These visions from Hildegard's Book of the Rewards of Life may be supplemented by one or two selected from the curious and lengthy work which she named Scivias, signifying Scito vias domini (know the ways of the Lord). In this work, on which she laboured for nine years, the seeress shows forth the Church, in images seen in visions, and the whole dogmatic scheme of Christian polity. The allegories form the texts of expository sermons. For example, the first vision in the first Book is of an iron-coloured mountain, which is at once explained as an image of the stability of God's eternal kingdom. The third vision is of a fiery, egg-shaped object, very complicated in construction, and devised to illustrate the truth that things visible and temporal shadow forth the invisible and eternal, in the polity of God.[1] In the fourth vision, globes of fire are seen to enter the human form at birth, and are then attacked by many whirlwinds rushing in upon them. This is an allegory of human souls and their temptations, and forms the text for a long discourse on the nature of the soul.
The fifth vision is of the Synagogue, the Mater incarnationis Filii Dei:
"Then I saw as it were the image of a woman, pale from the top to the navel, and black from the navel to the feet, and its feet were blood-colour, and had about them a very white cloud. This image lacked eyes, and kept its hands under its arm-pits. It stood by the Altar that is before the eyes of God, but did not touch it."
The pale upper part of this image represents the prescience of the patriarchs and prophets, who had not the strong light of the Gospel; the black lower portion represents Israel's later backslidings; and the bloody feet surrounded by a white cloud, the slaying of Christ, and the Church arising from that consummation. The image is sightless—blind to Christ—and stands before His altar, but will have none of it; and its slothful hands keep from the work of righteousness.[2]
- ↑ This is the view expounded so grandly by Hugo of St. Victor in his De sacramentis, post, Chapter XXVIII.
- ↑ Migne 197, col. 433. All this is interesting in view of the many figures of the Church and Synagogue carved on the cathedrals, most of them later than Hildegard's time. The "Synagogue" of sculpture has her eyes bound, the sculpturesque expression of eyelessness. The rest of Hildegard's symbolism was not followed in sculpture.
