text:
Heinsberg
Aachen
Paris
ébéniste
cabinetmaker
Paris
Eugène Delacroix
Faubourg Saint-Antoine
Louis XIV
André Charles Boulle
Louvre
Manufacture des Gobelins
Gilles Joubert
marchands-merciers
case furniture
Madame de Pompadour
Château de Bellevue
neoclassical style
rococo
Metropolitan Museum of Art
marquetry
Bureau du Roi
Louis XV
Jean Henri Riesener
Museu Calouste Gulbenkian
comte d'Argenson
parquetry
chiffonier
Roger Vandercruse Lacroix
Eugène Delacroix
Martin Carlin
Jean Henri Riesener
Neoclassicism in France

categories: Furniture makers,1763 deaths,1721 births

paragraph: Jean-François Oeben

paragraph: Jean-François Oeben, or Johann Franz Oeben (9 October 1721

paragraph: Heinsberg near Aachen – Paris 21 January 1763) was a German ébéniste (cabinetmaker) whose career was spent in Paris. He was the maternal grandfather of the painter Eugène Delacroix.

paragraph: Section::::Life and career.

paragraph: Nothing is securely known about his training. He was in Paris by about 1740; from 1749 he lived in the Faubourg Saint-Antoine.

paragraph: During 1751 - 1754 he worked as "compagnon" at the workshop of Charles-Joseph Boulle, son of the great "ébeniste" of Louis XIV, André Charles Boulle, and then independently in premises in the Galleries of the Louvre sublet to him by Boulle. From 1754 he was granted premises, at first at the Manufacture des Gobelins, then, in 1756, in workshops and lodgings at the Arsenal.

paragraph: Though he had workshops under royal appointment, throughout his career the royal cabinet-maker, "ébeniste du Roi", was Gilles Joubert. Oeben worked for the aristocracy sometimes through intermediary "marchands-merciers", providing extremely refined case furniture with marquetry of flowers that gave way, in the last years of his career, to sober geometrical tiled patterns.

paragraph: Oeben worked extensively for Madame de Pompadour: in the inventory drawn up after his death there were ten items awaiting delivery to Mme de Pompadour. She had ordered many pieces of furniture from him in 1761, doubtless for the Château de Bellevue, and had already paid 17,400 "livres" on account. In the inventory after her death, there were sixteen commodes "à la Grecque" that must have come from Oeben, who was in the forefront of this first phase of neoclassical style; in the announcement advertising the sale of his stock after his death, it was explicitly stated that all was "in a new style" (Eriksen 1974:208). Not all of the furnishings for Mme de Pompadour had abandoned the rococo manner: at the Metropolitan Museum of Art, a mechanical table stamped by Oeben and his brother-in-law R.V.L.C. has pierced cabriole legs, for an unusual effect of lightness and grace. Its mounts bear Pompadour's armorial bearing, a tower, and R.V.L.C.'s stamp shows that it was one of the pieces in the workshop that was left unfinished at the time of Oeben's death, completed and stamped by Roger Vandercruse.

paragraph: Oeben's distinguished marquetry appears at its most ambitious on the famous, minutely-documented roll-top Bureau du Roi, made for Louis XV, which was begun in 1760 and remained unfinished at his death; it was finished and delivered in 1769, signed by Jean Henri Riesener, but it was Oeben who devised its intricate mechanisms.

paragraph: The known work of Oeben possesses genuine grace and beauty; as craftsmanship it is of the first rank, and it is typically French in its fluent, idiomatic character. His furniture is found in all the great national collections of decorative arts. The Museu Calouste Gulbenkian has a mechanical table made by Oeben for the comte d'Argenson which opens swing-away secretarial writing surfaces and a tilted reading easel with successive turns of a single key. At the J. Paul Getty Museum is a commode of ca. 1760 stamped by Oeben veneered in parquetry and reflecting the "new style" especially in its gilt-bronze mounts; it is fitted with an elaborate locking mechanism typical of Oeben. He is represented in the Victoria and Albert Museum by a pair of inlaid corner-cupboards. These, with a bureau and a chiffonier in the French national "Garde Meuble", in which bouquets of flowers are delicately inlaid in choice woods, are his best-known and most admirable achievements.

paragraph: Section::::Family.

paragraph: On 29 June 1749 Jean-François married Françoise-Marguerite Vandercruse, the daughter of the "ébeniste" François Vandercruse called Lacroix, and so was the brother-in-law of another outstanding cabinet-maker, Roger Vandercruse Lacroix. Françoise-Marguerite bore daughter Victoire to Jean-François, and Victoire bore painter Eugène Delacroix.

paragraph: Jean-François has sometimes been confused with his brother Simon-François Oeben (ca. 1725, Heinsberg - 1786, Paris), his employee since 1754, who married the other Vandercruse sister. Their sister Marie-Catherine married the "ébeniste" Martin Carlin in 1759.

paragraph: His widow married his journeyman Jean Henri Riesener, who used Oeben’s stamp until he was granted its mastership in 1768.

paragraph: Section::::See also.

paragraph: BULLET::::- Neoclassicism in France

paragraph: Section::::References.

paragraph: BULLET::::- This article was formerly based on "Encyclopædia Britannica" 1911, "Jean-François Oeben".

paragraph: BULLET::::- Eriksen, Svend, 1974. "Early Neo-Classicism in France" (London: Faber)

paragraph: BULLET::::- Stratman Döhler, Rosemarie, "Jean François Oeben", Paris, 2002,

alias:
Jean-Francois Oeben
François Oeben

description: German master cabinetmaker specialized in marquetry having worked in Paris

wikidata_label: Jean-François Oeben

wikipedia_title: Jean-François Oeben


text: Byzantine Greek

text: historian

text: philosopher

text: Nicaea

text: Bithynia

text: Constantinople

text: Latin Empire

text: Michael VIII Palaeologus

text: George Acropolites

text: Michael

text: Andronicus II Palaeologus

text: rhetoric

text: Quadrivium

text: Middle Ages

text: Aristotelian

text: Pseudo-Dionysius the Areopagite

text: Augustaeum

text: column

text: Justinian

text: Persians

text: I. Bekker

text: Corpus Scriptorum Historiae Byzantinae

text: J. P. Migne

text: Patrologia Graeca

text: Karl Krumbacher

categories: Byzantine historians,13th-century Eastern Orthodox theologians,13th-century historians,1242 births,Byzantine philosophers,1310 deaths,14th-century historians,Byzantine theologians,People from Nicaea,Commentators on Plato,13th-century Byzantine writers,Music theorists,14th-century Byzantine writers,14th-century Eastern Orthodox theologians

paragraph: George Pachymeres

paragraph: Georgius Pachymeres (; 1242 – c. 1310), a Byzantine Greek historian, philosopher and miscellaneous writer.

paragraph: Section::::Biography.

paragraph: Pachymeres was born at Nicaea, in Bithynia, where his father had taken refuge after the capture of Constantinople by the Latins in 1204. Upon the recovery of The City from the Latin Empire by Michael VIII Palaeologus, Pachymeres settled in Constantinople, studied law, entered the church, and subsequently became chief advocate of the church and chief justice of the imperial court.

paragraph: His literary activity was considerable, his most important work being a Byzantine history in thirteen books, in continuation of that of George Acropolites from 1261 (or rather 1255) to 1308, containing the history of the reigns of Michael and Andronicus II Palaeologus. Pachymeres was also the author of rhetorical exercises on philosophical themes; of a "Quadrivium" (arithmetic, music, geometry, astronomy), valuable for the history of music and astronomy in the Middle Ages; a general sketch of Aristotelian philosophy; a paraphrase of the speeches and letters of Pseudo-Dionysius the Areopagite; poems, including an autobiography; and a description of the square of the "Augustaeum", and the column erected by Justinian in the church of Hagia Sophia to commemorate his victories over the Persians.

paragraph: The "History" was first published in print by I. Bekker (1835) in the "Corpus Scriptorum Historiae Byzantinae"; also by J. P. Migne, in "Patrologia Graeca" (vol. cxliii, cxliv); for editions of the minor works see Karl Krumbacher, "Geschichte der byzantinischen Litteratur" (1897). A more recent edition with French translation of the "History" by Failler (ed) and Laurent (trans) was published in 1984. An English translation of Books I and II (up to the recovery of Constantinople in 1261), with commentary, exists in the form of a Ph.D. thesis (author Nathan John Cassidy) held in the Reid Library of the University of Western Australia.

paragraph: Section::::References.

paragraph: Attribution:

paragraph: Section::::External links.

paragraph: BULLET::::- Opera Omnia by Migne Patristica Graeca with analytical indexes

paragraph: BULLET::::- G. Pachymeres, Hierocles and Philagrios, Declamationes XIII, Philogelos.

paragraph: BULLET::::- G. Pachymeris, De Michaele et Andronico Paleologis, Bonn, 1835., Greek and Latin text.

