"Page no, vita"	Paraphrase/quote	Source	Building block	More details					"Primary text cited: Meyer, Ruth, editor. Das “St. Katharinentaler Schwesternbuch”: Untersuchung, Edition, Kommentar. Max Niemeyer, 1995."
"p. 98, vita 3, l. 2"	Richmut von Winterthur inclines her body before a crucifix.	Liturgical gestures; Ruth Meyer in the notes to the edition lists types of inclinations (189).	Simulacrum and intentiones of bowing (kept).						
"p. 98, vita 4, ll. 4–10"	"In Mechthilt von Hohenegg's vision, Christ compares his inexpressible pains and sorrows during his Passion to the sorrows he feels whenever someone experiences sinful love."	Lam 1.12 and Passiontide liturgy.	Intentiones of ineffable sorrow and Christ's body as a memory object.						
"p. 99, vita 5, ll. 4–11 "	"Adelheit von Ossingen kneels down at sound of sacring bells, as if she were present at mass, at which the snow melts."	Liturgical gesture.	Simulacrum and intentiones of kneeling (transferred to space outside of church).	"CF Duffy's claim: ""Power 'leaked' from the Host and the blood"" (110)."					
"p. 100, vita 8, ll. 1–5"	"Adelheit Ludwigin (d. 1242) sees host at moment of elevation expand to the size of the moon, with the clarity of the sun."	Materiality of host.	"Res or memory object of the host; simulacrum of the matter, intentiones of awe (all kept)."	"Evokes Juliana of Mont Cornillon's (1192–1258) visions (see Rubin, Corpus Christi, 169–175)."					
"p. 102, vita 13, ll. 1–4"	"Mechthilt von Lobegg (d. 1242–1300) meditates on Christ's passion while prostrating fully; Christ appears with his five wounds bleeding, at which she prostrates herself once more at his feet, and she sees him no more."	(Para)liturgical gestures.	Simulacrum and intentiones of prostrating transferred to private contemplation.	"Meyer posits a ""Noli me tangere"" motif and points to cruciform posture (202), suggesting Mechthilt's body evokes both Christ's body and that of the Magdalene."					
"p. 102, vita 14"	"Christ addresses lay sister Hedwig von Unlegellen (date of death unknown) from the crucifix in the chapter house, forgiving her all her sins and assuring her of the gift of everlasting life, at which she experiences a sweet taste in her mouth."	Liturgical sensations; emphasis on forgiveness in Canon and Ordinary of the Mass.	"Simulacrum of sweet taste of eucharist, intentiones of forgiveness; all transferred from mass to site of chapter house."						
"p. 105, vita 20, ll. 1–5"	"After helping the sacristan clear the altar, Adelheit of St. Gallen (d. 1242–1300) makes an inclination and offers up her ""tired body...loving soul, and a desiring heart"" to God."	"Sacramental notion of mutual offering (Christ offering himself, priest offering the sacraments); Ordinary and Canon of the Mass."	Res of Christ's heart replaced by res of Adelheit's heart.	"Wright lists the inclusion of  ""Orate fratres ut meum ac vestru pariter in conspectu domini sit"" in the Dominican offertory prayers (118)."					
"p. 106, vita 22, ll. 1–8"	"As noted in my ""In Loving Memory?"": ""In the vita of Adelheit die Rittrin (d. 1242–1300), the “ellendest sel in dem vegfúr” [“most miserable soul in Purgatory”] materializes at Adelheit’s bedside, grabbing her and expressing his thanks for “des guotes, das du mir getan hast” [the good, which you have done for me”], which consisted of her praying the Office of the Dead. Her suffrages, the spirit recounts, have led to the spirit being “erloeset” [delivered] from his purgatorial trials."""	"The ghost’s actions and his words echo the Psalm “Dilexi quoniam” (114 in the Vulgate), included in the Office, in which God “benificit” [“has performed charitable actions for”] the Psalmist, gesturing towards charity in Adelheit’s prayers. It also invokes how the Psalmist’s soul, driven by the charity between God and the soul thematised in the incipit, has been “eripuit…de morte” [“delivered from death”] by the Divinity, pointing to a similar intentio for the soul towards Adelheit, also expressed in his physical touch.  "	Intentiones of charity between God and Psalmist transferred to Adelheit and the soul from Ninive.	"For more on the relation between intercessory prayer and communal charity, see my article ""In Loving Memory""."					
