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• IntroductionJane Cartwright1 What's in a Name? Navigating Nomenclature in the Cult of St Ursula and the Eleven Thousand VirginsScott B. Montgomery 2 The Church of St Ursula in Cologne: Inscriptions and Excavations Klaus Militzer
• 3 St Ursula and the Military Religious OrdersHelen Nicholson
• 4 From Pinnosa to Saint Ursula - The Manifestation of the Virgins' Cult in Liturgy: High Medieval Offices of the Feast of Cologne's Virgins in Manuscripts from the Rhine RegionKristin Hoefener
• 5 Hildegard (1098-1179) and the Virgin Martyrs of CologneWilliam Flynn
• 6 Ursula in the British History TraditionElizabeth J. Bryan
• 7 Saint Ursula and the Eleven Thousand Virgins: the Middle English Legenda aurea TraditionWilliam Marx
• 8 The Welsh Life of St Ursula and the 11,000 VirginsJane Cartwright
• 9 The Cult of St Ursula in Hungary: Legend, Altars and ReliquariesAnna Tuskes
• 10 St Ursula and the 11,000 Virgins in Scandinavia and Iceland in the Middle AgesMargaret Cormack
• 11 Radiant Maidens and Butchered Brides: Finding St Ursula in Icelandic LiteratureKatelin Parsons
• 12 Male Martyrs, Female Models? St Ursula and St Acacius as Leaders and VictimsSamantha Riches
• Bibliography.
• (source: Nielsen Book Data)

The legend of St Ursula is an epic tale which recounts how this daughter of a British king, reluctantly agreed to marry a pagan prince in order to save her father's kingdom, but delayed the betrothal by insisting on performing one final pilgrimage to Rome in the company of 11,000 virgins. The virgins never returned to Britain, having reputedly been martyred in Cologne. In the twelfth century, a mass grave was discovered and it was claimed that these were the relics of St Ursula and her companions. This book looks in detail at the history and cult of St Ursula, and traces the development of her legend explaining why she became so popular in many different countries and regions. Medieval art, music and legend inspired by Ursula's heroic martyrdom are all discussed here for the first time.
(source: Nielsen Book Data)
The cult of St Ursula and the 11,000 virgins was one of the most popular and relic-rich of all saints' cults in the medieval period. This volume constitutes the first interdisciplinary collection of essays in English to explore the development and transmission of the legend of St Ursula in detail, considering a wealth of different sources including physical remains, literary texts, artistic representations and medieval music.
(source: Nielsen Book Data)

• Introduction.--The legend of St. Ursula.--The expansion of the legend and the "Martyrdom of St. Ursula and the eleven thousand virgins" in the Victoria and Albert Museum.--The iconography of the series.--The Master of the St. Ursula Legend and the school of Cologne in the late 15th century.--The provenance of the paintings and the pattern of patronage at Cologne.--Notes on the text (p. 30-33)

• t.
• 1. Texte. - t.
• 2. Planches.

• Antiphon : Auctori vite salmis ; Invitatory : Venite excultemus domino / Karlsruhe LX (13th c.)
• Symphonia virginum. O dulcissime amator / Hildegard
• Hymn : Jesu corona virginum / Ahrweil Antiphoner (13th c.)
• Responsory : Spiritui sancto / Hildegard
• Versicle : Specie tua / Karlsruhe LX
• Responsory : Favus distillans / Hildegard
• Benedicamus domino / Engelberg 314 (14th c.)
• Antiphon : Studium divinitatis / Hildegard
• Psalm 92 : Dominus regnavit ; Studium divinitatis / Ahrweil Antiphoner
• Sequence : O Ecclesia / Hildegard
• Benedicamus domino / Engelberg 314
• Chapter : Domine deus meus / Berlin 40046
• Brief responsory : Mirabilis deus / Karlsruhe LX
• Hymn : Cum vox sanguinis ; Antiphon : O rubor sanguinis / Hildegard
• Canticle : Magnificat anima mea ; O rubor sanguinis / Ahrweil Antiphoner
• Hymn : Te lucis ante terminum / Ahrweil Antiphoner
• Benedicamus domino / Worcester F.160 (13th c.).