description: Byzantine scholar

wikidata_label: George Pachymeres

wikipedia_title: George Pachymeres


text: Sibyl

text: Rhine

text: Benedictine

text: abbess

text: Christian mystic

text: visionary

text: polymath

text: natural history

text: magistra

text: Rupertsberg

text: Eibingen

text: Ordo Virtutum

text: morality play

text: liturgical

text: illuminations

text: Scivias

text: constructed language

text: Lingua Ignota

text: canonization

text: Pope Benedict XVI

text: Doctor of the Church

text: Sponheim

text: visions

text: oblate

text: Benedictine

text: Disibodenberg

text: Palatinate Forest

text: Vita

text: Jutta

text: psaltery

text: Volmar

text: Prioress

text: Rupertsberg

text: Archbishop Henry I of Mainz

text: Volmar

text: Eibingen

text: Jutta

text: Scivias

text: Pope Eugenius

text: hagiography

text: popes

text: emperors

text: abbot

text: abbess

text: "Lingua ignota"

text: Scivias

text: Dendermonde Codex

text: Liber Divinorum Operum

text: Riesenkodex manuscript

text: Scivias

text: Scivias

text: Trinity

text: baptism

text: confirmation

text: Eucharist

text: Pope Eugenius III

text: Scivias

text: John the Evangelist

text: Church

text: Ordo Virtutum

text: morality play

text: monophonic

text: Hermannus Contractus

text: melismatic

text: Margot Fassler

text: neumes

text: viriditas

text: Sappho

text: Mélanie Lipinska

text: humoral theory

text: alternative alphabet

text: Latin

text: conlang

text: Lingua Ignota

text: Liberal Arts

text: Trivium

text: Quadrivium

text: Elisabeth of Schönau

text: Eugene III

text: Anastasius IV

text: Abbot Suger

text: Frederick I Barbarossa

text: Bernard of Clairvaux

text: Synod of Trier

text: canonization

text: beatification

text: Roman Martyrology

text: feast day

text: Pope John Paul II

text: Pope Benedict XVI

text: Doctor of the Church

text: feast of the Holy Rosary

text: Doctor of the Church

text: calendar of saints

text: Anglican

text: Church of England

text: Rüdesheim

text: relic

text: feminist

text: simony

text: New Age movement

text: Rudolf Steiner

text: Vladimir Soloviev

text: Sophianic

text: Sofia Gubaidulina

text: Peter Janssens

text: Jutta Richter

text: Tilo Medek

text: David Lynch

text: Jocelyn Montgomery

text: Alois Albrecht

text: Christopher Theofanidis

text: Rainbow Body

text: Ludger Stühlmeyer

text: Wolfgang Sauseng

text: Devendra Banhart

text: Mala

text: Gordon Hamilton

text: The Dinner Party

text: minor planet

text: 898 Hildegard

text: Patricia Routledge

text: Ángela Molina

text: Barbarossa

text: Barbara Sukowa

text: Vision

text: Margarethe von Trotta

text: Illuminations

text: Mary Sharratt

text: Hildegardia

text: The Baby-Sitters Club

text: Michael M. Conti

text: Grace McLean

text: Corpus Christianorum

text: Corpus Christianorum

text: Barbara Stühlmeyer

text: Corpus Christianorum

text: Corpus Christianorum

text: Corpus Christianorum

text: Dallas Medieval Texts and Translations

text: "Hildegard of Bingen's Unknown Language: An Edition, Translation, and Discussion"

text: Wiesbaden Codex

text: Jean-Baptiste Pitra

text: Patrologia Latina

text: Regulae S. Benedicti

text: S. Athanasii

text: Homeliae

text: Ignota lingua

text: Scivias

text: Discography of Hildegard of Bingen

text: Timeline of women in science

text: "The Book of Divine Works"

text: "Scivias"

text: Barbara J. Newman

text: "Symphonia: A Critical Edition of the Symphonia Armonie Celestium Revelationum (Symphony of the Harmony of Celestial Revelations)"

text: "Hildegard of Bingen, 1098–1179: A Visionary Life"

text: "Music, Body, and Desire In Medieval Culture"

text: Newman, Barbara

text: Stühlmeyer, Barbara

text: here

text: Linda Nochlin

text: Holweck, the Rt. Reverend Frederick G.

text: International Society of Hildegard von Bingen Studies

text: Online edition of Hildegard's "Symphonia"

text: A Hildegard FAQ Sheet

text: "Liber Divinorum Operum" ("Book of Divine Works"): Chapter summaries and gallery of Lucca illustrations

text: "Book of Divine Works" ("Liber Divinorum Operum") I.1

text: "Book of Divine Works" ("Liber Divinorum Operum") III.3

text: "An Explanation of the Athanasian Creed" ("Explanatio Symboli Sancti Athanasii")

text: Young, Abigail Ann. "Translations from Rupert, Hildegard, and Guibert of Gembloux". 1999. 27 March 2006.

text: Transliterate text to St. Hildegard's "litteræ ignotæ" alphabet.

text: Hildegard of Bingen

text: Healthy Hildegard

text: Hildegard's page at the Medieval History Sourcebook

text: "Women's Biography: Hildegard of Bingen"

text: Church of St. Hildegard in Eibingen, Germany

text: Abtei St. Hildegard

text: Abbey of St. Hildegard

text: The Reconstruction of the monastery on the Rupertsberg

text: Hildegard Center for the Arts

text: Complete Discography at medieval.org

text: Sequentia's complete recordings of Hildegard's music

text: Introduction to Hildegard of Bingen Music by Dr. Barbara Stuehlmeyer

text: McGuire, K. Christian. "Symphonia Caritatis: The Cistercian Chants of Hildegard von Bingen". 2007. 14 July 2007.

text: Biography and Prayers of Hildegard

text: "Brooklyn Museum: Elizabeth A. Sackler Center for Feminist Art: The Dinner Party: Place Setting: Hildegarde of Bingen"

text: BBC Radio 4 In Our Time – Hildegard of Bingen

categories: 12th-century composers,Hildegard of Bingen,12th-century Christian saints,Women religious writers,1179 deaths,German women philosophers,12th-century scientists,Hymnographers,Creators of writing systems,1098 births,Medieval female composers,German Christian mystics,12th-century Latin writers,Medieval German physicians,Doctors of the Church,Medieval German musicians,Women hymnwriters,Benedictine abbesses,12th-century Roman Catholic theologians,12th-century Christian mystics,Medieval German women musicians,Pre-Reformation saints of the Lutheran liturgical calendar,Romanesque artists,Roman Catholic mystics,German female classical composers,Manuscript illuminators,Rhineland mystics,Benedictine mystics,People from Alzey-Worms,Pre-Reformation Anglican saints,Catholic philosophers,German Roman Catholic saints,Angelic visionaries,Canonizations by Pope Benedict XVI,Herbalists,12th-century philosophers,German spiritual writers,12th-century German women writers,German women artists,Medieval German theologians,12th-century German poets,Female saints of medieval Germany,Benedictine saints,Medieval German saints,Medieval Latin poets,Benedictine philosophers,12th-century Christian nuns,12th-century German artists,Medieval drama,Medieval German women artists,German Roman Catholic abbesses,12th-century physicians,Mystic poets,Medieval women physicians

paragraph: Hildegard of Bingen

paragraph: Hildegard of Bingen (; ; 1098 – 17 September 1179), also known as Saint Hildegard and the Sibyl of the Rhine, was a German Benedictine abbess, writer, composer, philosopher, Christian mystic, visionary, and polymath. She has been considered by many in Europe to be the founder of scientific natural history in Germany.

paragraph: Hildegard's fellow nuns elected her as "magistra" 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".

paragraph: She is also noted for the invention of a constructed language known as "Lingua Ignota".

paragraph: Although the history of her formal canonization is complicated, branches of the Roman Catholic Church have recognized her as a saint for centuries. On 7 October 2012 Pope Benedict XVI named her a Doctor of the Church.

paragraph: Section::::Biography.

paragraph: Hildegard was born around the year 1098, although the exact date is uncertain. Her parents were 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 only seven older siblings. In her "Vita", Hildegard states that from a very young age she had experienced visions.

paragraph: Section::::Biography.:Monastic life.

paragraph: Perhaps because of Hildegard's visions, or as a method of political positioning (or both), Hildegard's parents offered her as an oblate to the Benedictine monastery at the Disibodenberg, which had been recently reformed in the Palatinate Forest. The date of Hildegard's enclosure at the monastery is the subject of debate. Her "Vita" says she was professed with an older woman, Jutta, the daughter of Count Stephan II of Sponheim, at the age of eight. However, Jutta's date of enclosure is known to have been in 1112, when Hildegard would have been fourteen. Their vows were received by Bishop Otto Bamberg on All Saints' Day, 1112. Some scholars speculate that Hildegard was placed in the care of Jutta at the age of eight, and the two women were then enclosed together six years later.

paragraph: 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. 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. 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.

paragraph: 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 a new location in 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.

paragraph: 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.

paragraph: Section::::Biography.:Visions.

paragraph: Hildegard said 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' (the Latin for "vision") to describe 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:

paragraph: 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!'

paragraph: 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.

paragraph: 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.

paragraph: Section::::Biography.:"Vita Sanctae Hildegardis".

paragraph: 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".

paragraph: Section::::Works.

paragraph: 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.

paragraph: 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 Codex, 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.

paragraph: Section::::Works.:Visionary theology.

