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. 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.
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 October 2012, Pope Benedict XVI named her a Doctor of the Church.
Hildegard's exact date of birth is uncertain. She was born around the year 1098 to Mechtild of Merxheim-Nahet and Hildebert of Bermersheim, a family of the free lower nobility in the service of the Count Meginhard of Sponheim. Sickly from birth, Hildegard is traditionally considered their youngest and tenth child, although there are records of seven older siblings.In her Vita, Hildegard states that from a very young age she had experienced visions.
Perhaps due to Hildegard's visions, or as a method of political positioning, Hildegard's parents offered her as an oblate to the church. The date of Hildegard's enclosure in the church is the subject of a contentious debate. Her Vita says she was enclosed with an older nun, Jutta, at the age of eight. However, Jutta's enclosure date is known to be in 1112, when Hildegard would have been fourteen. Some scholars speculate that Hildegard was placed in the care of Jutta, the daughter of Count Stephan II of Sponheim, at the age of eight, and the two women were enclosed together six years later. The written record of the Life of Jutta indicates that Hildegard probably assisted her in reciting the Psalms, working in the garden, and tending to the sick.
In any case, Hildegard and Jutta were enclosed at Disibodenberg in the Palatinate Forest in what is now Germany. Jutta was also a visionary and thus attracted many followers who came to visit her at the enclosure. Hildegard tells us that Jutta taught her to read and write, but that she was unlearned and therefore incapable of teaching Hildegard Biblical interpretation. Hildegard and Jutta most likely prayed, meditated, read scriptures such as the psalter, and did handwork during the hours of the Divine Office. This might have been a time when Hildegard learned how to play the ten-stringed 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.
Upon Jutta's death in 1136, Hildegard was unanimously elected as "magistra" of the community by her fellow nuns. 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 move to Rupertsberg. This was to be a move towards poverty, from a stone complex that was well established to a temporary dwelling place. When the abbot declined Hildegard's proposition, Hildegard went over his head and received the approval of Archbishop Henry I of Mainz. Abbot Kuno did not relent until Hildegard was stricken by an illness that kept her paralyzed and unable to move from her bed, an event that she attributed to God's unhappiness at her not following his orders to move her nuns to Rupertsberg. It was only when the Abbot himself could not move Hildegard that he decided to grant the nuns their own monastery. Hildegard and about twenty nuns thus moved to the St. Rupertsberg monastery in 1150, where Volmar served as provost, as well as Hildegard's confessor and scribe. In 1165 Hildegard founded a second monastery for her nuns at Eibingen.
Hildegard says that she first saw "The Shade of the Living Light" at the age of three, and by the age of five she began to understand that she was experiencing visions. She used the term 'visio' to this feature of her experience, and recognized that it was a gift that she could not explain to others. Hildegard explained that she saw all things in the light of God through the five senses: sight, hearing, taste, smell, and touch. Hildegard was hesitant to share her visions, confiding only to Jutta, who in turn told Volmar, Hildegard's tutor and, later, secretary. 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." 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. 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!'
It was between November 1147 and February 1148 at the synod in Trier that Pope Eugenus 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.
On 17 September 1179, when Hildegard died, her sisters claimed they saw two streams of light appear in the skies and cross over the room where she was dying.
Hildegard's hagiography, Vita Sanctae Hildegardis, was compiled by the monk Theoderic of Echternach after Hildegard's death. He included the hagiographical work Libellus or "Little Book" begun by Godfrey of Disibodenberg. 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. Theoderic utilized sources Guibert had left behind to complete the Vita.
Hildegard's works include three great volumes of visionary theology; 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; two volumes of material on natural medicine and cures; an invented language called the Lingua ignota ("unknown language"); and various minor works, including a gospel commentary and two works of hagiography.
Several manuscripts of her works were produced during her lifetime, including the illustrated Rupertsberg 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, which was the first fair-copy made for editing of her final theological work, the Liber Divinorum Operum. At the end of her life, and probably under her initial guidance, all of her works were edited and gathered into the single Riesenkodex manuscript.
Hildegard's most significant works were her three volumes of visionary theology: Scivias ("Know the Ways", composed 1142-1151), Liber Vitae Meritorum ("Book of Life's Merits" or "Book of the Rewards of Life", composed 1158-1163); and Liber Divinorum Operum ("Book of Divine Works", also known as De operatione Dei, "On God's Activity", composed 1163/4-1172 or 1174). In these volumes, the last of which was completed when she was well into her seventies, Hildegard first describes each vision, whose details are often strange and enigmatic; and then interprets their theological contents in the words of the "voice of the Living Light."
