Page no.	Paraphrase	Source	Building block 		"Primary text cited: Hier Beghint Dat Leven en Starven Onses Eerwerdighen Vaders Heer Johan Brinckerinck. Compiled by Griete Essinches in 1524. Deventer, Athenaeumbibliotheek, Ms. 101 E 26 KL (DV). Transcript by Wybren Scheepsma (edition forthcoming). Translation by David F. Johnson."	
13v	Jutte of Ahaus dies and will see her bridegroom directly. 	"Matins responsory for the Second Sunday in Lent: “Vidi Dominum facie ad faciem, et salva facta anima mea” (CAO 7874; Cantus 007874)."	Res memorabiles applied to individual sister.			
42r	Johannes Brinckerinck recommends a humble attitude.	"Christ’s words in Luke 22.15 that he “desiderio desideravi” (""with desire…desired"" (DRV)) to eat this Passover meal with his disciples. "	Intentiones directed from disciples to Christ.			
108r–108v	"""Libera Me"" is sung over a dead priest after being brought into the church late at night; this vision is heard by nun."	Responsory from the Office of the Dead (Ottosen 272).	Simulacra of sensory memory in singing; locus of church.			Sensory memory in singing; background church.
116v–r	"Zweder van Rechteren erupts into spontaneous chanting of ""Te Deum"" upon hearing of Johannes Brinckerinck's appointment."	Te Deum (Divine Office).	Intentiones of joy directed towards event important to convent.			
194v–195r	Another sister sees Katharina van Arkel pray and is told the hosts of heaven rejoice in her.	"Evokes Assumption chants such as the antiphon “Assumpta est Maria in caelum” (CAO 1503; Cantus 001503), the sequence “Congaudent angelorum chori” (Cantus ah53104), or the invitatory “Virgo Dei Maria” (CAO 1186; Cantus 001186), in which the Virgin rejoices with the angels. "	Res memorabiles; intentiones.			Changed to apply to sister rather than to Mary.
235v	"At Katharina van Naaldwijk's investiture, cantor needs to sing ""Veni sancte spiritus"" by himself."	"An antiphon for the Matins of St Agnes reads “Discede a me, pabulum mortis, quia jam ab alio amatore praeventa sum” (CAO 2251; Cantus 002221)."	Simulacra of sensory memory of singing; locus of church.			
246r	Henrik Mande sees Griete van Naaldwijk in a vision partake in a heavenly procession; the chant “Offerentur regi virgines” is sung. 	"Responsory for the Common of Several Virgins and the Office of St Agatha, and an offertory for the Mass Propers of St Lucy, Agnes, and Cecilia (Borders 30, 31).  "	Ductus of procession projected onto heaven; simulacra of sensory memories also spiritualized.			
246r–v	"In Mande's vision, Christ cites a chant, rising from his throne and embracing the soul."	"“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. "	Res memorabiles; simulacra.			Simulacra and intentiones changed. 
246v	"In Mande's vision, John the evangelist, angels, saints sing ""Jesu, corona virginum""."	"“Jesu, corona Virginum” (CAO 8830; Cantus 008830) is a hymn for the Common of Several Virgins, in which it may have been sung during Lauds and Vespers (WNT, ""Jesu Corona Virginum""; Bhattacharji 44), and the Office of St Lucy, St Cecilia, and St Agnes. "	Res memorabiles of chant attributed to Christ.			
246v	"In Mande's vision, John the evangelist, angels, saints sing ""Innumerabilis virginum chorus""."	“Innumerabilis virginum chorus” (Cantus 691197) is a responsory for the Matins of the 11000 Virgin Martyrs of Cologne. 	Res memorabiles of chant attributed to Christ; simulacra.			
264r	"In a meditation twinning visionary and mystical discourses, the speaker visualizes the wedding between Christ and the Bride (the nuns personified). All church Fathers and saints have been given a duty to perform; John the Evangelist and St Paul are to sing ""Alleluia emulor enim uos etc”. "	"The incipit “Alleluia emulor enim uos” (Cantus g02713) indicates an Alleluia for the Mass of the Commons of Several Virgins, Common of One Virgin, Common of a Virgin Martyr, and for the Mass propers of St Margaret and St Lucy, and other virgin saints."	Locus and res memorabiles of incipit applied to the community's relation to Christ.			