• Antiphon : Auctori vite salmis ; Invitatory : Venite excultemus domino / Karlsruhe LX (13th c.)
• Symphonia virginum. O dulcissime amator / Hildegard
• Hymn : Jesu corona virginum / Ahrweil Antiphoner (13th c.)
• Responsory : Spiritui sancto / Hildegard
• Versicle : Specie tua / Karlsruhe LX
• Responsory : Favus distillans / Hildegard
• Benedicamus domino / Engelberg 314 (14th c.)
• Antiphon : Studium divinitatis / Hildegard
• Psalm 92 : Dominus regnavit ; Studium divinitatis / Ahrweil Antiphoner
• Sequence : O Ecclesia / Hildegard
• Benedicamus domino / Engelberg 314
• Chapter : Domine deus meus / Berlin 40046
• Brief responsory : Mirabilis deus / Karlsruhe LX
• Hymn : Cum vox sanguinis ; Antiphon : O rubor sanguinis / Hildegard
• Canticle : Magnificat anima mea ; O rubor sanguinis / Ahrweil Antiphoner
• Hymn : Te lucis ante terminum / Ahrweil Antiphoner
• Benedicamus domino / Worcester F.160 (13th c.).

• Contents: Heads and Tales: Envisioning the Eleven Thousand Virgins of Cologne - An Archaeology of Texts and Bones: The Legend of the Eleven Thousand Virgins - Bones and More Bones: Relics and the Spread of the Cult - Ecclesia sanctarum undecim milum virginum: The Church of the Eleven Thousand Virgins and its Decoration - The Face of Sanctity: Reliquary Busts of the Eleven Thousand Virgins - Golden Visions: Altarpieces with Relics - The Protective Mantle: The Holy Virgins as Patron Saints of Cologne - Picturing the Pilgrimage: Narrative Cycles in Cologne - A Peregrinatious Tale: Images and Narrative Cycles Beyond the Rhineland - Golden Bones: The Goldene Kammer of St. Ursula and Early Modern Developments - From Slight to Light: Concluding Thoughts.
• (source: Nielsen Book Data)

The cult of "St. Ursula and the Eleven Thousand Virgin Martyrs of Cologne" was the most widespread relic cult in medieval Europe. The sheer abundance of relics of the Eleven Thousand Virgins, which allowed for the display of immense collections, shaped the notion of corporate cohesion that characterized the cult. Though the primacy of St. Ursula as the leader of this holy band was established by the tenth century, she was conceived as the head of a corporate body. Innumerable inventories and liturgical texts attest to the fact that this cult was commemorated and referenced as a collective mass - Undecim millium virginum. This group identity informed, and was formulated by, the presentation of their relics, as well as much of the imagery associated with this cult. This book explores the visual, textual, performative, and perceptual aspects of this phenomenon, with particular emphasis on painting and sculpture in late medieval Cologne. Examining the ways in which both texts and images worked as vestments, garbing the true core of relics which formed the body of the cult, the book examines the cult from the core outward, seeking to understand hagiographic texts and images in terms of their role in articulating relic cults.
(source: Nielsen Book Data)

