Hildegard of Bingen OSB (German: Hildegard von Bingen, pronounced [ˈhɪldəɡaʁt fɔn ˈbɪŋən]; Latin: Hildegardis Bingensis; c. 1098 – 17 September 1179), also called the Sibyl of the Rhine, was a German Benedictine abbess and expert in many areas. She lived during the High Middle Ages and worked as a writer, composer, philosopher, mystic, visionary, and medical writer for the Catholic Church. Hildegard is one of the most well-known composers of religious music with a single melody and the most recorded composer in modern history. Some scholars believe she helped start the study of natural history in Germany.

In 1136, Hildegard was chosen as magistra (mother superior) at her convent in Disibodenberg. She later founded two monasteries: Rupertsberg in 1150 and Eibingen in 1165. Hildegard wrote theological, botanical, and medical texts, as well as letters, hymns, and religious songs for church services. She also created poems and oversaw the creation of decorative illustrations in the Rupertsberg manuscript of her first work, Scivias. More of Hildegard’s musical pieces have survived from the Middle Ages than any other composer. She is one of the few known composers who wrote both the music and the words for her songs. One of her works, Ordo Virtutum, is an early example of religious drama and may be the oldest surviving morality play. Hildegard is also known for creating a special language called Lingua Ignota.

Although the process of officially recognizing her as a saint is complex, Hildegard has been listed as a saint in regional calendars of the Catholic Church for centuries. On 10 May 2012, Pope Benedict XVI officially recognized Hildegard’s importance for the entire Catholic Church through a process called “equivalent canonization.” On 7 October 2012, he named her a Doctor of the Church, honoring her holy life and the originality of her teachings.

Biography

Hildegard was born around 1098. Her parents were Mechtild of Merxheim-Nahet and Hildebert of Bermersheim, a family of the free lower nobility who served Count Meginhard of Sponheim. Hildegard was sickly from birth and is traditionally considered the youngest and tenth child of her parents, though records only mention seven older siblings. In her Vita, Hildegard wrote that she experienced visions from a very young age.

Perhaps because of her visions or as a way to gain political influence, or both, Hildegard’s parents sent her to live at the Benedictine monastery at Disibodenberg, which had recently been reformed in the Palatinate Forest. The exact date Hildegard joined the monastery is unclear. Her Vita says she was eight years old when she was professed with Jutta, the daughter of Count Stephan II of Sponheim, who was about six years older than Hildegard. Jutta joined the monastery in 1112, which would have made Hildegard 14 years old at that time. Their vows were taken by Bishop Otto of Bamberg on All Saints Day in 1112. Some scholars believe Hildegard was placed in Jutta’s care at age eight and joined the monastery with her six years later.

In any case, Hildegard and Jutta lived together at Disibodenberg. They were part of a growing group of women who lived near the monastery, called a Frauenklause, a type of female hermitage. Jutta was also a visionary and attracted many followers who visited the monastery. Hildegard said Jutta taught her to read and write, but Jutta was not well-educated and could not teach Hildegard how to interpret the Bible properly. Records of Jutta’s life suggest Hildegard helped her with tasks like reciting psalms, gardening, and caring for the sick. This may have been when Hildegard learned to play the ten-stringed psaltery. Volmar, a frequent visitor, may have taught Hildegard how to write music. This time could have been the start of Hildegard’s later musical compositions.

After Jutta died in 1136, Hildegard was chosen by her fellow nuns to lead the community as magistra. Abbot Kuno of Disibodenberg asked Hildegard to become prioress, which would have placed her under his authority. Hildegard wanted more independence for herself and her nuns and asked Kuno to allow them to move to Rupertsberg, a simpler place to live. When Kuno refused, Hildegard went to Archbishop Henry I of Mainz, who approved the move. Kuno did not agree until Hildegard became seriously ill and could no longer move, which she believed was God’s way of showing His displeasure with her not following His will. Only then did Kuno allow the nuns to move to their own monastery. In 1150, Hildegard and about 20 nuns moved to the St. Rupertsberg monastery, where Volmar served as provost, Hildegard’s confessor, and scribe. In 1165, Hildegard founded a second monastery for her nuns at Eibingen.