The Church, the Bride of Christ and Mother of the Faithful in Baptism. Illustration to Scivias II.3, fol. 51r from the 20th-century facsimile of the Rupertsberg manuscript, c. 1165-1180
The composition of the first work, Scivias, was triggered 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 and hear", Hildegard began to record her visionary experiences. Scivias is structured into three parts of unequal length. The first part (six visions) chronicles the order of God's creation: the Creation and Fall of Adam and Eve, the structure of the universe (famously described as an "egg"), the relationship between body and soul, God's relationship 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 the Redeemer, the Trinity, the Church as the Bride of Christ and the Mother of the Faithful in baptism and confirmation, the orders of the Church, Christ's sacrifice on the Cross and the Eucharist, and the fight against the devil. Finally, the third part (thirteen visions) recapitulates the history of salvation told in the first two parts, symbolized as a building adorned with various allegorical figures and virtues. It concludes with the Symphony of Heaven, an early version of Hildegard's musical compositions.
Portions of the uncompleted work were read aloud to Pope Eugenius III at the Synod of Trier in 1148, after which he sent Hildegard a letter with his blessing. This blessing was later construed as papal approval for all of Hildegard's wide-ranging theological activities. Towards the end of her life, Hildegard commissioned a 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.
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.
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 entering heaven. Hildegard's descriptions of the possible punishments there are often gruesome and grotesque, which emphasize the work's moral and pastoral purpose as a practical guide to the life of true penance and proper virtue.
"Universal Man" illumination from Hildegard's Liber Divinorum Operum, I.2. Lucca, MS 1942, early 13th century copy.
Hildegard's last and grandest visionary work had its genesis in one of the few times she experienced something like an ecstatic loss of consciousness. As she described it in an autobiographical passage included in her Vita, sometime 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.
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 course of salvation history.
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, sixty-nine 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. 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 unsure when some of Hildegard’s compositions were composed, though the Ordo Virtutum is thought to have been composed as early as 1151. 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.
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. Her music is described as monophonic, that is, consisting of exactly one melodic line. 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, current researchers are also exploring ways in which it may be viewed in comparison with her contemporaries, such as Hermannus Contractus. Another feature of Hildegard's music that both reflects twelfth-century 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. 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. 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.
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.
One scholar has asserted that Hildegard made a close association between music and the female body in her musical compositions. If so, the poetry and music of Hildegard’s Symphonia would be concerned with the anatomy of female desire thus described as Sapphonic, or pertaining to Sappho, connecting her to a history of female rhetoricians.
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. As she gained practical skills in diagnosis, prognosis, and treatment, she combined physical treatment of physical diseases with holistic methods centered on “spiritual healing.” She became well known for her healing powers involving practical application of tinctures, herbs, and precious stones. She combined these elements with a theological notion ultimately derived from Genesis: all things put on earth are for the use of humans.
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. 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.
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. 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 and elements within the human body, whose imbalance led to illness and disease.
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.” 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. 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. 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). Elsewhere, Hildegard is even said to have stressed the value of boiling drinking water in an attempt to prevent infection.
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.” 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. 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 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.
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. Due to her inventions of words for her lyrics and use of a constructed script, many conlangers look upon her as a medieval precursor. Scholars believe that Hildegard used her Lingua Ignota to increase solidarity among her nuns.
Maddocks claims that it is likely Hildegard learned simple Latin and the tenets of the Christian faith but was not instructed in the Seven Liberal Arts, which formed the basis of all education for the learned classes in the Middle Ages: the Trivium of grammar, dialectic, and rhetoric plus the Quadrivium of arithmetic, geometry, astronomy, and music. The correspondence she kept 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.
Contributing to Christian European rhetorical traditions, Hildegard "authorized herself as a theologian" through alternative rhetorical arts. 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. She also stated that "woman may be made from man, but no man can be made without a woman."
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. 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 well-connected abbess and acknowledged prophet, does not fit 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 conducted four preaching tours throughout Germany, speaking to both clergy and laity in chapter houses and in public, mainly denouncing clerical corruption and calling for reform.
Many abbots and abbesses asked her for prayers and opinions on various matters. She traveled widely during her four preaching tours. She had several fanatical followers, including Guibert of Gembloux, who wrote to 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.
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 and Pope Benedict XVI.
On 10 May 2012, Pope Benedict XVI extended the liturgical cult of St. Hildegard to the entire Catholic Church in a process known as "equivalent canonization," thus laying the groundwork for naming her a Doctor of the Church. 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. He called her "perennially relevant" and "an authentic teacher of theology and a profound scholar of natural science and music."
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
Recordings and performances of Hildegard's music have gained critical praise and popularity since 1979. See Discography listed below.