"p. 106–107, vita 22, ll.9–18"	"On the second Sunday in Advent, when the responsory ""Ecce dominus protector"" is sung, a sister sees Christ being crowned with the crown of thorns, which inspires such compassion with His sorrows, that the sister's heart and interior were filled (""durch gossen"", as if with liquid) with agony; she then sees Christ crowned in heavenly glory, at which her anguish vanishes."	"Lam 1.12, Ps. 21 (esp. verse 16) and Passiontide liturgy."	Res of Christ's body extended to encompass sister's body; intentiones of sorrow and joy.						
"p. 108, vita 24, ll. 17–21"	"On Epiphany (""Twelfth Day""), lay sister Ite von Hallau (d. 1242–1300) sees Christ being baptized by John the Baptist, and hears a voice ""Hic est filius meus dilectus"", and sees the Holy Ghost descend like a dove."	"Epiphany liturgy, during which a Gospel lesson about Christ's baptism is read (Meyer 219)"	Res of Christ's body; intentiones of love (all unchanged).						
"p. 109, vita 27b, ll.1–2"	"When a deceased sister is carried into the choir, a voice from the reliquary shrine is heard: ""Veni in (h)ortum meum, soror mea sponsa"". "	Song of Songs; antiphon for the Mass of Nativity of the BVM.	"Simulacrum of sweet taste of eucharist, intentiones of forgiveness, transferred from mass to site of chapter house."						
"p.  110, vita 27e, ll. 1–10 "	"An anonymous sister hears a voice when the first bell for Prime is rung, telling her that the convent will celebrate (the office of) St John, does not believe the voice, and curious to find out what will be sung, she walks to the choir, and hears the mass opening with ""In medio"", which belongs to another saint, but then the Collect ""Ecclesiam"" is sung, which is part of the feast of St John."	"Meyer lists various feasts in which ""In medio ecclesiae""serves as an introit, including two feasts for John the Evangelist, explaining the chaplain's confusion (p. 224). The full collect for the Office for the feast of St John (the evangelist) runs ""Ecclesiam tuam quesumus domine benignus illustra, ut beati iohannis apostoli tui et evangeliste illuminata doctrinis ad dona perveniat sempiterna"" (Legg 31)."	"Res of John, intentiones of illumination in both chants. All are kept (but applied to the sister in particular, whose incredulity is resolved)."	"Full text of the introit runs: ""In media ecclesie aperuit os eius and impleuit eum dominus spiritu sapiencie et intellectus stola glorie induit eum."" (Legg 31)"					
"p. 115, vita 30, 1–4"	"Gertrut von Herblingen (d. 1300–1350) recites the Confiteor after compline to a crucifix, at which the effigy raises its arm and places its hand on her head, forgiving her all her sins. "	Confiteor invokes confession (general and possibly auricular and/or individual). Placing hand on head invokes gesture of absolution during auricular confession (see plate 19 in Duffy)	Locus of confiteor; ductus of confession; simulacrum and intentiones of absolution (sensation of hand on head) extended to everyday context.	"For different readings of the body in the sister-book, see Amiri Ayanna's ""Bodies of Chrystal, Houses of Glass""; for a different translation, see Ayanna's ""The St Katharinental Sister Book""."					