Before Hildegard died in 1179, a problem arose with the clergy of Mainz. A man buried at Rupertsberg had died after being excommunicated by the Catholic Church. The clergy wanted to remove his body from the sacred ground, but Hildegard refused, saying it was a sin and that the man had been reconciled with the church at the time of his death.

While writing Scivias, Hildegard had a close friend and assistant named Richardis von Stade, a fellow nun. In 1151, Richardis was chosen as abbess of a distant convent, which upset Hildegard. Hildegard wrote many letters to church officials, including the Pope, Richardis’s family, and Richardis herself, asking that Richardis stay with her. Hildegard believed it was not God’s will for them to be separated.

Despite Hildegard’s efforts, Richardis eventually left. A year later, Richardis’s brother wrote to Hildegard to tell her that Richardis had died and had “met a good Christian end.” Hildegard grieved her friend’s death and assured her brother that she was confident in Richardis’s salvation, saying she cherished her with “divine love.”

Hildegard said she first saw “The Shade of the Living Light” (umbra viventis lucis) at age three and began to understand her visions by age five. She used the Latin word visio (meaning “vision”) to describe this experience and recognized it as a gift she could not explain to others. Hildegard said she saw everything through God’s light using her five senses: sight, hearing, taste, smell, and touch. In a letter she wrote at age 77 to Guibert of Gembloux, she described her experience of this light.

Hildegard was hesitant to share her visions and told only Jutta, who then shared them with Volmar, Hildegard’s tutor and later secretary. Throughout her life, Hildegard continued to have many visions. In 1141, at age 42, she received a vision she believed was a message from God to “write down that which you see and hear.” Despite this, Hildegard was still hesitant to record her visions and became physically ill. The illustrations in the book Scivias were based on Hildegard’s visions, which caused her great suffering. In her first theological work, Scivias (“Know the Ways”), Hildegard described her struggles:

— Hildegard von Bingen, Scivias, translated by Columba Hart and Jane Bishop, 1990

Between November 1147 and February 1148, at a synod in Trier, Pope Eugenius learned about Hildegard’s writings. This led to papal approval for Hildegard to document her visions as revelations from the Holy Spirit, giving her immediate recognition.

On September 17, 1179, when Hildegard died, her sisters said they saw two streams of light appear in the sky and cross over the room where she was dying.

Hildegard’s hagiography, Vita Sanctae Hildegardis, was written by the monk Theoderic of Echternach after her death. Theoderic used sources left behind by Guibert of Gembloux, who had been invited to complete the work but could not finish it. The Vita also included the Libellus (or “Little Book”), a work begun by Godfrey of Disibodenberg, who died before completing it.

Works

Hildegard wrote many important works, including three large books about spiritual visions and theology. She also created many musical pieces used in religious services, as well as a musical play called Ordo Virtutum. She wrote nearly 400 letters to important people like popes, emperors, and abbots. These letters include records of her sermons from the 1160s and 1170s. She also wrote about natural medicine and cures, invented a language called lingua ignota ("unknown language"), and created other smaller works, such as a commentary on the Gospel and writings about saints.

Many of her works were copied into manuscripts during her lifetime. One example is the Rupertsberg manuscript, which includes her first major book, Scivias. Another is the Dendermonde Codex, which holds one version of her music. The Ghent manuscript was the first clean copy of her final theological work, Liber Divinorum Operum. At the end of her life, she helped compile all her works into one large manuscript called the Riesenkodex. This manuscript has 481 pages made of animal skin, bound in pig leather over wooden boards, and measures 45 by 30 centimeters.