paragraph: 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."

paragraph: Section::::Works.:Visionary theology.:"Scivias".

paragraph: With permission from Abbot Kuno of Disibodenberg, she began journaling visions she had (which is the basis for "Scivias"). "Scivias" is a contraction of "Sci vias Domini" ("Know the Ways of the Lord"), and it was Hildegard's first major visionary work, and one of the biggest milestones in her life. Perceiving a divine command to "write down what you see and hear", Hildegard began to record and interpret her visionary experiences - 26 in total visionary experiences were captured in this compilation.

paragraph: "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 the shape of 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.

paragraph: In early 1148, a commission was sent by the Pope to Disibodenberg to find out more about Hildegard and her writings. The commission found that the visions were authentic and returned to the Pope, with a portion of the "Scivias". 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.

paragraph: Section::::Works.:Visionary theology.:"Liber Vitae Meritorum".

paragraph: 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 defence, however, are the sober voices of the Virtues, powerfully confronting every vicious deception.

paragraph: 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.

paragraph: Section::::Works.:Visionary theology.:"Liber Divinorum Operum".

paragraph: 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.

paragraph: The ten visions of this work's three parts are cosmic in scale, to illustrate various ways of understanding the relationship between God and his creation. Often, that relationship is established by grand allegorical female figures representing Divine Love ("Caritas") or Wisdom ("Sapientia"). The first vision opens the work with a salvo of poetic and visionary images, swirling about to characterize God's dynamic activity within the scope of his work within the history of salvation. 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 chapter of Part One, Vision Four with Hildegard's commentary on the Prologue to John's Gospel (John 1:1–14), a direct rumination on the meaning of "In the beginning was the Word..." The single vision that constitutes the whole of Part Two stretches that rumination back to the opening of Genesis, and forms an extended commentary on the seven days of the creation of the world told in Genesis 1–2:3. This commentary interprets each day of creation in three ways: literal or cosmological; allegorical or ecclesiological (i.e. related to the Church's history); and moral or tropological (i.e. related to the soul's growth in virtue). Finally, the five visions of the third part take up again the building imagery of "Scivias" to describe the course of salvation history. The final vision (3.5) contains Hildegard's longest and most detailed prophetic program of the life of the Church from her own days of "womanish weakness" through to the coming and ultimate downfall of the Antichrist.

paragraph: Section::::Works.:Music.

paragraph: 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.

paragraph: 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. It is an independent Latin morality play with music (82 songs); it does not supplement or pay homage to the Mass or the Office of a certain feast. The most significant part of this entire composition is, however, that the "Ordo virtutum" is the earliest known surviving musical drama that is not attached to a liturgy.

paragraph: This entertainment was both performed and bemused by a select community of noblewomen and nuns. Even more fascinating about this piece, the devil has no music whatsoever in the plot of the play, he instead shouts and bellows all his lines. All other characters sing in monophonic plainchant. This includes Patriarchs, Prophets, A Happy Soul, A Unhappy Soul and A Penitent Soul along with 16 female Virtues (including Mercy, Innocence, Chasity, Obedience, Hope, and Faith).

paragraph: The "Ordo virtutum" was probably performed as a manifestation of the theology Hildegard delineated in the "Scivias". The play serves as a group enchantment of the Christian story of sin, confession, repentance, and forgiveness. Notably, it is the female Virtues who restore the fallen to the community of the faithful, not the male Patriarchs or Prophets. This would have been a significant message to the nuns in Hildegard's convent. 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 (the human souls) and the Virtues.

paragraph: 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.

paragraph: 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.

paragraph: Despite Hildegard's self-professed view that her compositions have as their object the praise of God, one scholar has asserted that Hildegard made a close association between music and the female body in her musical compositions. 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.

paragraph: Section::::Works.:Scientific and medicinal writings.

paragraph: 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 the 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. In addition to her hands-on experience, she also gained medical knowledge, including elements of her humoral theory, from traditional Latin texts.

paragraph: Hildegard catalogued both her theory and practice in two works. The first, "Physica," contains nine books that describe the scientific and medicinal properties of various plants, stones, fish, reptiles, and animals. The second, "Causae et Curae", is an exploration of the human body, its connections to the rest of the natural world, and the causes and cures of various diseases. Hildegard documented various medical practices in these books, including the use of bleeding and home remedies for many common ailments. She also explains remedies for common agricultural injuries such as burns, fractures, dislocations, and cuts. Hildegard may have used the books to teach assistants at the monastery. These books are historically significant because they show areas of medieval medicine that were not well documented because their practitioners (mainly women) rarely wrote in Latin. Her writings were commentated on by Mélanie Lipinska, a Polish scientist

paragraph: 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. "Viriditas", or greening power, was thought to sustain human beings and could be manipulated by adjusting the balance of elements within a 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.

paragraph: 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 the moon is waning), the place of disease (use veins near diseased organ or 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 describes 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 human conception 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.

paragraph: 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, Hildegard's conception of the hierarchical inter-balance 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:

paragraph: 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 have 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.

paragraph: Section::::Works.:"Lingua ignota" and "Litterae ignotae".

paragraph: Hildegard also invented an alternative alphabet. "Litterae ignotae" ("Alternate Alphabet") was another work and was more or less a secret code, or even an intellectual code – much like a modern crossword puzzle today.

paragraph: 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. Because of her inventions of words for her lyrics and use of a constructed script, many conlangers look upon her as a medieval precursor.

paragraph: Hildegard's "Lingua ignota" ("Unknown Language") was a composition that comprised a series of invented words that corresponded to an eclectic list of nouns. Scholars believe that Hildegard used her "Lingua Ignota" to increase solidarity among her nuns.

paragraph: Section::::Significance.

paragraph: Section::::Significance.:During her lifetime.

paragraph: 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.

paragraph: 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."

paragraph: Because of 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.

paragraph: Many abbots and abbesses asked her for prayers and opinions on various matters. She traveled widely during her four preaching tours. She had several devoted 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.

paragraph: 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.

paragraph: Section::::Significance.:Beatification, canonization and recognition as a Doctor of the Church.

paragraph: 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.

paragraph: 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 among 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."

paragraph: 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.

paragraph: Hildegard's parish and pilgrimage church in Eibingen near Rüdesheim houses her relics.

paragraph: Section::::Significance.:Modern interest.

paragraph: 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 amplify the Church's condemnation of institutional corruption, in particular simony.

paragraph: Hildegard has also become a figure of reverence within the contemporary New Age movement, mostly because of 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, 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's. 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.

paragraph: Recordings and performances of Hildegard's music have gained critical praise and popularity since 1979. See Discography listed below.

paragraph: The following modern musical works are directly linked to Hildegard and her music or texts:

paragraph: BULLET::::- Sofia Gubaidulina: "Aus den Visionen der Hildegard von Bingen", for contra alto solo, after a text of Hildegard of Bingen, 1994.

paragraph: BULLET::::- Peter Janssens: "Hildegard von Bingen", a musical in 10 scenes, text: Jutta Richter, 1997.

paragraph: BULLET::::- Tilo Medek: "Monatsbilder (nach Hildegard von Bingen)", twelve songs for mezzo-soprano, clarinet and piano, 1997.

paragraph: BULLET::::- David Lynch with Jocelyn Montgomery: "Lux Vivens (Living Light): The Music of Hildegard Von Bingen", 1998.

paragraph: BULLET::::- Alois Albrecht: "Hildegard von Bingen", a liturgical play with texts and music by Hildegard of Bingen, 1998.

paragraph: BULLET::::- Christopher Theofanidis: "Rainbow Body", for orchestra (2000)

paragraph: BULLET::::- Ludger Stühlmeyer: "O splendidissima gemma", for alto solo and organ, text by Hildegard of Bingen, 2011.

paragraph: BULLET::::- Wolfgang Sauseng: "De visione secunda" for double choir and percussion, 2011.

paragraph: BULLET::::- Devendra Banhart: "Für Hildegard von Bingen", single from the 2013 album "Mala".

paragraph: BULLET::::- Gordon Hamilton: "The Trillion Souls" quotes Hildegard's "O Ignee Spiritus"

paragraph: The artwork "The Dinner Party" features a place setting for Hildegard.

paragraph: In space, the minor planet 898 Hildegard is named for her.

paragraph: In film, Hildegard has been portrayed by Patricia Routledge in a BBC documentary called "Hildegard of Bingen" (1994), by Ángela Molina in "Barbarossa" (2009) and by Barbara Sukowa in the film "Vision", directed by Margarethe von Trotta.

paragraph: Hildegard was the subject of a 2012 fictionalized biographic novel "Illuminations" by Mary Sharratt.

paragraph: The plant genus "Hildegardia" is named after her because of her contributions to herbal medicine.

paragraph: Hildegard makes an appearance in "The Baby-Sitters Club #101: Claudia Kishi, Middle School Drop-Out" by Ann M. Martin, when Anna Stevenson dresses as Hildegard for Halloween.

paragraph: A feature documentary film, "," was released by American director Michael M. Conti in 2014.

paragraph: Grace McLean's "In the Green", a musical that examines Hildegard's early life, premiered off-Broadway in June 2019.