264v	"Visionary meditation: the bride sings songs and repeats after Agnes “I am betrothed to him whom the angels serve, of whose beauty the sun and moon stand in awe” (trans. Johnson)."	"This incipit signals a versicle or several responsories of the Office of St Agnes, possibly for Matins (CAO 6692, Cantus 006692; ed. Mueller, trans. Fleming 185, 186).  The entire line runs “Ipsi sum desponsata cui angeli serviunt, cujus pulchritudinem sol et luna mirantur.” (CAO 6692)The sentence also appears in readings for this office in some uses, and ultimately derives from her vita, which includes the line “Cui angeli servient, cuius pulchritudinem sol et luna mirantur.” (Mombritius, Sanctuarium I, p. 41, line 12)"	"Both intentiones and simulacra changed; the speaker sings to the groom rather than to suitor, and it's the sisters singing rather than Agnes."			"Both intentiones and simulacra changed; the speaker sings to the groom rather than to suitor, and it's the sisters singing rather than Agnes."
264v	"Visionary meditation: the bride sings songs and repeats after St Agnes ""I love Christ, in whose bed chamber I have received milk and honey from His mouth."" (trans. Jonhson)"	"Up to and including “in whose bed chamber”, the declaration of love for Christ originates from the responsory “Amo Christum, in cuius thalamum introibo” (CAO 6084; Cantus 006084), likewise from the Office of St. Agnes, possibly from Matins (Fleming 183; Cantus). The part “I have received milk and honey from His mouth” possibly originates from the same responsory, in which it is a later versicle (CAO 6692), but the same chant also constitutes a separate antiphon (CAO 3734; Cantus 003734) or a responsory (CAO 7141). In either case, they are chanted during Matins.  "	"Both intentiones and simulacra changed; the speaker sings to the groom rather than to suitor, and it's the sisters singing rather than Agnes."			"The use of “Christum” in the original Middle Dutch text would point to a Latin source rather than a vernacular one, and the use of “liedekens” also gestures to a liturgical context. "
264v	"Visionary meditation: the bride sings songs and repeats after Agnes ""He has pressed me to Him in His embrace"" (trans. Johnson)."	"There are several sources for the sentence “He has pressed me to Him in His embrace”. In the liturgical vita, a similar statement (“jam amplexibus ejus castis adstricta sum”) immediately follows the statement about milk and honey (line 10). A near-identical phrase, replacing “ejus” by “Christi”, is found as a responsory versicle in the Matins of St Agnes (Cantus 006992za), as part of the responsory “Ipsi sum despondata” (see above), and as an antiphon (Cantus 29414).  "	"Locus; res memorabiles, and intentiones and simulacra in the res transformed to apply to community. "			
264v–265r	"Visionary meditation: the bride wards off sinful thoughts by ventriloquizing Agnes' words to her suitor in which she tells him to depart and calls him sinful and the source of evil, and telling him she's already marked by Christ."	"An antiphon for the Matins of St Agnes reads “Discede a me, pabulum mortis, quia jam ab alio amatore praeventa sum” (CAO 2251; Cantus 002221)."	Locus; res memorabiles; simulacrum of suitor replaced by thoughts.			"The most likely source here would be Agnes’ vita, which attributes the following words to Agnes when she rejects her suitor “Discede a me, fomes peccati, nutrimentum facinoris, pabulum mortis; discede a me, quoniam ab eo amatore praevanta sum,” (Mombritius, Sanctuarium I p. 40. lines 50-52). Locus due to everyone's familiarity with it. "
338v	"Trude van Beveren reprimands sisters' carelessness with ""Vivax vlamma""."	"This phrase originates from ""Inventor Ruttili"", a hymn by fourth-century poet Prudentius. This hymn appears to have been sung on the evening of Holy Saturday ( as part of the Easter or Pascal Vigil). the Easter Vigil, the evening preceding Easter Sunday) Claire Jones notes that in Dominican convents, after the Observant reform, this was done as thus: after all lights had been put out in the church and then rekindled with, as the hymn states “a stone-born spark” (trans. H.J. Thompson 39) a spark created by striking a stone (Jones 585). During the procession back into the church, the hymn was sung (Jones 585). In the provost's handbook of the Cistercian convent of Medingen (northern Germany), the hymn is sung after the new fire has been censed and sprinkled with water and lights kindled from it, while returning to the church (ed. Hascher-burger and Lähnemann 252). Trude’s words thus resonate powerfully with the Modern Devout notion of a “spark” of conversion (see e.g. 117v); she hails the “spark” in the other."	Res memorabiles.			