Her most important works were her three theological books: Scivias ("Know the Ways," written 1142–1151), Liber Vitae Meritorum ("Book of Life's Merits," written 1158–1163), and Liber Divinorum Operum ("Book of Divine Works," written around 1163–1174). In these books, Hildegard first described her visions, which often had strange and mysterious details. Then, she explained their meanings using the "voice of the Living Light."

With permission from Abbot Kuno of Disibodenberg, Hildegard began writing down her visions, which became the basis for Scivias. The title Scivias comes from "Sci vias Domini" ("Know the Ways of the Lord"), and it was her first major visionary work and a major achievement in her life. She believed she was commanded by God to "write what you see and hear," so she recorded her visions. In total, she described 26 visions in this book.

Scivias is divided into three parts. The first part (six visions) describes God's creation, including the story of Adam and Eve, the structure of the universe (compared to an "egg"), the connection between body and soul, God's relationship with His people through the Synagogue, and the choirs of angels. The second part (seven visions) explains the story of salvation, including the coming of Christ, the Trinity, the church as the Bride of Christ, the church's orders, Christ's sacrifice on the cross and the Eucharist, and the battle against the devil. The third part (thirteen visions) summarizes the history of salvation, shown as a building decorated with symbolic figures and virtues. It ends with the Symphony of Heaven, an early version of her music.

In 1148, the Pope sent a group to learn about Hildegard and her writings. They confirmed her visions were real and sent parts of Scivias back to the Pope. Some parts of the unfinished book were read aloud to Pope Eugenius III at the Synod of Trier, after which the Pope sent Hildegard a letter of approval. This letter was later seen as support for her theological work. Later in her life, Hildegard had a beautifully decorated version of Scivias made (the Rupertsberg Codex). The original is lost, but a hand-painted copy from the 1920s still exists.

In her second theological book, Liber Vitae Meritorum, written between 1158 and 1163, Hildegard explored the moral life through dramatic scenes between virtues and vices. This theme was also present in her musical play, Ordo Virtutum. Each vice is shown as ugly and tempting, but the virtues speak clearly to protect people from being deceived.

One new idea in this work was an early description of purgatory, a place where souls work off their sins before entering heaven. Hildegard described these punishments as harsh, which helped guide people toward living a virtuous life.

Her final and most important work, Liber Divinorum Operum, began after Hildegard had a vision in about 1163. She described this vision as a "mystical experience" where she saw "drops of sweet rain" similar to what John the Evangelist saw when he wrote, "In the beginning was the Word." She believed this "Word" explained the "Work of God," with humans as the highest creation. Liber Divinorum Operum became a detailed explanation of the opening of the Gospel of John.

The ten visions in this work are large in scope, showing different ways to understand God's relationship with creation. Often, this relationship is shown through grand female figures representing Divine Love (Caritas) or Wisdom (Sapientia). The first vision starts with poetic images describing God's activity in salvation history. The next three visions in the first part show a human standing between the spheres of the universe, explaining the connection between humans (microcosm) and the universe (macrocosm). The final chapter of Part One includes Hildegard's explanation of the Gospel of John's opening passage. Part Two has one vision that expands on the story of creation from Genesis, interpreting each day in three ways: literally, allegorically (related to the church), and morally (related to the soul's growth). The five visions in Part Three use the building imagery from Scivias to describe salvation history. The final vision includes Hildegard's longest and most detailed description of the church's future, from her time to the coming of the Antichrist.

Recent interest in women of the medieval Catholic Church has increased attention to Hildegard's music. In addition to Ordo Virtutum, 69 musical compositions with original texts survive.

Significance

Maddocks suggests that Hildegard likely learned basic Latin and the teachings of Christianity but did not study the Seven Liberal Arts, which were the main subjects taught to educated people during the Middle Ages. These subjects included the Trivium—grammar, dialectic, and rhetoric—and the Quadrivium—arithmetic, geometry, astronomy, and music. Hildegard’s letters to people outside her monastery showed that her community was not just a place for spiritual life but also a space where she shared her ideas and followed strict rules for writing letters.