In recent years, Hildegard has become of particular interest to feminist scholars. 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. 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. Hildegard used her voice to condemn church practices she disagreed with, 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. Although her work has often been ignored or belittled in the history of medicince, 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. Her reputation as a medicinal writer and healer was also used by early feminists to argue for women's rights to attend medical schools. 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, whose Sophianic visions are often compared to Hildegard. Sophiologist Robert Powell writes that hermetic astrology proves the match, while mystical communities in Hildegard's lineage include that of artist Carl Schroeder as studied by Columbia sociologist Courtney Bender and supported by reincarnation researchers Walter Semkiw and Kevin Ryerson.
Hildegardis Bingensis, Opera minora. edited by H. Feiss, C. Evans, B. M. Kienzle, C. Muessig, B. Newman, P. Dronke, Corpus Christianorum Continuatio Mediaevalis CCCM 226 (Turnhout: Brepols, 2007), ISBN 978-2-503-05261-8
Lieder (Otto Müller Verlag Salzburg 1969: modern edition in adapted square notation)
Marianne Richert Pfau, Hildegard von Bingen: Symphonia, 8 volumes. Complete edition of the Symphonia chants. (Bryn Mawr, Hildegard Publishing Company, 1990).
Beate Hildegardis Cause et cure, ed. L. Moulinier (Berlin, Akademie Verlag, 2003)
Epistolarium pars prima I-XC edited by L. Van Acker, Corpus Christianorum Continuatio Mediaevalis CCCM 91A (Turnhout: Brepols, 1991)
Epistolarium pars secunda XCI-CCLr edited by L. Van Acker, Corpus Christianorum Continuatio Mediaevalis CCCM 91A (Turnhout: Brepols, 1993)
Epistolarium pars tertia CCLI-CCCXC edited by L. Van Acker and M. Klaes-Hachmoller, Corpus Christianorum Continuatio Mediaevalis XCIB (Turnhout: Brepols, 2001)
Scivias. A. Führkötter, A. Carlevaris eds., Corpus Christianorum Scholars Version vols. 43, 43A. (Turnhout: Brepols, 2003)
Liber vitae meritorum. A. Carlevaris ed. Corpus Christianorum Continuatio Mediaevalis CCCM 90 (Turnhout: Brepols, 1995)
Liber divinorum operum. A. Derolez and P. Dronke eds., Corpus Christianorum Continuatio Mediaevalis CCCM 92 (Turnhout: Brepols, 1996)
Hildegard of Bingen, Two Hagiographies: Vita sancti Rupperti confessoris, Vita sancti Dysibodi episcopi, ed. and trans. Hugh Feiss & Christopher P. Evans, Dallas Medieval Texts and Translations 11 (Leuven and Paris: Peeters, 2010)
^ abBennett, Judith M. and Hollister, Warren C. Medieval Europe: A Short History (New York: McGraw-Hill, 2001), 317.
^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 
^ abCaviness, 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.
^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), 9.
^Jutta & Hildegard: The Biographical Sources, trans. Anna Silvas (Pennsylvania State University Press, 1999), 278-279.
^Fiona Bowie, Oliver Davies. Hildegard of Bingen: An Anthology. SPCK 1990 Some sources note younger siblings, specifically Bruno
^ abJutta & Hildegard: The Biographical Sources, trans. Anna Silvas (Pennsylvania State University Press, 1999), 138; Ruether, Rosemary Radford. Visionary Women (Minneapolis: Augsburg Fotress, 2002), 7.
^Jutta & Hildegard: The Biographical Sources, trans. Anna Silvas (Pennsylvania State University Press, 1999), 139.
^Jutta & Hildegard: The Biographical Sources, trans. Anna Silvas (Pennsylvania State University Press, 1999), 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), 30-51, at 32-33.
^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).
^Jutta & Hildegard: The Biographical Sources, trans. Anna Silvas (Pennsylvania State University Press, 1999), 70-73; Reed-Jones, Carol. Hildegard of Bingen: Women of Vision (Washington: Paper Crane Press, 2004), 8.
^Ruether, Rosemary Radford. Visionary Women (Minneapolis: Augsburg Fotress, 2002), 6.
^Reed-Jones, Carol. Hildegard of Bingen: Women of Vision (Washington: Paper Crane Press, 2004), 6.
^Furlong, Monica. Visions and Longings: Medieval Women Mystics (Massachusetts: Shambhala Publications, 1996), 84.
^Furlong, Monica. Visions and Longings: Medieval Women Mystics (Massachusetts: Shambhala Publications, 1996), 85.
^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. ISBN9780231134002.
^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.
^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).
^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); Glaze, Florence Eliza. “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), 125–148.