403v	"Stine des Groten wakes everyone after the first vell by singing ""Veni sponsa Christi"", upon which everyone rises and hurries ""to receive their crowns"" (trans. Johnson)."	"Entire antiphon reads ""Veni sponsa Christi, accipe coronam, qui tibi Dominus praeparavit in aeternum"" (CAO 5328; Cantus 005238). This antiphon was part of the profession rite, or at least the part of the profession rite following the mass, as described by Van Dijk: “Afterwards [i.e. after the sister reading her profession letter and the celebration of the Mass] the prior will sprinkle holy water on her, hand her the burning candle, and lead her into claustration, while the antiphons Prudentes Virgines, Et Quae Paratae, and Veni Sponsa Christi are sung.” (388, own translation) The antiphon (CAO 5328; Cantus 005238) was also associated with the Office of the Feast of St Agatha, St Cecilia, St Felicitas, and the Common of Several Virgins, and as a responsory (CAO 7828; Cantus 007828) with the Office of the Feast of St Agnes, St Agatha, St Afra (CAO) and with the Feast of the Office of St Lucy, Juliana, Euphemia, and other virgin martyrs (Cantus). As a responsory, it appears to have been sung particularly at Matins, a use which resonates here as well. The responsory draws on the Parable of the Wise and Foolish Virgins. Both the parable and the responsory include the line “Clamor factus est: ecce sponsus venit, exite obviam ei” (CAO 7828, drawing on Matt. 25.6), since all girls in the parable are asleep at that point. The Latin can be translated as ""A cry [was] made: Behold the bridegroom cometh, go ye forth to meet him."" (DRV Matt. 25.6). Stine’s loud singing and waking of the other sisters references this parable and this responsory. "	Locus of space of convent; res memorabiles kept but intentiones changed (now also concerns earth).			Space of convent as commonplace;  intentiones changed.
406r	"Unnamed sister sings ""In labore requies"" when dying."	"Phrase from sequence ""Veni Sancte Spiritus"", which is sung at nuns' investiture *(Hotchin 79; Van Dijk 387)"	Ductus; simulacra; applied to context of dying.			
342r	"Beatrix van der Beeck is on the verge of death, has been given the Last Rites, and cries out while praying ""In manus tuas commendo spiritum meum""."	"This exclamation from the Psalms and Luke 23.46 (in which Christ cries out these words on the cross) is used in various chants. Reiterating Christ’s dying words on the cross, “In manus tuas” is also a responsory commonly sung at Compline (Cantus 601142).  "	Locus of Christ's Passion; ductus of Christ's dying process translated into ductus of own dying process.			
342r	"Beatrix van der Beeck is on the verge of death, has been given the Last Rites, and cries out while praying ""Educ de carcere animam meam""."	"This incipit signals a responsory (CAO 6622; Cantus 006622) for the First, Third, and Fourth Sunday in Lent, the Fourth Wednesday in Lent, and Passion Sunday, especially used during second Vespers. The entire text runs: “Educ de carcere animam meam, ut confiteatur nomine tuo, Domine. It is followed by the following versicle and response: “Periit fuga a me, et non est qui requirat animam mea”; “Ut confiteatur nomine tuo, Domine” (Cantus 6622a). This chant draws on Psalm 143 (Vulgate) (141 in DRV): ""Bring my soul out of prison"" (v. 8a), ""Flight hath failed me; and there is no one that hath regard to my soul"" (v. 5b), and ""That I may praise thy name"" (v.8b).  The Lenten and Easter context resonates with the sister’s wish to die."	Locus of Christ's Passion; ductus of Christ's dying process translated into ductus of own dying process.			
342v	"Beatrix van der Beeck is on the verge of death and cries out ""In manus tuas commendo spiritum meum"" while her great-niece is sleeping next to her. "	"This exclamation from the Psalms and Luke 23.46 (in which Christ cries out these words from the cross) is also used in various chants. Reiterating Christ’s dying words on the cross, “In manus tuas” is also a responsory commonly sung at Compline (Cantus 601142).  "	Locus of Christ's Passion; ductus of Christ's dying process translated into ductus of own dying process.