück, pp.
159–169.
Mainz:
Selbstverlag der Gesellschaft für mittelrheinische
Kirchengeschichte, 1979.
• Eadem. “Calcare caput draconis. Prophetische
Bildkonfiguration in Visionstext und Illustration:
zur Vision »Scivias« II, 7.” In Hildegard von Bingen. Prophetin durch die Zeiten, edited by Äbtissin
• Bynum, Caroline Walker. Resurrection of the Body
in Western Christianity, 200-1336. New York:
Columbia University Press, 1995.
• Chadwick, Whitney. Women, Art, and Society,
Thames and Hudson, London, 1990. ISBN 0-50020354-7
• Constable, Giles Constable. The Reformation of the
Twelfth Century. Cambridge: Cambridge University Press, 1998.
15
• Dronke, Peter, ed. A History of Twelfth-Century
Western Philosophy. Cambridge: Cambridge University Press, 1992.
• “An Explanation of the Athanasian Creed”
(Explanatio Symboli Sancti Athanasii)
• Holweck, the Rt. Reverend Frederick G., A Biographical Dictionary of the Saints, with a General
Introduction on Hagiology. 1924. Detroit: Omnigraphics, 1990.
• Young, Abigail Ann. Translations from Rupert,
Hildegard, and Guibert of Gembloux. 1999. 27
March 2006.
• Lachman, Barbara. Hildegard: The Last Year.
Boston: Shambhala, 1997.
• Works by or about Hildegard of Bingen in libraries
(WorldCat catalog)
• McBrien, Richard. Lives of the Saints: From Mary
and St. Francis of Assisi to John XXIII and Mother
Teresa. San Francisco: HarperSanFrancisco, 2003.
• "St. Hildegard". Catholic Encyclopedia. New York:
Robert Appleton Company. 1913.
• McKnight, Scot. The Real Mary: Why Evangelical
Christians Can Embrace the Mother of Jesus. Brewster, MA: Paraclete Press, 2006.
• Newman, Barbara.
God and the Goddesses.
Philadelphia: University of Pennsylvania Press.
ISBN 0-8122-1911-2
• Hildegard of Bingen Documents, History, Sites to
see today, etc.
• Hildegard’s page at the Medieval History Sourcebook
• Women’s Biography: Hildegard of Bingen, contains
several letters sent and received by Hildegard.
• Pelikan, Jaroslav. Mary Through the Centuries: Her
Place in the History of Culture. New Haven: Yale
University Press, 1996.
• Church of St. Hildegard in Eibingen, Germany,
with information about Hildegard von Bingen and
the Eibinger Hildegardisshrine
• Sweet, Victoria. “Hildegard of Bingen and the
Greening of Medieval Medicine.” Bulletin of the
History of Medicine, 1999, 73:381–403.
• Abtei St. Hildegard / Abbey of St. Hildegard
(Modern-day abbey in Eibingen, Germany)
• Eadem. Rooted in the Earth, Rooted in the Sky:
Hildegard of Bingen and Premodern Medicine. New
York: Routledge Press, 2006. ISBN 0-415-976340
9
• Book of Divine Works (Liber Divinorum Operum) III.3
• The Reconstruction of the monastery on the Rupertsberg
• Hildegard Center for the Arts, A Faith Based Fine
Arts Center in Lincoln Nebraska
• Ulrich, Ingeborg. Hildegard of Bingen: Mystic,
Healer, Companion of the Angels. Trans. Linda M.
Maloney. Collegeville, MN: Liturgical Press, 1993.
• Complete Discography at medieval.org
• Ward, Benedicta. Miracles and the Medieval Mind.
Philadelphia: University of Pennsylvania, 1987.
• Free scores by Hildegard of Bingen in the Choral
Public Domain Library (ChoralWiki)
• Weeks, Andrew. German mysticism from Hildegard
of Bingen to Ludwig Wittgenstein: a literary and intellectual history. Albany: State University of New
York Press, 1993. ISBN 0-7914-1419-1
• Free scores by Hildegard of Bingen at the
International Music Score Library Project
External links
• International Society of Hildegard von Bingen Studies (ISHBS)
• ISHBS’s online edition of Hildegard’s Symphonia
• A Hildegard FAQ Sheet (from ISHBS)
• English translations available on academia.edu:
• Book of Divine Works (Liber Divinorum Operum) I.1
• Sequentia’s complete recordings of Hildegard’s music
• McGuire, K. Christian. Symphonia Caritatis: The
Cistercian Chants of Hildegard von Bingen. 2007.