paragraph: Section::::Bibliography.

paragraph: Section::::Bibliography.:Primary sources.

paragraph: BULLET::::- Editions of Hildegard's works

paragraph: BULLET::::- Hildegardis Bingensis, "Opera minora" II. edited by C.P. Evans, J. Deploige, S. Moens, M. Embach, K. Gärtner, Corpus Christianorum Continuatio Mediaevalis CCCM 226A (Turnhout: Brepols, 2015),

paragraph: BULLET::::- 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),

paragraph: BULLET::::- Hildegardis Bingensis. "Werke Band IV. Lieder Symphoniae." Edited by Barbara Stühlmeyer. Beuroner Kunstverlag 2012. .

paragraph: BULLET::::- "Lieder" (Otto Müller Verlag Salzburg 1969: modern edition in adapted square notation)

paragraph: BULLET::::- Marianne Richert Pfau, "Hildegard von Bingen: Symphonia", 8 volumes. Complete edition of the Symphonia chants. (Bryn Mawr, Hildegard Publishing Company, 1990).

paragraph: BULLET::::- Beate Hildegardis Cause et cure, ed. L. Moulinier (Berlin, Akademie Verlag, 2003)

paragraph: BULLET::::- "Epistolarium pars prima I–XC" edited by L. Van Acker, Corpus Christianorum Continuatio Mediaevalis CCCM 91A (Turnhout: Brepols, 1991)

paragraph: BULLET::::- "Epistolarium pars secunda XCI–CCLr" edited by L. Van Acker, Corpus Christianorum Continuatio Mediaevalis CCCM 91A (Turnhout: Brepols, 1993)

paragraph: BULLET::::- "Epistolarium pars tertia CCLI–CCCXC" edited by L. Van Acker and M. Klaes-Hachmoller, Corpus Christianorum Continuatio Mediaevalis XCIB (Turnhout: Brepols, 2001)

paragraph: BULLET::::- "Scivias". A. Führkötter, A. Carlevaris eds., Corpus Christianorum Scholars Version vols. 43, 43A. (Turnhout: Brepols, 2003)

paragraph: BULLET::::- "Liber vitae meritorum". A. Carlevaris ed. Corpus Christianorum Continuatio Mediaevalis CCCM 90 (Turnhout: Brepols, 1995)

paragraph: BULLET::::- "Liber divinorum operum". A. Derolez and P. Dronke eds., Corpus Christianorum Continuatio Mediaevalis CCCM 92 (Turnhout: Brepols, 1996)

paragraph: BULLET::::- 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)

paragraph: BULLET::::- "Hildegard of Bingen's Unknown Language: An Edition, Translation, and Discussion", ed. Sarah Higley (2007) (the entire Riesencodex glossary, with additions from the Berlin MS, translations into English, and extensive commentary)

paragraph: BULLET::::- Early manuscripts of Hildegard's works

paragraph: BULLET::::- Wiesbaden, Hessische Landesbibliothek, MS 2 (Riesen Codex) or Wiesbaden Codex (c. 1180–85)

paragraph: BULLET::::- Dendermonde, Belgium, St.-Pieters-&-Paulusabdij Cod. 9 (Villarenser codex) (c. 1174/75)

paragraph: BULLET::::- Leipzig, University Library, St. Thomas 371

paragraph: BULLET::::- Paris, Bibl. Nat. MS 1139

paragraph: BULLET::::- München, University Library, MS 2∞156

paragraph: Section::::Bibliography.:Other sources.

paragraph: BULLET::::- Friedrich Wilhelm Emil Roth, "Glossae Hildigardis", in: Elias Steinmeyer and Eduard Sievers eds., "Die Althochdeutschen Glossen", vol. III. Zürich: Wiedmann, 1895, 1965, pp. 390–404.

paragraph: BULLET::::- "Analecta Sanctae Hildegardis, in Analecta Sacra" vol. 8 edited by Jean-Baptiste Pitra (Monte Cassino, 1882).

paragraph: BULLET::::- Patrologia Latina vol. 197 (1855).

paragraph: BULLET::::- Explanatio Regulae S. Benedicti

paragraph: BULLET::::- Explanatio Symboli S. Athanasii

paragraph: BULLET::::- Homeliae LVIII in Evangelia.

paragraph: BULLET::::- Hymnodia coelestis.

paragraph: BULLET::::- Ignota lingua, cum versione Latina

paragraph: BULLET::::- Liber divinorum operum simplicis hominis (1163–73/74)

paragraph: BULLET::::- Liber vitae meritorum (1158–63)

paragraph: BULLET::::- Libri simplicis et compositae medicinae.

paragraph: BULLET::::- Physica, sive Subtilitatum diversarum naturarum creaturarum libri novem

paragraph: BULLET::::- Scivias seu Visiones (1141–51)

paragraph: BULLET::::- Solutiones triginta octo quaestionum

paragraph: BULLET::::- Tractatus de sacramento altaris.

paragraph: Section::::See also.

paragraph: BULLET::::- Discography of Hildegard of Bingen

paragraph: BULLET::::- Timeline of women in science

paragraph: Section::::References.

paragraph: Primary Sources (in translation):

paragraph: BULLET::::- Hildegard of Bingen. "The Book of Divine Works". Trans. by Nathaniel M. Campbell. Washington, D.C.: The Catholic University of America Press, 2018.

paragraph: BULLET::::- ________. "The Book of the Rewards of Life." Trans. Bruce Hozeski. New York : Oxford University Press, 1997.

paragraph: BULLET::::- ________. "Causae et Curae (Holistic Healing)". Trans. by Manfred Pawlik and Patrick Madigan. Edited by Mary Palmquist and John Kulas. Collegeville, MN: Liturgical Press, Inc., 1994.

paragraph: BULLET::::- ________. "Causes and Cures of Hildegard of Bingen". Trans. by Priscilla Throop. Charlotte, VT: MedievalMS, 2006, 2008.

paragraph: BULLET::::- ________. "Homilies on the Gospels". Trans. by Beverly Mayne Kienzle. Trappist, KY: Cistercian Publications, 2011.

paragraph: BULLET::::- ________. "The Letters of Hildegard of Bingen". Trans. by Joseph L. Baird and Radd K. Ehrman. 3 vols. New York: Oxford University Press, 1994/1998/2004.

paragraph: BULLET::::- ________. "Physica". Trans. Priscilla Throop. Rochester Vermont: Healing Arts Press, 1998.

paragraph: BULLET::::- ________. "Scivias". Trans. by Columba Hart and Jane Bishop. Introduction by Barbara J. Newman. Preface by Caroline Walker Bynum. New York: Paulist Press, 1990.

paragraph: BULLET::::- ________. "Solutions to Thirty-Eight Questions." Trans. Beverly Mayne Kienzle, with Jenny C. Bledsoe and Stephen H. Behnke. Collegeville, MN: Cistercian Publications / Liturgical Press, 2014.

paragraph: BULLET::::- ________. "Symphonia: A Critical Edition of the Symphonia Armonie Celestium Revelationum (Symphony of the Harmony of Celestial Revelations)", ed. and trans. Barbara Newman. Cornell Univ. Press, 1988/1998.

paragraph: BULLET::::- ________. "Two Hagiographies: Vita sancti Rupperti confessoris. Vita sancti Dysibodi episcopi." Intro. and trans. Hugh Feiss, O.S.B.; ed. Christopher P. Evans. Paris, Leuven, Walpole, MA: Peeters, 2010.

paragraph: BULLET::::- ________. "Three Lives and a Rule: the Lives of Hildegard, Disibod, Rupert, with Hildegard's Explanation of the Rule of St. Benedict". Trans. by Priscilla Throop. Charlotte, VT: MedievalMS, 2010.

paragraph: BULLET::::- Sarah L. Higley. "Hildegard of Bingen's Unknown Language: An Edition, Translation, and Discussion" New York: Palgrave Macmillan, 2007.

paragraph: BULLET::::- Silvas, Anna. "Jutta and Hildegard: The Biographical Sources". University Park, PA: The Pennsylvania State University Press, 1998.

paragraph: Secondary Sources:

paragraph: BULLET::::- Bennett, Judith M. and C. Warren Hollister. "Medieval Europe: A Short History". New York: McGraw-Hill, 2006. 289, 317.

paragraph: BULLET::::- Boyce-Tillman, June. "Hildegard of Bingen at 900: The Eye of a Woman." "The Musical Times" 139, no. 1865 (Winter, 1998): 31–36.

paragraph: BULLET::::- Butcher, Carmen Acevedo. "Hildegard of Bingen: A Spiritual Reader". Massachusetts: Paraclete Press, 2007.

paragraph: BULLET::::- Davidson, Audrey Ekdahl. "Music and Performance: Hildegard of Bingen's Ordo Virtutum." "The Ordo Virtutum of Hildegard of Bingen: Critical Studies". Kalamazoo, MI: Western Michigan University, 1992.

paragraph: BULLET::::- Dietrich, Julia. "The Visionary Rhetoric of Hildegard of Bingen." "Listening to Their Voices: The Rhetorical Activities of Historic Women". Ed. Molly Meijer Wertheimer. Columbia: University of South Carolina Press, 1997. 202–14.