^Higley, Sarah L. Hildegard of Bingen's Unknown Language: An Edition, Translation, and Discussion (New York: Palgrave Macmillan, 2007).
^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).
^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.
^"Protestificatio" ("Declaration") to Hildegard of Bingen, Scivias, trans. Mother Columba Hart and Jane Bishop (Paulist Press, 1990), 59-61.
^Letter 4 in The Letters of Hildegard of Bingen, trans. Joseph L. Baird and Radd K. Ehrman (Oxford University Press, 1994), 34-35.
^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), 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), 343-369, at 350-352.
^Hildegard of Bingen. The Book of the Rewards of Life. Trans. Bruce W. Hozeski (Oxford University Press), 1994.
^Newman, Barbara. "Hildegard of Bingen and the 'Birth of Purgatory'," Mystics Quarterly 19 (1993): 90-97.
^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 17-19.
^"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), 162–163.
^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.
^Hildegard of Bingen. Symphonia, ed. Barbara Newman (2nd Ed.; Ithaca, NY: Cornell University Press, 1988, 1998).
^Flanagan, Sabina. Hildegard of Bingen, 1098–1179: A Visionary Life (London: Routledge, 1989), 102.
^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), 1–29.
^Maddocks, Fiona. Hildegard of Bingen: The Woman of Her Age (New York: Doubleday, 2001), 194.
^Newman, Barbara. Voice of the Living Light (California: University of California Press, 1998),150.
^Bruce Holsinger, “The Flesh of the Voice: Embodiment and the Homoerotics of Devotion in the Music of Hildegard von Bingen (1098–1179).” Signs: Journal Of Women in Culture and Society 19 (1993): 92–125.
^See Jennifer Bain, “Hildegard, Hermannus and Late Chant Style,” Journal of Music Theory, 2008, vol 52.>
^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.
^See the facsimile of her music now freely available on IMSLP.
^Butcher, Carmen Acevedo. Hildegard of Bingen: A Spiritual Reader (Massachusetts: Paraclete Press, 2007), 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.
^Madigan, Shawn. Mystics, Visionaries and Prophets: A Historical Anthology of Women’s Spiritual Writings (Minnesota: Augsburg Fortress, 1998), 95.
^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): 92–125.
^Holsinger, Bruce W. Music, Body, and Desire in Medieval Culture. Stanford: Stanford University Press, 2001. 123–135.
^ abcdefFlorence 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), 125–148.
^ abcdeSweet, V. (1999). “Hildegard of Bingen and the greening of medieval medicine.” Bulletin of the History of Medicine, 73(3), p. 381-403
^Maddocks, Fiona. Hildegard of Bingen: The Woman of Her Age (New York: Doubleday, 2001), 155.
^Hozeski, Bruce W. Hildegard's Healing Plants: From Her Medieval Classic Physica (Massachusetts: Beacon Press, 2001), xi–xii
^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).
^"Hildegard of Bingen." Encyclopedia of World Biography. 2004.
^Quoted in Glaze, “Medical Writer: ‘Behold the Human Creature,’” p. 136.
^Barbara J. Newman, "Introduction" to Hildegard, Scivias, 13.
^Maddocks, Fiona. Hildegard of Bingen: The Woman of Her Age. New York: Doubleday, 2001. 40.
^ abDietrich, 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), 202–214.
^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), 165-167..
^Herrick, James A., The History of Rhetoric: An Introduction, 4th ed. (Boston: Allyn Bacon, 2005), pp. ??.
^See e.g. Marilyn R. Mumford, "A Feminist Prolegomenon for the Study of Hildegard of Bingen," in Gender, Culture, and the Arts: Women, Culture, and Society, eds. R. Dotterer and S. Bowers (Selinsgrove: Susquehanna University Press, 1993), pp. 44-53.
^Ruether, Rosemary Radford. Visionary Women (Minneapolis: Augsburg Fotress, 2002), 10–11.
^Barbara Newman, “Hildegard of Bingen: Visions and Validation,” Church History 54 (1985): 163–175; Barbara Newman, Sister of Wisdom: St. Hildegard’s Theology of the Feminine, (Berkeley and Los Angeles: University of California Press, 1987).
^ abSweet, V. (1999). "Hildegard of Bingen and the greening of medieval medicine." Bulletin of the history of Medicine, 73(3), p.386
^June Boyce-Tillman, “Hildegard of Bingen at 900: The Eye of a Woman,” The Musical Times 139, no. 1865 (Winter, 1998): 35.
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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.
Campbell, Nathaniel M. “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.
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.
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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.
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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 Edeltraud Forster, 340-358. Freiburg im Breisgau: Verlag Herder, 1997.
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