"p. 115, vita 30, ll. 5–19"	"As I also note in ""In Loving Memory?"": ""In the vita of Katharinental sister Gertrut von Herblingen (d. between 1300 and 1350), another sister apparently hears the devil mocking the vita’s subject, who is engaged in reciting the Office of the Dead and various collects for the souls: “Nu raspe, nu raspe, das dv niemer saelig werdist….nu raspe, nu raspe, das dv niemer an raspend werdist” [Keep scrabbling, keep scrabbling, so that you will never saved” … “Keep scrabbling, keep scrabbling, so that there may never be an end to your scrabbling.”]. The other sister then asks Gertrut what she is praying, revealing to her what she has heard. Gertrut responds by further praying: “ Vnd fúr das, wenn si ein vigili las, so raspet si zesamen alle die collecten die si kunde, vnd las die den selan, won es dem túfel als leid was.” [“And because of this, when reading a vigil, she scrabbled together all the collects she knew, and recited them for the souls, to the devil’s great annoyance.”] """	"As I also note in ""In Loving Memory?"": In its choice of “raspe”, the text suggests the mnemonic effort of gathering a prayer from one’s inventory store, coding such recollection as devotional labour. Moreover, the devil attempts to convince the other sister (and, by extension, Gertrut) of the futility of this task, presenting it as ostensibly endless in order to tempt her into giving up out of despair; his taunting comments, too, serve to figure Gertrut’s remembering of her prayers as essential monastic labour. "	Office of the Dead and collects as a locus and a gathering place.	"In presenting her memorial labour thus, the text both looks back to the onset of this commemorative work in the rite of profession, and towards its conclusion. "					
"p. 116, vita 30, ll. 20–24"	"After hearing the Introit for the third Sunday in Advent (""Gaudete in Domino""), Gertrut hears a voice repeat that introit, and she enquires what she should rejoice in, to which the voice responds that she should rejoice in the speaker (ie Christ) being her only beloved and in his willingness to give her all she desires."	"Full introit runs ""Gaudete in domino semper iterum dico gaudete modestia uestra nota sit omnibus homibus dominus prope et nichil solliciti sitis set in omni oracione peticiones uestre innotescant apud deum"" (Legg 18)"	Locus of introit; intentiones of joy (transferred to individual life); simulacrum of voice suddenly emerging.	"Repetition of introit is not only liturgical; it also literalizes the introit's reference to repeating this call to joy (""iterum dico"") and Christ's words recall the invitation to make all desires known in prayer. "					
"p. 117–118, vita 32"	Mia von Rittershofen (d. 1242–1300) has vision of various crowns 	"Many rites of profession, coronation and investiture include the antiphon ""Veni sponsa Christi, accipe coronam, quam tibi Dominus praeparavit in aeternum""  (Cantus 005328) (see e.g. Van Dijk 388)"	Locus of profession rite; res of crown.						
"p. 120–122, vita 33, 58–137"	Extensive meditation on the Holy Spirit.	"Meyer distinguishes echoes of the Pentecost sequence Veni Creator Spiritus in the depiction of the Holy Spirit as ""creator/performer"", ""love"" ""light"" and ""comfort"" (244)."	Locus of Veni Creator Spiritus; res of Holy Spirit's various roles expanded to include salvation history and contemplative influence.	"On Scripture and liturgy as gathering places for other discourses, see Carruthers, Craft of Thought 19."					
"p. 124, vita 38, ll. 1–24) "	"Sister Kathrin Brümsin (d. 1242–1300) struggles to learn Latin, and asks for St John's assistance;  during a solemn Mass, she sees John the Evangelist celebrate mass, and is asked why she does not join in in his sequence, to which she responds that she is incapable of doing so, at which the beloved apostle shows her a book with gilded initials prescribing the sequence ""Verbum dei deo natum"". She is able to read and/or sing it, and miraculously knows it by rote afterwards."	"Manuscript culture and the sequence ""Verbum dei deo natum"", which also claims that John transforms branches into gold."	Locus and ductus of sequence with associated actions; res of letters assimilated with res of Incarnation.	"Her vita in the ""erweiterungsgut"" (vita nr 56, pp. 159–162) supplies a vernacular version of the sequence."					
"p. 125, vita 39, ll. 1–9"	"Luggi von Stein is told off by John the Evangelist for not singing his sequence (see above); moving to the back of the altar (a penitential action according to Meyer (p. 256), she experiences a vision of the BVM and St John interceding for the convent while the sequence is sung."	"Sequence ""Verbum dei deo natum"", especially the seventh strophe ""Audiit, in giro sedis/ Quid psallant cum citharoedis/ quater seni proceres"" (Meyer 160, n. 21), which vita 56 translates into the vernacular as"" who hears round the throne, what is being sung with the harps of the twenty–four elders"" (ll. 22–23)."	"Locus and ductus of sequence (especially with the position behind the altar, evoking the voices of the martyrs from the altar in Revelation); simulacrum of singing."						