paragraph: BULLET::::- Fassler, Margot. "Composer and Dramatist: 'Melodious Singing and the Freshness of Remorse.'" "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.

paragraph: BULLET::::- Flanagan, Sabina. "Hildegard of Bingen, 1098–1179: A Visionary Life". London: Routledge, 1989.

paragraph: BULLET::::- Fox, Matthew. "Illuminations of Hildegard of Bingen". New Mexico: Bear and Company, 1985.

paragraph: BULLET::::- Furlong, Monica. "Visions and Longings: Medieval Women Mystics". Massachusetts: Shambhala Publications, 1996.

paragraph: BULLET::::- Glaze, Florence Eliza. "Medical Writer: 'Behold the Human Creature.'" "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.

paragraph: BULLET::::- Holsinger, Bruce. "Music, Body, and Desire In Medieval Culture". California: Stanford University Press, 2001.

paragraph: BULLET::::- King-Lenzmeier, Anne. "Hildegard of Bingen: an integrated version". Minnesota: The Liturgical Press, 2001.

paragraph: BULLET::::- Maddocks, Fiona. "Hildegard of Bingen: The Woman of Her Age". New York: Doubleday, 2001.

paragraph: BULLET::::- Madigan, Shawn. "Mystics, Visionaries and Prophets: A Historical Anthology of Women's Spiritual Writings". Minnesota: Augsburg Fortress, 1998.

paragraph: BULLET::::- McGrade, Michael. "Hildegard von Bingen." "Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopaldie der Musik", 2nd edition, T. 2, Volume 8. Edited by Ludwig Fischer. Kassel, New York: Bahrenreiter, 1994.

paragraph: BULLET::::- Moulinier, Laurence, "Le manuscrit perdu à Strasbourg". Enquête sur l'œuvre scientifique de Hildegarde, Paris/Saint-Denis, Publications de la Sorbonne-Presses Universitaires de Vincennes, 1995, 286 p.

paragraph: BULLET::::- ________. "Un lexique trilingue du XIIe siècle : la lingua ignota de Hildegarde de Bingen", dans "Lexiques bilingues dans les domaines philosophique et scientifique (Moyen Âge-Renaissance), Actes du colloque international organisé par l'Ecole Pratique des Hautes Etudes-IVe Section et l'Institut Supérieur de Philosophie de l'Université Catholique de Louvain", Paris, 12–14 juin 1997, éd. J. Hamesse, D. Jacquart, Turnhout, Brepols, 2001, p. 89–111.

paragraph: BULLET::::- ________. "Un témoin supplémentaire du rayonnement de sainte Radegonde au Moyen Age ? La Vita domnae Juttae (XIIe siècle)", "Bulletin de la société des Antiquaires de l'Ouest", 5e série, t. XV, 3e et 4e trimestres 2001, pp. 181–97.

paragraph: BULLET::::- Newman, Barbara. Voice of the Living Light. California: University of California Press, 1998.

paragraph: BULLET::::- ________. "Hildegard of Bingen: Visions and Validation." "Church History" 54 (1985): 163–75.

paragraph: BULLET::::- ________. "'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.

paragraph: BULLET::::- ________. "Sister of Wisdom: St. Hildegard's Theology of the Feminine". Berkeley and Los Angeles: University of California Press, 1987.

paragraph: BULLET::::- Richert-Pfau, Marianne. "Mode and Melody Types in Hildegard von Bingen's Symphonia." "Sonus" 11 (1990): 53–71.

paragraph: BULLET::::- Richert-Pfau, Marianne and Stefan Morent. "Hildegard von Bingen: Klang des Himmels". Koeln: Boehlau Verlag, 2005.

paragraph: BULLET::::- Schipperges, Heinrich. Hildegard of Bingen: healing and the nature of the cosmos. New Jersey: Markus Wiener Publishers, 1997.

paragraph: BULLET::::- Stühlmeyer, Barbara. "Die Kompositionen der Hildegard von Bingen. Ein Forschungsbericht." In: "Beiträge zur Gregorianik." 22. ConBrio Verlagsgesellschaft, Regensburg 1996, , S. 74–85.

paragraph: BULLET::::- ________. "Die Gesänge der Hildegard von Bingen. Eine musikologische, theologische und kulturhistorische Untersuchung." Olms, Hildesheim 2003, .

paragraph: BULLET::::- ________. "Tugenden und Laster. Wegweisung im Dialog mit Hildegard von Bingen." Beuroner Kunstverlag, Beuron 2012, .

paragraph: BULLET::::- ________. "Wege in sein Licht. Eine spirituelle Biografie über Hildegard von Bingen." Beuroner Kunstverlag, Beuron 2013, .

paragraph: BULLET::::- ________. "Hildegard von Bingen. Leben – Werk – Verehrung." Topos plus Verlagsgemeinschaft, Kevelaer 2014, .

paragraph: BULLET::::- "The Life and Works of Hildegard von Bingen." Internet. Available from http://www.fordham.edu/halsall/med/hildegarde.html; accessed 14 November 2009.

paragraph: BULLET::::- Tillman, June-Boyce. "Hildegard of Bingen at 900: The Eye of a Woman". "The Musical Times" 139, no. 1865 (Winter, 1998): 31–36.

paragraph: BULLET::::- Underhill, Evelyn. "Mystics of the Church." Pennsylvania: Morehouse Publishing, 1925.

paragraph: Section::::Further reading.

paragraph: BULLET::::- General commentary

paragraph: BULLET::::- 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.

paragraph: BULLET::::- Cherewatuk, Karen and Ulrike Wiethaus, eds. "Dear Sister: Medieval Women and the Epistolary Genre". Middle Ages Series. Philadelphia: University of Pennsylvania Press, 1993.

paragraph: BULLET::::- Davidson, Audrey Ekdahl. "The Ordo Virtutum of Hildegard of Bingen: Critical Studies". Kalamazoo, MI: Medieval Institute Publications, 1992.

paragraph: BULLET::::- Dronke, Peter. "Women Writers of the Middle Ages: A Critical Study of Texts from Perpetua to Marguerite Porete". 1984. Cambridge: Cambridge University Press, 2001.

paragraph: BULLET::::- Flanagan, Sabina. "Hildegard of Bingen: A Visionary Life". London: Routledge, 1998.

paragraph: BULLET::::- Gosselin, Carole & Micheline Latour. "Hildegarde von Bingen, une musicienne du XIIe siècle". Montréal: Université du Québec à Montréal, Département de musique, 1990.

paragraph: BULLET::::- King-Lenzmeier, Anne H. "Hildegard of Bingen: An Integrated Vision". Collegeville, MN: Liturgical Press, 2001.

paragraph: BULLET::::- Newman, Barbara. "Sister of Wisdom: St. Hildegard's Theology of the Feminine". Berkeley: University of California Press, 1987.

paragraph: BULLET::::- Newman, Barbara, ed. "Voice of the Living Light: Hildegard of Bingen and Her World". Berkeley: University of California, 1998.

paragraph: BULLET::::- Pernoud, Régine. "Hildegard of Bingen: Inspired Conscience of the Twelfth Century". Translated by Paul Duggan. NY: Marlowe & Co., 1998.

paragraph: BULLET::::- Schipperges, Heinrich. "The World of Hildegard of Bingen: Her Life, Times, and Visions". Trans. John Cumming. Collegeville, MN: The Liturgical Press, 1999.

paragraph: BULLET::::- Wilson, Katharina. "Medieval Women Writers". Athens, GA: University of Georgia Press, 1984.

paragraph: BULLET::::- On Hildegard's illuminations

paragraph: BULLET::::- 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.

paragraph: BULLET::::- 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.

paragraph: BULLET::::- 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.

paragraph: BULLET::::- Eadem. "Hildegard of Bingen: German Author, Illustrator, and Musical Composer, 1098–1179." In "Dictionary of Women Artists", ed. Delia Gaze, pp. 685–87. London: Fitzroy Dearborn Publishers, 1997.

paragraph: BULLET::::- 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. 110–24. Berkeley: University of California Press, 1998.

paragraph: BULLET::::- 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.

paragraph: BULLET::::- Harris, Anne Sutherland and Linda Nochlin, "Women Artists: 1550–1950", Los Angeles County Museum of Art, Knopf, New York, 1976.

paragraph: BULLET::::- 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.

paragraph: BULLET::::- Keller, Hiltgart L. "Mittelrheinische Buchmalereien in Handschriften aus dem Kreise der Hiltgart von Bingen." Stuttgart: Surkamp, 1933.

paragraph: BULLET::::- Kessler, Clemencia Hand. "A Problematic Illumination of the Heidelberg "Liber Scivias"." "Marsyas" 8 (1957): 7–21.

paragraph: BULLET::::- 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. 159–69. Mainz: Selbstverlag der Gesellschaft für mittelrheinische Kirchengeschichte, 1979.

paragraph: BULLET::::- 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, 340–58. Freiburg im Breisgau: Verlag Herder, 1997.