• Antiphon: Auctori vite salmis ; Invitatory: Venite excultemus domino (Karlsruhe LX, 13th c.) (8:51)
• Symphonia virginum: O dulcissime amator / Hildegard of Bingen (9:23)
• Hymn: Jesu corona virginum (Ahrweil Antiphoner, 13th c.) (2:48)
• Responsory: Spiritui sancto / Hildegard of Bingen (6:51)
• Versicle: Specie tua (Karlsruhe LX) (0:25)
• Responsory: Favus distillans / Hildegard of Bingen (6:51)
• Benedicamus domino (Engelberg 314, 14th c.) (0:54)
• Antiphon: Studium divinitatis / Hildegard of Bingen (1:12)
• Psalm 92: Dominus regnavit ; Studium divinitatis (Ahrweil Antiphoner) (3:27)
• Sequence: O Ecclesia / Hildegard of Bingen (10:09)
• Benedicamus domino (Engelberg 314) (0:53)
• Chapter: Domine deus meus (Berlin 40046) (0:51)
• Brief responsory: Mirabilis deus (Karlsruhe LX) (1:10)
• Hymn: Cum vox sanguinis / Hildegard of Bingen (8:09)
• Antiphon: O rubor sanguinis / Hildegard of Bingen (1:38)
• Canticle: Magnificat anima mea ; O rubor sanguinis (Ahrweil Antiphoner) (5:01)
• Hymn: Te lucis ante terminum (Ahrweil Antiphoner) (2:03)
• Benedicamus domino (Worcester F.160, 13th c.) (0:47).

• CD 1. Voice of the blood (76:55): O rubor sanguinis (2:01)
• Favus distillans (8:29)
• Laus Trinitati (1:36)
• In matutinis laudibus (9:53)
• O ecclesia (7:56) --Instrumental piece (6:33)
• O aeterne Deus (2:12)
• O dulcissime amator (6:46)
• Rex noster promptus est (6:25)
• O cruor sanguinis (1:35)
• Cum vox sanguinis (6:31)
• Instrumental piece (2:59)
• O virgo ecclesia ; Instrumental piece (7:48)
• Nunc gaudeant materna (2:26)
• O orzchis ecclesia (3:38)
• CD 2. O Jerusalem (67:30): O Jerusalem (10:25)
• Quia felix pueritia ; Magnificat ; Quia felix pueritia (5:28)
• O felix apparitio (2:35)
• O beatissime Ruperte (2:24)
• Instrumental piece (5:47)
• O tu illustrata (7:47)
• Cum erubuerint (2:50)
• O frondens virga ; Gloria patri ; Ave generosa (5:56)
• O quam preciosa (7:05)
• O ignee spiritus (6:49)
• Instrumental piece (5:41)
• O quam magnum miraculum est (4:44).

• Antiphon: Auctori vite salmis ; Invitatory: Venite excultemus domino (Karlsruhe LX, 13th c.) (8:51)
• Symphonia virginum: O dulcissime amator / Hildegard of Bingen (9:23)
• Hymn: Jesu corona virginum (Ahrweil Antiphoner, 13th c.) (2:48)
• Responsory: Spiritui sancto / Hildegard of Bingen (6:51)
• Versicle: Specie tua (Karlsruhe LX) (0:25)
• Responsory: Favus distillans / Hildegard of Bingen (6:51)
• Benedicamus domino (Engelberg 314, 14th c.) (0:54)
• Antiphon: Studium divinitatis / Hildegard of Bingen (1:12)
• Psalm 92: Dominus regnavit ; Studium divinitatis (Ahrweil Antiphoner) (3:27)
• Sequence: O Ecclesia / Hildegard of Bingen (10:09)
• Benedicamus domino (Engelberg 314) (0:53)
• Chapter: Domine deus meus (Berlin 40046) (0:51)
• Brief responsory: Mirabilis deus (Karlsruhe LX) (1:10)
• Hymn: Cum vox sanguinis / Hildegard of Bingen (8:09)
• Antiphon: O rubor sanguinis / Hildegard of Bingen (1:38)
• Canticle: Magnificat anima mea ; O rubor sanguinis (Ahrweil Antiphoner) (5:01)
• Hymn: Te lucis ante terminum (Ahrweil Antiphoner) (2:03)
• Benedicamus domino (Worcester F.160, 13th c.) (0:47).

• O rubor sanguinis (5:30)
• Sed diabolus in invidia (4:36)
• Unde quocumque venientes (5:42)
• Deus enim in prima (4:13)
• Deus enim rorem (4:02)
• Favus distillans Ursula virgo (6:56)
• Spiritui Sancto honor sit (9:34)
• O ecclesia, oculi tui (7:51)
• Cum vox sanguinis (7:30)