Hildegard of Bingen: Visions and Validation Some years ago, wrote the Flemish monk Guibert to his friend Radulfus, strange and incredible rumors reached his ears at the Benedictine monastery of Gembloux. They concerned an old woman, abbess of the Benedictine foundation at Bingen-am-Rhein, who had gained such fame that multitudes. Sep 8, 2010 - [Video]. Saint Hildegard of Bingen (2). Hildegard's mystical visions resemble those of the Old Testament prophets: expressing. Best known work entitled Scivias, that is, 'You know the ways' she sums up in 35 visions the.

Manuscript known as the Rupertsberg Codex. While current German scholarship has tended to preclude Hildegard’s hand, pre-war German scholars, who had access to the original manuscript before it was lost, and most modern Anglophone scholars have argued more or less strongly for Hildegard’s influence on the design.

This paper argues for Hildegard’s direction of the images based on their function as a theological discourse refracting the text. The images are not ancillary to or derivative of the work; they are integral to it. A key area of the manuscript design that reveals these authorial interventions is the color scheme. The use of certain colors, such as green and red, that have particular meanings in Hildegard’s symbolic vocabulary—even when at odds with the colors described in the recorded vision text—reveals the theological place of each image within Hildegard’s perception of salvation history.

Covering years 1874-1934. Opishite idioadaptacii u nasekomih rassmatrivaemih otryadov raskrojte ih evolyu. (Ivan Vladimirovich), 1855-1935 creator text book [Moskva, Ogiz RSFSR trest 'Poligrafkniga', 1934] 1934 1934 print Russian At head of title: I. Izdanie tretʹe, pererabotannoe i dopolnennoe, obʹedini͡ai͡ushchee dva toma truda 'Itogi poluvekovykh rabot'] Michurin, I. Itogi shestidesi͡atiletnikh rabot [po vyvedenii͡u novykh sortov plodovykh rasteniĭ.

Furthermore, the extensive use of silver, gold, and blue in the manuscript can be understood both through Hildegard’s likely use of actual jewelry that contained enamel work and those metals, and through the theological meanings with which Hildegard imbues the metallic pigments. Such visual markers invested with theological significance thus argue for Hildegard’s design of the manuscript and aid the viewer- reader in interpreting the complex visual allegories at work in Hildegard’s often enigmatic visions. Finally, they reveal the dynamic ways in which Hildegard used the images to emphasize her theological insights into the feminine divine and its connection especially to her and her community as virgin members of a virgin Church.