paragraph: BULLET::::- Otto, Rita. "Zu einigen Miniaturen einer »Scivias«-Handschrift des 12. Jahrhunderts." "Mainzer Zeitschrift. Mittelrheinishces Jahrbuch für Archäologie, Kunst und Geschichte" 67/68 (1972): 128–37.

paragraph: BULLET::::- Saurma-Jeltsch, Lieselotte. "Die Rupertsberger »Scivias«-Handschrift: Überlegungen zu ihrer Entstehung." In "Hildegard von Bingen. Prophetin durch die Zeiten," ed. Äbtissin Edeltraud Forster, pp. 340–58. Freiburg im Breisgau: Verlag Herder, 1997.

paragraph: BULLET::::- Eadem. "Die Miniaturen im "Liber Scivias" der Hildegard von Bingen: die Wucht der Vision und die Ordnung der Bilder." Wiesbaden: Reichert, 1998.

paragraph: BULLET::::- Schomer, Josef. "Die Illustrationen zu den Visionen der hl. Hildegard als künstlerische Neuschöpfung (das Verhältnis der Illustrationen zueinander und zum Texte)." Bonn: Stodieck, 1937.

paragraph: BULLET::::- Suzuki, Keiko. "Zum Strukturproblem in den Visionsdarstellungen der Rupertsberger «Scivias» Handschrift." "Sacris Erudiri" 35 (1995): 221–91.

paragraph: BULLET::::- 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.

paragraph: BULLET::::- Background reading

paragraph: BULLET::::- Boyce-Tillman, June. "The Creative Spirit: Harmonious Living with Hildegard of Bingen", Harrisburg, PA: Morehouse Publishing, 2000.

paragraph: BULLET::::- Butcher, Carmen Acevedo. "Man of Blessing: A Life of St. Benedict". Brewster, MA: Paraclete Press, 2012.

paragraph: BULLET::::- Bynum, Caroline Walker. "Holy Feast and Holy Fast: the Religious Significance of Food to Medieval Women". Berkeley: University of California Press, 1987.

paragraph: BULLET::::- Bynum, Caroline Walker. "Resurrection of the Body in Western Christianity, 200–1336". New York: Columbia University Press, 1995.

paragraph: BULLET::::- Chadwick, Whitney. "Women, Art, and Society," Thames and Hudson, London, 1990.

paragraph: BULLET::::- Constable, Giles Constable. "The Reformation of the Twelfth Century". Cambridge: Cambridge University Press, 1998.

paragraph: BULLET::::- Dronke, Peter, ed. "A History of Twelfth-Century Western Philosophy". Cambridge: Cambridge University Press, 1992.

paragraph: BULLET::::- Holweck, the Rt. Reverend Frederick G., "A Biographical Dictionary of the Saints, with a General Introduction on Hagiology". 1924. Detroit: Omnigraphics, 1990.

paragraph: BULLET::::- Lachman, Barbara. "Hildegard: The Last Year". Boston: Shambhala, 1997.

paragraph: BULLET::::- McBrien, Richard. "Lives of the Saints: From Mary and St. Francis of Assisi to John XXIII and Mother Teresa". San Francisco: HarperSanFrancisco, 2003.

paragraph: BULLET::::- McKnight, Scot. "The Real Mary: Why Evangelical Christians Can Embrace the Mother of Jesus". Brewster, MA: Paraclete Press, 2006.

paragraph: BULLET::::- Newman, Barbara. "God and the Goddesses". Philadelphia: University of Pennsylvania Press.

paragraph: BULLET::::- Pelikan, Jaroslav. "Mary Through the Centuries: Her Place in the History of Culture". New Haven: Yale University Press, 1996.

paragraph: BULLET::::- Sweet, Victoria. "Hildegard of Bingen and the Greening of Medieval Medicine." "Bulletin of the History of Medicine", 1999, 73:381–403.

paragraph: BULLET::::- Eadem. "Rooted in the Earth, Rooted in the Sky: Hildegard of Bingen and Premodern Medicine." New York: Routledge Press, 2006.

paragraph: BULLET::::- Ulrich, Ingeborg. "Hildegard of Bingen: Mystic, Healer, Companion of the Angels". Trans. Linda M. Maloney. Collegeville, MN: Liturgical Press, 1993.

paragraph: BULLET::::- Ward, Benedicta. "Miracles and the Medieval Mind". Philadelphia: University of Pennsylvania, 1987.

paragraph: BULLET::::- Weeks, Andrew. "German mysticism from Hildegard of Bingen to Ludwig Wittgenstein: a literary and intellectual history". Albany: State University of New York Press, 1993.

paragraph: Section::::External links.

paragraph: BULLET::::- International Society of Hildegard von Bingen Studies (ISHBS):

paragraph: BULLET::::- Online edition of Hildegard's "Symphonia"

paragraph: BULLET::::- A Hildegard FAQ Sheet

paragraph: BULLET::::- "Liber Divinorum Operum" ("Book of Divine Works"): Chapter summaries and gallery of Lucca illustrations

paragraph: BULLET::::- English translations available on academia.edu:

paragraph: BULLET::::- "Book of Divine Works" ("Liber Divinorum Operum") I.1

paragraph: BULLET::::- "Book of Divine Works" ("Liber Divinorum Operum") III.3

paragraph: BULLET::::- "An Explanation of the Athanasian Creed" ("Explanatio Symboli Sancti Athanasii")

paragraph: BULLET::::- Young, Abigail Ann. "Translations from Rupert, Hildegard, and Guibert of Gembloux". 1999. 27 March 2006.

paragraph: BULLET::::- Transliterate text to St. Hildegard's "litteræ ignotæ" alphabet.

paragraph: BULLET::::- Hildegard of Bingen Documents, History, Sites to see today, etc.

paragraph: BULLET::::- Healthy Hildegard documents Hildegard's contributions to alternative medicine.

paragraph: BULLET::::- Hildegard's page at the Medieval History Sourcebook

paragraph: BULLET::::- "Women's Biography: Hildegard of Bingen", contains several letters sent and received by Hildegard.

paragraph: BULLET::::- Church of St. Hildegard in Eibingen, Germany, with information about Hildegard von Bingen and the Eibinger Hildegardisshrine

paragraph: BULLET::::- Abtei St. Hildegard / Abbey of St. Hildegard (Modern-day abbey in Eibingen, Germany)

paragraph: BULLET::::- The Reconstruction of the monastery on the Rupertsberg

paragraph: BULLET::::- Hildegard Center for the Arts, A Faith Based Fine Arts Center in Lincoln Nebraska

paragraph: BULLET::::- Complete Discography at medieval.org

paragraph: BULLET::::- Sequentia's complete recordings of Hildegard's music

paragraph: BULLET::::- Introduction to Hildegard of Bingen Music by Dr. Barbara Stuehlmeyer

paragraph: BULLET::::- McGuire, K. Christian. "Symphonia Caritatis: The Cistercian Chants of Hildegard von Bingen". 2007. 14 July 2007.

paragraph: BULLET::::- Biography and Prayers of Hildegard

paragraph: BULLET::::- "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".

paragraph: BULLET::::- BBC Radio 4 In Our Time – Hildegard of Bingen

alias:
Hildegard fan Bingen
Saint Hildegard
Saint Ildegarda di Bingen
Saint Hildegard of Bingen
St. Hildegard
Saint Hildegarde de Bingen
Saint Hildegard von Bingen
Hildegard von Bingen
Abbess Hildegard of Bingen

description: Medieval saint, prophet, mystic and Doctor of Church

enwikiquote_title: Hildegard of Bingen

wikidata_label: Hildegard of Bingen

wikipedia_title: Hildegard of Bingen


text:
Volta Redonda
Greek
Brazil
football
football manager
free kick
Santos FC
Greece
Cyprus
Olympiacos FC
Greek League
Cup
Skoda Xanthi
Kastoria FC
PAOK FC
AEL Limassol
Panionios FC
Atromitos F.C.
PAS Giannina F.C.
Panachaiki
Kalloni
Olympiacos
Greek Championship
Greek Cup
PAS Giannina
Greek Second Division
Official Website

categories: Kastoria F.C. players,Naturalized citizens of Greece,AEL Limassol players,Xanthi F.C. players,Brazilian footballers,Santos FC players,Brazilian football managers,Panachaiki F.C. players,Greek people of Brazilian descent,1972 births,Brazilian expatriate footballers,Expatriate footballers in Cyprus,Cypriot First Division players,Living people,Panionios F.C. players,Atromitos F.C. players,Expatriate footballers in Greece,Superleague Greece players,PAS Giannina F.C. players,Olympiacos F.C. players

paragraph: Luciano de Souza

paragraph: Luciano de Souza, simply Luciano (, born August 21, 1972 in Volta Redonda), is a former Greek-Brazilian football player and current football manager. His main strengths were his technique and free kick ability, along with long distance shots.

paragraph: After beginning in Brazil with Santos FC, Luciano spent his entire playing career in Greece (save for two seasons in neighbours Cyprus), at one point playing for Olympiacos FC from 1998 to 2001, where he won three Greek League titles and one Cup.

paragraph: He also represented Skoda Xanthi, Kastoria FC, PAOK FC, AEL Limassol, Panionios FC, Atromitos F.C., PAS Giannina F.C., Panachaiki and Kalloni, where he ended his career in order to be their head coach.