Hildegard contributed to Christian traditions by using creative ways to express her theological ideas. She believed her monastery should only accept new members from noble families to avoid conflicts based on social class. She also said, “Woman may be made from man, but no man can be made without a woman.”

During the Middle Ages, public speaking and writing were limited for women, but Hildegard used other forms of communication, such as preaching, letter writing, poetry, and writing encyclopedias. Her work as a preacher was important because she spoke publicly in Germany in 1160 and led four tours where she addressed both religious leaders and ordinary people, often criticizing corruption among church officials.

Many religious leaders, including abbots and abbesses, asked Hildegard for advice and prayers. She traveled widely during her preaching tours and had followers like Guibert of Gembloux, who became her secretary after another follower, Volmar, died. She also exchanged letters with Elisabeth of Schönau, a spiritual leader nearby.

Hildegard corresponded with important figures, including popes, politicians, and emperors. Her letters were an important part of her work. She was one of the first people for whom the church tried to officially declare her a saint, but this process took many years and was not completed. Her name was still listed in the Roman Martyrology, a book of saints, from the 16th century until 2004.

In 2012, Pope Benedict XVI officially recognized Hildegard as a saint for the entire Catholic Church and named her a Doctor of the Church, meaning she is considered an important teacher in theology and science. She is also honored in some Anglican churches, such as the Church of England, on September 17.

In recent years, scholars have studied Hildegard’s life and writings. Some note that she described herself as a “weaker sex” and said she was not learned enough to explain the Bible, which helped her claim that her writings and music came from divine visions. This gave her a voice in a time when few women were allowed to speak publicly. She used her influence to criticize corruption in the church, especially the practice of simony, where people paid for church positions.

Hildegard’s ideas about healing and nature have made her a respected figure in the New Age movement. Her medical writings inspired groups like the Hildegard Network, which focuses on holistic health. Early feminists also used her work to support women’s rights to study medicine.

Some people have debated whether Hildegard was reincarnated, linking her to the Russian poet Vladimir Soloviev. Scholars and spiritual groups have studied this idea, but it remains a topic of discussion.

Hildegard’s music has been widely performed and recorded since the late 1970s. Her compositions are well-known today.

Modern scholars have also explored Hildegard’s work through the lens of queer studies. Some see her vision of the “Cosmic Egg” in her book Scivias as a symbol that can be compared to a vulva. Others examine her relationship with Richardis von Stade, noting that Hildegard’s strong feelings about Richardis being moved to another convent suggest their bond may have been more than just friendship.

These interpretations have inspired creative works, such as an opera titled Hildegard by Sarah Kirkland Snider and a film called Vision: From the Life of Hildegard von Bingen. A play by Carolyn Gage, Artemisia and Hildegard, also explores her life.

In Art

• Lucca manuscript, Liber Divinorum Operum (1163–1173), depicts St. Hildegard von Bingen writing
• Lucca manuscript, Liber Divinorum Operum (1163–1173), depicts St. Hildegard von Bingen receiving messages from God and writing
• The Salem Scivias (1200), illustration of St. Hildegard von Bingen
• altar in St. Sylvestri Church (1480), depiction of St. Hildegard von Bingen
• statue of St. Hildegard von Bingen in St. Rochus Chapel (1895)
• St. Hildegard von Bingen (attributed to Wilhelm Fassbinder, 1898)
• Fr. Paulus Krebs, St. Hildegard Enters Disibodenberg Monastery, Eibingen Abbey (1907–1913)
• Fr. Paulus Krebs, St. Hildegard Leaves Bingen for Rupertsberg (1907–1913)
• Fr. Paulus Krebs, How Hildegard Spoke to Emperor Barbarossa in Ingelheim (1907–1913)
• Fr. Paulus Krebs, How Hildegard Founded Eibingen and Healed a Blind Boy in Rudesheim (1907–1913)
• Fr. Paulus Krebs, Apparitions in the Sky at Hildegard's Death (1907–1913)
• Fr. Paulus Krebs, St. Hildegard, Prophetess (1907–1913)
• St. Hildegard von Bingen, Liechtenstein Stamp Series, Great works of the human spirit (1983)
• Karlheinz Oswald, St. Hildegard von Bingen (2012)
• Gabriel Akre, St. Hildegard von Bingen (2025)