14 July 2007.
• Biography and Prayers of Hildegard
• “Brooklyn Museum: Elizabeth A. Sackler Center
for Feminist Art: The Dinner Party: Place Setting: Hildegarde of Bingen”, describes the Hildegard Place Setting in Judy Chicago’s work called
“The Dinner Party”.
• BBC Radio 4 In Our Time - Hildegard of Bingen
16
10
10
10.1
TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES
Text and image sources, contributors, and licenses
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Eep², Mike Rosoft, D6, Mindspillage, Discospinster, Rich Farmbrough, Liso, Eskrima, Pjacobi, HeikoEvermann, Carptrash, Dbachmann,
Jimaltieri, Stbalbach, Flapdragon, El C, QuartierLatin1968, Lima, Dalf, Bobo192, Ogg, Duk, Viriditas, Jojit fb, Rajah, Darwinek, Jaredfaulkner, Caeruleancentaur, Pearle, Ranveig, Jumbuck, Carr, Alansohn, Ahruman, Echuck215, Velella, Guthrie, Kusma, Centauri, Kenyon,
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RobertG, Crazycomputers, Nivix, Gurch, Otets, Str1977, Vilcxjo, Wlkernan, Fourdee, DTOx, Jaraalbe, Design, EamonnPKeane, YurikBot, Ugha, NTBot~enwiki, Cwphd97, RussBot, John Quincy Adding Machine, Tresckow, BjornVDM, Yamara, Boneheadmx, Complainer,
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Chicheley, Cydebot, A876, Aristophanes68, Gogo Dodo, Zginder, Xxanthippe, DumbBOT, Stattloch1, Marek69, Missvain, Matthew Proctor, Dr. Zaret, RoboServien, RobotG, Seaphoto, Lostcaesar, Morgaledh, Convit, Danger, Canadian-Bacon, Sluzzelin, JAnDbot, Geneisner,
Matthew Fennell, Nwe, Hewinsj, Igodard, Msalt, Magioladitis, Connormah, NeilHynes, Bongwarrior, VoABot II, Mbc362, Leeborkman,
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Johnbod, Naniwako, Skier Dude, Scribblingwoman, 83d40m, Sugarbat, Al B. Free, Lulubyrd, DorganBot, Pastordavid, MishaPan, Good
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Roltz, AnomieBOT, DoctorJoeE, Mauro Lanari, Jim1138, Piano non troppo, Dava4444, Materialscientist, Dendlai, LovesMacs, Xqbot,
Jrogers444, Jayarathina, Intelati, Renesansowa.bialoglowa, Wikibbexpi, Hinata 1993, Jmundo, J04n, GrouchoBot, ‫نسر برلين‬, Omnipaedista, RibotBOT, Vlastimil Svoboda, FrescoBot, Fortdj33, ReigneBOT, Markalanfoster, Luxetscientia, Louperibot, Moonraker, Eulogius2, Bmclaughlin9, RedBot, Julien1978, Robvanvee, Gerda Arendt, Feuerrabe, Mjs1991, Puppies dressed as cats, Videbunt, Abc10,
Reach Out to the Truth, Daniel the Monk, Vijayakumarblathur, 1mummy, Beleg Tâl, S1061261, Ganjaa2890, Esoglou, EmausBot, And
we drown, John of Reading, WikitanvirBot, Bua333, Bynovember, Tommy2010, Winner 42, Pianoforte913, John Cline, Giaccai, Saint91,
Diego Grez Bot, SporkBot, Liz Henderson, Brandmeister, Smilesofasummernight, Thetracehenderson, Willthacheerleader18, Mentibot,
Brother M, Mocctur, Harriusfigulus, Will Beback Auto, ClueBot NG, Jack Greenmaven, Deinspahr, Bulldog73, Vacation9, Passignano,
DigitalCurves, Atonally Dire, Pcjivs, EditorOf2011, Peaceingalaxy, RHarbor, GeoTrou, WNYY98, BG19bot, Hvbresearch, Hallows AG,
MusikAnimal, PAL1809, Marcocapelle, Gallina3795, Silvrous, Eyescastdown, Enredados, Van Gulik, Tovalu, Allaajav, Klilidiplomus, Illegalkitten, Mora9, Praxiis, Dexbot, Mogism, Steinsplitter, Nikminnit1, Darcy9, Wiggi-1, VIAFbot, CsDix, Cherubinirules, DavidLeighEllis,
ArmbrustBot, Gjbrown58a, Fatpedro, Gybetas, Ginsuloft, Ric.ohmaciel, Liz, MagicatthemovieS, Janet Youngdahl, Mary Eleanor de Normandy, Jadyynn, Rationalobserver, Spiderjerky, Altenmaeren, Orduin, VictoriaDawn, Ἀστερίσκος, Hildegardvon, KasparBot, Sukmenuts
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