paragraph: Section::::Honours.

paragraph: BULLET::::- Olympiacos

paragraph: BULLET::::- Greek Championship: 1999, 2000, 2001

paragraph: BULLET::::- Greek Cup: 1999

paragraph: BULLET::::- PAS Giannina

paragraph: BULLET::::- Greek Second Division: 2009

paragraph: Section::::External links.

paragraph: BULLET::::- Official Website

description: Brazilian footballer

wikidata_label: Luciano de Souza

wikipedia_title: Luciano de Souza


text:
Swedish American
Charles August Lindbergh
Charles Lindbergh
Smedstorp
Tomelilla Municipality
Skåne
patronymics
dowry
Riksdag of the Estates
orator
liberalism
Jew
professorship
land reform
Church of Sweden
Charles August
Melrose, Minnesota
sawmill
Illinois
Union Army
American Civil War
Sherburne County, Minnesota
Lund
Republican Party
naturalization
postmaster
town clerk
Justice of the Peace
Little Falls, Minnesota

categories: People from Melrose, Minnesota,Swedish emigrants to the United States,1893 deaths,People from Tomelilla Municipality,Swedish farmers,Minnesota state court judges,Farmers from Minnesota,Burials in Minnesota,American postmasters,1808 births,Minnesota Republicans,American amputees,Members of the Riksdag of the Estates,Lindbergh family

paragraph: August Lindbergh

paragraph: August Lindbergh (12 May 1808 – 14 October 1893) was a Swedish American farmer and politician. He was the father of the U.S. politician Charles August Lindbergh, and the grandfather of aviator Charles Lindbergh.

paragraph: August Lindbergh was born Ola Månsson in Smedstorp, Tomelilla Municipality in Skåne, Sweden. His father, Måns Jönsson (at that time, Swedish peasants used patronymics as family names), married to Sara Carlsdotter, owned a small farm and worked as a parish tailor in Smedstorp. Through his marriage to Ingar Jönsdotter, who brought in a substantial dowry, and his own hard work, Månsson became a well-to-do farmer and in 1847 was elected to the Swedish Riksdag of the Estates, representing the farmers' estate. In the Riksdag, he distinguished himself as a brilliant orator (although he most probably had attended only three classes of primary school) and a champion of liberalism, who fought for equal rights for the Jews, for allowing foreigners to hold professorships at Swedish universities, for land reform (proposing to dismember huge estates belonging to the Church of Sweden) and for extending the railway net. He also worked as a bank director. When accused of bribery and embezzlement, Månsson changed his name to August Lindbergh. He left his wife Ingar Jönsdotter and their seven children, and fled to the United States with his mistress (a Stockholm waitress, Lovisa Jansdotter Carlén) and their illegitimate infant son Carl in 1859. Lovisa became Louisa and little Carl became Charles August. They settled in Melrose, Minnesota, where August worked as a farmer and a blacksmith. August became a widower in 1864 at the death of his first wife who had remained in Sweden. August and Louisa had six more children born in Minnesota; the couple married in 1885.

paragraph: Two of August Lindbergh's sons by his first marriage, Måns and Per, also changed their surnames to Lindbergh while attending college in Sweden. Around 1862, these two and a third son (August Olsson) emigrated to the United States, answering a request for help from their father who had lost an arm in a sawmill accident in 1861. Per came to live on the family farm in Minnesota, but Måns joined an Illinois unit of the Union Army in the American Civil War following which he returned to Sweden. There, Måns organized a group of about 200 emigrants whom he brought to Sherburne County, Minnesota. Måns then returned to Sweden to stay and died in Lund in 1870.

paragraph: August Lindbergh became a naturalized citizen of the United States in 1870, joining the Republican Party. He advocated the use of English language by immigrants. After his naturalization he held several posts in Melrose: he was a postmaster between 1879 and 1887, a village recorder and town clerk between 1888 and 1889. He also acted as a Justice of the Peace.

paragraph: August Lindbergh died in Little Falls, Minnesota. His wife Louisa, thirty years his junior, died on April 22, 1921. They were buried at "Oak Hill Cemetery" in Melrose together with three of their younger children, who did not live long.

paragraph: Section::::References.

paragraph: Section::::References.:Bibliography.

paragraph: BULLET::::- "Svenska män och kvinnor", vol. V, Stockholm 1949

description: Farmer, politician

wikidata_label: August Lindbergh

wikipedia_title: August Lindbergh


text: Clairac

text: Paris

text: embryologist

text: Hôtel-Dieu de Paris

text: French Academy of Sciences

text: comparative anatomy

text: Muséum national d'histoire naturelle

text: Lorenz Oken

text: Georges Cuvier

text: Étienne Geoffroy Saint-Hilaire

text: anatomist

text: Johann Friedrich Meckel

text: Meckel-Serres Law

text: comparative embryology

text: vertebrate

text: invertebrate

text: recapitulation theory

text: Ontogeny

text: phylogeny

text: Ernst Haeckel

text: teratology

text: Charles Darwin

text: skull

text: pterygoid process

text: Epithelial cell

text: connective tissue

text: palate

text: dentition

text: Comparative anatomy

text: vertebrate

text: nervous system

text: zoology

text: Spanish Wikipedia

categories: 1868 deaths,Officers of the French Academy of Sciences,19th-century French physicians,Teratologists,Embryologists,1786 births

paragraph: Étienne Serres

paragraph: Antoine Étienne Renaud Augustin Serres (12 September 1786, Clairac – 22 January 1868, Paris) was a French physician and embryologist. Étienne Serres was the son of Jean Jacques Serres, "maître chirurgien" and Marie Roussel.

paragraph: Section::::Background.

paragraph: In 1810 Serres received his medical doctorate in Paris, and afterwards worked at the Hôtel-Dieu de Paris and the Hôpital de la Pitié. In 1841 he was chosen president of the French Academy of Sciences. From 1850 to 1868 he was chair of comparative anatomy at the Muséum national d'histoire naturelle. Serres' scientific work was influenced by the theories of Lorenz Oken (1779–1851), Georges Cuvier (1769–1832), and especially Étienne Geoffroy Saint-Hilaire (1772–1844).

paragraph: With German anatomist, Johann Friedrich Meckel (1781–1833), the supposed "Meckel-Serres Law" is obtained. This was a theory that attempted to provide a link between comparative embryology and a "pattern of unification" in the organic world. It was based on a belief that within the entire animal kingdom there was a single unified body-type, and that during development, the organs of higher animals matched the forms of comparable organs in lower animals. This theory applied to both vertebrates and invertebrates, and also stated that higher animals go through embryological stages analogous to the adult stages of lower life-forms in the course of their development, a version of the recapitulation theory later ossified in the statement "Ontogeny recapitulates phylogeny" of Ernst Haeckel.

paragraph: In the field of teratology, Serres explained the presence of malformations as cases of arrested development or overdevelopment. He had disagreements with Charles Darwin regarding the latter's evolutionary theories. Serres believed that humans were creatures set apart and a supreme goal of all creation.

paragraph: Section::::Associated eponyms.

paragraph: BULLET::::- Serres' angle: Also known as the metafacial angle, an angle between the base of the skull and the pterygoid process.

paragraph: BULLET::::- Serres' glands: Epithelial cell rests found in the subepithelial connective tissue in the palate of the newborn.

paragraph: Section::::Selected writings.

paragraph: BULLET::::- "Essai sur l'anatomie et la physiologie des dents, ou Nouvelle théorie de la dentition", 1817 - Essay on the anatomy and physiology of the teeth, or a new theory about dentition.

paragraph: BULLET::::- "Anatomie comparée du cerveau, dans les quatre classes des animaux vertébrés, appliquée à la physiologie et à la pathologie du système nerveux", 1824-1827 - Comparative anatomy of the brain, in the four classes of vertebrates, as it applies to the physiology and pathology of the nervous system.

paragraph: BULLET::::- "Principes d'embryogénie, de zoogénie et de tératogénie", 1859 - Principles of embryology, zoology and teratology.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Chairs of the Muséum national d'histoire naturelle

paragraph: Section::::References.

paragraph: BULLET::::- Form and Function a Contribution to the History of Animal Morphology By E. S. Russell. Russell was an “unabashed vitalist” who both rejected and misrepresented the Darwinian formulation of recapitulation defended by Ernst Haeckel (S. Gliboff. 2008. H. G. Bronn, Ernst Haeckel, and the Origins of German Darwinism. MIT Press -- see page 22)

paragraph: BULLET::::- Rare Volumes, Serres' Comparative Anatomy and Principles of Embryology

paragraph: BULLET::::- This article incorporates text from an equivalent article at the Spanish Wikipedia.

description: French embryologist

wikidata_label: Étienne Serres

wikipedia_title: Étienne Serres


text:
Bavaria
Lieutenant General
War Minister
Munich
Bavarian army
Austro-Prussian War
Ludwig von der Tann
Franco-Prussian War
Knight cross
Order of Saint Hubertus

categories: 1906 deaths,1839 births,Bavarian Ministers of War,Bavarian generals,People from Munich,People from the Kingdom of Bavaria

paragraph: Adolph von Asch zu Asch auf Oberndorff

paragraph: Adolph Freiherr von Asch zu Asch auf Oberndorff (October 30, 1839 – February 18, 1906) was a Bavarian Lieutenant General and War Minister from June 5, 1893, to April 4, 1905. He was born and died in Munich.