In culture

The following modern musical works are directly connected to Hildegard and her music or writings:

• Alois Albrecht: Hildegard von Bingen, a religious play with texts and music by Hildegard of Bingen, 1998.
• Azam Ali: O Vis Aeternitatis and O Euchari by Hildegard of Bingen, 2020.
• The Beloved: The Sun Rising uses O Euchari, sung by Emily Van Evera on the album A Feather on the Breath of God by Gothic Voices.
• Orbital: Belfast uses O Euchari.
• Cecilia McDowall: Alma Redemptoris Mater.
• Christopher Theofanidis: Rainbow Body, for orchestra, 2000.
• David Lynch with Jocelyn Montgomery: Lux Vivens (Living Light): The Music of Hildegard Von Bingen, 1998.
• Garmarna: "Euchari" (1999) and Hildegard von Bingen (2001).
• Devendra Banhart: Für Hildegard von Bingen, single from the 2013 album Mala.
• Gordon Hamilton: The Trillion Souls quotes Hildegard's O Ignee Spiritus.
• Ludger Stühlmeyer: O splendidissima gemma, 2012. For alto solo and organ, text: Hildegard of Bingen. Commissioned piece for the declaration of Hildegard of Bingen as Doctor of the Church.
• Naomi Wood, Sophie Seita, The Hildegard von Bingen Society for Gardening Companions, 2022–present. Ongoing publications, performances, and events.
• Peter Janssens: Hildegard von Bingen, a musical in ten scenes, text: Jutta Richter, 1997.
• Richard Souther, Emily Van Evera, Sister Germaine Fritz (OSB): Vision: The Music Of Hildegard Of Bingen. CDC 7243 5 55246 21 1994.
• Sofia Gubaidulina: Aus den Visionen der Hildegard von Bingen, for contra alto solo, after a text of Hildegard of Bingen, 1994.
• Tilo Medek: Monatsbilder (nach Hildegard von Bingen), twelve songs for mezzo-soprano, clarinet and piano, 1997.
• Wolfgang Sauseng: De visione secunda for double choir and percussion, 2011.
• John Zorn: The Holy Visions for five female voices, 2012.
• David Chalmin and Bryce Dessner: "Electric Fields" for soprano, two pianos, electronics, & multimedia, 2022.
• Rosalía, Björk, and Yves Tumor: "Berghain" on the album Lux, 2025.

The artwork The Dinner Party includes a place setting for Hildegard.

Hildegard was the subject of season 2, episode 3 of the ZDF documentary Die Deutschen, titled Hildegard von Bingen und die Macht der Frauen ("Hildegard of Bingen and the Power of Women"), released in 2010.

Hildegard was the subject of a 2012 fictionalized biographic novel Illuminations by Mary Sharatt.

Hildegard was the subject of an episode of the Vision TV Apocalypse-themed documentary series 'I Prophesy' in 2012.

The off-Broadway musical In the Green, written by Grace McLean, follows Hildegard's story.

In his book The Man Who Mistook His Wife for a Hat, neurologist Oliver Sacks writes a chapter about Hildegard and concludes that, in his view, her visions were migrainous.

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.

A feature documentary film, The Unruly Mystic: Saint Hildegard, was released by American director Michael M. Conti in 2014.

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

Kristin Hayter, known professionally as "Lingua Ignota," was inspired by Hildegard of Bingen.

In the historical novel A Flight of Saints, five unruly novices escape across the Alps to join the convent of their heroine Hildegard of Bingen.

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

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

The 2025 opera "HILDEGARD" by composer Sarah Kirkland Snider follows the story of Hildegard as she receives and transcribes her visions.