"pp. 125–126, vita 40, ll. 8–10"	"Elsbeth Hainburgerin (d. 1328) reads at Christmas day the first lesson ""Primo tempore"", and upon opening the book, sees the Christ Child naked on the book, wrapped in swaddling clothes."	"Lesson drawn from Isa. 9, which includes the verse ""parvulum enim natus est"", which the vision literalizes. "	Locus of lesson; res of Christ Child; intentiones of giving extended to include her reading.	Laura Saetveit Miles' monograph The Virgin Mary's Book at the Annunciation includes an early fifteenth-century manuscript illumination of the Christ infant on a book; (p. 18). Cantus provides witnesses to this lesson (850353).					
"p. 126, vita 40, ll. 34–36"	"Another sister sees Elsbeth levitate above her choir stall and sees on her choir stall the words ""Veni, electa mea""."	"“Veni, electa mea” (CAO 5323; Cantus 005323) is an antiphon for the Common of Several Virgins, as well as a responsory versicle in the same office. "	"Intentiones of being drawn by the beloved applied to res of Elsbeth's levitating body, effectively trying to ascend to the heavenly beloved already."						
"pp. 128–129, vita 41, ll. 1–8"	"Anne of Ramschwag (d. Ca. 1343) dislikes learning to read, and often looks away from her book, and once, when opening the book, she sees the Christ Child lying on it, naked, who tells her he delights in his heavenly father as well as in her."	Echoes of Prov. 8.31.	"Sister's intentiones toward the book (and by association, the incarnate Word) changed from dislike and a turning away from towards fondness and turning towards."						
"p. 131, vita 41, 80–87"	"Anne experiences rapture on Christmas day, taken up into a holy light; seeing her body split in two, she sees two lovely little children embrace, and is told that the one is her soul, and the other is the Lord."	"Evokes lesson drawn from Isa. 9, which includes the verse ""parvulum enim natus est""."	Res of child or children expanded to also apply to soul and God.						
"p. 133, vita 42, ll. 1–9"	"Mechthilt die Rittrin (d. between 1300 and 1350) experiences doubt or temptation; in choir during Matins, the first responsory for a confessor (""Intra in Gaudium Domini Tui"") is sung, and a voice exhorts Mechthilt in the vernacular to enter into the joy of her Lord, and her doubts vanish, and she experiences inexpressible joy whenever she hears that responsory."	"First responsory for the Common of one Confessor (Meyer 26). Cantus gives this responsory as opening with ""Euge serve bone"" (CAO 66777; Cantus 0066777 ). The repetition of the phrase by the visionary voice formally recalls the repetition of the opening verse in the responsory."	Simulacrum of repetition of words; intentiones of joy continuously recalled and amplified.						
"p. 135, vita 45, ll. 1–9"	"As I also note in ""In Loving Memory?"": ""In the vita of Sister Mechtilt die Huserin (d. 1300–1350), souls crowd around this holy woman, bed-bound by illness, as she prays the Office of the Dead from her bed, as is her daily wont. Invisible to Mechtilt, but visible to a sister passing by, they raise their hands in a gesture of supplication. They ‘nigen’ (incline their bodies) after she has recited the words ‘requiescant in pace’, the final lines to the final responsory of the Office of the Dead (Meyer 271), after which they vanish, presumably finally ascending to heaven."" "	"As I also note in ""In Loving Memory?"": ""The souls’ physical movement literalizes the final collect in the Office of the Dead requesting that God incline an ear to these prayers and recalls the slight inclination traditionally punctuating all offices."""	"Intentiones of God inclining his ear literalized into the souls' intentiones, and simulacrum of bowing transferred to this context."						
"p. 138, vita 50, ll. 8–11 "	"On a Sunday, at Matins, Kathrin of Stein sings the responsory verse ""Trinitati"" when the ninth responsory ""honor virtus"" is sung, and another nun sees Jesus standing close to her, and bowing deeply when Kathrin sings the verse or versicle."	"According to Meyer, ""honor virtus"" is the incipt to the ninth responsory of Matins on a Sunday after Epiphany (274); Christ's bow possibly anticipates the subsequent doxology, or suggests Christ honouring her."	Locus of responsory; simulacrum and intentiones of bowing transferred from nuns to Christ (hierarchy inverted).