paragraph: Section::::Biography.

paragraph: Asch joined the Cadet Corps of the Bavarian army. In 1859 he was advanced to the rank of an Unterleutnant and took part in the Austro-Prussian War. In 1870 he became Second Adjutant of General Ludwig von der Tann and participated in the Franco-Prussian War. In 1879 he was transferred to the Bavarian War Ministry. After his time as War Minister after 1893, he was retired in 1905.

paragraph: Section::::Awards.

paragraph: BULLET::::- Knight cross of the Order of Saint Hubertus

description: German general

wikidata_label: Adolph von Asch zu Asch auf Oberndorff

wikipedia_title: Adolph von Asch zu Asch auf Oberndorff


text:
Paralympic
athlete
Poland
2004 Summer Paralympics
Athens
Greece
2008 Summer Paralympics
Beijing
China
2012 Summer Paralympics
London
Official Website

categories: Athletes (track and field) at the 2008 Summer Paralympics,Medalists at the 2012 Summer Paralympics,Athletes (track and field) at the 2012 Summer Paralympics,Medalists at the 2004 Summer Paralympics,Athletes (track and field) at the 2004 Summer Paralympics,Paralympic bronze medalists for Poland,1985 births,Medalists at the 2008 Summer Paralympics,Medalists at the 2016 Summer Paralympics,Polish female sprinters,Athletes (track and field) at the 2016 Summer Paralympics,People from Kozienice,Paralympic silver medalists for Poland,Paralympic athletes of Poland,Living people,Sportspeople from Masovian Voivodeship

paragraph: Alicja Fiodorow

paragraph: Alicja Fiodorow (born 22 May 1985) is a Paralympic athlete from Poland competing mainly in category T46 sprint events.

paragraph: She competed in the 2004 Summer Paralympics in Athens, Greece. There she won a bronze medal in the women's 400 metres - T46 event, finished fourth in the women's 100 metres - T46 event and finished fourth in the women's 200 metres - T46 event. Competing in the 2008 Summer Paralympics in Beijing, China, she won a silver medal in the women's 200 metres - T46 event and a bronze medal in the women's 100 metres - T46 event.

paragraph: At the 2012 Summer Paralympics in London, she won a silver medal in the women's 200 metres T46 event.

paragraph: Section::::External links.

paragraph: BULLET::::- Official Website

description: Polish athlete

wikidata_label: Alicja Fiodorow

wikipedia_title: Alicja Fiodorow


text:
Japanese
lead vocalist
songwriter
guitarist
Japanese rock
Radwimps
Tokyo
Japan
United States
Oasis
Yokohama
Radwimps
Radwimps
Toshiba EMI
Chara
Honey
United Kingdom
Shepherds Bush Empire
London
Hamburg
Germany
Tokyo
Pieta in the Toilet
Fuji Rock Festival
Bungeishunjū
Official website

categories: English-language singers from Japan,Japanese rock guitarists,Musicians from Tokyo,Japanese male rock singers,Japanese male actors,1985 births,Japanese essayists,Japanese expatriates in the United States,21st-century Japanese singers,Universal Music Japan artists,21st-century guitarists,Living people,Warner Music Japan artists

paragraph: Yojiro Noda

paragraph: , is a Japanese singer, songwriter, musician, record producer and actor. Noda is the lead vocalist, songwriter and guitarist of the Japanese rock band Radwimps and also began a solo project, Illion, in 2012.

paragraph: Section::::Life and career.

paragraph: Section::::Life and career.:Early life, Radwimps.

paragraph: Noda was born in Tokyo, Japan, to a businessman father and piano teacher mother. From the ages of six to nine, Noda lived overseas in the United States. He first became interested in the guitar in junior high school, after hearing Oasis. He tried to learn how to play the chords with a guitar his family owned.

paragraph: While studying his first year of high school at Tōin Gakuen in Yokohama, he joined a band in 2001. He joined after being asked by a friend to be the band's vocalist. The band was named Radwimps, and Noda became the band's vocalist, guitarist, and sole songwriter. They released their debut independent album, "Radwimps", in 2003, and the band made their major debut under Toshiba EMI in 2005. In 2006, the band became widely popular in Japan, with their fourth album "" being certified platinum.

paragraph: In 2008, Noda produced a song for another artist for the first time. He wrote and produced the song "Labrador" for Japanese singer Chara, which was used as the leading promotional track for her album "Honey". In 2015, Noda wrote the song for Hanaregumi's sixth studio album "What Are You Looking For".

paragraph: Section::::Life and career.:Solo career.

paragraph: Noda's solo project, Illion, was first announced in November 2012. He began the solo career in order to perform overseas, which is a goal his band, Radwimps, did not share. His debut album, "Ubu", was released in Japan and Europe, first on February 25, 2013, in the United Kingdom. The album was promoted with two singles, "Brain Drain" in January 2013, which received a 24-hour exclusive live music video, and "Maharoba," which was released in February 2013. Noda first performed live as Illion at the O2 Shepherds Bush Empire in London on March 17, 2013. He also performed at the Indra Musikclub in Hamburg, Germany on March 19. He planned to perform at the Tokyo Rocks rock festival in Tokyo on May 12, however the event was cancelled.

paragraph: In 2015, Noda made his debut as an actor in the film "Pieta in the Toilet", which he starred in as the lead character Hiroshi. Radwimps also performed the theme song for the film, entitled . In May, Noda debuted as an author with "Rarirure-ron", a book of essays written while RADWIMPS were on their Grand Prix 2014 Jikkyō Namachūkei tour of Japan, as well as his decision to star in "Pieta in the Toilet".

paragraph: In 2016, Noda resumed his Illion solo project with a series of live concerts in July. This began with a performance at the Fuji Rock Festival, followed by two solo billed concerts in Tokyo and Osaka, billed as his Illion Japan Tour 2016.

paragraph: Section::::Bibliography.

paragraph: BULLET::::- (2015), Bungeishunjū,

paragraph: Section::::External links.

paragraph: BULLET::::- Official website

description: Japanese singer. Lead vocalist of Radwimps

wikidata_label: Yojiro Noda

wikipedia_title: Yojiro Noda


text:
Florence
Italian
Academy of Fine Arts of Florence
Giovanni Fattori
Maremma
Macchiaioli
Venice
Bologna
Paris

categories: Accademia di Belle Arti di Firenze alumni,Italian male painters,1862 births,20th-century Italian painters,19th-century Italian painters,1923 deaths,Florentine painters

paragraph: Ruggero Panerai

paragraph: Ruggero Panerai (Florence, March 19, 1862 – 1923) was an Italian painter.

paragraph: Section::::Biography.

paragraph: Born to a humble family, he began studies in 1877 at the Academy of Fine Arts of Florence, first studying ornament, then focusing on figure painting, and graduating in 1881. He then entered the studio of Giovanni Fattori. He specialized in painting military themes and the daily life of peasants in the Maremma. He was influenced by the Macchiaioli movement.

paragraph: In 1883 he won a contest at the Florentine academy to win a stipend of 1000 lire. His first major painting, titled "The Guado", was exhibited at Venice in 1887, and acquired by the Galleria moderna of Rome. However it was transferred to the galleria Pisani in Florence. Again in 1883, he won the Fumagalli competition in Milan a canvas titled: "The cavallo malato", depicting a rural scene in the Maremma of Tuscany.

paragraph: For the 1888 Exhibition of Bologna and the 1889 Exhibition of Paris, Panerai painted another large canvas, depicting "Mazzeppa", again a study of horsemen of the Maremma. Panerai was named professor of the Royal Academy of Bologna, and Correspondent Professor of the Accademia of Florence.

description: Italian painter

wikidata_label: Ruggero Panerai

wikipedia_title: Ruggero Panerai


text: Portuguese

text: Official Facebook Page

text: TVI Interview

text: Novos Descobridores Team

text: TSF Radio Interview

categories: 1964 births,People from Braga,Living people,Portuguese businesspeople

paragraph: João Paulo Peixoto

paragraph: João Paulo Peixoto (born March 11, 1964) is a Portuguese born business man and University teacher.

paragraph: João Paulo Peixoto was the first Portuguese national to visit all the countries in the world. He finished his last country, Israel, on 11 August 2011.

paragraph: João Paulo Peixoto is father of five children.

paragraph: Section::::External links.

paragraph: BULLET::::- Official Facebook Page

paragraph: BULLET::::- TVI Interview (in Portuguese)

paragraph: BULLET::::- O economista que acabou o mundo - Jornal Publico FUGAS (in Portuguese)

paragraph: BULLET::::- Novos Descobridores Team João Paulo Peixoto Central Asia Rally 2012 Official Team Page (in English)

paragraph: BULLET::::- TSF Radio Interview (in Portuguese)

description: Portuguese-born businessman

wikidata_label: João Paulo Peixoto

wikipedia_title: João Paulo Peixoto